Texchange: Printmaking Exhibits at UD’s Haggerty Art Village

2019 Southern Graphics Council International Conference Comes to UD 
The University of Dallas is pleased to welcome Texchange an arts conference engaging the capacity of printmaking to act as an agent of transformation in its practices within the field, contributions to other art media and broader cultural roles. Over 90 printmaking artists will exhibit their work across six exhibitions in the Haggerty Art Village as part of the international printmaking conference held by the Southern Graphics Council International (SGCI) in North Texas. 

The annual conference is themed “Texchange: Building Change Through Printmaking,” and will be held at the Fairmont Hotel in the Dallas Arts District and across five other sites in Dallas/Fort Worth, including Brookhaven College, Texas Christian University, the University of Dallas, the University of North Texas, and the University of Texas Arlington. 

Programming at the University of Dallas will feature the solo exhibition juergen strunck prints: no secrets, a site-specific graphic installation called Interstitial by collaborating artists Nicholas Ruth and Erik Waterkotte in the Loggia Gallery and four themed portfolio exhibitions comprising a large number of artists responding to a chosen theme in the Upper Gallery.

The Haggerty Art Village will hold an opening reception on Wednesday, March 6, from 7 to 11 p.m., with remarks given by Peter Briggs, director of the Artist Printmaker Research Collection (AP/RC) at 8 p.m. 

Please join us to celebrate! All events are free and open to the public. 
Please see below for details about the SGCI exhibitions.
Interstitial
Nicholas Ruth and Erik Waterkotte
Opening Wed, Mar 6. 7:00 – 11:00 p.m.
On view: March 3 – 10, 2019
Collaborating artists Nicholas Ruth and Erik Waterkotte present Interstitial a site-specific graphic installation in the Loggia Gallery. The artists complicate the viewer’s perceptions of interior and exterior space through a process of masking and veiling existing architecture with custom cut vinyl and prints applied directly to the glass windows of the gallery

The exhibition creates a unique visual experience by reframing the view of the wooded landscape outside and transforming the existing indoor space into a fabricated roadside landscape. Overgrown scrub surrounds billboards with cutaway centers. Inspired by phenomenological inquiry, Ruth and Waterkotte render visible the potential commodification of everything in sight. 

Venue: Loggia Gallery, University of Dallas
HABITUS: CONTEMPLATIVE MANIFESTO
Portfolio Exhibition
Opening Wed, Mar 6. 7:00 – 11:00 p.m.
On view: March 3 – 10, 2019
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.

Exhibition Dates: March 3–10, 2019
Location: Upper Gallery, Painting/Printmaking Building, University of Dallas
THE LASER PRINTMAKER: MAPPING OVERLAPS BETWEEN PRINTMAKING AND LASER SYSTEMS
Portfolio Exhibition
Opening Wed, Mar 6. 7:00 – 11:00 p.m.
On view: March 3 – 10, 2019
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, and other non-traditional techniques. 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.

Exhibition Dates: March 3–10, 2019
Location: Upper Gallery, Painting/Printmaking Building, University of Dallas
SAINTS, SUPERHEROES, AND THE DEMONIZED
Portfolio Exhibition
Opening Wed, Mar 6. 7:00 – 11:00 p.m.
On view: March 3 – 10, 2019
Organizer: Marco Sanchez, MFA candidate, Edinboro University in 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 exhibited 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 on which they belong.

Exhibition Dates: March 3–10, 2019
Location: Upper Gallery, Painting/Printmaking Building, University of Dallas
A SHRINKING WORLD
Portfolio Exhibition
Opening Wed, Mar 6. 7:00 – 11:00 p.m.
On view: March 3 – 10, 2019
Organizers: Andrew Mullally, Assistant Printmaking Facility Technician, Columbia College Chicago and Jessica Robles, Lecturer of Printmaking, California State University, Fresno

Contemplating the triage of human affairs, it is difficult to with paper-making list where addressing climate change does not rank among the on similar imperatives — ecological disaster, mass extinction, and of technique; all household phrases. Notions of “nature” easily of the in nostalgia and romanticism. 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, but as something political and urgent. The anthropocene is not a distant idea that prevents individuals agency. Nature, and its potential collapse is at your doorstep.

Exhibition Dates: March 3–10, 2019
Location: Upper Gallery, Painting/Printmaking Building, University of Dallas

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