30 Years of LSU Printmaking 2010-1980

ACKNOWLEDGMENTS

This book was sponsored by the Cox Communications Academic Center for Student-Athletes through the LSU College of Art & Design and designed/produced by the LSU School of Art.

Design & Production Project Director: Kitty Pheney Designer/Creative Director: Tory Cunningham, Luisa Restreppo Pérez LSU School of Art: Graphic Design Student Office Cover Design: Tory Cunningham, Sam Varella Faculty Advisors: Lynne Baggett & Rod Parker Printing: IPC Printing, Baton Rouge, LA Images courtesy of: LSU School of Art Photography: Tyronecia Moore

On the cover: Mad Cow Crossing: Stranhare, Scotland, Kimberly Arp, Archival Inkjet Print and Mixed Media, 2011, 30”x 40”

2010-1980

ROD PARKER

It has always been a function of art to provide us with visions that illuminate the past and inspire our futures. Artists show us the world as we’ve not seen it before, making the familiar strange, distinguishing that which was undifferentiated, illuminating the dark, and re-enchanting that which has lost meaning.

Looking through the pages of this book it becomes clear that nothing surpasses the meaningful beauty of crisp metal type pressed onto soft white paper, or the rich ink produced by an artful aquatint or lithograph. Slow knowledge—that which requires critical thinking, problem-solving, persistence, and plain hard work—can be deeper and longer lasting than the swift hit of a single key. Representing 30 years of such exploration in printmaking from faculty and students alike, this book serves as a testament to the LSU School of Art’s printmakers who have always embraced traditional, digital, new, and innovative methods of image making. The work featured in this book represents the continuation of the practice to explore advanced avenues of collaboration and expansive art making while maintaining the integrity of existing traditional methods such as lithography, intaglio, relief, silkscreen, and the art of the book and papermaking—showcasing diversity in imagery and approaches to the print medium. Our faculty have always been committed to fostering intensive exploration and development of each individual’s unique personal vision while striving to offer an inspired integration of new and historically grounded processes.

This book, designed and produced by the School of Art’s Graphic Design Student Office, heralds and documents a laboratory of arts experimentation and innovation, and celebrates the school’s mission to balance the roles of curriculum development and classroom teaching with artistic exploration and creative activity. We look forward to its next iteration in 30 years to continue the recognition of the exemplary talent that routinely emerges from Louisiana’s flagship university.

The efforts to shape this volume have benefitted from many capable minds and hands from both within and outside of the School of Art and would not have been possible without them. I offer my heartfelt appreciation to the dedication of our printmaking faculty represented over these 30 years: James Burke, Kimberly Arp, and Leslie Koptcho. They are the champions of every work presented here.

A very special thanks to Kenneth Miles for his distinct vision, enthusiasm, and support for the production of this book. His generous patronage of this initiative has given life to a permanent record of our past 30 years in printmaking. The school thanks Lynne Baggett, Tory Cunningham, Kitty Pheney, and the Graphic Design

School of Art Director

Student Office for its beautiful design, and Chanta Franklin and Catherine Wells in the School of Art office for their day-to-day support of all that the school does.

Finally, we extend our gratitude to the many donors to the School of Art’s Annual and Gallery Support Funds at the LSU Foundation, with particular appreciation extended to Nadine Carter Russell, Susie Blyskal, Virginia Pearson, Renee Daigle, John and Frances Hu, Harry Sachse for his donation to the Janice R. Sachse School of Art Support fund, and Alfred C. Glassell Jr. for the endowments that bear his name.

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KENNETH MILES

Assistant Vice-Chancellor for Academic Affairs & Executive Director, Cox Communications Academic Center for Student-Athletes

Conceive it! Believe it! Achieve it!

Partnering with the School of Art at Louisiana State University is definitely a vision that I have conceived since my arrival in 2008. Often the notion of art and athleticism are not intertwined. However, the visionary who sees the athleticism within the masterpiece and the art within athletic prowess certainly defies and revolutionizes the notion of “poetry in motion” to “printmaking in motion.” We are certainly proud to present the extended loan exhibit, “30 Years of LSU Printmaking” in the Cox Communications Academic Center for Student-Athletes. It is a compilation of LSU students’ prints from 1980 to 2010. The exhibit is certainly representative of Louisiana’s culture and climate, which adds another narrative to the confines of the Academic Center for Student-Athletes.

I am glad that we will be a part of the LSU School of Art history by housing this wonderful exhibit, which is certainly the first of kind in the country. I must thank Rod Parker and Kimberly Arp for their assistance and support in making my dream a reality. In closing, Kurt Vonnegut reminds us, “To practice any art, no matter how well or badly, is a way to make your soul grow. So do it.”

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JAMES BURKE

Professor of Printmaking, 1964 –95

It was both pleasing and informative to see these prints installed at the Ogden Museum in New Orleans. The interest only built when I saw the work a second time on the walls of the Cox Communications Building on the LSU campus, not far from Foster Hall where most of the work was produced. Having retired in 1995, the prints produced in the earliest of the “30 years” were the ones I could connect with in a direct way. Many gave me a nostalgic pause, which was repeated again as I viewed them the second time.

“Yes, I remember that piece!” I could remember it being made, and better still, I could remember the person who made it. From 30 years ago, marks of ink on a piece of paper called up the personalities that would fill out the stories of the images on the walls in front of me.

I also realized that the prints on display were the tip of the iceberg, only the relative few the curator would choose to fill the space of the exhibit. There are many more student artists who would have been summoned to mind had I seen the marks they had put on their piece of paper. What magic is this medium we take for granted! Bits of BFK with ink on them transported me back to places and people I haven’t seen in decades, but still remember and feel good about.

I’m not an outsider looking at these prints, and my connection to LSU printmaking allows me to know that what makes this printmaking area worthwhile and solid is not just the number of graduates who go on to be teachers or administrators at the best institutions (and we’re proud of our own, to be sure). It is also, in a most fundamental way, the rank and file of the everyday classes. It’s those students who comprise the big bulge of the bell curve and who set the tone and atmosphere for the basement of Foster Hall.

From this good earth, so to speak, we get our best flowers.

But printmakers, like gardens, don’t grow by themselves, and teachers Kimberly Arp and Leslie Koptcho assiduously tend to the day-to-day business of managing the undergraduate classes. I know what it takes.

Finally, there are the many prints that were executed “after my time.” How heartening, but unsurprising, to see that with all the technical innovation of the last 15 years, the emphasis of the work has remained firmly with the personal vision of the artist.

This means that at some future exhibit of, say, 30 years from now, both Kimberly and Leslie will be able to say, “Yes, I remember...”

It is a good feeling.

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JAMES BURKE

Professor of Printmaking, 1964 –1995

N i ghtbird Intaglio, 11”x 12”

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Ince pt i on : S t at e I I F r uit i on Intaglio, 17.5”x 23.5”

KIMBERLY ARP

Professor of Printmaking, 1977– 2015

For the past 10 years, it has been a desire of mine to curate an exhibition of graduate and undergraduate prints from our LSU Print Workshop Student Archives. In late 2011 I was selected as the recipient of the Excellence in Teaching Award by the Southern Graphics Council International Conference held in New Orleans, Louisiana, in March of 2012. Humbled by this honor, and with the firm conviction that excellent teaching presupposes excellent students, I proposed to put together an exhibition of 30 Years of LSU Printmaking as one of the conference’s highlight exhibitions.

Once the proposal was accepted, I worked with Bradley Sumrall, head curator at the Ogden Museum of Art in New Orleans, to organize the exhibition. Bradley curated an exceptional exhibition that exemplifies the diversity of imagery, variety of media, ambition of scale, and commitment to craftsmanship that have been the hallmark of the LSU printmaking program since its inception.

The exhibition features prints created by students who attended LSU from 1980 to 2010. During this time period, our MFA print students came from all over the United States, Canada, Scotland, England, Ireland, and India. Those same LSU MFA printmakers have gone on to teach at colleges all over the U.S., Canada, Scotland, and England and have sent many print student “grandchildren” back to our MFA program. Our BFA printmaking students have gone on to attend very well respected graduate schools, such as Syracuse University, Rhode Island School of Design, University of Texas, and Philadelphia School of the Arts among many others. As I complete my 38th year of teaching printmaking at LSU, it is the quality of work in our print archives and this exhibition, which represents it, that makes me most proud. Since 1977, teaching first with Jim Burke and now with Leslie Koptcho, we have built a very well-respected printmaking program and exceptionally wellequipped facility. Our students have gone on to do themselves and us proud and for that I am deeply grateful to all concerned.

I wish to thank Rod Parker, director of the School of Art, for his support of our print program over the years and particularly for his efforts in funding the framing of this exhibition. I also wish to express my gratitude to Kenneth Miles, director of the Cox Communications Academic Center for Student-Athletes, for entering into a partnership with the LSU Print Workshop to host the exhibition back on our campus and to fund the publication of this catalog.

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KIMBERLY ARP

Professor of Printmaking, 1977– 2015

F i ve C hurch B ird C r ui se Archi val Inkjet and Lithograph, 30”x 22”

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Hur r i ca n e B out S a cr if i ce Lithograph, 44”x 32”

Ve n et i a n C ross in g Archival Ink Jet and Intaglio, 42”x 120”

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LESLIE KOPTCHO

There is no more relevant time than today to examine the position of the artist called to work in printmaking. Within the context and discourse of new technologies and digital innovations, something essential, primary, and inimitable is conveyed by means of a carved wooden block, an etched copper plate, a drawn-upon stone, and letterforms debossed in pristine, hand-formed sheets of paper.

Printmaking carries the vitality of life processes, and it seems to me it is a suitable metaphor for at least part of what it means to be human. Considered as a discipline and as a language, it has ancestry, the ability to grow, to adapt, and to change. Likened to the body, its use of a matrix enables repetition, ordering, and transference. And underlying the revision and reworking that are inherent in its process, one finds critical thinking, problem solving, and learning. The print is truly a unique medium of exchange.

This catalog is a testament and celebration of the creative individuals who have passed through our program and, with intelligence and imagination, expressed their vision through the lens of printmaking. Their images span more than 30 years, representing diversity in personality, concept, and technical approach. Regarding our graduate program, we have guided a steady stream of international students.

Overall, we have seen an increase in the number of women, reflecting the demographic of the field. Of special note are those individuals who have been inspired by the environs of the Gulf South and the distinct sense of place that is Louisiana.

Nearly 20 years ago, with the addition to the curriculum of book arts and then papermaking, students began exploring more sculptural and object-based works, including hybrids that unite language and image in novel ways. Concurrently, other students produced exciting video works or undertook installations or collaborative projects—all through the filter of a printed, or multi-layered, aesthetic. Still others chose large-format equipment to push this print aesthetic to its physical limits. This variety of approach exemplifies the keenly discussed concept of printmaking within the expanded definition ofvisual art today. While not fully represented in these pages, they are frequently part of final exhibitions.

As a faculty member in printmaking whose tenure at LSU spans almost twenty years, I wish to acknowledge my predecessors Caroline Durieux and her daring work bridging art and science; Jim Burke and his dynamic engravings; and of course, Kimberly Arp, my closest colleague and friend, a wise and adept mark-maker and

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Professor of Printmaking, 1995 to Present

accomplished teacher of the most treasured kind. I am proud and honored to be part of this lineage and its tradition of innovative, independent thinking and art making.

The LSU printmaking collection is based on the generosity of students, many now working and teaching around the globe. My hope is that this catalog will inspire students to continue donating impressions to the printmaking area and to keep in touch. It’s a fine lineage and very meaningful collection—both dependent upon more of those good print genes!

C ut T hrou gh - G u st a v 1 Photogravure / Chine Collé, 2009, 41”x 28.75”

C ut T hrou gh - G u st a v 2 Photogravure / Chine Collé, 2009, 41”x 28.75”

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MFA 2010

Hannah Campbell W int e r vill a n Weddin g Lithograph, 2009, 29�x 22�

BFA Tulane University Currently teaching at Southeast Missouri State University, Cape Girardeau, Missouri

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MFA 2011

Jessie Hornbrook T h e Voya ge of Ma r i e

Still Image from The Voyage of Marie HD Video with Animation; Integration of Photography and Print Imagery, 2010 Currently teaching printmaking at University of Central Arkansas, Conway, Arkansas

T h e Voya ge of Ma r i e Still Image from The Voyage of Marie HD Video with Animation; Integration of Photography and Print Imagery, 2010

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Vişņu Steel Plate Intaglio, Photo Lithography on Japanese Paper (State of Plate), 2011, 56”x 36”

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MFA 2010

Katrina Andry Welfa re Q u ee n Digital Media and Color Woodcut Reduction, 2009, 42”x 48”

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G e n et i c Infe r i or it y: D a r w in’s T h eor y of W hit e S upe r i or it y a n d Bl a ck Unint elli ge nce Digital Media and Color Woodcut Reduction, 2009, 58”x 42”

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MFA 2011 Currently teaching at the University of Louisiana, Lafayette, Louisinana

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Rebecca Kriesler Mat t e r of T i m e ( V i e w f ro m B a ck) Installation, 2011

Mat t e r of T i m e ( D et ail of In st all at i on) Installation, 2011

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MFA 2011

May Babcock Unt itl ed Relief Print on Hand-Made Paper, 2010, 8’x 12’

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Unt itl ed Relief Print on Hand-Made Paper, 2010, 8’x 15’

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MFA 2009

Debangana Banerjee Hol din g root s , sprout in g rout es Intaglio, 2009, 18”x 18”

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David West Unt itl ed Lithograph, 2008, 22”x 15” BFA University of Mississippi

MFA 2008 Currently teaching at Belhaven College, Jackson, Mississippi

MFA 2008 Currently teaching at Queens University, Kingston, Ontario, Canada

Alejandro Arauz S elf Por t rait S e r i es Lithograph, 2008, 30”x 22” BFA University of Windsor, Canada

S elf Por t rait S e r i es Lithograph, 2008, 30”x 22”

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MFA 2008

Ryan Lindburgh D ebr i s Lithograph, 2008, 22”x 28” BFA University of Colorado

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Lee Simmons Unt itl ed Intaglio, 2006, 23”x 16” BFA Maryland Art Institute

MFA 2007 Currently teaching at Middle Georgia State College, Macon, Georgia

MFA 2006 Currently teaching printmaking at Texas A & M University, Corpus Christi, Texas

Ryan O’Malley Unt itl ed Intaglio, 2004, 24”x 18” BFA University of South Dakota

Matthew Bourgeois Unt itl ed Relief Print, 2005, 36”x 27” BFA University of Louisiana Lafayette

MFA 2005 Currently chair at Baton Rouge Community College, Art Department, Baton Rouge, Louisiana

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MFA 2005 Currently teaching at Southern University, Baton Rouge, Louisiana

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René Smith Unt itl ed Screen Print, 2005, 14”x 10” BFA Southern University

Matt Bartts Unt itl ed Lithograph, 2003, 10”x 16”

MFA 2004

MFA 2003 Currently owner/operator of a contract papermaking studio in Ontario, Canada

Emily Cook Unt itl ed Paper Pulp Print, 2002, 29”x 18” BFA Ontario College of Art and Design

Katherine Hunter G ra n dmoth e r Relief Print, 2002, 32”x 24” BFA University of Colorado

MFA 2003 Currently owner/operator of Blackbird Letter Press, Baton Rouge, Louisiana

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MFA 2003 Currently gallery director and faculty of Syracuse University, Syracuse, New York

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Andrew Saluti Twel ve Voi ces ( D et ail s inclu d ed) Relief Print, 2003, 44”x 8” BFA Syracuse University

Jennifer Saluti Unt itl ed Waxed Screen Print, 2002, 12”x 9” BFA Syracuse University

MFA 2003 Currently recruitment officer and faculty at Syracuse University, Syracuse, New York

MFA 2001 Currently gallery director at University of Texas, Tyler, Texas

Duane Johnson Unt itl ed Intaglio, 2000, 8”x 12” BFA University of Texas, Tyler, Texas

Sandra Smithson Unt itl ed Intaglio, 1996, 23.5”x 17.5” BFA State University of New York

MFA 1999 Currently art department chair teaching printmaking at Millsaps College, Jackson, Mississippi

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MFA 1998

Lori Penn Unt itl ed Lithograph, 1997, 17”x 10” BFA Georgia State University

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Sean Star Wars Unt itl ed Relief Print, 1997, 11”x 14” BFA University of Virginia

MFA 1998

MFA 1997 Currently teaching printmaking at University of Wisconsin - Parkside, Kenosha, Wisconsin

Lisa Bigalke C e re mony Relief Print, 1996, 23”x 12” BFA University of Wisconsin

Ben Rinehart Fe r t e r Relief Print, 1996, 18”x 18” BFA Herron School of Art

MFA 1997 Currently teaching printmaking at Lawrence University, Appleton, Wisconsin

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MFA 1996 Currently teaching printmaking at Indiana University, Kokomo, Indiana

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Minda Douglass Unt itl ed Intaglio, 1995, 2�x 2� each BFA Herron School of Art

Unt itl ed ( D et ail)

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MFA 1996

Angela Nichols L a u n dr y D ay Screen Print, 1996, 19”x 14” BFA University of Georgia Currently Director of Community Arts Center, Macon, Georgia

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MFA 1996

Johanna Paas R e-l ea se

Intaglio with Direct Drawing and Stitching, 36”x 60” BFA University of Michigan Currently teaching printmaking at Central Michigan University, Mt. Pleasant, Michigan

MFA 1996

Peter Walls Unt itl ed Lithograph, 1996, 17”x 22” BFA State University of New York

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Larry Giacoletti

MFA 1995

C ol or S wat ch

Currently Art Registrar at Whitney Museum of American Art, New York City, New York

MFA 1993

Relief Print, 1994, 7”x 2” each BFA Herron School of Art

Neil Barr S plit C ircul at i on Intaglio, 1992, 7”x 4” each

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MFA 1994

Stan Kaminski Pa ra di se B ayou Lithograph, 1993, 15”x 22” BFA University of West Virginia Currently teaching at Houston Community College, Houston, Texas

K e yst on e Lithograph, 1993, 15”x 21”

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MFA 1993

Julie Bell S ch ee ni e Ma n Relief Print, 1993, 36”x 28” BFA University of Windsor, Canada

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Jim Bryant S t o m a ch Lithograph, 1993, 17”x 21” BFA Herron School of Art

MFA 1993 Currently teaching at Murray State University, Murray, Kentucky

MFA 1993 Currently teaching at University of Texas, Austin, Texas

Neil Daugherty Accu mul at e Lithograph, 1993, 21”x 15” BFA University of West Virginia

V i ol at e Lithograph, 1993, 21”x 15”

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MFA 1993 Currently teaching printmaking and art department chair University of Louisiana, Lafayette, Louisiana

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Brian Kelly T h e F irst Fa mily C o m es t o Tow n Lithograph, 1992, 22�x 32�

BFA Northern Illinois University

Anoth e r D ay at th e Walnut Fa ct or y Lithograph, 1993, 22”x 30”

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MFA 1993

Allison Rohi W hy D o An gel s Tur n T h e ir B a ck s?

Intaglio, 1993, 10”x 7” BFA Summerhill College, Alabama

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Karoline Schleh

MFA 1993

B oat a n d Feath e r

Currently teaching at Loyola University, New Orleans, Louisiana

Intaglio, 1993, 6”x 3” BFA University of New Orleans

MFA 1992

Massimo Bouccuni Unt itl ed Monoprint, 1991, 44”x 30” BFA Syracuse University

Peter Yearworth Me nt al Meet in g Intaglio, 1991, 34”x 25” BA (Hons.) Fine Arts University of Dundee, Scotland

MFA 1992 Currently teaching at Duncan of Jordanstone College of Art and Design, University of Dundee, Dundee, Scotland

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MFA 1991

Jeff Belford S t at e Pa rk Viscosity Intaglio, 1990, 24”x 29” BFA Southern Illinois University

MFA 1991

Lynn Murray Unt itl ed Intaglio, 1990, 18”x 26” BFA University of Tennessee

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MFA 1991 Currently teaching at Ryerson University, Toronto, Canada

Colleen Schindler Inclu din g a S oul Lithograph, 1990, 10”x 8” BFA University of Windsor, Canada

David DuBose T h e L on g R ea ch S e r i es: In th e 12th C e nt ur y I L ose a n Ar m a n d Ext e n d My R ea ch Lithograph, 1989, 23”x 25”

MFA 1990 Currently teaching at University of Louisiana, Lafayette, Louisiana

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MFA 1989 Currently working as a sculptor and set designer for the Louisiana film industry

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Tony Henderson Tr ibut e t o S u mm e r Intaglio/Engraving, 1989, 36”x 24” BFA Indiana University

Jeff Hirst T h ese D i sson a nt S ou n d s Lithograph, 1989, 37”x 28” BFA University of Minnesota

MFA 1989

MFA 1989

Gail Kelly Unt itl ed Lithograph, 1988, 19”x 26” BFA Belfast University

MFA 1989

Tonia Matthews Unt itl ed Intaglio, 1989, 24”x 36” BFA Indiana University Currently teaching printmaking at Towson University, Towson, Maryland

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MFA 1988 Currently owner/operator of a private contract press, Blue Fig Editions, Brentwood, Tennessee

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Mike Martino Unt itl ed Lithograph/Screen Print, 1988, 20”x 20” BFA Tyler University

James Hoff Unt itl ed Intaglio, 1987, 21”x 17” BFA University of Colorado

MFA 1987

MFA 1987 Currently teaching at Davis & Elkins College, Elkins, West Virginia

Kevin Woodcock Mel , I T hin k I S ee th e Te nt Lithograph, 1986, 32”x 22” BFA University of West Virginia

Sujata Gopolan P in k R obe Monoprint, 1985, 18”x 24” BFA Indiana University

MFA 1986 Currently teaching at Herron School of Art, Indianapolis, Indiana

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MFA 1986 Currently teaching at Lamar Dodd School of Art, University of Georgia, Athens, Georgia

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Chris Hocking D i ve r Intaglio, 1985, 24”x 18” BFA Miami University of Ohio

Ellen Moore In R e m e mbra nce of Porch Phot os Intaglio, 1986, 32”x 22” BFA Eastern North Carolina University

MFA 1986

MFA 1986

Laura Willets Q u est i on a n d An s we r Lithograph, 1986, 22”x 15” BFA Southern Illinois University

Jocelyn Barrable

MFA 1985

Unt itl ed Lithograph, 1985, 16”x 20” BFA University of Manitoba, Canada

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MFA 1985

Joyce Leipertz Unt itl ed Lithograph, 1985, 19”x 15” BFA University of Georgia

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Steve Wolfe Un d e r a R ed S u n Intaglio, 1985, 7”x 4” BFA University of Minnesota

MFA 1985

MFA 1984

Mary Pat Opatz If T h ese Wall s C oul d Tal k Lithograph, 1983, 13”x 19” BFA University of Minnesota

Camille Bercier

MFA 1983

Int e r i or/S hin g Intaglio, 1983, 9”x 7” BFA University of Louisiana, Lafayette

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MFA 1983

Susan Berry T h e F l a vor i s Always In s i d e th e Almon d Lithographs, 1983, 8”x 5” each BFA Eastern Michigan University

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MFA 1983

Kelly Walters S elf Por t rait ( E a rly Mor nin g ) Intaglio, 1983, 24�x 20�

BFA Indiana University

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MFA 1983 Currently printmaking faculty and dean of the Sam Fox School of Art and Design, Washington University in St. Louis, Missouri

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Carmon Colangelo L ef t of th e Ivor y Towe r Lithograph, 1982, 18�x 27�

BFA University of Windsor, Canada

Fath e r, S on a n d Holy G host Lithograph,1983, 20”x 28”

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MFA 1982 Currently teaching printmaking at Jordanstone College of Art and Design, University of Dundee in Dundee, Scotland

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Mary Modeen Noct ur n al L a n d scape Lithograph, 1981, 36”x 24” BFA Alma College, Michigan

Ray Heffner P i et a Lithograph, 1980, 10”x 14” BFA West Virginia University

MFA 1981 Currently teaching printmaking and art department chair at Lock Haven University of Pennsylvania, Lock Haven, Pennsylvania

BFA 2011

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Kevin Harrington

Delonna Day

T h e S obe r in g of a Ma n

R al ayn

Screen Print, 2010, 20”x 15”

Screen Print, 2009, 22”x 18”

BFA 2010

BFA 2010 Currently owner of the Little Blue Chair Letterpress, Baton Rouge, Louisiana

Hope Johnson Unt itl ed Intaglio, 2010, 15”x 22”

Chris Pray

BFA 2009

Unt itl ed Intaglio, 2009, 24”x 18”

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BFA 2009

John Romano Unt itl ed Lithograph, 2009, 15”x 21” MFA Rhode Island School of Design

BFA 2008

Christian Anderson Pa rall el Pl a n es of Ex i st e nce Intaglio/Lithograph, 2007, 20”x 25”

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BFA 2008

Merridth Harper W h at ’s Min e i s Yours Monoprint, 2008, 24”x 36”

BFA 2008

Heather McCormick Unt itl ed Intaglio/Screen Print, 2008, 22”x 30”

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BFA 2008

Frank Yunker Tra n sce n d Intaglio, 2007, 18”x 12” MFA University of Arizona

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Unt itl ed Intaglio/Colé, 2007, 18”x 12”

BFA 2007 Currently teaching at The Art Studio Inc., Beaumont, Texas

Elizabeth Fontenot G ol d e n B oy Intaglio, 2007, 18”x 12”

Chase Klein

BFA 2007

Id R e ject i on Lithograph, 2006, 30”x 22”

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BFA 2007

Ivana Kuzmic Unt itl ed Screen Print, 2007, 39”x 25”

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Rachel La Garde Unt itl ed Lithograph, 2007, 30”x 21”

BFA 2007

BFA 2006

Ben Boone Unt itl ed Intaglio, 2006, 18”x 24”

Jonathon Goodwin

BFA 2005

Unt itl ed Lithograph, 2005, 22”x 15” MFA San Francisco Art Institute

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BFA 2005

Rick Doschinger Unt itl ed Lithograph/Screen Print, 2005, 40”x 30”

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Erik Van Buren Unt itl ed Lithograph, 2004, 10”x 15”

BFA 2005 Currently professional book artist and illustrator

BFA 2004

David Wandel Pe r m af rost Lithograph, 2004, 20”x 28”

BFA 2002

Sydney Besse Unt itl ed Lithograph, 2002, 18”x 24”

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BFA 2001 Currently teaching digital art at University of Louisiana, Lafayette, Louisiana

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Jamie Baldridge Unt itl ed Lithograph, 2001, 16”x 12”

Jerrad Emrich Noct ur n al Int e r i or Lithograph, 2001, 12”x 10”

BFA 2001

BFA 2001

James Legier A Fallin g O ut Lithograph, 2001, 22”x 30” MFA Ohio University

Caroline Garcia

BFA 2001

Unt itl ed Relief/Lithograph, 2000, 22”x 15” MFA Philadelphia College of the Arts

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BFA 1995 Currently teaching printmaking at University of Alabama, Birmingham, Alabama

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Derek Cracco Unt itl ed Intaglio, 1995, 30”x 21” MFA Syracuse University

Myers Godwin Murd e red Mull et Lithograph, 1994, 12”x 18”

BFA 1995 Currently technical director at North 4th Arts Center Albuquerque, New Mexico

BFA 1989

Debra Wallace Va cat i on in Mi a mi Lithograph, 1988, 13”x 17”

Brenda Hannagan Unt itl ed Lithograph, 1985, 15”x 18”

BFA 1988 Gallery Director Delgado University, New Orleans, Louisiana

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BFA 1988

Marta Perez Unt itl ed Lithograph, 1987, 18”x 14”

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Trey Yellett Bl a ck i e Lithograph, 1987, 10”x 8”

BFA 1988

BFA 1987

Levin Seawall Unt itl ed Lithograph, 1986, 18”x 12”

Rodney Ewing

BFA 1986

Unt itl ed Lithograph, 1986, 21”x 36”

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BFA 1986

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Paula Mitchell

Kelly Hughes

Unt itl ed

T h e G roce r y S hoppin g

Intaglio, 1985, 18”x 14”

Lithograph, 1983, 16”x 20” MFA University of Texas

BFA 1984

BFA 1984 Currently teaching at Louisiana State University, Baton Rouge, Louisiana

Kelli Scott Tal es of th e D i s joint ed Wo m a n Lithograph, 1984, 16”x 22” MFA University of Massachusetts

Patti Pecoraro

BFA 1980

Unt itl ed Lithograph, 1980, 15”x 10”

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THE PROGRAM The LSU School of Art printmaking program embraces innovative ways of envisioning art and art making. Faculty are dedicated to fostering intensive creative exploration, diverse points of view, and to developing each student’s personal vision.

Students are encouraged to engage in collaboration and hybrid art practices while honing skills in traditional media such as lithography, intaglio, relief, screen printing, papermaking, and the arts of the book. Within the scope of an expanded field of art making, printmaking functions as a dynamic catalyst for transdisciplinary exploration.

The school’s graduate community averages 50 students who frequently dialog with one another during gallery exhibitions, studio walks, and exciting topical seminars.

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FACILITIES & EQUIPMENT The LSU School of Art printmaking program is among the most comprehensive and best-equipped in the United States. Its 11,000-plus-square-foot facility comprises areas for book arts, intaglio, lithography, papermaking, and screen printing, as well as a dedicated digital lab and darkroom.

Of special note are its large-format presses and equipment, which enable large-scale work in all printmaking practices.

Book Arts • Vandercook SP 20 Proof Press • Vandercook I Proof Press • Composing furnishings & equipment, including 200+ cases of foundry type • Magnetic plate bases

• Board shearer • Photopolymer platemaker • Guillotine paper cutter • Job backers • Nipping & standing presses

Intaglio • Five etching presses, including a large- format Takach with a 49”x120” press bed • Two aquatint boxes measuring 112”x 53”x 80” and 4’x 32”x 7’ • Two 3’x 3’ hot plates

• Digital hotplate with oven cover • Plate shearer • Five vertical etching tanks ranging in size from 34”x 33” to 116”x 66”

Lithography • Six lithography presses, including a large- format Takach with a 49”x 120” press bed • Hydraulic lift for moving stones • 120 stones ranging in sizes up to 30”x 40”

• Light table • Six large-diameter rollers ranging in size from 6”x16” to 14”x 24”

Papermaking • 2# Reina Hollander beater • 7# Reina Hollander beater • Reina paper drying machine, 36”x 43” • Lee McDonald paper drying machine, 6’ x 4’ • Lee McDonald 30-ton hydraulic press

• Lee McDonald vacuum table for large sheet formation • Two wooden vats, 48”x 35” • Assortment of moulds and deckles ranging in sizes up to 22”x 30”

Screen Printing & Darkroom • NuArc Metal-Halide UV screen exposure unit, 4’x 40” • NuArc Freestanding screen exposure unit, 97”x 71” • Cincinnati screen printing unit, 126”x 76”

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• Large-format punch registration system • 90 screens and frames ranging in size from 10”x 14” to 53”x 75”

Digital Labs & Fabrication • The printmaking computer lab includes a PC workstation with Adobe’s Creative Suite software, Wasatch Rip software, and a large-format 7900 Epson Stylus Pro printer.

• Students also have access to the CxC Art + Design Studio, where they can check-out photography and lighting equipment to capture images for portfolios and access PC workstations for web design, graphic design, and CAD, as well as a 3D scanner and 3D printer.

• In the Design Shop, a wood-working studio, students have access to state-of-the-art digital fabrication equipment including a 3D printer, a laser cutter, and a CNC mill.

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LSU SCHOOL of ART The School of Art is a distinctly different place to stimulate the creative mind. The high ground above the Mississippi River—in a place the 17th-century French explorers called Red Stick—is an environment where landscape, climate, history, and culture allow for a lifestyle that is uniquely suited to the artistic temperament. Here, students work and create with some of the world’s finest scholars and artists on our faculty and through our Visiting Artists Program.

Seeing a bigger picture

Here, students develop their talents and refine their vision in a semi-tropical setting that provides fertile ground and unlimited material for an active imagination. With an eclectic body of national and international students and faculty, the School of Art provides its students the freedom and flexibility to develop a rigorous theoretical and creative practice that takes full advantage of one of the most vibrant arts programs in the United States.

Be a part of our picture.

For more information about our program, call 225-578-5411. art.lsu.edu