Detailed schedule and location to come. For an overview, click here.

Awards & Speakers


The SGCI Lifetime Achievement in Printmaking is awarded to an individual who has made an outstanding contribution to the professional development of printmaking as a fine art. SGCI is proud to announce Alison Saar as the 2019 Lifetime Achievement Award recipient.


Alison Saar’s sculptures, assemblages and prints meditate on a range of experiences related to the African diaspora. Referencing African, Caribbean and Latin American folk art and spirituality in her work, Saar often alludes to fabled narratives or rituals that help shape personal notions of history and identity. A native of Los Angeles, Saar earned her BA at Scripps College and her MFA at Otis Art Institute in California. She has earned numerous public art commissions and prestigious awards. Alison Saar’s work is in public collections throughout the US and has been exhibited in museums and at universities nationwide and internationally.


Alison Saar will present a Keynote Lecture on Friday, 8 March from 3:30 – 4:30 pm at UNT’s University Union Ballroom 314 ABC. The lecture is sponsored by The Jordan Schnitzer Family Foundation, the UNT Mary Jo and V. Lane Rawlins Fine Art Series, SGC International, and the UNT College of Visual Arts and Design.


In conjunction with the conference, Alison Saar will present the exhibition Mirror, Mirror: The Prints of Alison Saar, From the Collections of Jordan D. Schnitzer and His Family Foundation at the University of North Texas Art Gallery with a reception on Friday, 8 March from 5:00 – 7:00 pm.



The SGCI Excellence in Teaching Printmaking Award is awarded to an individual who has made an outstanding contribution to teaching printmaking and has demonstrated excellence in his or her own creative work. SGCI is pleased to announce Carolyn Muskat as the recipient of the 2019 Excellence in Teaching Award.


Carolyn Muskat owns and operates Muskat Studios, a professional printmaking studio in Somerville, MA where she collaborates with artists to produce original fine art prints. A Tamarind Master Printer, she has been invited to teach at several colleges including the School of the Museum of Fine Arts at Tufts University, Massachusetts College of Art & Design, Hartford Art School, and Lesley University College of Art & Design. Muskat’s work has been shown widely in local, national, and international exhibitions, including solo exhibitions at Smith College, Northampton, MA, and Hanoi, Vietnam, plus numerous group exhibitions in Indonesia, Malaysia, Canada, and Serbia, among others.


In conjunction with the conference and award, Carolyn Muskat will present a workshop on Saturday, 9 March (time and location TBA). Additionally, she will present the exhibition Here and Now: Prints by Carolyn Muskat at the Irving Art Center.



The SCGI Printmaker Emeritus award is given annually to a senior printmaker of established reputation. SGCI is proud to present Judy Youngblood with the 2019 Printmaker Emeritus award.


Judy Youngblood is an Emeritus Professor of Art at the University of North Texas, where she taught printmaking and book arts. She was a Fellow at the MacDowell Colony, a Fulbright Scholar at Atelier 17 in Paris, and earned her MFA from the University of Wisconsin-Madison. Her work has been shown widely nationally and internationally, including solo exhibitions and installations at the Amarillo Museum of Art, among many others. Her work is in many collections including The Brooklyn Museum and the Museum of Fine Arts, Boston. Youngblood is also a dedicated print collector and a former fine print appraiser.


In conjunction with the conference, Judy Youngblood will present a solo exhibition at the Forum Gallery at Brookhaven College with a reception on Friday, 8 March from 1:00 – 3:00 pm.



Honorary Members of the Council are individuals who have demonstrated outstanding service to the SGCI organization. SGCI is pleased to present Jean Dibble and Louise Kames with the 2019 award.


Jean Dibble is a Professor Emerita at the University of Notre Dame. She received a BS in Art from the University of Wisconsin-Madison, an MA from the University of New Mexico-Albuquerque in 1981, and an MFA from the University of Wisconsin-Madison in 1988. She taught at the University of Houston in the early 1980’s and the University of Notre Dame from 1989 to 2017. A printmaker and painter, she has exhibited extensively, both internationally and nationally since 1978. Dibble has a wandering mind and is well invested in daydreaming. She is ecstatic to be eagerly re-engaged with artmaking in retirement.


Louise Kames is a professor of art at Clarke University in Dubuque, Iowa, where she chairs the Visual and Performing Arts Department. She holds an MFA degree in drawing and printmaking from the University of Wisconsin-Madison, and MA degree in Art History from the University of Illinois. Her drawings, prints and installation-based work is exhibited widely in solo, group and juried exhibitions. Kames enjoys the creative and cultural exchange offered at artist residencies, both in the United States and abroad, including Ragdale, VCCA, Frans Masereel Centrum, Tyrone Guthrie Centre, Banff Centre for the Arts, Oberpfälzer Künstlerhaus and Schloss Plüschow.


SGCI STUDENT FELLOWSHIPS: Louise Fisher and Jasmine Nicole Williams

SGCI Student Fellowships are awarded to individuals who exhibit outstanding promise in the fine art practice of printmaking. SGCI is pleased to present the Student Fellowship Awards to Louise Fisher (Graduate) and Jasmine Nicole Williams (Undergraduate).


Louise Fisher is an MFA candidate at the University of Arizona and received her BFA from the University of Northern Iowa. She is an awardee of the 2018 SGCI Graduate Student Fellowship. Her work portrays ideas of ephemerality, energetic transformation and life cycles using time-based mediums such as video, photography, and printmaking.


Jasmine Nicole Williams is an Atlanta native and received her BFA in Printmaking from the University of West Georgia. She is an awardee of the 2018 SGCI Undergraduate Student Fellowship. Williams’ work centers identity and personal politics, and explores her southern, black, and femme identities through print.



To come


Presenter: Dusty Herbig, Associate Professor of Art, and Director of Lake Effect Editions, Syracuse University
One way to create a drip or splat is to reduce a previously printed area with a “Super Boiler” etch. Dusty Herbig demonstrates a Boiler Etch, an etch that will cause an immediate effervesce on the surface of the stone. For this process, he uses approximately a 100-drop per 1 oz. formula. Because this process involves excessively hot etches, when using this technique, YOU MUST WEAR EYE PROTECTION!


Presenter: Thomas Lucas, Master Printmaker, Hummingbird Press Editions
As contemporary printmakers continue to push the boundaries of the printmaking medium across the disciplines, the role of the print has proved an important creative element especially with mediums such as ceramics. This demonstration showcases traditional printmaking techniques such as etching and lithography transfer applications to porcelain clay. The idea of etching and lithography is all about utilizing a printmakers approach to the clay (porcelain) as interesting alternative to paper with the result almost looking like a traditional print on paper.


Presenter: Ben Dolezal, Associate Professor, University of Texas Arlington
This demonstration showcases the software and equipment found in the state-of-the-art CORRPRO Design Lab at The University of Texas at Arlington. Come and learn how faculty and students utilize 3D CAD software and a CAD Sample Cutting Table to produce three-dimensional packaging structures. Visitors are welcome to come and go as they please.


Presenters: Darryl Lauster, Associate Professor, University of Texas Arlington
Sara Rastegarpouyani, Instructor, University of Texas Arlington
The UT Arlington Foundry is bronze casting relief sculptures with raised letter text as part of ongoing projects. Each finished piece is utilizing the lost wax method of casting in ceramic shell molds heated to 1400 degrees. The process of casting bronze is believed to have begun in India almost five thousand years ago. Today the process has changed only a little, with advancements in electrical and gas-powered technology. The Everdur bronze used at UTA liquefies at 1900 degrees F. It is an exhausting but rewarding process. Come share it with us as observers to one of humankind’s oldest artistic practices.


Presenter: Jerushia Graham, Museum Coordinator, Robert C. Williams Museum of Papermaking, Georgia Tech
The intersection of paper, print, and book is a power place to reside. Few things have changed the world as much as the printed book. And nothing is as fulfilling as bringing together multiple skills to create an original handbound work of art. This demonstration covers how to create block print textiles, transform them into bookcloth, and create a simple binding. It’s perfect for printmakers who want to take their prints from 2-dimensional works to interactive 3-d objects.


Presenter: Han Xu Dong, PHD candidate, Academy of Arts and Design, Wroclaw, Poland
The traditional hand-made rubbing technique has a history of nearly a thousand years in China. The technique uses paper, ink, and other materials to reproduce the surface of a textured objects. This result is a material replacement and record of the time, the passing, and the exchange of the object on the paper.


Presenter: Douglas Bosley, Adjunct Faculty, College for Creative Studies
Douglas Bosley demonstrates the Crawler, a mechanical device designed to rock copper plates for mezzotint printing quickly, efficiently, and with minimal risk of injury. The Crawler engages Texchange in several ways.  It is itself a print, and embodies the contributions that additive manufacturing and emergent technologies can make to art practices. The design is open source, and major components are 3D printed. The demo features a live demonstration of 3D printing, and culminates in the assembly of a complete Crawler.


Presenter: Michael Barnes, Head of Printmaking, Northern Illinois University
With its ability to accept a growing array of wet and dry media, stone lithography is arguably the most pliable medium in traditional printmaking. Unfortunately, many of these approaches don’t accommodate those who work best reductively, as in mezzotint or white line and reductive relief. Michael Barnes and Andrew Mullally introduce subtractive methods that offer variations to the traditional manière noire process which produce more consistent and reliable results, while achieving a greater range of value and detail.  Their adaptations manage to sidestep common issues with the process, providing a more responsive drawing ground that can be reliably etched.


Presenter: Tore Terrasi, Associate Professor, University of Texas at Arlington
This demo shares some of the insights, processes and aesthetic sensibilities Tore Terrasi has gained through 20 years of experience creating and working with non-traditional / experimental typography. The word ‘experimental’ implies a state of trial and error with the outcome not being perfectly predictable. This demonstration shows how to manipulate traditional calligraphy and lettering methods, how to rethink the role of material exploration, and how to utilize the body to yield experimental typographic letter-forms. Participants can cycle through various stations during the open workshop session. Letter-forms created are collected and displayed throughout the day, yielding a pop-up experimental typography exhibition.


Presenter: Nicholas Cladis, Lecturer, Fukui Prefectural University
Nicholas Cladis demonstrates two Japanese paper making techniques: nagashizuki, or the formation of traditional-style Japanese paper with a bamboo screen, and nagashikomi, the pouring of Japanese paper pulp into a screen to make dynamic designs. These two techniques represent two very different sides of the Japanese papermaking coin. Come to this demo to expand your knowledge of paper, and to learn how to incorporate these techniques into your prints.This demo inspires participants to consider the contributions of other cultures to the art-making process.


Presenters: Cat Snapp, Creator of Cat Snapp Studios
Laura H. Drapac
Linda Lucia Santana, Idyllwild Arts Foundation
Christopher Wallace, Mixit Print Studio
Four professional artists reunite to letterpress print ephemera on the press they restored together as graduate students at the University of North Texas in 2011- a pivotal project for each member that jump started their art careers and small businesses.In 2011 four printmaking graduate students at the University of North Texas, under the guidance of Professor Lari R. Gibbons, restored four inoperable letterpresses. Seven years later, these four former students, Laura H. Drapac, Linda Lucia Santana, Cat Snapp, and Christopher Wallace, will reunite at the University of North Texas to hold a Special Event and print letterpress ephemera on the remaining press still housed in UNT Printmaking, the Gordon floor model.


Presenter: Josh Wilson, Assistant Professor, University of Texas at Arlington
In this low poly pipeline demo, Wilson will be going through all the steps necessary to create a low polygon 3D scene in the Unity game engine, including: digital sketching and speed painting, simple 3D modeling and modifiers, Unwrapping and blend shapes, then finally texturing and scene building.


Presenter: Bart Weiss, Associate Professor, University of Texas at Arlington
This will be a hands-on demonstration where we will make films from archival materials and graphics. Participants are encouraged to come with their own materials or download them from The demonstration will cover ways to edit pictures, add graphics, record voice and use sound effects to make short videos.


Presenter: Jonathan Thomas, Chair of the Printmaking Department, Maryland Institute College of Art
Plaster cast printing is a straightforward process used to create impressions from relief, intaglio, or planographic matrixes. Its most distinct use is to capture with absolute clarity the range of marks associated with etching and engraving. The process uses plaster as a substrate for the impression instead of paper and therefore eliminates the need for a press, rendering the printmaking medium more accessible for anyone who wants to do it. The results are stunning, and the capacity for incorporating printed images into three-dimensions is sure to appeal to any artist interested in the sculptural print.


Presenter: Candace Hicks, Coordinator of Foundations, Stephen F. Austin State University
Candace Hicks demonstrates two methods to screenprint hidden text and images, otherwise known as steganography. Using UV ink additive, hidden images or text are revealed with a blacklight flashlight. The first method examines adding “invisible” novelty ink to transparent base, an easy way to print invisibly, layering a print with information that is only revealed with a UV light source. The second method uses a semitransparent print of pattern, messages are revealed with “decoder” glasses. Both methods allow makers to create fun, interactive prints and books that engage viewers in a hunt for disguised information. This demonstration offers tips to achieve the best results and suggestions for experimentation.


Presenters: Jeffrey Dell, Professor, Texas State University
Anissa Cavazos, Texas State BFA candidate
The purpose of this demonstration is to illuminate how Jeffery Dell’s imagery from the last few years is significantly influenced by the limits and strengths of the screenprinting process. The demo will outline the methods developed (specific and general, technical and conceptual), including image development, making film positives, exposing the screens, and printing. Technical issues include: posterization from hand-drawn film positives, split-fountains, building up transparent ink layers. Conceptually, topics include: color, the virtue of making maquettes, and his individual goals for complicating the relationship between abstraction and representation.


Presenters: Lenore Thomas, Associate Professor/Advisor, University of Pittsburgh
Matt Hopson-Walker, Assistant Professor, Fresno State
Assisted by Sean Morrissey, Assistant Professor, University of Arkansas
In this demonstration Matt Hopson-Walker and Lenore Thomas demonstrate the use of screenprinting to print various lift grounds onto copper plates. After the application of the lift ground, plates are coated with a hard ground, the printed image is then lifted using hot water.The demonstrations offer an example of the many ways to integrate photomechanical elements into etching plates for singular use or as in combination with with autographic marks––giving an artist more freedom when adding appropriated or photographic elements to compositions already etched into a plate.


Presenter: David Diaz, Lecturer, University of Texas Arlington
Tiny Prints/Tiny press presents a DIY approach to printmaking. From the back of our cART, one of Wild Pony Editions outreach programs, we will share the process of printing tiny laser-cut blocks using the first open source, 3D printed printing press by @openpressproject. Participants will have the chance to explore the tiny presses making tiny prints.


Presenter: Ali Feeney, MFA candidate, University of Texas Arlington
A fragile substrate will explore how we can use glass as a substrate for making prints in the studio. Vitreography has the potential to create a variety of images from one plate and can be used for a multitude of processes that exist in printmaking, which makes the transition to glass an easy one. Utilizing glass’ ability to serve in both intaglio and relief processes, we will experiment with the use of the positive and negative images. This demo will cover the entirety of the process, including image creation, engraving, and printing.


Presenters: Hannah Marie Smith, Instructor, Pilchuck School of Glass
Justin Ginsberg, Glass Area Head, Visiting Assistant Professor, University of Texas Arlington
Hannah Marie Smith and Justin Ginsberg demonstrate glass plate printing. The demonstration focuses on three separate mark making techniques and their subsequent printing using oil-based inks on a traditional etching press. Open conversations about the advantages and limitations of the practice, as well as consideration of the printing plates, as objects in their own right, are facilitated. Three techniques are demonstrated including, Rayzist, a photosensitive stencil that is exposed and washed out similar to silkscreen emulsion, the use of a glass engraving lathe to mark the plates surface with a diamond coated engraving wheel, and the use of a rotary engraving tool (Dremel/foredom) and diamond coated bits to engrave line work onto the surface of the matrix.


Presenters: Emily Arthur, Assistant Professor, University of Wisconsin-Madison
Jessie Barnes, Visual Display Coordinator, Anthropologie
This demonstration explores the practice of creating painterly prints and unique multiples. With foundations in intaglio and monotype printmaking, Emily Arthur and Jessie Barnes present methods of collaborative printing that focus on mixed-media methods, such as chine colle, paper lithography, and pochoir, along with post-production alterations such as hand-dyeing and print manipulation. The art world is no longer limited to media-specific disciplines.This shift is mirrored in the conference theme, “Texchange”, and they wish to present skill sets to the community of makers that move beyond the boundaries of the traditional edition and allow for experimentation, collaboration, and new discoveries.


Presenter: Veronica Vaughan, Senior Lecturer, University of Texas Arlington
Wild Pony brings artists, designers, poets and students together to collaborate in the creating of innovative prints and book works in a wide range of traditional and nontraditional print media and techniques. At its essence, WP Editions seeks to engage students in the language and strategies of contemporary art while fostering an educational experience that both promotes and challenges traditional printmaking. What is unique about WP Editions is that it provide students with a completely interdisciplinary and entrepreneurial experience. Vaughan will be live-printing a take-away poster designed by her.


Presenter: Carlos Donjuan, Senior Lecturer Professor, University of Texas Arlington
The history of zine making was sparked from a do-it-yourself approach where anything goes. This workshop focuses on the content and creation of zine making and discussion on the many possibilities of what inspire the concept in this process. Once a theme or concept is decided on, the organization and building begins. Calos Donjuan covers the selection of content for the zine and the layout. The layout can be done by hand or digitally. The building of a zine requires a variety of binding methods which all depend on the resources available. Zines can be put together by hand using different methods of stitching, folding, or stapling.


To come



Moderator: Margot Ecke, Professional printer (letterpress) and bookbinder; Owner, Smokey Road Press

Parenthood can often be an exhausting and isolating experience. This isolation is in direct contrast to the communal nature of the print shop with which so many of us are accustomed. For the printmaker considering the impact of starting a family to the seasoned printmaking mama, this INKubator will be an opportunity to consider the intersection between motherhood and ambition and a chance to gather together to discuss our particular concerns within our distinct environment. We will discuss the nitty-gritty of how mothers balance both career and family, with special emphasis on gender politics, institutional support, finances, insurance, education, career and family expectations. This session will also serve as an opportunity to exchange strategies for success while integrating the roles of artist and mother in the specific space of the academic, non-profit, or for-profit print shop. This will be an honest discussion about the problems women face in a competitive world and how the field of printmaking, with its penchant for community support and focus on process, can be a nurturing environment.



Moderator: Phyllis McGibbon, Elizabeth Christy Kopf Professor of Art, Wellesley College

This INKubator session is designed to bring together those who have recently renovated or upgraded their print studio facilities with others who are proposing (or in the midst of) similar efforts in various settings. The goal is not only to share advice and caveats about the process, but also to compile a list of resources, suppliers and specialists to realize such transformations effectively. How might we best collaborate with design teams, safety officers, contractors, project managers and administrators who may have limited knowledge of our studio practices? Afterwards, those participating in this INKubator will develop a shared document for the SGCI website that can be accessed and utilized by the membership.



Moderators: Berel Lutsky, Professor of Art, UW Manitowoc
Ben Rinehart, Associate Professor of Art, Lawrence University

With three successful Really BIGPRINTS!! events in the books and one in the works for 2020, the RBP team would like to facilitate an exchange of ideas about “big prints” and printmaking events with other printmakers who do this, or who want to do this. The “big print” event format offers a unique opportunity to engage a community, both professional artists and regular folks, in printmaking and create a venue for the exchange of ideas and knowledge and often a chance for the community to be involved.



Moderators: Dr. Faisal Abdu’Allah, Professor of Art and Faculty Director of Creative Arts Community, University of Wisconsin-Madison
Sangmi Yoo, Professor and Associate Director of Art, Texas Tech University
Clarissa A Gonzalez, MFA candidate, Texas A&M University–Corpus Christi
Stephanie Alaniz, MFA candidate, West Virginia University

This session introduces printmaking practices by artists, groups and organizations that are successfully pursuing their practice and community outreach while under-recognized by large institutions due to their race, ethnic heritages, sexual orientations and ideology. Featured speakers will share success stories of various print practices while under difficult situations and their strategies to make that happen.



Moderator: Chelsea Clarke, MFA Candidate, University of Kentucky

This INKubator hopes to encourage printmakers to share the strategies they use to continue making work despite disability. Many print shops are set up with able bodied people in mind, and for someone who has to modify their practice to accommodate physical limitations, these spaces can be difficult to navigate. A frank discussion about how to remove these barriers, both at a personal and an institutional level, would be helpful to the printmaking community. The main questions asked would be: how do you make the studio work for you? And, how can existing studios take initiative to become more accessible?



Moderator: Susan Belau, Associate Professor, San Francisco State University

Political posters are often used to engage students with printmaking history, print language in contemporary culture, and social justice activism. But what are additional ways that social justice and social awareness are taught in the printmaking classroom? Faculty and students in printmaking programs discuss curricula and practices that support social justice in the classroom, on campus, and in the community. Participants will share strategies for supporting intellectual rigor and critical thinking within an inclusive worldview. This session is directly aligned with the conference theme focus on printmaking as an instrument of transformation.



Moderator: Beauvais Lyons, Chancellor’s Professor of Art, University of Tennessee

This INKubator session encourages artists and curators interested in the social and political roles of the printed multiple. What is the function of the self-published, traditional, hand-pulled print, be it a woodcut, screenprint, etching, lithograph, broadside or pamphlet as a tool for artists engaged in social practice? How do these questions encourage artists who use print media to rethink the spaces and contexts where art is experienced and distributed?

For more information about the Prints and Practice INKubator, download this pdf. To be part of communications in advance of the conference, please email:

Mentor Sessions

Mentors serve our membership and foster interest in our field. Through this program, experienced professionals offer mentoring in the following areas:


• Artist Portfolio Reviews

• Graduate School Placement & Advice

• Career Advice for Emerging and Mid-Career Artists

• Tenure and Academic Advancement

• Community-Based Art, Independent Presses, and Non-Profits


To serve as a Mentor, apply through the calls page.

To receive mentoring at the conference, sign up via the SGCI Registration portal.

Mobile Events


Presenter: Morgan Page, Assistant Professor of Graphic Design, Midwestern State University

This pecha kucha will introduce Morgan Page’s app, designed to be an efficient tool for finding individuals with specific skill sets that are interested in a variety of causes, and who also wish to support said causes with their artistic contributions. Participants will be invited to engage with the app during the presentation.



Presenter: Samuel H. Peck, Ph.D. student in Arts Education, University of Minnesota

This short-form presentation will illuminate the structural framework and the primary mission of an international art making exchange that honors collective image making impulses and cultivates a collaborative creative community while addressing the relationship of individual/collective stories.



Presenter: Terry Conrad, Assistant Professor, University of Iowa

This presentation will include documentation from trips to the Santa Barbara Basin and Woods Hole Oceanographic Institute, correspondence with scientists and connections between Terry Conrad’s artwork and this research on Foraminifera.



Presenter: Travis Janssen, Assistant Professor & Head of Printmaking, Southern Illinois University-Carbondale

This mobile event will engage conference attendees by allowing them to create fingerprints embellished with doodles in the vein of children’s book author Ed Emberley’s Great Thumbprint Drawing Book. This playful activity will occur while attendees travel between conference sites. Participants’ creations will form a mobile gallery of their impromptu works on the interiors of the buses themselves. This project focuses on the transformation of the everyday yet very personal with the exchange of each individual’s handiwork.



Presenter: Andrew Zandt, MFA Candidate, Iowa State University

Printmakers have roles beyond the print studio, including within scientific research. Two Iowa State University graduate students, Andrew Zandt, an MFA candidate in fine arts, and Zachary Hudson, a Ph.D. candidate in horticulture, have collaborated to investigate the printmaking potential of a new type of washi paper made from the Leatherwood shrub. During this mobile presentation, Andrew will share the results of their study and discuss how printmakers and scientists can work together as innovators.



Presenter: Nicole Hand, Professor of Art and Assistant Dean, Murray State University

In collaboration with Nicole Hand’s advanced printmaking class at Murray State University, participants will create an interactive game about printmaking that can be played on a bus. This trivia-style game using printed game pieces will be based on printmaking history, techniques and artists working in the field.



Presenters: Cayla Skillin-Brauchle, Assistant Professor of Art, Willamette University and

Danielle Wyckoff, Assistant Professor of Art, Kendall College of Art and Design of Ferris State University

Reproductive Media is a performative action in which collaborators Cayla Skillin-Brauchle and Danielle Wyckoff will engage with the SGCI community about human reproduction and its implications on our lives as artists, educators and students, and citizens. Outfitted with a Mobile Zine Library, the collaborators will share information, statistics, and personal stories designed to promote these discussions. Notes, drawings, and ephemera from the event will be shared back with the SGCI community via a zine and chronicled on Instagram.



Presenter: Maclovio Cantú IV, MFA candidate, Texas A&M University, Corpus Christi

In the event of an apocalypse, printmaking as an artform and medium for disseminating information will surely survive! Post-Apocalyptic Printmaking is a performance-based demonstration in the style of Mad Max, involving a chest-mounted press for the production of a hand-pulled, three-color woodblock print in transit between destinations. Passengers able to correctly answer print-related trivia questions during the performance will be given works made during the demonstration, as well as stickers and pre-printed material.



Presenter: Jesse Gengenbach, independent artist

This performance will utilize the transience of the bus and lingering printed souvenirs. The event will begin with telling of a fictional story, centered around Texas history and mythology. The story will have corresponding prints, which the audience members will receive after the performance. These prints will also be posted in the town, in the hopes of creating a chance encounter and inspiring déjà vu.



Presenter: Arron Foster, Assistant Professor, Print Media, Kent State University

This mobile event is driven by the concept that transforming the world requires new stories, because stories engage people at every level. Print media can amplify these stories through their capacity to spread or disseminate images, information, ideas, and political views. Work created for this mobile event will address, through simple graphic means (using either image or text), participants’ take on the theme of “This I believe.”



Presenter: Catherine Prose, Professor, Midwestern State University

This mobile event hosted by Midwestern State University students will facilitate the exchange of participants’ prints by way of button making. Those who ride the bus will create their own buttons from an array of print proofs, drawings, transparencies and assorted piles of imagery from abandoned prints.



Chair: Joseph Lupo, Professor of Art, West Virginia University

Panelists: Raphael Cornford, co-founder and Director of NOISE Gallery and of NOISE Gallery Press, Indiana

Trishelle Jeffery, independent artist, Saltgrass Printmakers, Utah

Jenny Schmid, Professor, University of Minnesota

Since their inception over 100 years ago, comics have been used to express critical judgements of contemporary society. More recently visual artists have been co-opting and appropriating comic imagery and visual strategies to express unique personal viewpoints and critical social statements. Why is this and who are the comics creators and visual artists using comics imagery and visual language to express a critical dialog? This panel is designed for artists that use comics in their work or for those interested in the history of artists appropriating comics.


Chair: Charles Beneke, Professor of Art, University of Akron, Myers School of Art
Today’s students are a different beast! They are lithe, savvy, spry, and . . . , well, current. How can we teach to who they are rather than stiffly to ourselves and ineffectively to who we think they are? Join recent graduates for an action-packed, fun-filled, fast-paced, no-finger- pointing-allowed schooling! Each student will present a real-life scenario that happened to one of their co-panelists and through their observations teach us what might have worked better. Step outside of your comfort zone, leap into the fire, burn it down, and rise from the cinders an old dog with a whole new perspective!



Chairs: Brendan Baylor, Assistant Professor, Old Dominion University

Sarah Pike, Artist and Owner, FreeFall Laser

Panelists: Miguel Aragon, Assistant Professor, CUNY Staten Island

Phyllis Merriam, The Post-Digital Printmaker

Michael Smoot, Lecturer, Keene State College and Smith College

Sarah Pike, artist and owner of FreeFall Laser, “Laser Litho”

Michael Stradley, SMArchS Architectural Design candidate, Massachusetts Institute of Technology, “Machine Marking”

Rapid prototyping technologies (3D printing, laser engraving, CNC milling, plotters, etc.) have quickly spread from the factory floor to garages, studios, and printshops. As artists investigate these new media, they raise questions about the social, economic, and political meanings of these tools. What codes, conventions, and resonances are embedded within the technologies we use? How do we as printmakers take advantage of the conceptual opportunities of rapid prototyping technologies? The artist and printmakers on this panel explore conceptual spaces opened up by these new technologies in order to transform how we see and shape our worlds.



Chair: Michael Menchaca, visual artist

Panelists: Lisette Chavez, Lecturer, University of the Incarnate Word, Texas

Paloma Mayorga, Director, Print Austin, Texas

Alan Serna, Printmaker, Texas

This panel discussion addresses the Latinx ethos in contemporary printmaking. The Latino, or “Latinx” identity, is inherently connected to Texas history and has been historically stigmatized through print materials. We will talk about the history of prints as a tool for social influence and the ethics behind the printmaker’s intentions. The theme of Texchange is connected to the Latino heritage within the Tejano population that identifies with both U.S. and Mexican cultures.



Chairs: Alex Linfield, MFA candidate, Nova Scotia College of Art and Design, will present “Towards an Etymology of Interface”

Morgan Melenka, MFA candidate, Nova Scotia College of Art and Design, will present “More and More, More is More”

Panelists: Leekyung Kang, Assistant Professor, Idaho State University, will present “Post-Print Culture and the Definition of the Field of Printmaking”

Cooper Holoweski, Artist-in-Residence, co-Head of Print Media, Cranbrook Academy of Art, will present “Fear of Ghosts: Democracy, Ephemerality, and Anxiety”

This panel will engage with questions surrounding printmaking and digital media. We are interested in how a largely immaterial matrix (code of a digital file) intersects with the traditionally physical discipline of printmaking. Panelists can speak to how a changing relationship to matrices affects their relationship to limitations and materiality, and how the digital has changed practices in print.



Chair: Freda Sue, Assistant Professor, University of South Carolina Upstate

Panelists: Marchelo Vera, Assistant Professor of Printmaking, The College of New Jersey will present “Common Ground: Transcending Boundaries through Cultural Exchange”

Sangmi Yoo, Professor of Art, Associate Director, Texas Tech University will present “Coexistence: Taking Home with You”

Reinaldo Gil Zambrano, Printmaking artist and educator, Eastern Washington University and Gongaza University will present “Banquete Gráfico”

This panel invites panelists to share their experiences in crossing cultural background through printmaking. For many immigrant artists, dealing with the change of the change of geographical location and verbal language are expected. However, coping with the cultural shifted aftershock could be a much longer process. Printmaking, a visual art form that includes varied processes and textures. Its characters and community have provided immigrant artists opportunities to associate and contribute from the inside out. This panel will provide an opportunity for immigrant printmakers to share their own stories of journeying through the cultural shift.



Chair: Henry Gepfer, Adjunct Professor, Millersville University and Gettysburg College

Panelists: Zuzanna Dyrda, Assistant Professor of Printmaking, Faculty of Graphics and Media Art, The Eugeniusz Geppert Academy of Art and Design, Wroclaw, Poland

Leslie Friedman, Assistant Professor of Printmaking, Louisiana State University

R.L. Tillman, Professor in Printmaking, Maryland Institute College of Art

Printmaking occupies a curious, central space in a Venn diagram consisting of fine art, industry and craft which positions it as a uniquely appropriate medium through which action can be channeled. In recent art history, action in print has taken various forms including performance, participatory works and political action. This panel invites contemporary printmakers or scholars to showcase projects or research that address one or multiple facets of action channeled through the medium of print. The goal of this panel is dually to expand the vocabulary of possibility within print as well as bolster the surrounding conversation.


Chair: Jennie Suddick, Assistant Professor and SGCI Board Member (International Member at Large), OCAD University, Toronto, Ontario, Canada
This year’s International Panel has an interactive twist! Lead by facilitators with experiences leading and participating in international residencies, attendees will work together to consider the who, what, why and how of artist residencies. We will collectively consider their value, how to find them, and how to make the most of them once you are there. Together we will compile a directory for finding and pursuing residency opportunities worldwide, including demystifying the application process. Come ready to hear stories from your peers, and contribute any experiences, insights or goals you have for expanding your practice on a global scale!



Chairs: Celeste De Luna, Lecturer, University of Texas Rio Grande Valley

Laura Berman, Professor, Kansas City Art Institute

Panelists: Laura Brown, Independent Artist and Educator, Adjunct Faculty, Augsburg University will present “Learning As We Go: Building a Socially Engaged Print Collective”

Luis Valdera & Kim Bishop, Social Engagement Artists, Educators and Curators will present “A3: Pop-Up Industrial Press”

Álvaro D. Márquez, Teaching Artist, Los Angeles County Museum of Art (LACMA) and MFA student in Printmaking at California State University Long Beach will present “Pushing Tinta and Making Community”

Printmaking and prints have long been associated with accessibility, distribution of information, versatility of form, and cultural impact. This panel will take this role and expand on printmaking in social practice and community-oriented art, a field of art practice which aims to create social/political change in the creation of art while enhancing community itself. Presenters will focus on their own experiences with social practice and community-oriented printmaking as well as take a historical look at printmaking in regards to social practice and cultural impact. Discussing the role of printmakers and prints have had and currently have in the expanding field of social practice art, creative place-keeping and community-oriented art fits in perfectly with Texchange’s focus on shared spaces, collaborations, and creating change together.

Special Events

Presenter: Ryan O’Malley, Associate Professor / Graduate Coordinator, Texas A&M University-Corpus Christi

Seating limited to 150 (first come, first serve).

Join a once first-time SGCI attendee Ryan O’Malley, Graduate Coordinator at Texas A&M University-Corpus Christi, as he speaks about how to negotiate the many activities at this year’s conference, including the most valuable events for students, how to navigate panels, demos, exhibitions and open portfolio, and how to avoid herding cats when there’s so much to see and do. Also covered will be professional practices when approaching prospective MFA faculty or employers, as well as the importance of forming peer groups outside of one’s university or local network.


Presenter: Greg Stone, Pressman, Thornwillow Press
A la Poupée & the Chine-Collés is a band that brings together music and printmaking. While currently on hiatus due to geographical distance, the group has been planning a comeback at SGCI Texchange with new printmaking tunes that will entertain conference attendees with ballads of the brayer and tales of the tympan. The band aims to inspire a dialogue about how both music and printmaking are mediums for sharing information and ideas, emphasize community and collaboration, and are methods for inciting change.


Presenter: Krystal Read, Art Instructor, Booker T Washington HSPVA
Don’t miss the action in the streets outside the Dallas museums. Students from the Arts Magnet high school right in the heart of the Dallas Arts District will present printing techniques on a mobile press along Flora Street. This demonstration will include woodblock repeat patterns and stencil printing with a tabletop press. During this demonstration we will discuss the ways students have used their art practice to engage with the Dallas community.


Presenter: Mario Kiran, Associate Professor of Art, University of Texas of the Permian Basin
Pots-n-Prints is a mobile studio that provides support to rural schools in Southwest Texas. The mobile studio brings the community together to work alongside professional artists. For participants, the printmaking and ceramics activities encourage dialogue, collaboration and exchange of ideas. During this event, conference goers will learn about throwing ceramic forms on the potters wheel and the raku kiln. In printmaking, they will learned to work with non-toxic materials to create and print engravings using an etching press, and they will see how to silkscreen print on fabric.


Presenter: Josh Dannin
Do you get hungry in the studio? Need to squeeze a meal in-between two tightly scheduled conference events? HOW TO PRINT LUNCH provides a solution to your problems in the form of an interactive print demo on-the-go! Sit back and enjoy the ride as our mobile sandwich assembly station prints your lunch layer by layer, and condiment by condiment. Learn about food-safe printmaking techniques and a new way to subvert meta-narratives using mustard.



S P E C I A L  E V E N T S : O P E N   H O U S E / O P E N   S T U D I O


Presenter: Krystal Read, Art Instructor, Booker T Washington HSPVA
When you walk through the doors of Booker T. Washington, be prepared to experience a surge of creative energy. Located in the Dallas Arts District, Booker T. Washington HSPVA has earned national recognition for its academic, dance, music, theater and visual art programs. Visitors can tour the historical building as well as the 2008 addition to see students performing and engaging in their passions. Prints will be displayed in the campus gallery and the printmaking studio will welcome visitors to tour the facilities.


Presenter: Terri Thoman, Artist, Dallas Artisan Fine Print Studio
In this open house event, participants will experience what it is like to discover a place for artists to continue the creative exchange of techniques, and the communal process of printmaking, once “school” ends. Individuals can visit the facility between 9:30 am – 8:00 pm to see artists while they are using the space to produce their work, participate in classes/demonstrations, or browse the resources we have created.


Presenters: Virgil Scott and Kim Newman
Kim Neiman and Virgil Scott have been collecting, rescuing and resurrecting vintage letterpress equipment since 2008 at Studio 204 located in downtown Arlington, Texas. Their work utilizes vintage wood type, foundry metal type, hand carved linoleum block images and book arts to create custom projects for commercial clients, retail sales and public gallery exhibitions.


Stop by and visit the studios of twelve TCU graduate students in printmaking, painting, sculpture, and new media.


A selection of rare books and prints from TCU Special Collections will be on display for a special viewing event! Drop in and see works by Albrecht Durer and William Blake, to name a few.


Presenter: Shawn Lopez, Fab Lab Manager
Visit the Fabrication Lab to see projects happening on state-of-the-art CNC routers, laser cutters, vinyl cutters, and more.


A complement to P.R.I.N.T Press: 25 years exhibition, this open house will showcase printing matrices from renowned guests, including Susan Goethel Campbell, Jeffrey Dell, Linda Ridgway, Alison Saar, and Kiki Smith, among others.


Presenter: Annette Becker, Director, Texas Fashion Collection
Join the Texas Fashion Collection for an exploration of print technology and textiles through a pop-up exhibition of historic and designer clothing. The afternoon will include innovative printing on leather pioneered by Roberto Cavalli, early forays into digital printing on fabric with kitschy pieces by Todd Oldham, and several other print-focused fashions.
The Texas Fashion Collection is a fashion-focused archive of nearly 20,000 historic and designer garments and accessories. Started in 1938 by the Dallas-based department store Neiman Marcus, the TFC has been an integral part of research at UNT since 1972. With a focus on accessibility and university-focused research, the TFC’s new study space focuses on outreach through micro-exhibitions, tours, and research appointments.


UTA graduate students offer a peek of their creative process by sharing open studio time with SGCI 2019 visitors. By sharing their creative experiences, graduate students from several areas including printmaking, glass, film, and visual communications will promote diversification and interdisciplinary conversations with visitors.



S P E C I A L   E V E N T S : V I D E O   S C R E E N I N G S


Presenter: Olivia Evans, Multidisciplinary Visual Artist
This documentary is dedicated to the first Unconventional Printmaking class at Eastern Washington University. Eight students collaborated on devise imagery based on their theme hope, change, and freedom. Seven, 8 x 4 foot wood panels were sketched in charcoal, carved, inked, printed and installed outdoors on walls of Eastern Washington University, Washington State University, and University of Idaho campuses using wheat paste. The students inspired the communities around them due to their perseverance, teamwork, and ability to take on new challenges.


Presenter: Mary Sherwood Brock, Exhibitions Chair, Los Angeles Printmaking Society
Printmaking in the 21st Century is having a surprising revival brought about by creative and dedicated artists who are expanding the parameters of this ancient method of reproduction. The documentary Six Printmakers Breaking the Mold features artists Dirk Hagner, Michelle Rozic, John Greco, Kimiko Miyoshi, Dave Lefner and Camilla Taylor who are not only masterful but also passionate and eloquent exponents of the printmaking arts. Director Poli Marichal combined filmed interviews with footage of each artist working in his/her studio explaining their creative process and the methods and techniques they favor. This documentary was sponsored by Los Angeles Printmaking Society.

Themed Portfolios

Organizer: Phyllis Merriam, artist
Today for work to be shared it must be created with the knowledge that most people will only see digital reproductions limiting the ability to communicate the nuance that can only be seen by viewing a piece in person. We wonder whether this pressure effects how artists create their work. The prints in the portfolio have a physical aspect that can only be fully appreciated in person. The prints are accompanied by a 2” X 2” thumbnail of the artist’s original submission for comparison along with the artist’s explanation and the description.

Contributing Artists:
Leonie Bradley, artist, editor of Printmaking Today
Beth Fein, artist, California
Arron Foster, Visiting Assistant Professor, Kent State University
David Gerhard, Visual Arts Department Chair, South Carolina Governor’s School for the Arts and Humanities
Emily Legleitner, BFA student at the Stamps School, University of Michigan
Mike Lyon, artist, Kansas City, Missouri
Phyllis and Victor Merriam, thepostdigitalprintmaker
PD Packard, printmaker, Brooklyn, NY
Susan Rostow, artist, developer of Akua Ink
Michelle Rozic, Associate Professor, California State University at Northridge
Kevin Shook, Associate Professor of Art, Birmingham-Southern College
Sarah Sipling, Assistant Professor of Printmaking and Photography, Northwest Missouri State University
Mariana Smith, Assistant Professor of Art, Stockton University
Rob Swainston, Founder Prints of Darkness, Assistant Professor of Art and Design, Purchase College SUNY
Kristen Tordella-Williams, Assistant Professor, Millsaps College, Mississipi


Organizer: Beth Sheehan, Printer, Durham Press
Between Tenses explores ideas of time and memory as connection to human experience and personal narrative. Memories are integral to a sense of self and how we relate to others. Through printmaking, participants are encouraged to investigate the influences of the past (personal or public) on the present and future. How does the perception of the past alter current experience? How does time change experience? What is lost from our narratives with the malleability of memory? And what does that mean for us or the way we relate to the world?

Contributing Artists:
Shannon Bourne, Lecturer, University of North Carolina at Wilmington
Christa Carleton, Visiting Professor, Montana State Univeristy
Anastasia DeVol, artist
Sue Carrie Drummond, Assistant Professor, Millsaps College
Judith Gammons, MFA candidate, University of the Arts
Roni Gross, Instructor, Center for Book Arts
Serena Hocharoen, MFA candidate, Tyler School of Art at Temple University
Emily Orzech, Assistant Professor of Printmaking, Muhlenberg College
Diana Palermo, Art Teacher and Resident, Index Art Center
Kelsey Reiman, MFA candidate, Arizona State Univeristy
Ingrid Schindall, Director, IS Projects
Jesse Shaw, Assistant Professor of Art, Texas A&M University
Beth Sheehan, Printer, Durham Press
Hester Stinnett, Professor of Printmaking, Tyler School of Art, Temple University
Ani Volkan, Director, Print League KC
Lisa Wicka, artist


Organizer: Leah Kiczula, Education Coordinator, SCRAP PDX
Environmentality looks to delve into the effects of printmaking on––and in––our environments. Reflecting on the way the environment is experienced and imagined, printmakers create works addressing the current state of our environmental crisis, the emergent effects of crisis of personal space intersecting with the sense of a menacing ecological crisis, while using 100% reused materials and environmentally sustainable methods. Environmentality offers the opportunity to rethink the relations between art and environment, both physical and symbolic, material and immaterial, and how our own artistic actions affect this planet we inhabit.

Contributing Artists:
Leah Kiczula, SCRAP PDX
Sara Method, MFA candidate, Western Carolina University
Lauren Kussro, Assistant Professor of Art, Houston University
Brooke Inman, working artist
Christine Medley, Associate Professor, Marywood University
Masha Ryskin, working artist
Terry Conrad, Assistant Professor Iowa Print Media Faculty Fellow
Hannah Fray, Manager of Printmaking Liverpool John Moores University
Ricardo Ruiz, working artist
Melissa Schulenberg, Associate Professor of Art, St. Lawrence University
Elizabeth Rose, student


Organizers: Andrew Kozlowski, Assistant Professor, University of North Florida
Sheila Goloborotko, Assistant Professor, University of North Florida
This portfolio offers a platform to express, comment, and reflect on the current issues that are rapidly reshaping our world—creating a print that is not reactive—but pensive and meditative. It is overwhelming to observe the torrent of information flowing past and be swept up in the churning tide. Can we create imagery that is not merely pamphletary and reactive but portrays the moment before our responses? We aim to gather a collection of visual contemplative manifestos—work that slows one down, that proposes change and creates pause with voices of cathartic expression and poetic activism—protest and beauty.

Contributing Artists:
Aaron Eliah Terry, Assistant Professor, University of Delaware
Andrew Kozlowski, Assistant Professor, University of North Florida
Anne Beidler, Professor, Agness Scott College
Better Press (Francesca Colonia and Giulia Nicolai), independent artists
Brooke Inman, Instructor, Virginia Commonwealth University
Eszter Sziksz, independent artist
Fleming Jefferies, Interim Director, VCU Qatar Department of Painting and Printmaking
Florence Gidez, independent artist and educator
Heather Parish, Assistant Professor, University of Iowa
Jill Parisi, Area Head and Associate Professor, SUNY New Paltz
Judith Baumann, Master Printer, Crow’s Shadow Institute of Art
Justin Barfield, Assistant Professor, University of Notre Dame
Kate Collyer, artist and educator
Kirsten Flaherty, Administrative Assistant, IFPDA
Lisa Turner, Assistant Professor, Western Washington University
Lise Drost, Professor, University of Miami
Louise Fisher, MFA Candidate, Arizona State University
Luke Johnson, MFA Candidate, University of Alberta
Mizin Shin, artist and educator
Nathan Meltz, Lecturer, Rensselaer Polytechnic Institute
Nick Satinover, Assistant Professor, Middle Tennessee State University
Nicole Andreoni, artist and educator, University of North Florida
Richard Hricko, Professor, Tyler School of Art, Temple University
Ruthann Godollei, DeWitt Wallace Professor of Art, Macalester College
Sarah Marshall, Associate Professor, University of Alabama
Savannah Bustillo, independent artist
Shawn Bitters, Associate Professor, University of Kansas
Sheila Goloborotko, Assistant Professor, University of North Florida
Summer Ventis, Assistant Professor, California State University Sacramento
Taro Takizawa, Instructor, Syracuse University


Organizers: Ken Wood, Professor, St Louis Community College
Kelda Martensen, Department Chair & Professor, North Seattle College
This portfolio explores printmakers’ use of traditional architectural draughting techniques, such as perspective drawing, isometric and axonometric projections, and plans and sections. It also includes printmakers whose work shows clearly the use of tools borrowed from the (pre-Autocad) draughting room: parallel rules and triangles, inking pens, mylar, vellum, letterpress letters and chartpak patterns, and pantone sticky-back film. This portfolio focuses on the “exchange” part of Texchange: the exchange between the legacy processes of the architecture and printmaking worlds.

Contributing Artists:
Ken Wood, Professor, Printmaking and Foundations, St Louis Community College
Kelda Martensen, Department Chair and Professor of Art, North Seattle College
Kim Beck, Associate Professor of Art, Carnegie Mellon University
Susan Belau, Associate Professor, San Francisco State University
Emily Gherard, Painter, Printmaker and Draughtsman, Seattle
Sean Hurley, Assistant Professor of Art, Valdosta State University
Liv Monique Johnson, Burning Bones Press, Houston
Amanda Knowles, Instructor and Gallery Director, North Seattle College
Daniel Ogletree, Instructor, UN-Las Vegas and College of Southern Nevada
Tatiana Potts, Printmaking Studio Technician, University of Tennessee
Kim Van Someren, Instructional Technician for Printmaking, University of Washington
Vivian Wang, Chicago Printmakers Collaborative


Organizer: Dana Potter, MFA candidate, University of Tennessee Knoxville
Postdigital, emerging technologies, and new media, to name a few, are vague terms used as catch-all funnels for print processes which incorporate laser-cutting, 3D printing, CNC routing, etc. The funnel metaphor, however, stanches fluidity between printmaking techniques and incorporated technologies. A re-imagined structure of these methods may be presented as tree roots with equal stems for laser systems as printmaking’s relationship with paper-making or book-arts. Laser technologies specifically build on similar conceptual questions brought up by printmaking: quality of technique, loss of aura in mechanical reproduction, the look and feel of the hand-made, and issues of physical and time-based labor.

Contributing Artists:
Miguel Aragon, artist
Denise Bookwalter, Director Small Craft Advisory Press, Professor, Florida State University
Noah Breuer, Assistant Professor, Auburn University
Tim Dooley, Professor of Printmaking, University of Northern Iowa
Myles Dunigan, artist
Monica Farrar, artist
Andrea Ferrigno, Assistant Professor of Art, Knox College
Andy Holliday, Visiting Assistant Professor, Auburn University
Joseph Lupo, Professor of Art, West Virginia University
Conor McGran, MFA candidate, University of Tennessee Knoxville
Adrienne Miller, Exhibition and Project Coordinator, Speed Museum
Sarah Pike, Director of FreeFall Laser
Dana Potter, MFA candidate, University of Tennessee Knoxville
Roberta Restaino, Adjunct Instructor Printmaking and Foundations, University of Colorado Boulder
Hannah Smith, artist
Meagan Sterling, Professor, Westmont College
Brad Vetter, Brad Vetter Design
Aaron Wilson, Professor of Printmaking, University of Northern Iowa
Jonathan Wright, MFA candidate, Arizona State University
Sangmi Yoo, Associate Professor, Texas Tech University


Organizers: Leslie Friedman, Assistant Professor of Printmaking and Foundations, Louisiana State University
Sean P. Morrissey, Assistant Professor, University of Arkansas
Sometimes humorous, sometimes passive-aggressive, occasionally inspirational, and always informational, printshop signs shift standards of what is often a sterile conversation about shop etiquette. Participants will explore this unique form of communication through printed matter that pays homage to the common printshop sign. These broadsides provide voice and point of view, elevating how we learn from each other and how we are able interact and relay pertinent information.

Contributing Artists:
Lindsey Clark-Ryan, Associate Professor, Smith College
Adrienne Cook, Adjunct Professor, University of Texas at Arlington
Directangle Press, Press/Publisher, Manchester, New Hampshire
Amze Emmons, Associate Professor, Temple University
Leslie Friedman, Assistant Professor, Louisiana State University
Lya Finston, student, Oberlin College
Sean P. Morrissey, Assistant Professor, University of Arkansas
Jesse Parrott, MFA candidate, California State University, Long Beach
Sage Perrott, Assistant Professor, East Tennessee State University
Kristin Sarette, MFAcandidate, Indiana University
Qiaoyi Shi, Artist, Elmhurst, New York
Hannah Skoonberg, Printmaking faculty, Santa Rose Junior College
Shelley Thorstensen, Director, Printmakers Open Forum
Tonja Torgerson, Visiting Assistant Professor, Indiana University
Breanne Trammell, Assistant Professor, University of Cincinnati
Patrick Vincent, Assistant Professor, Austin Peay State University


Organizer: Candace Garlock, Professor, Truckee Meadows Community College
As printmakers, we learn from each other. We grow, first as students and then gradually we become mentors ourselves. We take bits of information from everyone we can learn from. We blend techniques, ideas, bonding thoughts together to create something new. There are traces of knowledge transferred from one mentor to another, creating circles of memory, expanding our pool of influence. Through these shared experiences, we transform what printmaking is and can become, creating change together. This portfolio exchange will pay homage to our mentors.

Contributing Artists:
Daryl DePry, Instructor, College of Southern Nevada
Justin Diggle, faculty, University of Utah
Sarah Dittmann, student, University of Alabama
Tia Flores, artist, Sierra Arts
Teal Francis, student, University of Nevada, Reno
Susan Frost, artist
Candace Garlock, faculty, Truckee Meadows Community College
James Hadley, student, University of Utah
Patricia Hall, artist
Anne Hoff, faculty, College of Southern Nevada
Amanda Joy, student, Weber State University
Mary Kenny, faculty, Sierra Nevada College
Eunkang Koh, faculty, University of Nevada, Reno
Kathryn Maxwell, faculty, Arizona State University
Tracey Oliver, artist, Sierra Arts
Mark E. Ritchie, faculty, University of Wyoming
Erin Shearin, Instructor, Truckee Meadows Community College
Rossitza Todorova, Instructor, Truckee Meadows Community College
Cerese Vaden, faculty, University of Arizona
Sarah Whorf, faculty, Humbolt State University
Erin Wohletz, student, University of Tennessee
Connie Wolfe, artist
Melanie Yazzie, faculty, Colorado University, Boulder


Organizer: Mike Sonnichsen, University of Idaho
For many printmakers, found objects occupy a central or generative point in an art making practice. This portfolio explores the intersection of objects and the transformation or “change” in how we regard familiar things through direct (or very nearly direct) print processes. The particular biases of object printmaking offer details, nuances, and visual filters that reveal qualities otherwise unseen through traditional depiction. The sensibilities of a printmaker employing found objects and the “printerly” manner in which they apprehend and then re-express aspects of our material culture, ultimately changes the relationship between matter, artist, and audience.

Contributing Artists:
Mike Sonnichsen, University of Idaho
Celia Walker, Print Council Aotearoa New Zealand (PCANZ)
Laura Charlton, independent artist, Aperspective Press
Mark Iwinski, independent artist, Elon University
Kimiko Miyoshi, California State Long Beach
Stephanie Carpenter, Hamilton Wood Type Museum
Christina Bartonicek, independent artist
Anthony Ryan, San Francisco State University
Jaime Durham, Crow’s Shadow Institute
Margot Myers, Runaway Press
James Chase, Director of Community Education and Visual Arts Faculty at New Hampshire Institute of Art
Tiffany Hokanson, MFA candidate, Indiana University
Andrew Testa, Memorial University of Newfoundland


Organizer: Zach Clark
Printmaking, specifically the act of publishing and printing for others, is often reduced purely to its commercial production and market role. In doing so, one ignores the inherent values of printmaking: it’s ability to cultivate relationships and collaborations, with the most ideal instances pushing a printmaker to expand beyond their comfort zones both practically and conceptually, themes that intersect with the goals of Texchange.
Printmaking as Partnership is a portfolio exchange centered around the value and strength of the collaborative process in printmaking, including work by 15 printmakers and their collaborators.

Contributing Artists:
Andrew Ackerman, Associate Professor (Sculpture), Nipissing University
Zack Arrington, poet and educator
Laura Brown, artist
Chandler Brutscher, MFA candidate, Kent State University
Zach Clark
Josh Dannin, artist
Shannon Delahanty, artist and educator
Dave DiMarchi, artist / owner, 9INHANDPRESS
Tressa Jones, owner / artist, Berlin Way Studio, Pennsylvania and Printshop Facilitator, Braddock Carnegie Library, Pennsylvania
Heather Leier, Assistant Professor, University of Calgary
Vinicius Libardoni, MFA candidate at the Eugeniusz Geppert Academy of Art and Design in Wrocław, Poland
Erin Martinez, artist and educator
Elizabeth Melnyczuk, New Hampshire Institute of Art
Jack Michael, MFA candidate, Georgia State University
Maggie Middleton, MFA candidate at the Eugeniusz Geppert Academy of Art and Design, Wrocław, Poland
Alison Mortiz, Senior Administrative Program Manager, Swindells Day Program, Institute on Aging
Tyler Nansen, owner / artist, Berlin Way Studio, Pittsburgh, Pennsylvania
Barry O’Keefe, artist
Laura Peturson, Associate Professor (Printmaking), Nipissing University
Skyler Pham, artist
Meghan Pohlod, Artist Residency Manager, Kala Art Institute
Kristen Sarette, artist
Emily Tareila, MFA candidate, UMass Amherst
Becky Thera, artist


Organizer: Marco Sanchez, MFA candidate, Edinboro University of Pennsylvania
This exchange is meant to serve as a platform for printmakers to become reactionaries and revolutionaries who take a stand against the xenophobia, racism, and disregard of common decency lacking by the current presidential administration. This exchange allows printmakers to represent the people in their communities who over the past two years have been marginalized or demonized. By refuting the ill-informed rhetoric of some politicians, it allows artists to elevate these “Saints, Superheroes, and Demons” to the pedestal in which they belong.

Contributing Artists:
Marco Sánchez, MFA candidate, Edinboro University of Pennsylvania
Bill Mathie, Professor and Acting Chairperson, Edinboro University of Pennsylvania
Doug Eberhardt, Adjunct Instructor, Edinboro University of Pennsylvania
Christin Apodaca, artist
Cynthia Evans, Art Instructor, El Paso Museum of Art
Raul Monarrez, Printer at Horned Toad Prints
Stephany Carnycia, Printer at Horned Toad Prints
Carlos Barberena, Owner, Bandolero Press
Harry Sanchez, Adjunct Instructor, University of Cincinnati DAAP
Krysten Farrier, BFA candidate, Midwestern State University
Aaron Pozos, BFA at University of Texas at San Antonio
Fred Barraza, artist and New Mexico Art Commisione
Oknnarf Oda-gled, Printer at Horned Toad Prints
Andrew Cain, Tech, California State University Stanislaus
Heczar Gomez, Co-founder and artist, La Madriguera Gráfica, Querétaro México
Mari Mariel, Co-founder and artist, La Madriguera Gráfica, Querétaro México
Víctor Lopez, Co-founder and artist, La Madriguera Gráfica, Querétaro México
Jesus De La Rosa, Associate Professor, Texas A&M Kingsville
Neil Daigle-Orians, Instructor of Record, University of Connecticut
Nabil Gonzalez, Lecturer, University of Texas at El Paso


Organizers: Andrew Mullally, Assistant Printmaking Facility Technician, Columbia College Chicago
Jessica Robles, Lecturer of Printmaking, California State University, Fresno
Contemplating the triage of human affairs, it is difficult to envision any list where addressing climate change does not rank among the most critical imperatives. Ecological disaster, mass extinction, and global warming; all household phrases. Notions of “nature” easily become entangled in nostalgia. In romanticism. Beyond this, they are most importantly political and urgent. A Shrinking World encourages both artist and audience to consider the natural world as something more than the spaces and images we have designated as nature. The Anthropocene is not some far off idea that denies individuals agency. Nature, and its potential collapse, is at your doorstep.

Contributing Artists:
Michael Barnes, Professor of Printmaking, Northern Illinois University
Patrick Casey, Star Traveler / Time Tourist
Sean Caulfield, Centennial Professor, Printmaking, University of Alberta
Sue Coe, artist
Aaron Coleman, Assistant Professor of Art, University of Arizona
Sarah Ellis, Adjunct Professor, Murray State University; SGCI Executive Board Member
Oscar Gillespie, Professor of Art, Drawing and Printmaking, Bradley University
Todd Herzberg, Assistant Professor of Drawing, Murray State University
Yuji Hiratsuka, Professor of Printmaking, Oregon State University Corvallis
Joshua Johnson, Instructor of Printmaking and Drawing, Elmhurst College & College of DuPage
Brian Kelly, Professor of Printmaking, University of Louisiana at Lafayette
Andrew Kosten, Gum Pal Press
Emmy Lingscheit, Assistant Professor of Printmaking, University of Illinois Urbana–Champaign
Ashton Ludden, artist
Beauvais Lyons, Chancellor’s Professor of Art, The University of Tennessee, Knoxville
Andrew Mullally, Drawing Instructor, Elgin Community College; Printmaking Technician, Columbia College Chicago
Ashley Nason, artist
Kathryn Polk, L VIS Press
Jessica Robles, Lecturer of Printmaking, California State University, Fresno
Megan Sterling, Printmaking Facilities Manager and Instructor of Printmaking, Columbia College Chicago


Organizer: M. Robyn Wall, Assistant Professor of Art, Delta State University
Southern Hospitality is a depiction of the cultural and sociopolitical landscape of the American South. As a region rich in history, it is transforming as a place of dialogue for diverse ideas and identities.

Contributing Artists:
Brett Anderson, Assistant Professor, University of Southern Indiana
Marty Azevedo, Assistant Professor, California State University Stanislaus
Becky Blosser, Assistant Professor, Pennsylvania College of Art and Design
Danielle Burns, Instructor, Baton Rouge Community College
Catherine Anne Clements, MFA Candidate, University of Georgia
Zoë Couvillion, BFA candidate, University of Louisiana at Lafayette
Joe D’Uva, Associate Professor, Youngstown State University
Jacob Gibson, BFA candidate, University of Louisiana at Lafayette
Tucker Howard, MFA candidate, Indiana University
Leslie Koptcho, Professor, Louisiana State University
Sarah Marshall, Associate Professor, University of Alabama
Kristin Powers Nowlin, Instructor, Kansas State University
Nathan Pietrykowski, Visiting Instructor, Delta State University
Eric Piper, Director, Alternator Academy of Alternative Arts
Hailey Quick, MFA candidate, Kansas State University
Kaleena Stasiak, Assistant Professor, University of South Alabama
Greg Stone, Studio Production Assistant, Marylyn Dintenfass Studio
Chad Tolley, Assistant Professor, Augusta University
M. Robyn Wall, Assistant Professor, Delta State University
Eric Wilson, MFA University of Arizona


Organizers: J. Leigh Garcia, Adjunct Professor, Pensacola State College
Wendi Valladares, artist
The complex history between Texans and Mexicans has resulted in a melding of these two cultures or what is known today as Tejanos. While many Mexican-Americans identify as Chicano/Chicana/Chicanx, Tejano/Tejana/Tejanx is a term specifically for Mexican-Americans who call Texas their home. For many Tejanos, their familial lineage in present-day Texas dates back to before the Texas Revolution, hence the famous line, “we never crossed the border, the border crossed us.”

Contributing Artists:
Francisco Alvarado, MFA candidate, Texas Christian University
Ruben Castillo, Lecturer & Shop Technician, Kansas City Art Institute
Jesus De La Rosa, Associate Professor of Art, Texas A&M University–Kingsville
Celeste De Luna, Lecturer, University of Texas Rio Grande Valley
Francisco Delgado, Assistant Printmaker, Horned Toad Prints
J. Leigh Garcia, Adjunct Professor, Pensacola State College
Brandy Gonzalez, Art Teacher, Cade MS and Adjunct Professor, Lassen College
Clarissa Gonzalez, MFA candidate, Texas A&M Corpus Christi
Manuel Guerra, Lecturer, University of Texas at El Paso
Michael Menchaca, working artist / public artist
Ashley Mireles, Co-Director of La Printeria, Education Coordinator at Artpace San Antonio, and co-founding member of the Creative Women’s Alliance
Raul Monarrez, Advance Visual Arts / AP Teacher, Del Valle High School, YISD, Horned Toad Press
Ben Munoz, Independent artist with Gallery affiliations at the Art Center of Corpus Christi
New Mexico–Hecho a ManoBen Munoz
Omar González, MFA candidate, University of Texas at San Antonio
Ricardo Ruiz,
Marco Sánchez, MFA candidate, Edinboro University of Pennsylvania
Alan Serna, Co-Founder / Master Printer, Feral Editions
Wendi Valladares, Art & Design Adjunct, Cedar Valley College

VPP Fair

The VPP Fair is a showcase of leading businesses and individuals who specialize in printmaking presses, papers, and a variety of tools for printing, bookbinding, and papermaking. Individual and community print shops can display, promote, and support their organizations. Schools and residences can present and recruit for their programs. The VPP Fair is free and open to the public.


To participate in this year’s Fair, visit the calls page for information and apply through the SGCI Registration portal.


Download VPP Overview

Download Exhibitor Services Form

Download UPS Package Handling Instructions

Download Shipping Label


Sign up for a workshop via the SGCI Registration portal. Space is limited and is first-come, first serve. Workshops are free with conference registration.



Presenter: Carolyn M. Muskat, Master Printer/Owner, Muskat Studios

The world of independent print studios has changed dramatically over the past several decades. Whether established as a rental, a collaborative studio working as a contract shop or a publishing studio, a workshop with classes environment, or as a combination, running a print studio in today’s economy is not for the faint of heart. This workshop will focus on the small independent print studio outside of the academic world, with a goal of providing an opportunity to network with other small shops, exchange ideas, share experiences, and deal with some of the issues unique to a small business.


About Carolyn Muskat:

Carolyn Muskat owns and operates Muskat Studios, a professional printmaking studio in Somerville, MA where she collaborates with artists to produce original fine art prints. A Tamarind Master Printer, she has been invited to teach at several colleges including the School of the Museum of Fine Arts at Tufts University, Massachusetts College of Art & Design, Hartford Art School, and Lesley University College of Art & Design. Muskat’s work has been shown widely in local, national, and international exhibitions, including solo exhibitions at Smith College, Northampton, MA, and Hanoi, Vietnam, plus numerous group exhibitions in Indonesia, Malaysia, Canada, and Serbia, among others.




Presenter: Brandon Gunn, Education Director, Tamarind Institute

In this workshop session members will discuss methods and practices necessary to maintain a professional practice in printmaking, both as an artist and in a workshop. Topics to be discussed will include proper documentation, print nomenclature and the importance of standardized numbering practices, record keeping, workshop and services pricing structures (for COOP spaces and collaborative printing), determining workshop capacities, and current methods for marketing artwork and services.


About Brandon Gunn:

Brandon Gunn is the Education Director at Tamarind Institute, training students in the techniques of fine art lithography, collaborative printing, and professional workshop practices. He has taught in universities throughout the US and Canada. While at Tamarind Brandon has primarily been teaching and working in lithography, but his work often encompasses intaglio, woodcut, digital and experimental practices.




Presenters: Jason Scuilla, Professor, Area Head Printmaking, Kansas State University and

Dr. Stefan Bossmann, Professor, Head of Organic Chemistry, Kansas State University

University art departments and non-profit organizations continue to face unprecedented reductions in federal, state, and local funding. For the growth and sustainability of print-media, it’s critical for printmakers to pursue external grant funding, collaborative partnerships, and alternative revenue sources to fund our research. Printmaker Jason Scuilla and Chemist Dr. Stefan Bossmann have secured over $150k in seed grants, federal grants, and donor support for interdisciplinary printmaking research at Kansas State University. This workshop seeks to empower printmakers, through an open exchange of creative and practical strategies to secure national grants, build industry partnerships, cultivate donor relationships, and develop interdisciplinary collaborations.


About Jason Scuilla:

Jason Scuilla’s prints have been featured in exhibitions and collections throughout the US and Europe. His work is represented by Stamperia Del Tevere, Rome; Libreria Marini, Rome; Latteria Moderna, Venice; Strecker Nelson West, Manhattan, KS. Scuilla serves as Professor and Head of Printmaking at Kansas State University. His research into technology transfer between fine art etching, organic chemistry, and commercial industry has been named one of the university’s most intriguing research discoveries of the year. Scuilla serves as Principal Investigator of “Transforming Printmaking through Chemical Innovation,” a 2016-2018 National Endowment of the Arts Artworks grant.


About Dr. Stefan Bossman:

Stefan Bossmann has actively performed research in green and environmental chemistry, as well as medical diagnostics, for over three decades. He holds 12 patents and has published more than 160 papers in refereed journals. Educated in Germany, he’s been named Langmuir Fellow by the Environmental Molecular Science Institute, Columbia University, New York. He’s an Invited Member of the NCI-accredited Cancer Center of the University of Kansas, and Honorary Distinguished Professor, Kunming Medical University, China. Bossmann serves as Professor and Head of Organic Chemistry at Kansas State University. He was named one of Kansas State University’s most prolific inventors in 2015.