The Mid America Print Council Journal features articles on the contemporary and historical context of printmaking, works on/of paper, drawing and book arts; essays examining the critical theory related to these media; and reviews of exhibitions and publications.
2022: VOLUME 34 / 35
Repair
How do we hold histories of harm? What are the conditions necessary for repair in these times of unending urgency? In the pages of this edition of the MAPC journal, contributors intervene on space, on narrative, on broken and injurious frameworks. They demonstrate vulnerability and fragility. This is a transformative practice—not just through the catharsis and critical engagement of the maker, but also through the participation of us as reader, as audience, as witness. –Corinne Teed
Images, clockwise from top left: Fidencio Fifield-Perez, R. Yun, Brendan Baylor & Kelly Morse
Table of contents
Pg. 10 : Yangbin Park
Pg. 13 : Becky Blosser
Pg. 14 : Brendan Baylor and Kelly Morse
Pg. 20 : Hannah Bakken
Pg. 22 : R. Yun (Keagy), with essay by Alexandra Nicome
Pg. 28 : Ian Ruppenthal
Pg. 30 : Ruben Castillo
Pg. 32 : Fidencio Fifield-Perez
Pg. 34 : Thuong Hoai Tran
Pg. 38 : Brett Taylor
Pg. 40 : Becci Spruill
Pg. 43 : Dilara Miller
Pg. 44 : Lizzy Choi
Pg. 46 : Stephanie Mercado
Pg. 48 : Nathan Pietrykowski
Pg. 50 : Beauvais Lyons
Pg. 56 : Jager Palad
Pg. 59 : Stephanie Alaniz
Pg. 62 : Terry Schupbach-Gordon
Pg. 64 : Daniel Luedtke
Pg. 66 : Amanda Lilleston
Pg. 68 : Portfolio organized by Rachel Shelton
Pg. 73 : Stacie Kammerling
Pg. 74 : Contributor Biographies
CALL FOR SUBMISSIONS
MAPC JOURNAL 2023
LIMINAL
POSITIONS, POSSIBILITIES, AND PATHWAYS
In the transition from old to new, we find ourselves in the liminal space between choices made and those to come.
Within contemporary printmaking, our foundational processes are continuously evolving. Similarly, our lives fell in flux from recent multiple crises. We exist in the midst of change and find ourselves in the liminal space of moving forward under a prevailing disorientation of uncertain futures. How do we create a more accessible world for future generations of artists? What do we carry while in a constant state of transition?
This volume seeks submissions to address the current questions and possibilities of printmaking under the theme of liminality, in the hopes of crafting pathways toward a new future.
Submissions might look like (but are not limited to)
- Proposals for articles*
- Image submissions with an artist or project statement
- Reviews of exhibitions and publications
- Personal narratives around print
Works in the expanded field of printmaking and its intersections in the arts are encouraged.
*Final draft essays are not necessary for submission. Writers will work with the Journal Managing Co-Editors on establishing further deadlines and edits. Please include an abstract at minimum, with example imagery you would include in your essay.
Submissions are due February 12, 2023.
About the Co-Editors
Alanna Austin is a printmaker and multimedia artist currently located in Tyler, Texas originally from Boulder, Colorado. Her work is contextualized with trauma and abuse while also discussing relationships to home and the land she exists on through storytelling in installation, painting, and mixed medium prints. Austin is the founder of the Western Wilds Collective that acts as a conference for artists to come together on a digital platform once every other year to discuss work and innovative techniques. She has organized and participated in over fifty portfolio exchanges and works to be an advocate for students and creates opportunities for underrepresented artists through curation and organizations. She graduated in 2022 with her MFA at the University of Colorado Boulder in Printmaking. Currently Austin is teaching at the University of Texas in Tyler as a Visiting Assistant Professor in Studio Art and head of printmaking.
Ruben Castillo is a visual artist and educator born in Dallas, TX, and currently working in Kansas City, MO. His work investigates themes of intimacy, queerness, place, and the body using a range of media including print, drawing, sculpture/installation, and video. Castillo’s work has been exhibited both nationally and internationally and is included in numerous public & private collections. He has organized and participated in panels, portfolios, and visiting artist lectures around queerness, archives, and inclusive practices. Ruben received his MFA in Visual Art from the University of Kansas and a BFA in Printmaking from the Kansas City Art Institute. He currently teaches printmaking and drawing at both the Kansas City Art Institute and Johnson County Community College.
QUESTIONS TO MAPCJOURNAL@GMAIL.COM
Previous Issues
2021: VOLUME 32 / 33
Tipping Point
2019 – 2020: VOLUME 30 / 31
New Eyes
