Workshop on identification of modern and contemporary prints

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

Modern/Contemporary Print Identification
National Gallery of Art
Washington, DC
October 16-19, 2013 (October 19, 2013 is a 1/2 day)

Register online

    <URL:http://www.conservation-us.org/courses>

Registration fee: $450 AIC Members; $700 non-members.
Enrollment limit: 12

Registration: Participants will be selected from the pool of
applications received by May 15, 2013.  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<-at->conservation-us<.>org

Scholarships are available.  Use the "FAIC/NEH Individual
Professional Development Scholarship" guidelines and form available
at

    <URL:http://www.conservation-us.org/grants>

Scholarship application deadlines are May 15, 2013 and September 15,
2013.

Overview: 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 3 1/2 day 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 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 and hands-on
identification sessions using collections materials.
Presentations/demonstrations by printers to be announced.  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

    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

Travel and Housing: Information about recommended hotels and driving
directions will be provided to registrants prior to the workshop.

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 and Artistic Works

Questions? For more information, contact:

    Abigail Choudhury, Development and Education Coordinator
    Foundation of the American Institute for Conservation of
        Historic and Artistic Works
    1156 15th Street, NW, Suite 320
    Washington, DC20005
    202-661-8070
    Fax: 202-452-9328
    courses<-at->conservation-us<.>org


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                  Conservation DistList Instance 26:44
                   Distributed: Sunday, April 7, 2013
                       Message Id: cdl-26-44-019
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