The digital version of the Looking through the eyes of machines as students publication is now (and finally) available to view on issuu. The publication includes work from fifteen selected students across three different Graphic Arts based programmes in Art and Design at UWE (University of the West of England, Bristol, UK) and sixteen students from the BFA Printmaking course at MICA (Maryland Institute College of Art, Baltimore, USA). Further information on the project brief and exhibition of the printed artworks can be found in previous posts, such as; Look through the eyes of machines as students, A Bristol Baltimore Print Exchange and Gallery Twenty Two.
The publication also includes fifteen interviews with students from UWE’s BA Illustration, BA Graphic Design and MA Multi-Disciplinary Printmaking programmes. These students were asked a series of questions about their relationship with making, disciplinarity and the impact of technological developments on practice. I have also attempted to elaborate on these themes (as requested from one of the participating students) with a short essay on the final pages of the publication.
The publication is effectively a tangible summary of the student exchange project with MICA, although the outcome provides a benchmark from which future (like minded) activities, opportunities and connections can develop. In this instance the project enabled students to test and develop new process led skills & thinking, connect with other courses in UWE, contribute to a published outcome and exhibit their work in a professional public setting and an international university venue. The project also provided a crossover with my own research activity in the field of print, editions and new technology whilst fostering possible ideas toward a student centred publishing venture. More to follow on this… and yes there will be a printed publication.
* All thirty one students who took part in the project, including UWE’s BA Illustration Olivia Beckett, Tom Handy, Jono Kamester, Steve McCarthy and Willem Purdy; BA Graphic Design Jamie Burns, Eleanor Elliott-Rathbone, Ruth Irvine, Evangelina Anna Papadopoulos and Matilda Scott; MA Printmaking: Stuart Cannell, Nick Greenglass, Judy Lau, Jono Sandilands and Stephanie Turnbull.
* MICA BFA Printmaking includes: Kaitlin Beebe, Amelia Bombace, Evan Christopherson, Kaitlyn Conte, M. McCallum Dickens, Jackson Farley, Alexandra Harmel, Alexandria Henry, Dasom Kim, Ema Koch, Dan Langston, Aida Ramirez, Amber Rhein, Isabel Rosen-Hamilton, Madison Scillian and Morgan Strahorn.
* Jonathan Thomas at MICA for all his help with the collaborative print exchange exhibition.
* Verity Lewis for the publication design.
* Colum Leith and Carol Stevens for assisting with the selection of their Yr 2 Graphic Design students.
* Susan McMillan & Tom Sowden for making UWE funds available toward an external exhibition.
* Victoria Chalmers and Zoe Cox at Gallery Twenty Two for accepting the exhibition.
The international student print exchange exhibition #Looking Through These Eyes Of Machines As Students was recently exhibited at Gallery Twenty Two in Bristol. The reception was well attended on the opening night with lots of positive discussion and commentary about the printed work and the forthcoming student publication – not to mention a couple of print sales.
On behalf of the participating students and myself I would like to thank Gallery Twenty Two owners Zoe Cox and Victoria Chalmers for accepting the exhibition and providing great support throughout. I would also like to thank the School of Art & Design at UWE for funding the exhibition space and enabling the students to experience a commercial gallery setting for their work.
The exhibition was also shown at a second commercial gallery, Gallery CA in the city of Baltimore as part of the exchange project. A few images from the Baltimore exchange show can be seen below courtesy of MICA BA Printmaking programme leader Jonathan Thomas.
This April will see an international student print exchange exhibition between MICA (Maryland Institute College of Art, Baltimore, USA) and UWE (University of the West of England, Bristol, UK). Fifteen students from each University were invited to produce a print edition that would examine how technology has expanded conceptual and procedural possibilities for making prints. The exchange exhibition has run in conjunction with the Just Press Print exhibition that has been on show at MICA from 11th Dec 2015 to the 13th March 2016.
The student exchange exhibition will be on show in the USA from 31st March -12th April 2016 and will be hosted by Gallery CA in the city of Baltimore. The reciprocal exhibition in the UK will be exhibited at the University of the West of England in the Bower Ashton Campus, F- Block Gallery from the 4th – 8th April 2016 (P.V. Thursday 7th April, 5pm – 7pm). The exhibition will also be exhibited in the city of Bristol at Gallery Twenty Two from the 22nd – 29th April 2016 (P.V. Friday 22nd April, 5pm – 8pm).
The UK contribution to the group exhibition will bring together UWE students studying at undergraduate and postgraduate level from three different Art and Design disciplines. Print processes include lithography, relief, screenprint, inkjet, digital embroidery and more novel additions to these processes such the integration of a Raspberry Pi LCD Screen (including speaker) mounted behind a screenprinted image. Participating students include:
BA Illustration: Olivia Beckett, Tom Handy, Jono Kamester, Steve McCarthy and Willem Purdy
BA Graphic Design: Jamie Burns, Ruth Irvine, Evangelina Papadopoulos, Eleanor Elliott-Rathbone and Matilda Scott.
MA Printmaking: Stuart Cannell, Nick Greenglass, Judy Lau, Jono Sandilands and Stephanie Turnbull
Click on each thumbnail image to enlarge
To develop a cohesive theme for the group the fifteen invited students from UWE were given a technologically informed brief that would raise questions around a postdigital context for the printed image and how a specific graphic art discipline such as Illustration, Graphic Design or Printmaking may contribute to this discourse. As part of the project students were asked to produce a limited edition of six prints, document their making process and answer three questions that would prompt responses (as makers) to the relationships between concept, context and production. The significance of revealing the contributing factors involved in creating a printed artwork provides an educational component for the exhibition, but the narrative can also be enlightening and surprising in offering insights into the true nature of creative endeavours. The narrative and supporting evidence from these activities will be used to produce a publication of the students work for the exhibition entitled #LookingThroughTheEyesOfMachinesAsStudents.
Participating students from MICA BA Printmaking includes: Kaitlin Beebe, Amelia Bombace, Evan Christopherson, Kaitlyn Conte, M. McCallum Dickens, Jackson Farley, Alexandra Harmel, Alexandria Henry, Dasom Kim, Ema Koch, Dan Langston, Aida Ramirez, Amber Rhein, Isabel Rosen-Hamilton, Madison Scillian and Morgan Strahorn.
In January 2016 fifteen UWE Art and Design students were selected from Graphic Art disciplines to contribute to an international student exchange exhibition with Maryland Institute College of Art, (MICA) Baltimore USA. The exchange exhibition was developed as part of a touring exhibition (of US Universities between 2015 & 2017) entitled Just Press Print that is currently on show at MICA. The Just Press Print exhibition at MICA runs parallel to a new 16-week course entitled Print and Technology taught by MICA faculty lecturers Johnathan Thomas and Robert Tillman. The class will examine how technology has expanded conceptual and procedural possibilities for making prints. The work generated by the MICA students during the Print and Technology class will be used to produce a printed edition for the student exchange portfolio with UWE and will be exhibited in both Bristol and in Baltimore.
The UWE student brief continues the technological approach to making from the MICA Print and Technology class and also borrows from part of the conceptual narrative behind the Just Press Print Exhibition. The narrative aims to comment upon a postdigital view of the Graphic Arts and what this sounds like from a maker’s perspective. The inquiry also aims to elaborate on what a postdigital graphic art might look like and what type of thinking is involved. This ‘behind the scene’s’ narrative is also influenced by early writings on The New Aesthetic and technological based statements from the author Bruce Sterling, where his writings felt like some visual inquiry was needed. For example Mr Sterling suggested in 2012 that, ‘There truly are many forms of imagery nowadays that are modern, and unique to this period. We’re surrounded by systems, devices and machines generating heaps of raw graphic novelty’. Some indications as to what this may look like can be found on a Pinterest board that I have begun compiling entitled Analogue after digital. To view the series of images you must first be signed in to Pinterest.
The UWE student brief for the exchange portfolio invites participants to explore the development of today’s technologically informed scene. Students have been asked to respond to one of the following quotes / ruminations below (that allude to many of the artists works in the Just Press Print exhibition) by Bruce Sterling.
‘Looking through the eyes of machines as humans’ and ‘An eruption of the digital into the physical’.
UWE Students have also been asked to document their thoughts and processes during the making of the work with a view to creating a publication similar to the Working Proof: Featuring Just Press Print publication.
The portfolio of print will be restricted to A3 sized works on paper (or appropriate substrates) and any print process may be used (mechanical or digital). Each student will produce an edition of 6 prints. The prints will be distributed as follows:
(1/6 & 2/6 to be exhibited in MICA and UWE)
(3/6 & 4/6 for respective archives)
(5/6 & 6/6 for further exhibition opportunities)
The UWE half of the student exchange exhibition had their first group meeting today. Some early workings from the students can be seen below, more to follow in the coming weeks.
Where it all began:
The initial idea for the Just Press Print exhibition was inspired some 17 years ago after I attended a print exhibition by a highly acclaimed American artist at a prestigious museum in the USA. The exhibition in question would also later resonate with my research (and teaching) activity around the collaborative studio production by promoting the act of making (that is often dispensed with in conventional exhibitions) through the presentation of proofing stages and matrix iterations.
It therefore appears to be very appropriate that the resulting Just Press Print exhibition should travel back to the country that led me to develop an iterative themed project in the first place. Similarly, the possibility to develop this format within a digital print context enables an audience to gain further insight about the trajectory of an idea and it’s making. The significance of revealing the contributing factors involved in creating a printed artwork provides an educational component for the exhibition, but the narrative can also be enlightening and surprising in offering insights into the true nature of creative endeavours. For example, if I were to say that seventeen years ago I was in the Metropolitan Museum in New York (whilst thinking I was in the Guggenheim) looking for a sculpture exhibition by Matthew Barney and then accidently wandered into a printmaking exhibition by Chuck Close (that I had no idea was on) offers a more accurate and confessional narrative (although somewhat embarrassing) as to how an idea can, in reality, develop.
Where we are now:
I think it goes without saying that I am extremely pleased that the Just Press Print exhibition will be traveling to the USA (next week), something that couldn’t have happened without the amazing people at MICA. The Maryland Institute College of Baltimore (with whom I have been collaborating on the touring show) will be the first venue for the exhibition. MICA has been incredibly supportive of the project from the initial proposal toward the development of the exhibition that will also be accompanied by a series of talks and workshops across their graphic arts programmes. I am therefore pleased to have been invited to MICA in February 2016 to work with thier graphic arts programmes on a weeklong residency that will coincide with the exhibition. Proceeding venues will include – Arizona State, Herberger Institute for Design and the Arts; Dept of Art & Art History, University of Utah; University of Wisconsin-Madison Art Department, School of Education; University of Texas at Austin.
The exhibition will also include a student exchange show between MICA and UWE students working across graphic arts disciplines such as Printmaking, Illustration and Graphic Design. The proposed student exchange brief is still under discussion but I can say that work selected/invited for the exchange will ask students to respond to a technologically informed scene (from a graphic art perspective) or perhaps to quote the writer, speaker, futurist and design instructor Bruce Sterling,
‘There truly are many forms of imagery nowadays that are modern, and unique to this period. We’re surrounded by systems, devices and machines generating heaps of raw graphic novelty’.
I am also pleased to say that there will be a publication that will coincide with the exhibition; something that I hope will be the first of many. The publication entitled ‘Working Proof’ is something that I have previously discussed and its development is therefore seen as means to continue this line of inquiry within the graphic arts. However the first publication will support and catalogue the Just Press Print Exhibition and will subsequently be entitled ‘Working Proof: Featuring Just Press Print’. The first edition can be seen as an extension of my PhD research (the collaborative production and realisation of digital prints with artists) whereas the content will be generated from (more recent) collaborative projects undertaken through CFPR Editions – with artists such as; Stanley Donwood, Gordon Cheung, Andrew Super, Richard Falle and Carolyn Bunt to name but a few. Further insights will draw upon curated exhibitions at Northern Print, Impact 8 and Multiplied alongside funded research with REACT and published studio conversations with Cecilia Mandrile, Andrew Super in g&e and Prof Paul Coldwell in Porto Arte.
The production of the publication will be produced as a newspaper (in keeping with the supporting printed material aesthetic in the exhibition) and whilst I continue to write, photograph and gather content – graphic designer Verity Lewis will be designing the layout and typography.
In case you want to know more about the JPP exhibition:
Just Press Print is an international exposition that highlights artistic planning, collaborative practices, and the
broadening possibilities for the graphic artefact in the digital age. Just Press Print includes published prints produced from collaborations between ten carefully selected artists and myself at the Centre for Fine Print Research. Prints are accompanied by sketches, correspondence, and draft editions that demonstrate the importance of the artist-master printer relationship, the iterations necessary to achieve the final print, and the archiving and recording process.
The exhibition also explores the evolution of digital technology and its potential to influence established definitions and practices within the field of printmaking. The premise and title for the show was developed over the last three years – although the type of inquiry can be seen as an extension from my PhD (that centred upon practice led methods with artists producing inkjet prints). In this instance I wanted to begin exploring the broader production and realisation possibilities for the digitally mediated print and the resulting artefacts context within the contemporary printmaking. In early 2012 I submitted this idea as a proposal for an early career research grant (Funded by UWE) that was then funded allowing me to instigate a collaborative digital print studio model and develop a publishing studio within the University. The publishing studio is still running today and is situated within the Centre for Fine Print Research – and aptly named CFPR Editions. A large percentage of my projects with artists, research activity and art practice is informed by the digitally mediated print and subsequently the work produced through CFPR Editions has been instrumental in a large portion of the work in the Just Press Print Exhibition.
The aim of the exhibition and residency is to engage the public with the possibilities of print in the digital age. By documenting in detail the physical working practices of the artists with whom I have collaborated the exhibition dispenses with conventional exhibition formats, displaying 2D and 3D digital prints along with sketches, notes, email correspondence and test proofs (bundled in bulldog clips that hang informally from the walls), thereby focusing on the evidence of the creative process rather than the often emphasized resulting outcome. The curatorial approach (through print editioning narratives) aims to increase understanding of digital print practices for artists, academics, students, teachers and the general public… so hopefully a wide range of people will come.
More to follow as we get closer to the MICA exhibtion in December 2015
Recently been invited to exhibit my on going ‘Print is Dead series‘ (something I have written / talked about but never exhibited) in Poland at the Wrocław Academies Centre for Applied Arts and Innovation. The exhibition is in conjunction with the recent International Print Triennial in Krakow 2015 and will coincide with a symposium exploring the redefinition of the print matrix – so the exhibition title goes like this, ‘Post-digital printmaking: Redefinition of the concept of matrix’. The event has been curated by Prof. Aleksandra Janik from the Wrocław Academy and the exhibition is on show from 02/11/2015 – 19/11/2015.
The exhibition presents examples of printmaking works as well as the documentation of the creative process including, films and texts of artists who use formal and aesthetic values associated with printmaking – although in a less conventional manner. Artists have been selected for their approaches to printmaking and ‘uncharacteristic’ thinking about the print matrix – by using alternative materials and tools that enter into a dialogue with the third dimension and the public space. The exhibition will therefore present works that challenge print related classifications; the disciplines associated ephemera and performative actions that often feature within the printmaking medium. The curatorial foundation might be best described as a creative two-stage thinking: matrix-print.
Recent news for the news section. Had an article accepted by the journal Print Quarterly. I have been writing and rewriting this text for probably over two years, so pretty pleased for it to have found a home / house – publishing house. The narrative, title, word count and emphasis of the text has changed on numerous occasions but I believe we are nearly there, with just some final edits in December 2015.
The revisiting of the text has predominantly been to meet the publication interests of different publishers – a normal process that one can go through when looking to publish your words through somebody else’s publishing company. However, I couldn’t help but refer to this rewriting / reworking / revisiting process in the final title of the article that discusses the late artist Richard Hamilton‘s (1922 – 2011) revisiting of an artwork. The article is called, ‘Revisiting Richard Hamilton’s Typo-Topography of Marcel Duchamp’s Large Glass’ and just to clarify, I don’t think the text is an artwork. Hamilton and I revisited for different reasons although the text will always be a reminder of the revisiting process. That’s the end of this bit of news.
The continued collaboration with the Colourstory project has become possible after a second successful bid with REACT – through their Alumni Scheme. This time around the proposal will look to consolidate the project activity and foster further narrative based experiences that bolster the impact potential of the product. The academic collaboration includes myself with the added bonus of Mr Phil O’Shaughnessy (Program Leader BA Interior Design at UWE). Collectively the academic partnership will provide both Art & Design academic expertise, further creative contributions, collate & evidence project activities, develop teaching material and present project findings on an international stage.
In this instance O’Shaughnessy will add to the creative contribution by enabling Colourstory to realize it’s activities from an interior design approach. The process of visually replicating and simplifying predominant colours from imagery has the potential of becoming an influential tool in the analysis of both live and static environments, facilitating customised artifacts to suit.
I will address the impact component by collating, generating and presenting project information toward an impact document. This activity would elucidate upon the development of Colourstory, explore a range of narrative based approaches for a case study and contribute to a REACT steering group on Impact statements.
I have also included the Colourstory project as part of a touring exhibition proposal entitled ‘Just Press Print’ that promotes the physicality of digital endeavours in the field of printmaking. The proposal is part of an exhibition that would tour the USA between 2016 – 18 (open to academic, student and general public audience). The exhibition would include lectures / workshops and be used to initiate a new publication to be produced through Impact Press – entitled Working Proof. The publication will showcase Colourstory as a fine art based project that traverses disciplines and broadened the scope for crafting printed products in the digital age.
Similarly within an educational context both O’Shaughnessy and I will be piloting Colourstory as a teaching component in 2015. For example earlier this year I introduced the project (and its founder) to BA Illustration as a means to consider the broadening possibilities of story telling and narrative forms in the digital age. For Interior Design O’Shaughnessy intends to facilitate studio workshops that analyse light, materials and FF&E solutions for both existing and proposed spatial solutions. More over the Colourstory app (as a studio tool) would be applied to the student’s material investigation, site surveillance, and client profiling as well as colour theory – resulting in the composition of technologically informed colour palettes. More to follow in the coming months.
Looks like we will be editioning another black laser engraving with the artist Stan Donwood in August 2015. When I say black I mean black paper, not a black laser – that would be pretty cool though. The laser process that I’m referring too begins with the scanning of a drawn image that is then translated into tonal values, where each value corresponds to different levels of laser intensity. Actually I’m gonna stop this tech talk now and point you over here – tech description at the bottom of the article.
Donwood’s previous laser engraved drawing in black somerset paper entitled February Holloway has now sold out, so for anyone that missed the opportunity to purchase one (from a small edition of 6) you may get another chance… to buy something similar. The release of this up and coming edition (entitled Hell Lane) will co-inside with CFPR Editions attendance at the Contemporary Art and Editions Fair Multiplied this October… that’s 2015.
Word in the paper making world suggests that the black somerset velvet paper (that we use for this edition) will be discontinued shortly. Thankfully we have some in stock but it maybe our last foray for this particular production method – making this edition even more rare.