Printmedia: Visiting Artists
The Department of Printmedia hosts a number of visiting artists, critics and scholars for lectures, critiques and collaborations, providing opportunities for students to engage in a community beyond SAIC. The department also organizes annual graduate noon-time lectures in which students present their studio research to faculty and students from all disciplines.
These programs are organized in addition to the Visiting Artist Program (VAP) organized by SAIC.
Rhys Himsworth received his BA in Fine Art from Central Saint Martins College of Art and Design in 2003 and his MA in Printmaking from the Royal College of Art in 2009. Himsworth has presented at The Royal Computer Society in their annual symposium- ‘Electronic Visualization and the Arts’ and served as a panel member for ‘Fast Media/Slow Knowledge’ at SGC Philigrafika, in Philadelphia, 2009.
As an artist he has exhibited extensively in Europe, North America, the Middle East and India, including solo shows at Reynolds Gallery, Richmond Virginia and ‘Entropy’ in Doha, Qatar. He also took part in the biennial ‘Locws International’ at the National Museum of Wales, UK, 2011. Himsworth has been a visiting lecturer at Central Saint Martins College of Art and Design and the University of Hertfordshire in the UK and The University of Sao Paulo, Brazil. He also taught as an adjunct faculty member at Virginia Commonwealth University and is currently the Director of Painting and Printmaking at Virginia Commonwealth University in Qatar.
In 2009 Himsworth was awarded the Conran Foundation Award.
Lecture title: Error404//:
Rhys Himsworth will present a lecture on his artistic practice from recent years. Working across a range of media, he mixes natural elements with the machine made to create hybrids that have a dialog between the new and the obsolete, the automated and the intuitive and the organic and systematic. His practice as an artist is a dialogue between new media and the language and philosophy that exists within printmaking at a watershed moment in the mediums history. His work often appropriates obsolete analogue printers and re-assembles them into installations involving live Internet feeds, recordings of organic beings such as birds in motion, or even live surveillance data drawn from the audience.
Himsworth’s lecture will include an overview of his practice from recent years as well as a narrative on his methodology and research.
Double parked on the highway of life. Artivist. Animal Rights Activist.
Lecture title: Abolition of Meat Industrial Complex
Sarah Kirk Hanley
Sarah Kirk Hanley is an independent print curator, writer and appraiser. She writes the INK blog for the Art in Print website and is a frequent contributor to the journal. She also teaches at the School of Continuing and Professional Studies at New York University and is a consulting expert for the Berlin-based online auction company Auctionata and the New York-based company Art Peritus. Hanley is currently organizing an exhibition of Enrique Chagoya’s prints and multiples for the 2014 Mid America Print Council Conference in Detroit. She has held positions at Christie’s, New York, the Milwaukee Art Museum, and the Lower East Side Printshop and is a member of Phi Beta Kappa, ArtTable, and the College Art Association.
Lecture title: Is Printmaking the Visual Language of the Digital Age?
As our culture delves further into a digital identity, more and more artists are working with printmaking media. This is due not only to its ubiquity, but more importantly, to its direct relationship (as a mechanical, serial medium) to contemporary mass media culture and consumerism – a context that renders the handmade antiquated and quaint. The precedent is Warhol’s, of course, but the use of printmaking in “high brow” contexts has been gathering steam over the past few decades and has been embraced by a new crop of artists, whether defining themselves as printmakers or not. Early examples by established artists such as Robert Rauschenberg, Nancy Spero, Xu Bing, Félix González-Torres, Kara Walker, and Kiki Smith will be discussed alongside the work of a new generation, including Swoon, Nicola López, Rob Swainston, Ryan McGinness, Wade Guyton, and Matthew Day Jackson.
DYLAN MINER is an artist, activist, historian, and curator who holds a PhD in art history from The University of New Mexico. He has published and lectured extensively, with two forthcoming books on art and indigenous politics. To date, he has published more than forty journal articles, book chapters, review essays, and encyclopedia entries. In 2010, he was an Artist Leadership Fellow at the National Museum of the American Indian (Smithsonian) for his project Anishinaabensag Biimskowebshkigewag (Native Kids Ride Bikes) . Since then, he has hung over a dozen solo exhibitions throughout the Americas and Europe. As a founding member of the artists’ collective Justseeds, he was awarded the Grand Prix at the 28th Biennial of Graphic Arts in Slovenia, and installed a solo Justseeds exhibition at the 29th Biennial. Recently, he had a solo exhibition in Norway, collaborating with the Sámi people, as well as another at an artist-run centre in Canada. Miner teaches in the Residential College in the Arts and Humanities at Michigan State University
Lecture title: Thoughts on Socially-Engaged Art in and with Indigenous Communities
In this lecture, Dylan Miner will discuss his own artistic practice in relationship to larger issues of contemporary art, Indigenous sovereignty, settler-colonialism, and anti-capitalist politics. He will pay particular attention to three ongoing projects, Anishnaabensag Biimskowebshkigewag (Native Kids Ride Bikes), Dismantling the Illegitimate Border, and his most recent initiative Michin-Michif, Decolonizing Medicines. Over the past decade, Miner, an artist of Métis descent, has worked directly with Indigenous communities and artists throughout the US, Canada, Mexico, Norway, and Australia. Throughout his practice, Miner employs collaboration as of dismantling hierarchical social relations. He will also discuss contemporary Native art and how he navigates working with Indigenous and immigrant communities that he is not a member of.
Gabe Fowler runs the store and imprint Desert Island in Brooklyn NY, publishes and edits the free quarterly anthology of comics and illustration Smoke Signal, and is the founder of both the Brooklyn Comics and Graphics Festival and Comic Arts Brooklyn - fun, free events celebrating comics and cartoon art for an international community.
Lecture title: How I Learned to Stop Worrying and Love Comic Books
In his lecture, Gabe will discuss his art practice since graduating from SAIC in 2002, which has evolved from making conceptually-driven projects to opening a store for comics and artists’ books, editing and publishing a free comics and illustration newspaper, and starting a few festivals related to similar material. He will discuss how and why he did it, and whether such activity can be construed as an art practice.
Buzz Spector is an artist and critical writer whose art makes frequent use of the book, both as subject and object, and is concerned with relationships between public history, individual memory, and perception. Spector’s art criticism has appeared in a number of publications, including American Craft, Artforum, Art on Paper, Exposure, and New Art Examiner. Buzzwords, a book of selected interviews with Spector, plus new page art, was published in 2012 by Sara Ranchouse Publishing, Chicago. Spector is represented by Zolla/Lieberman Gallery, Chicago, and Bruno David Gallery, St. Louis. He is Dean of the College and Graduate School of Art in the Sam Fox School of Design & Visual Arts at Washington University in St. Louis.
Lecture title: Speed (of) Reading
From flip books to livres deluxe, reading is a matter of speed and handling as well as comprehension. The text/image and associated visual strategies of artists’ books supplement the cognition of language with picture (or symbol) reading. Artists use the armature of page-turning as itself another order of grasping meaning. Dieter Roth’s “most speedy” themes and variations, Sol LeWitt’s drawn or photographed categorical sets, or Xu Bing’s subtly pictorial “translations” each invite a pace of scrutiny as well as an intellectual “adding up.” Artist and critic Buzz Spector will talk about and show examples of the ways of reading artists’ books, reflecting on how books transmogrify the reader’s experience as one of passing pages as well as time.
Hamanishi Katsunori is a world-renowned artist whose long and successful career has focused on the production of mezzotint prints, perhaps the most demanding of all printing techniques. The artist revels in the ability to get a multitude of gray shades from this process using a two-dimensional metal plate to describe the most detailed three-dimensional forms. Hamanishi’s subject matter has ranged from steel rods bound with cloth and twigs tied with ropes to abstract shapes in color. In recent years he has focused more on Japanese subjects of forms that tie and fold such as traditional paper and cord decorations, as well as kimono. Hamanishi gave a live demo on his process of creating these exquisite mezzotints.
The visit was organized in conjunction to his exhibition The Mezzotints of Hamanishi Katsunori that was installed at the Japanese print gallery at the Art Institute of Chicago. The visit was made possible by the Asia Art Council and the Department of Printmedia.
Miller and Shellabarger
Miller & Shellabarger are a 2009 recipient of the Peter S. Reed Foundation Grant, 2008 recipient of an Artadia Award, and a 2007 recipient of a Louis Comfort Tiffany Foundation award. Their work is in the collections of the Nerman Museum of Contemporary Art and the National Gallery of Canada in Ontario. In 2010 they showed a major selection of work at the Institute of Contemporary Art, Portland, Maine, participated in the Time-Based Arts (TBA) festival in Portland, Oregon and had a solo exhibition in 2011 at the Illinois State University Galleries in Normal, Illinois. Their work has been written about in Artforum.com, Art & Auction, Frieze, Artnet, The Art Newspaper, Flash Art, Art Pulse, TimeOut Chicago, and the Chicago Sun-Times. Dutes Miller and Stan Shellabarger also maintain separate artistic practices. They live and work in Chicago.
Owner of Alderman Galleries, Chicago
Curatorial Assistant at Museum of Contemporary Art, Chicago
Kevin Haas grew up in the rust belt of the Midwest, inspired by the abandoned industrial areas of St Louis, Chicago, and Gary, IN. He earned his BFA from The School of the Art Institute of Chicago and a MFA from Indiana University where he studied printmaking and digital media. He is currently a Professor at Washington State University where he coordinates the printmaking area. Since 1995 his work has been featured in solo and group exhibitions across the US and in Canada. He has been included in exhibits at OHGE Ltd. and Davidson Galleries in Seattle, the Jundt Museum in Spokane and Deluge Contemporary Art in Victoria, BC.. He is a recipient of the Artist Trust Fellowship and the Seattle Print Arts: Larry Sommers Fellowship, and was an artist in residence at the Frans Masereel Center in Belgium in 2010 and 2012.
In recent past: