university of north florida academic technology grant ... sheila.pdf · academic technology grant |...

Academic Technology Grant | Printmaking Digital Research Lab

Printmaking Digital Research Lab | Sheila Goloborotko, Assistant Professor | COAS | Art & Design [email protected] | (904) 620-3826 | Building 45 Room 1609

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UNIVERSITY OF NORTH FLORIDA ACADEMIC TECHNOLOGY GRANT APPLICATION

Section 1. Cover Page PROPOSAL TITLE: Printmaking Digital Research Lab APPLICANT’S NAME: Sheila Goloborotko APPLICANT’S RANK: Assistant Professor, Printmaking COLLEGE/DEPARTMENT: Art & Design COLLABORATING FACULTY / RANK / AFFILIATION: John Hutcheson, Instructor, Printmaking, Art & Design Have any of the applicants received an Academic Technology Grant before? __Yes X No If “Yes” then you must submit a summary of project as Appendix A PROJECT SUMMARY (200 words max.):

This grant will fund a Printmaking Digital Research Lab at the Fine Arts Building, room

45/1608. As Printmaking techniques have digitally evolved in the last decade it is imperative that

our studio gets outfitted with computers, scanners, laser and wide-format printers to attend the

demands of the medium, students’ needs and faculty research.

Our studio is equipped to teach traditional printmaking techniques but we lack digital equipment

to provide learning opportunities to our students with the 21st century technology and processes.

Our printmaking faculty is devoted to a creative research that supports discovery and exploration

in new works that push the boundaries of art-making. Our mandate is to promote research of

innovative and diverse processes as an important way to ensure that our program stays current

and contributes to the development and relevance of our field. It is our mission to prepare

students to enter graduate schools or workforce skilled with current tools, technologies and

methodologies pertinent to contemporary art. “Printmaking is an art form that has emerged from

the independent phenomena of technological advance and the opportunistic seizing of materials

and processes that artists, as natural interdisciplinarians, have always done in pursuit of image-

making.” (Castanese, 10)



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Section 2: Proposal Narrative

"Printmaking"—as 'old-school' a term as that may sound to some—is the perfect platform, the

ideal process, with which to prepare our next generation of 21st-century artists. It is utterly

democratic and yet individually rigorous; it requires strong work habits and valuable problem-

solving skills; what's more, it is as multidisciplinary a medium as you can get. Around the press,

students, no matter their skill sets or background, learn how to express themselves and function

within a community. They learn how to think, communicate with images, and create a balanced

and edgeless world.

The hybrid and collaborative nature of printmaking requires proficiency with multiple processes,

ranges of approaches, and engagement with a variety of contemporary critical issues. Our

printmaking studio is equipped to teach a wide range of traditional printmaking techniques. Each

semester we alternate intro and upper level courses in lithography (on aluminum and polyester

plates, and photolithography), etching (on zinc plates), relief (on wood and linoleum blocks),

screen printing (autographic and photographic methods on screen), and special topics of various

advanced and hybrid printmaking processes.

Even though all of our classes are based in the traditions of printmaking and students work with

time-honored hand processes built upon the rich traditions of our artistic forebears, printmaking

has greatly changed since the 19th century and continued to evolve with the digital age. With the

development of halftone in the late 19th century the reproduction of images changed dramatically

within the commercial industry and reshaped fine art printmaking. Photographic methods have

always been interconnected with the development of modern printmaking and in the mid 20th

century the expansion of computing contributed to a technological revolution of the printing



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industry. In the late 20th century digital printing technologies mediated the work of printmakers

from image creation to print production. The advent of ink jet and laser printers coined the era of

digital printmaking. In modern and contemporary art, artists have continued to use traditional

printmaking techniques and have also developed new ways of making prints, beyond traditional

methods, introducing photographic and photomechanical elements into the original print process.

Photomechanical techniques in printmaking usually involve transferring an image from a

transparent surface to a plate or screen prepared with photo emulsion using a UV light source.

Photographic images may be used or images that are hand-drawn (autographic) on a transparent

material such as Mylar or acetate can be transferred to a prepared plate or screen, which is

processed by exposing it to light for a set amount of time. In some processes the digital image

can be printed directly to lithographic polyester plates or other transfer materials. Photographic

or autographic images can also be scanned and manipulated digitally in a computer before a

transparency is printed. Digital images can be printed as a one-color stencil (spot color) or as a 4-

color separation process (CMYK).

Today, digital labs are an essential part of any professional and educational printshop and bring

immense procedural freedoms to explore newer methodologies and technologies of image

making, image reproduction, and digital output. The lack of digital equipment in our studio

forces students to leave the studio during class hours in search of a computer and/or scanner to

develop their image making process. Unfortunately, in such situations students don’t have the

opportunity to receive instant feedback from faculty. Occasionally, students are driven to search

for commercial printing facilities outside campus to create large-scale transparencies for their

projects. In these circumstances students are compelled to spend resources way beyond their



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studio’s fees. This Lab will eventually become a second classroom and the printmaking area will

ultimately be able to offer more than one class at the same time.

Digital innovations remain entangled with contemporary printmaking and this grant added to

additional funds from a private donor will support our efforts to create a Printmaking Digital

Research Lab purchasing key pieces of equipment such as two iMac, a wide-format printer, a

laser printer and large format scanner. Initial cartridges will also be purchased but starting next

semester cost of cartridges, transparencies and paper will be covered by student’s lab fee.

The equipment outlined in this proposal will enable the Printmaking on its initial steps in

developing a state-of-the-art Printmaking Digital Research Lab where students and faculty will

be able to incorporate traditional techniques to cutting-edge technology in the creation of

contemporary prints. Our studio needs an emergent update in order to closely align with our

department of Art & Design website mandate, “The comprehensive and multifaceted curriculum

is designed to produce an artistically sophisticated graduate with realistic expectations to

compete in the job market or pursue graduate study.”

Dynamic and democratic, the world of printmaking continues to evolve as a more visible,

accessible, and multidisciplinary program than ever before. Experimentation and invention are

an intrinsic part of printmaking and other institutions are preparing students and studios to the

post-digital printmaking era with laser cutters, CNC routers, 3D printers and scanners. “Post-

digital printmaking navigates a crossover zone where computer technology affects the material

realm and where digitally mediated and traditional processes collaborate.” (Castanese, 19)



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Section 3: Budget and timeline - Printmaking Digital Research Lab

September, 2015 – Use and change of code of room 45/1608, Fine Arts Building. Meeting with

Department Chair Dr. Debra Murphy and Associate Dean Dr. David Fenner.

October, 2015 – Approval of code change.

November, 2015 – Purchase of equipment

December, 2015 – Installation of equipment

January, 2016 – Classes begin and Lab is open

Printmaking Digital Research Lab Costs

- (2) 21.5-inch iMac desktop $1,299 $2,598.00

- (1) HP Designjet T120 24" Color Inkjet ePrinter $899.99 $899.99

- (1) Epson Perfection V800 Photo Color Scanner $599.00 $599.00

- (1) HP LaserJet Pro Printer (M401n) $149.99 $149.99

- (2) HP 711 Black Ink Cartridge $46.49 $92.98

- (2 each color) HP 711 CMY Ink Cartridge $25.99 $155.94

TOTAL $4,496.89

Income:

Private Donor Irene Lazzara Fund $2,500.00

Academic Technology Grant $1,800.00

Art Department (10% AT Grant) $200.00

TOTAL: $4,500.00



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Section 4: Letter from Department Chair Dr. Debra Murphy



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Section 5: Curriculum Vita

SHEILA GOLOBOROTKO

My creative research focuses on printmedia as the graphic science of democracy—a tool that

fosters community building and information sharing to create new socio-political ecologies. I

investigate ways that feasibility, sustainability, and venture creation are the natural outgrowths of

an ethical printmaking, grassroots-run, people-powered society. Collaborations and creative

research dictate the path of my artistic work; education is my mandate.

EDUCATION

1984 - 1986 M.F.A, Brooklyn College, Brooklyn, New York

1975 - 1981 B.Arch., Architecture and Urban Planning, FAUS Santos, Brazil

PROFESSIONAL EXPERIENCE

2015-Present UNF, Assistant Professor, Printmaking, Art & Design, COAS

2013-2015 SUNY New Paltz, Visiting Assistant Professor, Printmaking

2004 - 2013 Visiting Professor, Associate Degree Program, Pratt Institute, New York

1990-1998 Adjunct Professor, Art Department, Brooklyn College, New York

2010-2014 Printmaking Center of New Jersey, Artistic Director and Master Printer.

RESEARCH FUNDING AND GRANTS

2014: Research and Creative Project Awards, SUNY New Paltz; Professional Development

Award, SUNY New Paltz; 2013: Special Events Funding, SUNY New Paltz; Research and

Creative Project Awards, SUNY New Paltz; Cultural Haunting and the Shared Unconscious: An

experiment with Dreams and Art in Cosmopolitan Space, Open University, UK.; Special Events

Funding, SUNY New Paltz; 2012: Framing the City, CRESC, Manchester, UK; BAC

Community Arts Grants (2001-2012); 2011: Pratt Faculty Development Grant, Pratt Institute;

2009: Pratt Faculty Development Grant, Pratt Institute.



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EXHIBITIONS

My work on paper, sculpture, videos, and interactive projects has been exhibited in more than

140 exhibitions in museums and galleries on four out of seven continents.

Selected Solo exhibitions include: 2012: Sheila Goloborotko: Retroprospectiva, Jardín de las

Esculturas, Xalapa, Mexico; 2010: Joias Raras, Graphias Casa da Gravura, São Paulo; 2008: Um

Daqueles Lugares Sublimes, Galeria Gravura Brasileira, São Paulo; 2006: O Olhar Espelho,

Museus Castro Maia, Chácara do Céu, Rio de Janeiro; 2004: Sheila Goloborotko, Dez Series de

Gravuras, Pinacoteca do Estado de São Paulo; 2000: Matrices y Grabados, Museo Nacional del

Grabado, Buenos Aires, and Picture of the Month. Selected group exhibitions include: 2015:

Global Print, Alijo, Portugal; 2014: Contemporary Brazilian Printmakers at IPCNY; 2013:

Global Print, Museu do Lamego, Portugal; 8 Grabadores Brasileños Contemporáneos, Centro

Cultural Brasil-Mexico, Mexico, Veracruz; 2012: 6th International Printmaking Biennial,

Portugal; Gravura Brasileira no Acervo da Pinacoteca de São Paulo and Gravura em Campo

Expandido, Pinacoteca do Estado de São Paulo; Formed Perceptions, Corridor Gallery, NY.

SELECTED PUBLIC COLLECTIONS

The New York Public Library; San Francisco Modern Art Museum; The Brooklyn Museum;

Munson Williams Proctor Institute; Mashida Museum, Tokyo; Museo del Grabado, Buenos

Aires; Florean Museum, Romania; Museu de Arte Contemporanea; Museu de Arte Moderna;

Pinacoteca do Estado de São Paulo; Museu de Arte Moderna; Museu Nacional de Belas Artes.

RESIDENCIES

2015: Summer Residency, Tamarind Institute, New Mexico; 2000: El Habito y Teatro La

Capilla, Guest Artist, Mexico City; 1997: Rockefeller Foundation Grant for the Humanities,

Compania de Comedia Mexicana, Guest Artist, Mexico City.



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Section 5: Curriculum Vita

JOHN HUTCHESON Tamarind Master Printer

Tamarind Institute of Lithography, University of New Mexico

UNF Printmaking Instructor since 2008(a non-tenure track position)

Teaching courses in Intro to Print, Lithography, Relief, Screenprint, Intaglio,

Papermaking

Email: [email protected]

Phone: (904) 620-3986

Office: 45/1608

John Hutcheson has taught printmaking at UNF since 2008. He earned a coveted Master Printer

Certificate in 1974 from the Tamarind Institute of Lithography while on a two-year Ford

Foundation grant at the University of New Mexico. His long printing career began in Boston in

1965. Since then he has taught and trained printmakers at institutions worldwide including; the

Nova Scotia College of Art & Design in Canada, Rutgers University in New Jersey in the United

States, the Singapore Tyler Print Institute in southeast Asia, and now at the University of North

Florida. Hutcheson has been a guest printmaker at several independent colleges and art schools

including; Mt. Holyoke College, Smith College, the University of Hartford, and University of

Massachusetts. Over the years, Hutcheson has collaborated with hundreds of professional artists

to make their limited edition prints while working at world-famous printshops like Tyler

Graphics and Petersburg Press in New York. The original prints that Hutcheson has made with

famous artists like Lichtenstein, Rosenquist, Motherwell, Frankenthaler, Stella, Oldenburg,



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Hockney etc. can be found in museum and private collections around the world. UNF's own

Museum of Contemporary Art has several examples of Hutcheson's craft. And his work as a

collaborative printer also appears in the Whitney, MOMA, the Metropolitan Museum of Art, as

well as in Tyler Archive collections in Japan, Australia, Singapore, and Minneapolis. He brings

this world-class professional printing experience to share with students in the Print Studios at

UNF.

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