The Second Annual Oread Project
Michael Krueger, Associate Professor of Art
Preface –
My aim is to eliminate petroleum based chemicals from the printmaking studio courses I teach in the Visual Art Department. This will affect my courses, Relief Printmaking, Intaglio Printmaking & Advanced Printmaking Seminar. I have attached a revised syllabus for one course that I each every semester, Intaglio PRNT 223, 324, 523, 579, 802, 903.
Since the 14th Century, intaglio and relief printmaking have seen many innovations but few in the way of eliminating petro-based chemicals. This is not to say that the art of printmaking is by any means out dated in terms of visual concepts, in fact the media is thriving globally and widely practiced by most contemporary artists. However, it is time that the processes undergo a much-needed revision of materials, and a farewell to a reliance on petroleum-based solvents.
Part of my project will be toconvert the lab at KU to a totally petroleum free studio, in doing so we would be one of only two universities in the U.S. to be free of petro-chemicals. I have spent the past year researching new less toxic and non-toxic techniques that will be implemented in my courses this coming year.
Introducing these new techniques for art making will open up the dialogue about sustainability, the environment and one’s personal safety in handling hazardous materials. My intent will be to teach good environmental stewardship in tandem with teaching students these new greener techniques.
Printmaking-Intaglio
PRNT 223, 324, 523, 579, 802, 903
Faculty: Michael Krueger
Tues. & Thurs. - 2:30 - 5:20
Office hours – Tues. & Thurs. – 12:00 – 1:30
Objectives:
This course is designed to introduce students to basic printmaking techniques and the art of intaglio printing. There will be an exploration of both black and white and color printing. The course goals are to develop an adept understanding of the medium and an ability to create art using printmaking and intaglio processes. An emphasis will be placed on the content of the images created as well as skill in mastering techniques. Students will be encouraged to express their individual ideas and creative practices within the context of the media and techniques.
This course will re-imagine the 14th Century print technique, intaglio, using innovative non-toxic and less toxic techniques. The program will also eliminate all petroleum products from the intaglio studio. An emphasis will be placed on understanding where the materials for artmaking / printmaking come from, how they arrive, how they are made and what effects these materials have on humans and the earth.
Requirements:
Students will be expected to complete all projects within the time frame assigned. Participation in critiques is an essential aspect of this course. Researching recommended artists and other information will also be required. In addition, students will be required to participate in a rotating monitor system to help maintain the studio. Please understand that attendance is required and know that each absence in excess of the given three unexcused absences will reduce the overall grade by one letter.
Students are also required to have a comprehensive understanding of the materials that they use in the classroom. Students will be expected to comply with safety procedures and the safe handling of all studio materials and equipment.
Evaluation:
The criterion for grading is based on the fulfillment of the above requirements. The following will also be equally considered; skill in mastering techniques, effort and discipline, experimentation with the medium and direction regarding the content the images created.
In addition, students will be expected to perform all techniques following safety instructions and practice with an understanding of the material of artmaking / printmaking.
Supplies:
*sentra (2 – 12” x 16” pieces)
*Speedball carving set
*Elmers glue
*small container of acrylic medium gloss
*one can of crystal clear spray (hardware store)
*24” x 36” piece of copper (Common Shop / KU bookstore)
*duct tape, (1 roll)
*assortment of inexpensive brushes ranging from 1/8" to 2"
*chemical resistant gloves, preferably rubber with a cloth lining
*36" steel ruler
*xacto knife and blades
*etching needle, (KU Bookstores and Jayhawk Bookstore)
*5-10 yards of tarlatan, (KU Bookstores and Jayhawk Bookstore)
*3 sided hollow scraper, (KU Bookstores and Jayhawk Bookstore)
*burnisher, (KU Bookstores and Jayhawk Bookstore)
*10-15 sheets of quality printing paper 22"x30"(Rives BFK, Arches Cover, Somerset, etc.)
*Sharpie marker, fine or medium
*photo. loop (magnifier)
*Intaglio Club dues (pay for printing ink and other materials)
*sketchbook / sketchbook materials
*2 palate knives
*small set of watercolors
* other misc. materials as needed for individual projects
Recommended Reading List:
Baudrillard, Jean. Xerox and Infinity, Paris: Touchepas, 1987.
Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction, in Illuminations, New York: Harcourt, Brace and World, 1968.
Born, Richard & D’Alessandro, Stephanie, ed. The German Expressionist Print Portfolio, Phillip Wilson, 1992.
Grabowski, Beth & Fick, Bill, Printmaking: A Complete Guide to Materials & Processes, Pearson, 2009.
Goldman, Judith. American Prints: Process & Proofs, New York: Harper & Row, 1981.
Hughes, Ann d’Arcy & Vernon-Moriss, Hebe, The Printmaking Bible: The Complete Guide to Materials and Techniques, Chronicle Books, 2008.
Hults, Linda. The Print in the Western World, University of Chicago, 1996.
Ivins, William. Prints and Visual Communication, Harvard Press, 1953.
Klinger, Max. Graphic Works of Max Klinger, Dover, 1977.
McQuiston, Liz, Graphic Agitation, Social & Political Graphics Since the Sixties, Phaidon, 1993.
Melot, Michel, History of An Art – Prints, New York: Rizzoli, 1981.
Myer, Ralph, Artist’s Handbook of Materials and Techniques, Viking, 1991.
Rose, Arron & Strike, Christian, ed. Beautiful Losers, Contemporary Art & Street Culture, New York, DAP, 2004.
Strachan, James. Pictures from a Mediaeval Bible, Beacon Press, 1959.
Wye, Deborah. Thinking Print, Books to Billboards, 1980-95, MOMA, 1995.
Suggested artists:
Albrecht Durer
Francisco Goya
Rembrant
Mary Cassatt
Max Klinger
Otto Dix
Georg Grosz
Oskar Kokoschka
Erich Heckel
George Rouault
Pablo Piccaso
Max Beckmann
Max Ernst
Andy Warhol
Helen Frankenhaler
Robert Raushenberg
Jasper Johns
Jim Nutt
Warrington Colescott
David Driesbach
Mauricio Lasansky
Nancy Spero
H.C. Westerman
Jenny Holtzer
Barbra Kruger
Sue Coe
Terry Winters
David Salle
William S. Burroughs
Lucian Freud
Anselm Kiefer
Willie Cole
Robbie Conal
Robert Crumb
Daniel Clowes
Comic Book Art
Political Poster Art
Enrique Chagoya
Jo Jackson
01weekJan. 21 - T – Course Intro. Syllabi & Materials
23 – Th - Workshop / Collagraph
02week28 - T –Workshop / Collagraph
30 - Th –Workshop / First Proof Due / In-progress Critique
03weekFeb.04 - T – Workshop / Collagraph
06 - Th – Workshop / Collagraph Project Due
04week11 - T –Workshop / Etching
13 - Th – Workshop / Etching
05week18 - T – Workshop / Etching
20 - Th – Workshop / Etching
06weekFeb. 25 - T – Workshop / Etching
27 - Th – Workshop / Etching
07weekMar.04 - T –Workshop / Etching
06 - Th – Workshop / Etching
08week11 - T – Workshop / Etching
13 - Th – Workshop / Etching
09week18 - T – Spring Break
20 - Th – Spring Break
10week29 - T – Workshop / SGCI
31 - Th – Workshop / SGCI
11weekApril 01 - T – Workshop / Visiting Artist
03 - Th – Workshop / Visiting Artist
12week08 - T – Workshop / Final Project
10 - Th – Workshop / Final Project
13week15 - T – Workshop / Final Project
17 - Th – Workshop / Final Project
14week22 - T – Workshop / Final Project
24 - Th –Workshop / Final Project
15week29 - T – Workshop / Final Project
May01 - Th – Workshop / Final Project
16week06 - T – Workshop / Final Project
08 - Th –Last Day of Classes / Portfolio Due
The staff of Services for Students with Disabilities (SSD), 135 Strong, 785-864-2620, coordinates accommodations and services for KU courses. If you have a disability for which you may request accommodation in KU classes and have not contacted them, please do as soon as possible. Please also see me privately in regard to this course.