PRINTMAKING AS PROTEST: HARNESSING POWER OF THE MULTIPLE

Chair: Jessica Caponigro

Panel:  Paloma Barhaugh-Bordas, Christina Long, Corinne Teed

 

Often used to address social and political themes, the history of printmaking as a form of dissent is well documented. From protest posters to zines to leaflets, printmaking possesses the unique ability to disseminate information camouflaged as art. Innately more egalitarian and accessible, and therefore less precious and valuable, the production of prints is often a community activity that can also easily enter the public sphere. This panel will discuss how printmaking, which historically has been used to bring attention to inequality, can generate transformative social justice.

 

Panelists will discuss both their personal practices and how print fits into a larger historical framework.

 

ABOUT JESSICA CAPONIGRO

Before receiving her MFA from the School of the Art Institute of Chicago, Jessica Caponigro attended Bryn Mawr College where she earned her BA in the History of Art. In her interdisciplinary practice, Caponigro blends egalitarian concepts with ritual, and explores ideas of restriction through repetition, reproduction, and accessibility. Before its dissolution, she was a member of the non-anonymous W.I.T.C.H. Chicago well as the feminist art collective Tracers, and frequently participates in workshops, most recently at the Museum of Contemporary Art Chicago and NYU Florence. She currently lives and works in Boston, Massachusetts, where she operates Snake Hair Press, an independent publisher of prints, zines, and artist books.

 

ABOUT THE PANEL

Paloma Barhaugh-Bordas is a Visiting Assistant Professor at the University of Rochester. Christina Long is known for #Blkgrlswurld Zine, for heavy girls who love heavy music. Corinne Teed is a Visiting Assistant Professor at Oberlin College.