Round 2-Panels
Steps on Applying to Present on a Panel
1. Log in to the membership portal to check your status/renew your membership status. Applicants need to be members at a Friend Membership ($5 yr.) or above to apply and an Advocate Membership ($34 or $75 yr.) if application is accepted.
2. Browse the Panel Descriptions below and follow the directions for application.
Applications due September 15, 2024
Panel Descriptions
The Print Collection
Organizer: Beth Howe
What do print collections – the formal and public to the personal and ad hoc – mean for printmakers? How do we position and value their role in our practices, histories, and discourse? How accessible are these collections and what does it mean to be accessible? What makes a print collection relevant? Are they doing what we need them to do and are we doing what they need us to do?
This panel will solicit presentations from the SGCI print community to discuss issues and projects concerning Print Collections: accessing them, building them, stewarding them, teaching with them, troubling them, studying them, contributing to them, and caring for them.
Those interested in presenting on this panel should submit the following to bethhowe@ecuad.ca by September 15: a brief statement (150 words or less) describing how your work relates to the subject of “The Print Collection” as outlined in the abstract. Please include links to relevant collections project work and/or websites. Please use the subject heading: ‘The Print Collection’
Applicants need to be members at a Friend Membership ($5 yr.) or above to apply and an Advocate Membership ($34 or $75 yr.) if application is accepted.
Student Lightning Talks
Organizer: Gaby Hurtado-Ramos
The Student Lightning Talks is a panel where undergraduate and graduate SGCI student members will share small but mighty 5-minute presentations about their work, followed by a Q&A. The panel is designed to highlight students that have strong bodies of work or specific projects to share in a concise presentation. This series of presentations will allow attendees to learn about a variety of artists’ works in a short period of time and provide the opportunity for students and conference attendees to connect over shared interests that come up in the presentations and Q&A. Highlighting student work provides an important platform for emerging and early-career artists to share their work and connect with others.
Interested panelists should submit the following to ghurtado-ramos@
Applicants need to be members at a Friend Membership ($5 yr.) or above to apply and an Advocate Membership ($34 or $75 yr.) if application is accepted.
Prints in Motion: The Animated Print
Organizer: Shannon Ferguson
This panel will discuss how contemporary printmakers are using the mode of animation in collaboration with traditional printmaking practices to create time based artworks. Animation commonly is used in pop culture to establish narratives, but how can the repetition of the print communicate with the medium beyond its traditional expectations? Stop Motion animation and Risograph animation are only some of the ways that printmakers are using the matrix to create moving images. Panelists will discuss the role of animation in their own print practices as well as its role as a teaching tool in the contemporary print classroom.
Those interested in presenting on this panel should submit the following by September 15: a brief statement (150 words or less) describing how your work relates to the subject of “Prints in Motion : The Animated Print” as outlined in the abstract, along with three images of your work or vimeo links, and your website to sfergu31@vols.utk.edu
Applicants need to be members at a Friend Membership ($5 yr.) or above to apply and an Advocate Membership ($34 or $75 yr.) if application is accepted.
Occupying the Margins: Stories from Printmaking’s Outlying Professions
Organizer: Elysia Mann
Academic programs tend to steer students toward tenure-track positions or independent practice while the larger field of print-related careers operates in the periphery of our awareness. Yet we rely on a vast range of specialists who support the production of creative research—paper mills, ink makers, mechanists, publishers, framers, art handlers, writers and administrators all contribute to the mycelial network of print. This panel invites workers from lesser-acknowledged occupational territories to share their stories. Where do you find a sense of purpose and satisfaction in your work? How have you shaped your job to fit your unique skills and interests? In what ways are you challenged to use your creativity? How do you envision a sustainable future of diverse print professions? What advice do you have for those who are interested in carving their own path in the world of printmaking?
To apply to this open call, email emann7@tennessee.edu by September 15 with a brief description (roughly 150 words) of your occupation and how you find joy or meaning in your role. Include three images (1MB or less) that help illustrate your work life along with links to your website and/or social media.
Applicants need to be members at a Friend Membership ($5 yr.) or above to apply and an Advocate Membership ($34 or $75 yr.) if application is accepted.
Listening with/within Contemporary Printmaking Practices
Organizer: Heather Leier
The concept of listening has gained prominence across various disciplines as a critical mode of engagement and understanding. From environmental studies to Indigenous methodologies, listening has been proposed as a transformative practice that can transcend mere auditory perception, offering insights into relationality and interconnectedness. This panel explores how listening manifests within contemporary printmaking practices, examining its potential to attune practitioners to political, social, historical, and environmental relations to unsettle colonial relations between the human and more-than-human.
Those interested in presenting on this panel should submit the following to heather.leier@ucalgary.ca by September 15: an abstract that outlines how your presentation relates to “Listening with/within Contemporary Printmaking Practices” as well as a short bio introducing yourself, three images of your work and your website where applicable.
Applicants need to be members at a Friend Membership ($5 yr.) or above to apply and an Advocate Membership ($34 or $75 yr.) if application is accepted.
Experiences of cultural exchange through Printmaking
Organizers: Sol Gómez and Gina Reynoso
Printmaking’s inherent reproducibility and portability makes it the perfect vehicle for cultural exchange. The visual language of the print can enable meaningful conversations that transcend language barriers, geographical boundaries, and ideological constructs.
This panel would examine the ways in which artists and Collectives have used printmaking as a point of entry to engage with other cultures and communities. In the contemporary age, how can printmaking be used to connect people? To build artistic communities across the globe? In what ways does it enrich cultural understanding? What does it teach us about ourselves and how might we learn from each other?
La reproductibilidad y portabilidad inherentes del grabado lo convierten en el vehículo perfecto para el intercambio cultural. El lenguaje visual del grabado puede permitir conversaciones significativas que trascienden las barreras lingüísticas, los límites geográficos y las construcciones ideológicas.
Este panel permitirá compartir las formas en que los artistas y colectivos han utilizado el grabado como punto de entrada-partida para interactuar con otras culturas y comunidades. En la era contemporánea, nos preguntamos: ¿cómo se puede utilizar el grabado para conectar entre personas? ¿Para construir comunidades artísticas alrededor del mundo? ¿De qué manera puede enriquecer el entendimiento cultural? ¿Qué nos enseña sobre nosotros mismos y cómo podemos aprender unos de otros?
Those interested in presenting on this panel should submit the following by September 15: a brief statement (150 words or less) describing how your work relates to the subject of “Experiences of cultural exchange through printmaking” as outlined in the abstract, along with three images of your work and your website to gina.reynoso@gmail.com
Applicants need to be members at a Friend Membership ($5 yr.) or above to apply and an Advocate Membership ($34 or $75 yr.) if application is accepted.
Artist Books: Place and Space
Organizer: Jennifer Scheuer
The artist book as a form utilizes surface, space and time, and is well suited to describe place. In describing place, artists might create work about a research site, home, travel, or use the form to create inventive and imagined space- to retell histories, what might be, and forgotten narratives. What layers of content and messages can be described uniquely through this artform and flexibility of structure? In this panel artists will present recent projects that influence the creation of their artist books. The panel will be an open call inviting artists to participate, and can include 4-6 presenters.
Those interested in presenting on this panel should submit the following by September 15: submit a brief statement (150 words or less) describing how your work relates to the subject of “Artist Books: Place and Space” as outlined in the abstract, along with three images of your work and your website to jscheue@purdue.edu with the subject line “Artist Books”
Applicants need to be members at a Friend Membership ($5 yr.) or above to apply and an Advocate Membership ($34 or $75 yr.) if application is accepted.
Wind Whispers
Organizer: Eszter Sziksz, DLa
The Wind Whispers project is an innovative and interdisciplinary initiative that aims to amplify the voices of young people in addressing climate change through art and nature. This ongoing project, led by Eszter Sziksz, DLA in collaboration with Dr. Kata Dozsa, utilizes printmaking and natural elements to create a platform for young people aged 16-18 to express their hopes and desires for our collective climate future. Messages collected from young individuals are transformed into art using organic ash and printed on snow in the High Arctic, as well as on lush tropical leaves and the soil of the rainforest in Costa Rica. The ephemeral nature of these messages, carried by the wind and interacting with local fauna, serves as a powerful metaphor for the transient impact of human actions on the environment. This interdisciplinary work has been presented at international conferences, including the International Inter-/Transdisciplinary Conference and will be further showcased at the “Child/youth-friendly Climate Justice: Progress and Opportunities” conference. The project’s expansion to Costa Rica demonstrates its global relevance and potential to engage diverse communities in climate justice and sustainability conversations. The Puffin Foundation supports the Wind Whispers project.
Those interested in presenting on this panel should submit the following by September 15: a brief statement (150 words or less) describing how your work relates to the subject of “Wind Whispers” as outlined in the abstract, along with three images of your work and your website to szikszeszter@gmail.com
Applicants need to be members at a Friend Membership ($5 yr.) or above to apply and an Advocate Membership ($34 or $75 yr.) if application is accepted.
Conference Anarchy: Decentralizing Printmaking Knowledge Through Regional Symposiums
Organizer: Nathan Meltz
Conference Anarchy: Decentralizing Printmaking Knowledge Through Regional Symposiums will highlight the robust trend of current local symposiums, smaller scale conferences, print fairs, and home-grown print events that eschew the cost and monumentality of national and international printmaking conferences for the more individualized and niche regional meetings.
This panel will offer a diverse group of printmakers involved in organizing smaller, themed, and regional biennials, symposiums, and workshops, presenting on the strengths and challenges of this organizing. Examples may include the Screenprint Biennial symposium or the Zea Mays workshop, highlighting printmaking concepts on a focused theme, or events like Quebec’s Trois-Rivières Biennial or Chicago’s Grabadolandia that showcase a diversity of language and culture in printmaking. Organizers of print events like Print Santa Fe or Print Austin would be encouraged to share their experiences.
Presenters on the Conference Anarchy panel will argue that the smaller symposiums offer more opportunities for diversity and access, with more affordable meetings, more chances to connect with like-minded artists, and with a lessened climate impact than larger centralized conferences. Concepts like tele-presence and virtual participation could also be discussed.
Those interested in presenting on this panel should submit the following to nathanmeltz@gmail.com by September 15: submit a brief statement (150 words or less) describing how your practice relates to the subject of “Conference Anarchy: Decentralizing Printmaking Knowledge Through Regional Symposiums” as outlined in the abstract. You may also attach up to three images documenting symposiums, workshops, panels, or other organizing you have been involved in relating to the conference theme.
Applicants need to be members at a Friend Membership ($5 yr.) or above to apply and an Advocate Membership ($34 or $75 yr.) if application is accepted.
POSSIBILITIES / POSIBILIDADES: Bridging Print and Paper
Organizer: Georgia Deal
The long history and interconnection of printmaking media and hand papermaking has led to a multitude of projects and collaborations. This panel will focus on such collaborations between printmakers and papermakers in both locales, highlighting both two-dimensional and three-dimensional works as well as installations.
Those interested in presenting on this panel should submit the following by September 15: a brief statement (150 words or less) describing how your, and your collaborator(s) work relates to the subject, POSSIBILITIES / POSIBILIDADES as outlined in the abstract, along with three images of your work and your website to deal.craft@verizon.net
Applicants need to be members at a Friend Membership ($5 yr.) or above to apply and an Advocate Membership ($34 or $75 yr.) if application is accepted.
Intersections of Academia: Experiences of Diversity in Printmaking
Organizer: Rebecca Spruill
This panel will discuss experiences in academia and the professional art world that are tied to intersectional identities. Diversity includes differences in ethnicity, race, gender, sexual orientation, physical abilities, and more. These experiences include resources for opportunities (such as jobs, residencies, visiting professorships, exhibition opportunities, graduate programs, etc), how printmaking has impacted our lives, how we define success, how we build communities and change our social environments, and more. This panel will explore how concepts like intersectionality, bias, tokenism, and diversity initiatives interact with the print world, and imagine our potential future as a print community through the lens of several printmakers’ lived experience.
Those interested in presenting on this panel should submit the following to rebecca.spruill@nmt.edu by September 15: a 250 word max abstract that outlines how your experiences relate to the concepts outlined in the call, as well as a 150 word bio introducing yourself, three images of your work – especially work that is relevant to your experiences of diversity – and your website where applicable.
Applicants need to be members at a Friend Membership ($5 yr.) or above to apply and an Advocate Membership ($34 or $75 yr.) if application is accepted.