Tamarind Press Call for Proposals
Tamarind Institute invites applications from artists working in all media to propose a project with its skilled student printers. During the spring semester, four artists will be selected to participate in two-week residencies in the workshop, each working with a team of two student printers under the close supervision of a Tamarind Master Printer. The invited artists will explore the lithographic medium and collaborative printmaking, with daily proofing and consultation with a team of printers. Each artist is invited to make two editions using standard lithographic drawing materials and processes.
At the completion of the two-week residency the artist will sign off on a trial proof, and the printing of the edition will take place after the artist leaves. The editions will be completed by the end of May 2020, at which time the artist will receive all of the prints and proofs for signing. With the exception of one record impression for the Tamarind archive and one printer’s proof retained by the printer, all of the prints will be the property of the artist. Editions will be packed by Tamarind and shipped at the artist’s expense (utilizing the University FedEx rate).
The workshop fee is a flat $1500. Half is due one month before the residency begins, and the remainder to be paid to Tamarind Institute when the prints are completed. The prints will be inspected by the Tamarind Curator for printing quality and consistency, and a documentation sheet will be prepared for the artist and printer to sign. The prints will be chopped with the printer’s chop and a new Tamarind chop, designating this as a contract project.
The $1500 workshop fee includes the following:
Two editions, each in an edition of 10-15 prints
Each edition includes one artist proof, one printer’s proof, and one record impression for the Tamarind archive.
30 x 22 inch maximum paper size from available paper stock
5 press runs maximum
5 trial proofs maximum. Additional trial proofs will be charged at the current rate.
Use of all standard lithographic drawing materials and processes is included in the workshop fee; for use of special photographic processes or special techniques such as image reversal, chine colle, etc, surcharges may be added. The Tamarind Curator will assess the printing costs as the projects are underway, to determine if there will be additional costs. When the artist signs the bon à tirer impression (or approval to print) he/she obligates himself/herself to sign and pay for the completed edition.
Submit a resume and a letter outlining your previous experience and interest in collaborative printmaking. Include a one-page proposal outlining what kind of project you would like to explore at Tamarind, and how working with a team of printers would allow you to expand your practice. Include up to 10 images of recent work.
No previous experience in printmaking necessary. Tamarind welcomes proposals from artists in all media.
Additional information can be found: https://tamarind.unm.edu/2019-call-for-artist-proposals/
Museum of Latin American Art Print Fair & Festival
MOLAA is now accepting applications for artists to participate in the Festival. If you are a visual artist, independent publisher, zinester, designer and maker using print media and are interested in participating in MOLAA’s first Print Fair & Festival, click here to apply online.
Gamblins’ site is an eye-dazzling information-bank. Mesmerizing videos showcase the process of luscious paint being made – a mix of chemistry and intuition. I found their Experience Color page informative and inspiring. It links to 15 entries that explore color theory, the behaviors of modern and mineral pigments and the various color palettes an artist can use for specific paint applications.
Exploring Color Palettes page highlights 6 different color palette arrangements, for various approaches to painting. Among them, my favorite palettes are the Transparent Glaze Palette and the Old Master’s Palette – palettes I was introduced to while in art school by a deeply passionate painter and generous professor, Dominic Cretara. Dominic was a hyper-informed Italian painting professor with at least 50 years experience studying the work of the Old Masters. The exploring palettes web page further explores the colors used in each palette, by linking to pages with color samples that illustrate the transparency and depth of each color.
As a traveler who never leaves home without a bag full of art supplies, I also enjoyed reading their Tips for Traveling with Art Supplies page. They give tips about what to say if you are traveling with paint, and supply a document you can use to prove to the TSA the flashpoint of each pigment. I will be printing out a copy in advance and storing it with my passport so that I am prepared for my next trip abroad.
Gamblin Artist Colors website is an excellent resource for painters and printmakers to learn about the quality and the properties of Gamblins products. Their mission it to lead oil painting and printmaking into the future, using the highest quality pigments and binders, while remaining true to historic practices, with a goal of creating products that are safer and more permanent.
To learn more, explore their website here: https://www.gamblincolors.com
IPCNY was established in Chelsea in September 2000 as the first and only non-profit institution devoted solely to the exhibition and understanding of fine art prints. IPCNY fosters a climate for enjoyment, examination and serious study of artists’ prints from the old master to the contemporary. IPCNY nurtures the growth of new audiences for the visual arts while serving the print community through exhibitions, publications, and educational programs.
Apply for the NEW PRINTS program today…