The Foundation of the American Institute for Conservation of Historic and Artistic Works presents

Modern/Contemporary Print Identification

 
December 5-7, 2012
Fine Arts Museums of San Francisco, Legion of Honor
San Francisco, California

Registration fee: $400 AIC Members; $700 non-members.
Enrollment limit: 12

Registration
Participants will be selected from the pool of applications received by May 15, 2012.  Later applications will be considered if space is available. No payment required to apply; registration fee is payable after admission to the workshop. 
To apply:  send resume, statement of interest, and complete contact information to:  courses@conservation-us.org

Scholarships are available.  Use the “FAIC/NEH Individual Professional Development Scholarship” guidelines and form available at www.conservation-us.org/grants.  Scholarship application deadlines are February 15, May 15, and September 15, 2012.

Introduction: Conservators are routinely called upon to identify print media and processes to inform treatment practice, contribute to collections knowledge, or make recommendations about storage, handling, and display. While artist/printmakers have been viewed as experimental in their approaches since the art form’s earliest developments, the incorporation of photography and photo-sensitive materials greatly expanded the creative possibilities of the medium. Further, the use of power tools, hydraulic presses, synthetic polymers and computer technology, as well as recent developments in “non-toxic” printmaking, have resulted in the creation of technically-complex prints with [at times] deceptively familiar features, but which would have been impossible in the past. Moreover, the often layered processes found in modern and contemporary prints offer unique challenges for identification. The ability to recognize and distinguish visual characteristics of various print techniques and processes, and to better understand prints in a material way, is an essential component of the continued care, use, and long-term preservation of our shared cultural collections. This workshop will explore traditional and experimental approaches to printmaking alongside technological developments and the incorporation of new materials in printmaking during the 20th and 21st centuries.

Description: This three-day course is designed to bring together the collective resources and expertise of conservators, curators, and printers to improve skills in identifying 20th and 21st century fine arts prints. The course will include lectures, hands-on identification sessions using collections materials (including the Crown Point Press Archive and other selections from the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco [FAMSF]), and tours of two professional printmaking studios in the Bay Area. Processes covered in the course will include lithography, relief printing and screenprinting, with an emphasis on intaglio printing. Activities and topics covered will include:

•    Chronological histories of printmaking techniques with an emphasis on technical innovations, and the impact of new materials on the creation of prints
•    The emergence of major print studios, and the relationship between printer and artist in the creative process
•    The print studio/printer as a resource for information on print materials and manufacture
•    Tour of Crown Point Press and another printmaking studio (TBD)
•    Interactive print examination sessions with guided discussions

Workshop Objectives: The workshop aims to provide participants with a greater understanding of the materials and manufacture of artists’ prints and expanded proficiency in their identification. Participants will leave with:

•    A greater understanding of methods of image formation/generation on the printing matrix and how this translates into visible features on prints
•    An improved vocabulary for describing these processes and features

A print sample reference set will be available to participants for an additional fee.

Instructors: Primary instructors are Stephanie Lussier, Conservator of Works on Paper, Philadelphia, PA and Scott Homolka, Associate Conservator of Works of Art on Paper, Philadelphia Museum of Art. Additional speakers will include Karin Breuer, Curator in Charge, FAMSF Achenbach Foundation for Graphic Arts, Rachel Mustalish, Associate Conservator of Works on Paper, Metropolitan Museum of Art, and a master printer from Crown Point Press.

Travel and Housing
Information about recommended hotels and driving directions will be provided to registrants prior to the workshop.  For information about San Francisco, including airport shuttles and public transportation, please go to http://www.sanfrancisco.travel/.  Information about the Fine Arts Museums of San Francisco can be found at http://www.famsf.org/.
 

This program is funded by a grant from the National Endowment for the Humanities.

Additional funding comes from the FAIC Endowment for Professional Development,
which is supported by The Andrew W. Mellon Foundation
and by contributions from members and friends of the
American Institute for Conservation of Historic & Artistic Works

Without this support, the registration fee would be $1,250

Special thanks to Debra Evans


Questions?
For more information, contact:
Abigail Choudhury, Development and Education Associate
Foundation of the American Institute for Conservation of Historic & Artistic Works
1156 15th Street, NW, Suite 320
Washington, DC20005
202-661-8070
Fax: 202-452-9328
courses@conservation-us.org