Registration for fall 2013 at UNM is starting! I encourage you to sign up for printmaking classes as early as possible. These fill quickly.

Chicago Manual of Style Online: http://www.chicagomanualofstyle.org/16/ch06/ch06_sec018.html

Purdue OWL Mechanics (such as active and passive voice): https://owl.english.purdue.edu/owl/section/1/4/

The section on parallel structure is particularly useful: https://owl.english.purdue.edu/owl/resource/623/01/

Grammar Girl (comma usage and other tips): http://grammar.quickanddirtytips.com/where-do-i-use-commas.aspx

Printmaking openings around UNM this weekend:

Good In The Kitchen: Tamarind Lithographs

Public Reception, March 8, 5 - 7 pm (via Tamarind Institute: Lithography Workshop and Gallery)

and

For those of you who are around over break and want access to the print studio there are open hours for a large portion of break. Note that the digital lab and paper closet will not be open over break.

              Saturday      3/9              3pm – 6pm

              Sunday        3/10              12pm – 9pm

              Monday       3/11          CLOSED

              Tuesday      3/12          CLOSED

              Wednesday 3/13          CLOSED

              Thursday     3/14          12pm – 5pm

              Friday           3/15              11am – 4pm

              Saturday      3/16              12pm – 6pm

              Sunday        3/17              12pm – 9pm

art21:

“There is the potential for much more spontaneity with prints than there is with the sculpture, which tends to be very slow, accretive kind of process—labor intensive.”
—Martin Puryear

In a new video from the Exclusive series, current 100 Artists featured artist, Martin Puryear, discusses his interest in printmaking, shown working at the Paulson Bott Press in Berkeley, California, in 2002.

WATCH: Martin Puryear: Printmaking

(via printmakersopenforum)

artistandstudio:

Robert Rauschenberg at his Lafayette Street, NYC studio, 1968.   Photo: Henri Cartier-Bresson

I thought my screen print class would appreciate Rauschenberg’s technique of printing on the floor and holding the screen down with his knees. This does work. It is how I used to print in my home studio.

…And for my 187 photo class, look who took this picture!

(via printmakersopenforum)

After our conversation about appropriation, copyright and creative commons I wanted to post some links for further reading.

A couple useful things to note from the article:

“artworks created in the U.S. since 1978 and fixed in tangible form are currently protected in the U.S. even without a copyright symbol or formal registration with the Copyright Office. “

and in terms of fair use:

“In determining whether an appropriation artist’s derivation qualifies as fair use, judges consider not only economic factors, but also whether the use made of the original transforms the material into a distinctively new purpose or message apart from the purposes of the original (as in parody, for example)…The threshold for “transformation,” however, will always be a judgment call.”

—Appropriation, guidelines on CAA

So to answer the question raised in class about how much transformation is enough is that it depends. Within this class I would like to address issues of appropriation in terms of creativity and ethics rather than law.

Some questions to consider: Why might parody and satire need to be protected (think of an instance where you need to appropriate in order to critique something)? How might you use the process of transforming appropriated images (your 3rd project) to generate new ideas? If you were the artist whose work was being appropriated what would you consider to be adequate transformation? How might this attitude depend on culture?

This is a wonderful new website by my friend Annie Katsura Rollins on Chinese traditional shadow puppetry, which I wanted to share with the print community.

“From thousands of troupes at the end of the 1800s to hundreds after the opening of China in the late 1970s to just a few dozen troupes in 21st century China, the decline of performances has been swift and significant.  Of the troupes still performing, only a rare few are able to make their living entirely by traditional performances. ” — Annie Rollins

(via Chinese Shadow Puppetry | Making)

endiposkovic:

After posting images from a visit to Chen Qi’s studio in Beijing last Wednesday, I am including several detailed images of his great woodcuts. Chen Qi’s woodcut prints are cut in pear plywood blocks and then hand-transfered onto traditional Chinese xuan paper applying water-soluble pigments. While the prints reflect the long tradition of woodblock printing in China, in Chen’s choice of materials and working methods, the prints challenge, in both the detail and size of their description, any misconceptions of the woodcut as a small scale, archaic and totally limited medium.

printmakersopenforum:

Natural System of Colours, engraver and entomologist Moses Harris, 1766

(via Brooklyn Museum: Elizabeth A. Sackler Center for Feminist Art: Feminist Art Base: Joyce Kozloff)

Another examples of maps in contemporary art.

(via Magnificent Maps: Power, Propaganda and Art - Stephen Walter’s The Island)

Here are a couple more maps.

(via Sandal Birk and Elyse Pignolet lithographs)

The serigraphy class is making maps for their first reduction print. These are some recent maps produced at Tamarind press that use the form as a way to explore political attitudes (the liberal and the conservative map of the world).

Last week, a library in Manchester announced an incredible find: the institution holds hundreds of engravings by poet and artist William Blake that it didn’t know it had. (via Library Discovers Hundreds of Hidden William Blake Engravings in Its Collection)

UNM has a printmaking Facebook page. You can find show opening, shop tips etc….