Dossier Highlights

Application for Promotion and Tenure, 2020 

Indiana University Southeast

Please note: this web page is best viewed on a desktop/laptop screen, rather than on a mobile device. On a computer screen, you will see a menu (at right) to navigate through the various sections. The activities below are those conducted after my fall 2015 hire at IU Southeast, and those included in my hiring contract as counting towards promotion and tenure. Thank you. 

Guidelines for Promotion and Tenure

  • School of Arts and Letters - Guidelines for Promotion & Tenure (download PDF)

  • Indiana University Southeast Criteria for Promotion and Tenure (download PDF)

 
 

Biography

Susanna received her MFA from the University of Iowa, Iowa City, IA, and her BFA from Cornell University, Ithaca, NY. Her work has been featured in international and national exhibitions at venues such as Museu do Douro in Portugal; Nicole Longnecker Gallery in Houston, TX; 1078 Gallery in Chico, CA; Manifest Creative Research Gallery and Drawing Center in Cincinnati, OH; the Kentucky Museum of Art and Craft in Louisville, KY; and the Liu Haisu Art Museum in Shanghai, China. Recent artist residencies include Kunstnarhuset Messen, Ålvik, Norway; Mildred's Lane, Beach Lake, PA; Edinburgh Printmakers, Edinburgh, Scotland, and Kala Art Institute, Berkeley, CA. Since 2015, she has taught printmaking as Assistant Professor of Fine Arts - Printmaking at Indiana University Southeast, New Albany, IN; and as the Associate Director of Calliope Arts, a shared printmaking workspace in Louisville, KY. She currently serves as President of the Mid America Print Council.

Degrees Earned 

MFA in Printmaking with minor in Intermedia

Thesis Title "The Heart of the Park"

University of Iowa, Iowa City, IA, Cum laude (2012)

 

MA in Printmaking with minor in Sculpture

Thesis Title "Guardians: Care-taking and Place-making on St James Court"

University of Iowa, Iowa City, IA (2011)

 

Bachelor of Fine Arts

Thesis Title "Walking in Your Landscape"

Cornell University, Ithaca, NY (2008).

Curriculum Vitae (download PDF)

 

TEACHING

 

Statement of Teaching Philosophy

As an artist and educator, I empower students to build frameworks for creative practice, research, and professional development, emphasizing they are not just preparing for a career - they are forging a lifestyle. themselves as producers, critics, and participants in visual culture. I have taught primarily print media courses since 2011, and use print’s vital roles in mass media and social action as catalysts for students to engage design, sculpture, installation, digital media, and photography. In her book Living and Sustaining a Creative Life: Essays by 40 Working Artists, Sharon Louden states, “The power of creativity does not just lie in an artist’s work, but also in how he or she continues to create regardless of the obstacles life places in the way.” I facilitate a workspace that emphasizes both independent exploration and collaborative problem solving, encouraging students to identify and discuss obstacles and solutions to prepare for a sustaining creative practice after graduation. 

 

When I introduce an assignment, I provide students with (a) prints by student and professional artists to look at in person; (b) slide presentations with examples from art history, contemporary art, and arts organizations; and (c) technical demonstrations. Together, these provide a variety of entry points to discuss past, present, and potential connections between printmaking and social media, publishing, design and illustration, activism, science and technology, community organizing, and social practice. I encourage students to work fluidly between digital and analog technology: from planning color layers and separations with imaging software, to using CNC devices as tools to expand possibilities for hand-pulled prints. Students in all levels have opportunities to exhibit their work, from on-campus venues like the SpaceLab Gallery or the IU Southeast Annual Student Juried Exhibition, to showing artwork regionally or in national and international juried exhibitions. They research venues and platforms outside of school that suit their interests, and write about the ideal venues and audiences for their artwork. Each activity and assignment supports an outward-looking perspective, as students discover, identify, and pursue a diverse range of pathways to practice creative work. 

The opportunity for all students to have their work displayed in public significantly enhances their understanding of personal achievement and growth. Therefore, CAA strongly encourages institutions to stage regular solo and group exhibitions of student work. The process of selecting, installing, and exhibiting work strengthens the ability to think critically, express ideas creatively, and work conceptually and with thematic consistency. Other student outcomes include professionalism and technical proficiency.

-College Art Association (CAA), Guidelines for Baccalaureate Degrees in Art and Design 

 

Another focus in my classes is the facilitation of a collaborative problem-solving community. In each class meeting, I include intentional and self-reflective periods of making, writing, and research. For the first 15 minutes of class, small groups of three to four students address technical problems, share research findings, and discuss connections to learning in other courses. Students share content on laptops, classroom computers, their sketchbooks, and materials from the Printmaking Research Library, a collection of books and periodicals I have assembled in the studio. In the years since I implemented this cohort activity, student evaluations reflect a distinct increase in a feeling of reciprocal support in the studio - even for those studying in other fields like psychology and neuroscience. I have aligned grading rubrics with instructor-guided self assessment on the basis of technical innovation, concept and context, and craft. After each project, students write a self-evaluation on research findings, inspirations, and ideal audiences and venues. Language for grading and self-evaluations is borrowed from residency and grant applications students may pursue after graduation. In upper-level courses, students write and revise artist’s statements and conduct written interviews with professional artists and designers across the US, which are published on my teaching research website, People Powered Prints. Outside of class, students find new audiences and work within the community. They regularly lead publishing projects to raise funds for national conferences and professional development opportunities, and teach classes at local arts organizations. Through these activities, I help students connect with artists, markets, and collectors, write about their work, and assess the efficacy of their methods. 

 

My teaching methods are a reflection of my research-based art practice, and I approach both with passion. I feel most successful when students are confident to take risks with new techniques and subject matter, understand each artistic medium as a vehicle to communicate their ideas, and maintain an active role in the shared space of the studio. Through readings, web-based resources, independent and collaborative work in the studio, and projects with visiting artists, students of all levels learn the myriad ways that artists make a living doing what they love.

Courses Taught

Each semester, I teach two classes with 5-7 course numbers. This includes one standalone course, Basic Printmaking Media, and one Stacked class, in which several courses meet concurrently. Stacked classes include intermediate through advanced students and are typical among universities with one or two faculty in the Printmaking discipline area.

Basic Printmaking Media (FINA-S 240)

This class is designed to give the beginning student an overview of basic printmaking techniques and an understanding of what a print is, the nature of prints as original works of art in multiple, and print media’s contemporary and historical impact in art, design, and society. During this course, students will become familiar with basic techniques and concepts of relief, intaglio, lithography, screen printing, monotype and digital applications for printmaking, with in-depth, hands-on experience in relief, monotype, and intaglio. 


The emphasis of this course is on mastering basic printmaking techniques, and learning how to create and discuss creative work on the basis of technique (application of printmaking processes), concept (creativity, originality, and ambition), craft (attention to detail and consistency). Through demonstrations, studio work, visual presentations, readings, and discussions, you will obtain a basic knowledge of printmaking and its history. This course uses non-toxic and less–toxic, sustainable printmaking techniques and materials as much as possible.

Syllabus, Fall 2020 

Syllabus, Spring 2020 (prior to transition to remote learning due to COVID-19 pandemic)

Example assignment, Project 1: Repeated Pattern Design with Relief Printmaking

Stacked Intaglio and Relief Classes (Fall semesters) 

Printmaking II Intaglio (FINA-S 341)

Printmaking III Intaglio (FINA-S 441)

Printmaking II Relief (FINA-S 348)

Relief Printmaking Media (FINA-S 445)

BFA Printmaking (FINA-S 442)

 

Syllabus, Fall 2020

Syllabus, Fall 2019

Example assignment, Project 2 Intaglio - Creating an Image with Multiple Grounds

Example assignment, Project 2 Relief Printmaking - Multi-color Reduction Prints

 

Stacked Lithography and Silkscreen Classes (Spring semesters) 

Printmaking II Lithography (FINA-S 343)

Printmaking III Lithography (FINA-S 443)

Printmaking II Silkscreen (FINA-S 344)

BFA Printmaking (FINA-S 442)

Syllabus, Spring 2020 (prior to transition to remote learning due to COVID-19 pandemic)

Example assignment, Project 3 Lithography - Combining Hand-Drawn and Photographic Imagery

Example assignment, Project 3 Silkscreen – CMYK Color Separations

Example technical guide, Preparing Films for Computer-Generated Positives

Undergraduate Independent Studies

Because printmaking techniques require specialized equipment, students who want to make work in print media but have schedule conflicts often take an Independent Study with me. I mentor them throughout the process of submitting a written project proposal, through completion of the project. Their work often becomes part of their thesis or design portfolio, or a larger, multi- or interdisciplinary project. Some independent study projects include: 

"Artist's Book with Cyanotype and Handmade Paper," Completed. (August 24, 2019 - December 10, 2019).
"Relief Printing on Fabric," Completed. (June 24, 2019 - August 5, 2019).
"Interactive Intaglio Printmaking," Completed. (June 24, 2019 - August 5, 2019).
"Experimental Stone Lithography," Completed. (May 7, 2019 - August 5, 2019).
"BA Thesis Show," Completed. (January 1, 2019 - April 27, 2019).
"App with Animated Woodcuts and Sound," Completed. (January 1, 2019 - April 27, 2019).
"Lithography and Screen Printing," Completed. (August 21, 2017 - December 9, 2017).
"Narrative Intaglio," Completed. (August 21, 2017 - December 9, 2017).
"Screen Printing on Ceramics," Completed. (January 9, 2017 - May 2, 2017).
"Student Leader for MAPC Conference - Technical Demonstration Lead Assistant and Conference Host," Completed. (August 22, 2016 - December 10, 2016).

Teaching Methods and Learning Outcomes

“[Professor Crum’s] assignments require students to learn, create, apply, and evaluate material and be able to apply what they are learning in an appropriate and empirically verified, manner.”

-FACET Peer Review, Fall 2017 

 

I approach learning outcomes and course objectives as tools to observe and record actual learning, utilizing methods to identify specifically what students understand and are still struggling with in the studio laboratory. The origin of the word “assessment” is crucial to my approach: from the Latin assidere, “to sit beside.” I structure classes around opportunities for students to show what they know and can do, track improvement in learning outcomes in daily activities like in-class work sessions and comparisons of artwork, and collect meaningful data to enhance student learning in future classes. I design courses to train and encourage students to work professionally, respectfully, and collaboratively with others in the shared studio environment. These important life skills make students better employees, coworkers, collaborators, and independent creative producers, and make printmaking classes vital learning communities for students of all Fine Arts disciplines. 

 

At IU Southeast, specialized equipment for several distinct techniques (lithography, etching, relief, or silkscreen) is located in the same room. While the studio is large, the same class of 16 may share a total of 3 etching presses. If students aren’t communicating well, they experience long waits to use equipment. I make continuous adjustments to my courses to better provide students with an ongoing sense of support, even if I am working with another student across the classroom. Through presentations and lectures, I introduce and revisit the websites and projects of professional printmaking studios and residency programs, such as Crown Point Press, San Francisco, CA or Tamarind Institute of Lithography, Albuquerque, NM. I share details of my own experiences as a visiting or resident artist at studios like Kala Art Institute, Berkeley, CA; Chicago Printmakers Collaborative, Chicago, IL; or Edinburgh Printmakers, Edinburgh, Scotland. This demonstrates how students with a creative practice after graduation will consistently utilize skills of stewardship, conscientiousness, time management, and communication to make artwork at residency programs, community studios, and graduate school. I tell stories about the antics of professional artists at my own community studio Calliope Arts as illustrations of what to do and not do. Each in-class work session involves discussion of actions illustrating thoughtful communication. Eventually, I see students adopt strategies for accountability with one another. 

 

Curriculum Changes during COVID-19 Pandemic: With Hybrid instruction in Fall 2020, lectures, assignments, and presentations will introduce students to a studio approach that approximates an art residency (or a working artist’s life, for that matter). Students will attend scheduled, socially-distanced printing sessions in the studio; plan and execute parts of projects at home; organize what they need to maximize their time on campus; identify and ask for materials they might need for further experimentation; and present their progress on virtual platforms with regularly-scheduled peer review sessions (“Squad Meetings”). I will link each of these course activities to real-world applications for working artists, bring in virtual “visiting artists” to describe and share experiences, and assess student learning on the basis of successful execution and implementation of activities.

 

Of course, students in Printmaking classes benefit immensely from in-person, face-to-face instruction - this is how emerging artists achieve crucial social connections, spontaneous discoveries, problem solving successes, and material investigations that sustain creative practices after graduation. Though a Hybrid class is not a permanent or desirable alternative, there is one silver lining — the opportunity to focus on essential professional practices for the creative practitioner such as self-advocacy and innovation in the face of necessity. Grading opportunities like reading responses, research presentations, and Studio Professionalism evaluations will center around these concepts and activities.

Direct Evidence of Learning Outcomes - Student Work (download PDF)

Student Evaluations (download PDF)

Teaching Innovation and Curriculum Development

FACET/ILTE Formative Peer Review

 

FACET/ILTE Formative Peer Review, "FACET and ILTE Peer Reviewing". (August 31, 2017 - December 8, 2017).

In fall 2017, I initiated a formative peer review of my own teaching, including a series of in-person meetings with the reviewer, classroom visits, and a focus group that the reviewer held with students in my Basic Printmaking Media class. In this review, which concluded with an 8-page document in December 2017, my reviewer described,

 

“Susanna has put tremendous thought and effort into this course [FINA S-240]. She has structured the delivery of materials in a way that centers on student success and mastery. Students respond positively to Susanna’s strong interpersonal skills and she is able to relate well to a diverse group of students. She demonstrates compassion while commanding control of the classroom. Susanna is well-respected in the community, evidenced by the success of the collaborative project that won an award at a community event and her involvement in providing collaborative space for community members. Finally, Susanna seeks critical feedback to improve her teaching. In every conversation we had, Susanna asked for additional details, sought advice on how to incorporate interdisciplinary instructional and assessment methods into her course, and kept an open mind when brainstorming potential improvements.”

 

Following the peer review, I implemented several new assessment methods and resources in my introductory, intermediate, and advanced classes, with the primary goals of (a) supporting students with multiple entry points to the processes and concepts of printmaking courses, and (b) strengthening the collaborative problem-solving environment of the shared studio, particularly in stacked classes.

 

  • I increased access to web-based video tutorials on printmaking processes via my teaching website, People Powered Prints (PPP). PPP is a platform for research and knowledge sharing. I use Canvas for grading rubrics, sharing all course materials, announcements, and links to pertinent articles. Each Canvas course page encapsulates a semester, whereas PPP is intended to present a longer-term arc of student research and resources. In Stacked Fine Arts classes, students can feel less supported in the classroom because at a moment when they need help or advice, I may be working with others across the room. This is a common challenge for all Stacked Fine Arts classes. PPP has provided an important support mechanism for students to find web-based resources, video tutorials, and research materials during class time, and I frequently see students utilizing the website from their phones, tablets, and laptops. Students use PPP to watch or review video tutorials for each printmaking method, and easily access examples of student artwork that successfully tackled technical and conceptual requirements. 

  • I added the “Cohort” grading component to introductory through advanced classes. Students have since renamed this the “Squad” activity, now reflected in course materials. Embedded in the Studio Professionalism part of student grades, all students meet during the first 15 minutes of class with a consistent small group (or “cohort”)  of 4-5 students. During these daily meetings, they review problems and solutions, provide project updates and review timelines, and balance receiving and providing help to one another. Students grade the members of their cohorts at midterm and finals, assessing attendance, participation, accountability, communication, and project management. Since the “Squad” system has been implemented, I have seen measurable increases in students asking one another for help and advice, volunteering solutions, communicating more clearly when someone leaves a mess in the studio, sharing press time, and arriving to class prepared to work. I track growth and improvement by comparing the midterm grades to final grades, and across semesters with repeat students and printmaking majors.

  • I began loading all course materials to the Canvas “Files” and “Assignments” tabs at the beginning of each semester, instead of unit-by-unit. I originally hesitated to do this, as students who choose to work “ahead” may try out processes and equipment they are not yet trained for. However, I have found this is not a problem. If students are able to move ahead in a project or assignment, they can log onto Canvas and view the handouts, assignment sheet, and Powerpoint presentation for the next assignment, and work one-on-one with me to conduct training as needed. 

Major Curriculum Revision

With supervision of our then-coordinator Anne Allen, I sent an FYI to the APC that to make an adjustment to the Bachelor of Fine Arts in Printmaking curriculum requirements, effective Fall 2016. A broad range of intermediate and advanced (300-level and 400-level) printmaking courses are available at IU Southeast. These include FINA S 341 Printmaking 2: Intaglio; S 343 Printmaking 2: Lithography; FINA S 344 Printmaking 2 Silkscreen; S 348 Printmaking 2: Relief; FINA S 441 Printmaking 3: Intaglio;  FINA S 443 Printmaking 3: Lithography; and FINA S 445 Relief Printmaking Media. Such courses help students develop a repertoire of distinct printmaking techniques before they pursue more self-guided projects in BFA classes. To best prepare students with printmaking concentrations to thrive after graduation and compete with students who graduate from nationally-recognized programs like Murray or Washington University St Louis, the following was implemented:

 

This change did not make modifications to the required number of credits, but rather the specific courses that a BFA candidate with a major in printmaking would take as he or she pursued a degree. To better focus my time and that of my students, improve depth of instruction in these courses, and lessen overcrowding in the studio (as equipment for very different techniques are all located in the same classroom), I changed the annual schedule to offer 300 and 400-level Relief and Intaglio courses in the Fall semester, and 300 and 400-level Lithography and Silkscreen courses in the Spring semesters. This will give majors plenty of time to take all necessary courses, and help them avoid repeating courses unnecessarily when they should be getting a broader education in a diverse scope of media (as now required with the curriculum change).

New Curriculum Development

"Incorporating Career Paths through Assignments and Civic Engagement in Printmaking Curriculum". (Sept 2018 - Present)

In September 2018, I attended the EAB Presentation "Integrating Academic and Career Development" at IU Southeast. During this presentation, I gained several new approaches for Printmaking curriculum changes that would insert career path discovery and discussion through self-guided research, national partnerships and collaborations, field trips, readings, and community-based projects. Since then, the Stacked Printmaking class (which combines several courses at the 300- and 400- level in Printmaking) took a field trip to artist-designer Brad Vetter's letterpress studio in Louisville, KY. Students conduct more self-guided research when pursuing the assignment of the "Professional Practice Interview" - conducting interviews over email with professional creative practitioners in the field. In Nov 2018, IUS Fine Arts students led a Monotype Printmaking workshop at the Speed Art Museum. This workshop was part of programming for the IU Eskenazi Museum of Art and Speed Art Museum's "Picasso to Pollock" exhibition.

2019 Update: I continue to work to get my students off-campus and engaging with communities and professionals who will teach them new things about what they can do with a Fine Arts degree. On Nov 5, 2019, Stacked 300- and 400-level Printmaking students attended a workshop at the Louisville studio of artist-designer Brad Vetter, students talked with Swiss artist-designer Dafi Kuhne and Vetter about their careers spanning design and letterpress printmaking as a historical artform and vibrant contemporary medium, and made original prints in collaboration with Kuhne on a Vandercook letterpress.

 

Students in the introductory FINA-S 240 printmaking class used the CNC router to design and make hand-printed woodcut pattern designs, which they installed in the on-campus SpaceLab gallery for the exhibition, "Ad Infinitum." They created promotional and marketing materials for this exhibition and hosted a reception where they spoke with students, faculty, and the public about the process. They worked with Donna Dahlgren on the upcoming publication of "Ad Infinitum" prints as the cover image of the "College Success Guide" catalog.

 

In fall 2019, 300- and 400-level Printmaking students participated in a national Interuniversity Sketchbook Exchange, organized by Pennsylvania Slippery Rock University, which includes student print-based work and drawings from West Virginia University, University of Mississippi, University of Texas - Arlington, Colorado State University, University of Wyoming, Iowa State University, and University of Delaware. This was a crucial collaboration and networking exercise for students, who developed research interests and connections with other artists across the US, and the sketchbooks will be shown in exhibitions, including an exhibition at the Martha Gault Art Gallery, which opened March 3, 2020.

 

Students continue to conduct Professional Practice Interviews with professional artists and designers of their choice each semester, which are published on the People Powered Prints (PPP) website.

 

"FINA-S 344 has reached high impact with student learning and mastery". (Aug 1, 2015 - May 1, 2018)

In spring 2018, five of seven BFA in Printmaking candidates included or focused a variety of silkscreen (screenprint) techniques in their BFA thesis exhibitions. When I arrived at IUS in fall 2015, there had been no silkscreen equipment, and I established these facilities as part of my start-up budget in August 2015, and have continually added to the facilities and curriculum ever since. This is quantitative evidence that students who take FINA-S 344 continue to implement more and more advanced techniques within Silkscreen as they advance through the curriculum, which features the four distinct primary techniques (Silkscreen, Lithography, Relief, Intaglio) relevant to the field of printmaking in contemporary art.

Grants Related to Teaching

Summer Faculty Fellowship in Teaching: "Using the Fine Arts Department's Shopbot", Indiana University Southeast

$8,000.00 awarded Dec 6, 2018

A Summer Faculty Fellowship in Teaching gave me the time and support to expand my printmaking curriculum and creative research to include an important emerging technology in contemporary practice and teaching. Since August 2019, my Intro and Intermediate-Advanced students have gained skills in designing imagery and creating files for the ShopBot CNC router, and created large-scale collaborative projects. In Sept 2019, I presented my creative research using CNC technology at the IU Southeast Faculty Research and Creative Activity Conference. In Oct 2019, I led a workshop for Fine Arts faculty in how to use the router, and gave them a PDF tutorial on maintenance and step-by-step procedures to increase accessibility of the device.

Faculty Development Travel Grant, “Society for Utopian Studies Conference: Presentation and Attendance", funded by Improvement of Learning Committee and Research and Grants Committees

$1,000 awarded Nov 10, 2018

Faculty Development Travel Grant, "Travel to Kala Art Institute," IU Southeast, Competitive, IU Internal 

$514.45 awarded March 23, 2018

Supported travel to and from an artist residency an internationally-renowned studio in Berkeley, CA, founded in 1974. Included a tutorial in archival digital printmaking methods with Jon Zax, head of the Electronic Media Center, to enrich and grow digital printmaking opportunities at IU Southeast.

Improvement of Teaching Grant, "A Collecting Place" (Green Practices in the Printmaking Studio), IU Southeast, Competitive, IU Internal 

$1,000.00 awarded Dec 9, 2015

Supported travel May 31 – July 4, 2016 to and from Edinburgh, Scotland, where I worked as a visiting artist in the Edinburgh Printmakers studio, creating original lithographs that were part of my solo exhibition, A Collecting Place, at the 1078 Gallery in Chico, California in October – November 2016. As components of my Improvement of Teaching Grant proposal, I conducted one-on-one sessions with the studio’s director, in which I learned about the nontoxic and less-toxic materials and processes the studio is so well-known for using.

Teaching Publications

Publications of Teaching Scholarship 

“Brick by Brick: Creative Entrepreneurship After Graduation,” Mid America Print Council Journal, Vol. 23, p. 50. Feb 15, 2015 (author)

Presentations at professional meetings related to teaching

Crossroads: Intersections and Interventions, Southern Graphics Council International conference, Atlanta, GA, 2017 (panel chair). 

A Call to Print: Establishing a Cooperative Studio, Southern Graphics Council International conference, Knoxville, TN, 2015 (panelist)

Student Awards, Honors, Collaborative Publications, Achievements

Departmental Awards

BFA Printmaking candidate received the Studio Award for Art History, in annual student juried art exhibition, IU Southeast Fine Arts (Dec 5, 2019).

A prize in the Annual Student Juried Exhibition, on display in the IU Southeast Barr Gallery in Dec 2019-Jan 2020,  juried by Brian Jones, IU Southeast Professor Emeritus.

 

BFA Printmaking candidate received Chancellor's Purchase Award, in annual student juried art exhibition, IU Southeast Fine Arts 

The top prize in the Annual Student Juried Exhibition, on display in the IU Southeast Barr Gallery in 2019, juried by Jonathan Ruth, a local designer and photographer.

 

BFA Printmaking candidate received Chancellor's Purchase Award, in annual student juried art exhibition, Indiana University Southeast's Fine Arts program (January 24, 2016).

The top prize in the Annual Student Juried Exhibition, on display in the IU Southeast Barr Gallery in Jan - Feb 2017, juried by Letitia Quesenberry, a professional artist who exhibits work across the US. 

 

BFA Printmaking candidate received Preston's Art Center Award: Second Prize in annual student juried art exhibition, Indiana University Southeast's Fine Arts program (January 24, 2016).

A prize in the Annual Student Juried Exhibition, on display in the IU Southeast Barr Gallery in Jan - Feb 2017, juried by Letitia Quesenberry.

 

BFA Printmaking candidate received Vice Chancellor's Purchase Award in annual student juried art exhibition, Indiana University Southeast's Fine Arts program (March 16, 2016).

A top prize in the Annual Student Juried Exhibition, on display in the IU Southeast Barr Gallery in Dec 2019-Jan 2020, juried by Steve Snell, professional artist and Assistant Professor of Art in the Foundation Department at the Kansas City Art Institute.

Local Awards

Harrison County Community Foundation, BFA Printmaking candidate received an art scholarship (awarded April 2017) 

Scholarship budget provided paper, materials, and tools for a printmaking project and workshops in relief printmaking and cyanotype. The student presented her work in a public workshop at the Old Capital building in Corydon, IN. 

 

Phi Beta Kappa Annual Scholastic Award, presented by the Phi Beta Kappa Association of Kentuckiana, awarded to BFA in Printmaking graduate (awarded May 11, 2016)

Student recognized in a city-wide ceremony at University of Louisville's Faculty Club and received a cash award of $800 and his name added to a commemorative plaque in the IUS library. Phi Beta Kappa, founded in 1776, is the oldest American Greek-letter scholastic association in the US and encourages scholarship in the liberal arts and sciences. 
 

National Awards

Printmaking minor’s work included in the Zines exhibition, Arts Council of Lake Oswego, OR (Dec 12, 2019). 

 

BFA printmaking candidate's work exhibited in national juried art exhibition, Southern Illinois University Carbondale (Dec 29, 2017).

Printmaking BFA candidate was selected to have artwork featured in a national juried exhibition.

Exhibition description: "Southern Illinois Printworks, a student organization from Southern Illinois University Carbondale, has organized the 2nd Four Rivers Print Biennial, a national juried exhibition. We are thrilled to announce 2018’s juror, Lisa Bulawsky, Professor, Printmaking Area Coordinator, and the Director of Island Press in the Sam Fox School of Design & Visual Arts at Washington University in St. Louis. Open to all forms of printmaking, including book arts, digital, experimental, and sculptural approaches… the Four Rivers Print Biennial acts as the confluence of contemporary prints by artists from across the country.”

 

BFA Printmaking candidate was invited to exhibit artwork in a national juried art exhibition at University of Wisconsin - Parkside, WI (Dec 8, 2016).

The student's work was featured in the exhibition and reproduced in the show catalog. Curated by David Jones, then president of Southern Graphics Council International, the largest printmaking professional organization in the United States. Article in Racine Journal Times. 

 

BFA candidate selected for competitive assistantship, Frogman's Print and Paper Workshop, Omaha, NE (Feb 1, 2016).

Student applied for and was awarded an assistantship at the prestigious Frogman's Print and Paper Workshop, a summer printmaking program hosted by University of Nebraska - Omaha, Omaha, NE. He spent two weeks assisting professional art educators and presenting his work at the program, and gained valuable research and teaching experience. This is a competitive program and award typically given to those already pursuing graduate study, and this student received it as an undergraduate.
 

International Awards

BFA printmaking candidate's work exhibited in international juried art exhibition, Safe Harbors Ann Street Gallery (June 3, 2017).

Printmaking BFA candidate was selected to have artwork featured in an international juried exhibition at Safe Harbors Ann Street Gallery in Newburgh, NY. Exhibition description: "Bon Marché is a chance for the public to see and learn about contemporary printmaking and provides viewers an opportunity for discourse with the many exciting artists who are taking this ancient art into the 21st century. This exhibition offers a contemporary view of printmaking in its many manifestations, encouraging both traditional techniques and experimental approach to printmaking, while showcasing the significance of the medium in today’s contemporary art. With over 200 distinctive pieces by 48 artists from across the country and abroad, the show presents a fluid exchange of ideas and explores the endless possibilities open to contemporary printmakers. Every form of the printmaking technique is covered, including calligraphy, etching, monotype, metal relief, dry point, silkscreen, polyplate, screen-printing, lithography, woodcut, collage, and digital. Viewers of the exhibition can also  expect to see some original prints that break new ground in the use of the medium."

 

BFA printmaking candidate's work exhibited in international juried art exhibition, Providence Art Club, Providence, RI (July 1, 2016).

Student submitted artwork for consideration in an international juried exhibition, and her work was accepted. Juried by Dominic Molon, Richard Brown Baker Curator of Contemporary Art at the Rhode Island School of Design Museum (RISD Museum)

 

BFA printmaking candidate's work exhibited in international juried art exhibition, Mighty Tieton, Tieton, WA (July 1, 2016).

The student submitted artwork for consideration in an international juried exhibition, and her work was accepted. I was one of three jurors on a blind jury, and was not familiar with the work she submitted (and did not know it was hers, as she had created it over the summer while I was traveling internationally).

Off Campus Student Exhibitions

“Formed and Rebuilt: Memories and the Places They Reside,” Harrison County Arts Gallery, Corydon, IN 

BFA printmaking candidate held a solo exhibition of her prints at the professional off-campus gallery. 

 

"Phoenix Project," Carnegie Center for Art and Art History #I AM Public Art

In Fall of 2017, students from my Basic Printmaking Media class collaborated with Associate Professor Emily Sheehan's drawing students and Resident Artist Lindsey Dezman’s 3D Design students to create a large-scale, performative sculpture for the Carnegie Museum of Art’s 2017 #I Am Public Art event, held on the New Albany Waterfront Amphitheater on September 23, 2017). The students’ sculpture, a 12-foot-long phoenix with an 18-foot wingspan, won the event’s popular vote. This award included a 1-month exhibition at the Carnegie Center for Art and Art History in New Albany, IN. 

 

"Exposed Roots", Yew Dell Botanical Gardens (June 22-Aug 15, 2017)

Students in a Summer 1 Printmaking class produced and installed an exhibition of new cyanotype and silkscreen prints on fabric. Also on display were two large-format cyanotype prints that IUS students created in a collaboration with the Louisville Visual Art association's Art in Nature children's summer camp. Through site visits and research, students explored Yew Dell and its history, as well as the scientific roots of the cyanotype (or blueprint) printing process, which botanist Anna Atkins used to publish the very first book with photographic illustrations in 1843.

Alumni Achievements

Printmaking alum Bethany Barton (BFA Printmaking, 2018) is currently an master’s degree candidate in the Art Therapy Master’s Program, University of Louisville, Louisville, KY (July 2019)

 

Amelia Wise (BFA Printmaking, 2016) exhibited a large-scale paper sculpture at in She’s Silver and Orange exhibition, Tim Faulkner Gallery, Louisville, KY (opened April 5, 2019)  

 

Cody Presley (BFA Printmaking, 2018) works in sculptural fabrication at Weber Group, a Sellersburg, IN-based fabrication firm that partners with companies like Crayola, Churchill Downs, Busch Gardens, and Sea World. From Weber Group’s website: “Our degreed artisans expertly manage the work of exhibit design and construction, meaningfully connecting your guests with the natural world... Weber Group has undertaken everything from multi-family construction, to waterpark design and theme park development. Our team of more than 70 in-house builders, believers and craftsmen share a 30-year legacy of offering custom services that bring your vision to life, while inspiring and connecting people with unforgettable experiences.”

 

Kacey Slone (BFA Printmaking, 2018) elected to the board of the Mid America Print Council, the second largest professional printmaking organization in the US (October 2018). 

 

Kathryn Combs (BFA Printmaking, 2018) is currently an MFA candidate in Printmaking at Indiana University and will graduate in May 2021.Bloomington, IN.

 

Kacey Slone (BFA Printmaking, 2018) is currently an MFA Candidate in Printmaking and Instructor of Record in the Art + Art History program at the University of Texas at Arlington, Arlington, TX.

Undergraduate Research Experiences and Mentoring

Internships and Teaching Opportunities

Internship, Art Seed Gallery, New Albany, IN (Nov 2018 - Aug 2019)

BFA Printmaking candidate managed gallery installations and promotions.

 

Student-led workshop, Students led Monotype printmaking workshop, Speed Art Museum (November 16, 2018).

Arranged for six IU Southeast Fine Arts students to lead a monotype printmaking workshop at the Speed Art Museum during their After Hours event. Students brought examples of their own work to discuss, some sold their artwork at the event, and all of them led the printmaking workshop from 5:00-7:00pm with the help of Lucy Kacir, the Youth and Family Programs Manager for the Speed. This workshop was in conjunction with the "Picasso to Pollock" exhibition at the Speed Art Museum, which featured artwork from the Indiana University Eskenazi Museum, Bloomington, IN. After the event, Youth & Family Programs Manager Lucy Kacir wrote, "Friday was great and I was so impressed with your students. They were all lovely and the guests really enjoyed interacting with them and learning about printmaking."

 

Student-led workshop, Students led Cyanotype printmaking workshop (June 2017) 

Students enrolled in the Summer 2017 Silkscreen class planned and led a cyanotype workshop with children enrolled in the Louisville Visual Art Summer Camp, Yew Dell Botanical Gardens, Crestwood, KY

 

Student-led workshop, Majors & Minors Fair, approximately 12 hours spent per year. (Feb 9, 2016 - Feb 10, 2016).

I helped printmaking students plan and lead printmaking demonstrations during the 2016 Majors & Minors Fair at IU Southeast. Upper-level printmaking students showed prospective and undecided students how to make original relief prints using a small workshop press that we brought over to the Hoosier Room for the fair. Printmakers learned how to easily set up and manage an on-site workshop in a busy public event.

Publications and Fellowships

Publication, College Success Guide, 2019

 Student work from FINA-S 240 exhibition “From Earth to Sky” (SpaceLab Gallery, IU Southeast)  featured as the cover image.

 

BFA Printmaking major awarded Indiana University Southeast Undergraduate Summer 2017 Student Fellowship with stipend of $1,015.00 and budget of $275.00 (April 24, 2017) 

Silkscreen project engaged technology from the marketing industry and art history, and culminated in a solo exhibition in the on-campus SpaceLab. Student presented this project at the 2017 IU Undergraduate Research Conference at IUPUI, Indianapolis, IN, which reached round 2 of judging for the Grand Prize. In an IUS Now article in fall 2017, the student artist described,

“Artists have to wear a lot of hats—on any given day they may need to cold-call someone they’ve never met, juggle project deadlines, read and understand gallery contracts, promote a show, not to mention actually work on their art... Being able to switch modes from artist to business person makes life easier, and helps build a reputation in the art community that you are reliable and professional, which is valuable currency in any field.”

 

Publication, Indiana Graduate Research Journal, 2019

BFA Printmaking candidate illustrated the cover of the Journal.

Student-led collaborative publishing projects, Printmaking Club

2018: I led students in two group meetings in Oct 2018 and two 3-hour collaborative printing sessions on 11/12/18 and 11/19/18 to produce a portfolio exchange calendar for 2019, which we sold at an art sale at the IUS University Center. We raised nearly $1600.00 to support future Print Club activities and student attendance at summer workshops and printmaking conferences.

 

2019: In Oct and Nov 2019, I provided mentorship and materials for 14 students to create an edition of 50 hand-printed color annual calendars for the year 2020, which they sold in an art sale at IUS University Center. All calendars sold out, and students sold their own works in printmaking and ceramics as well. Proceeds went toward future Print Club activities and student attendance at summer workshops and printmaking conferences.

 

Printmaking Portfolio Exchange between the Fine Arts Departments at IU Southeast and University of Louisville, (January 15, 2016 - April 15, 2016).

Advisor/mentor in organization and execution of a print portfolio exchange. In this type of project, artists each make an edition of original prints (such as an etching, woodcut, lithograph, silkscreen), then trade them with one another to create a group exhibition and boxed print editions. During this process, UofL and IUS students got to know each other and the kind of work they each were making, and were able to respond to a common theme, summarized in the exchange title, "Boundary Lines." This portfolio exchange included artwork by 17 printmaking students from IU Southeast and University of Louisville, and was displayed at IUS during the Mid-America Print Council conference in October 2016. For many students, this was their first exchange portfolio of many, as these are great ways for artists to make new connections and curate exhibitions.

Conferences and Presentations 

International conference attendance, Southern Graphics Council International printmaking conference, Dallas, TX (March 2019)

Advisor/mentor to two students to apply for funding through Research & Grants and Student Life and present artwork at the largest international gathering of printmakers and educators in the US.

International conference attendance, Southern Graphics Council International printmaking conference, Atlanta, GA  (March 2017)

Advisor/mentor to  four students to apply for funding through Research & Grants and Student Life, and prepare to present artwork at the largest international gathering of printmakers and educators in the US.

National conference: Students co-host Mid America Print Council Conference on IU Southeast campus and University of Louisville (Oct 5-8, 2016)

All students enrolled in fall 2016 printmaking classes participated in preparing facilities for and providing hands-on assistance during the national Mid America Printmaking Council conference at IU Southeast. Students prepared for 500 artists and educators to visit our studio and campus for technical demonstrations, panel discussions, and exhibitions. I served as Faculty Advisor/Mentor as a lead conference organizer.

 

BFA Printmaking candidate Amelia Wise presented work in the the 28th Annual Indiana University Women’s and Gender Studies Undergraduate Conference, April 7 and 8, 2016.

Advisor/mentor in the student’s preparation of her presentation and artist statement/abstract for the conference.

​​

National workshop attendance, Frogman's Print and Paper Workshops, Omaha, NE (July 2016)

Advisor/mentor to  four students to apply for funding through Research & Grants and Student Life, and prepare to present artwork at the largest summer printmaking workshop in the US. They shared their experience in an Oct 2016 exhibition of works in the Space Lab Gallery. 

Visiting Artists for the IU Southeast Printmaking Program

 

Visiting artists spend time in the studio, give lectures or portfolio reviews, show how their artwork is made, and speak about how to make a life as an artist. With each of these artists, students had the opportunity to connect with a professional practitioner of contemporary art. Learn more at Rolling Knob Press print publishing program here

Golbanou Moghaddas, independent artist based in San Francisco, CA (postponed until Fall 2020 or Spring 2021)

Becky Alley, Gallery Director and Lecturer, University of Kentucky, Lexington, KY (Sept 2018)

Rachel Mauser, Cofounder of Steam Exchange community arts center, Louisville, KY (Sept 2017)

Carrie Lingscheit, independent artist based in Chicago, IL (Jan 2017)

Nick Satinover, Associate Professor of Printmaking, Middle Tennessee State University (April 2016)

Sophie Radl, independent artist based in New Orleans, LA (March 2016)

Press for the Printmaking Program and Students

Arts and Letters Newsletter, "Fine Arts," Spring 2020

IUS Now, "Kathryn Combs: blending technology and fine art," Steven Krolak, September 18, 2017

IUS Horizon, "IU Southeast Printmaking Program Encourages Artistic Expression," Stephen Simmons, March 13, 2017

Courier Journal, "Printmakers converge to show art's evolution," Elizabeth Kramer, September 30, 2016

IUS Horizon, "From Doodles to Award Winning Art," Charlyn Corum, March 21, 2016

Non-Credit Instruction Taught: Workshops and Masterclasses

 

St Francis School, 25 participants (Nov 19 - 21, 2019).

"Redlining and Historical Preservation Workshop", St Francis School. I led two one-hour workshops with high school English classes, who were reading "A Raisin in the Sun" and responding to historical plaques and maps of downtown Louisville. Following my workshop, students conducted their own multidisciplinary projects in response to topics explored: systemic racism in federal housing programs, past and present demographics of neighborhoods, and lost histories of sites within downtown Louisville or in their own communities. Invited by instructor Dr. Michelle Salerno.

 

Indiana University Southeast (Oct 27, 2019).

CNC router tutorial with Ceramics Post-Baccalaureate student Sam Purze. Together we produced custom shelving units for Ms. Purze's exhibition in the on-campus SpaceLab gallery.

 

Cornell University, Ithaca, NY. 15 participants, Academic. (Oct 21 - 25, 2019).

Advanced Print: Media Consciousness” and “Intaglio Edition: Collaborative Mapping Project” 

In response to this workshop, Jennifer Gioffre-Todd, Photography Tech at Cornell wrote,

“I hope you've seen some of the work the students produced. I've been working with alt-process in photo for 15 years, and honestly, this is some of the best work I've seen from students! Thank you for helping us create a relationship between photo and print.” A student participant wrote, "Your presentation was fascinating and we are all very thankful for you taking the time to work with us!"

 

Kentucky Country Day School and Calliope Arts, Louisville, KY (Aug 27, 2019)

Private screen printing lesson with KCD art instructor David Miller at Calliope Arts, my studio in Louisville, KY. Mr. Miller had received professional development funding from his school to work privately with me to learn ways to set up facilities for screenprinting, types of printmaking equipment that would increase accessibility for a diverse student body, and professional development/portfolio preparation for high school students interested in college fine arts programs.

 

Kunstnarhuset Messen, Alvik, Norway, 2 participants (May 22, 2019).

Gave an intaglio workshop to artists at Kunstnarhuset Messen international artists' residency, Alvik, Norway. Participants made intaglio plates and printed small editions in the studio.

 

Northwest Art Center, Minot, ND, 250 participants (Feb 28, 2019).

Relief printing demonstration. Participants used a press to print woodblocks, and learned about how artist Rodolfo Salgado and I used a CNC laser cutter to carve an original artwork into a woodblock for relief printmaking, then print by hand to create posters.

 

Calliope Arts, Louisville, KY, Eric Mattimore, 1 participants (February 8, 2019).

Private screen printing lesson with Louisville-based writer Eric Mattimore, Calliope Arts, Louisville, KY. Consulted on the upcoming publication of his work as a hand-printed edition of prints.

 

 Indiana University Southeast, 15 participants (January 9, 2019).

"Cyanotype Imagemaking and Process" tutorial to Tiffany Carbonneau’s Advanced Digital Art class, for their project making photographic cyanotype blueprints. 

 

Harpeth Hall School, Nashville, TN and Calliope Arts, Louisville, KY, 1 participant (June 28, 2018 - June 29, 2018).

Pronto Plate Lithography workshop with art instructor Carmen Noel from Harpeth Hall School, Nashville, TN. Ms. Noel had received professional development funding from her school to work privately with me to learn pronto plate lithography, and she created original prints during the workshop. We also discussed printmaking equipment and professional development/portfolio preparation for high school students interested in college fine arts programs.

 

Centre College, Danville, KY and Calliope Arts, Louisville, KY, 3 participants (June 22, 2018).

Met with Dr. Amy Frederick, professor of art history at Centre College, and her two research assistants to give a tutorial and lecture on intaglio printmaking at my studio. Over two hours, we examined and discussed prints, plates, and equipment, and I guided them through the process of creating and printing imagery on an intaglio copper plate. This was in preparation for their study-abroad research trip to Europe to examine 18th and 19th century engravings and etchings. Key subjects including identifying different image-making techniques on plates.

 

Speed Art Museum, Louisville, KY, 60 participants (June 15, 2018).

Monotype Printmaking workshop at the Speed Art Museum during their After Hours evening event. I showed original monotype prints to participants, gave several introductory lectures and printing demonstrations, then helped participants create their own imagery and print plates.

 

Kent State University School of Art, Kent, OH, 18 participants (May 29, 2018 - June 2, 2018).

I was one of two nationally-selected artists to give a three-day workshop during a two-week summer course open to the undergraduate and graduate students throughout the Kent, Akron, and Cleveland area, which focused on Print Media and Photography. The Kent Blossom Art summer workshop series has been run every summer since the 1960s. Past visiting artists as part of this program include world-renowned visual artists such as Wayne Thiebaud, Alex Katz, Dennis Oppenheim, Carolee Schneeman, Vito Acconci, Chris Burden, Antony Gormley, Peter Halley, James Siena, Amy Cutler, and many more.

Workshop Description: “Explore the creative potential and expanded field of printmaking using photo-based print processes. Students will create an independent body of work in collaboration with expert faculty that investigates alternative photo-based print processes such as cyanotypes, salt prints, and the use of digital fabrication tools to develop matrices.”

 

Kentucky College of Art & Design, Louisville, KY, 6 participants (February 14, 2018 - February 28, 2018).

Two tutorials (one lecture, one workshop) with Illustration students at KY College of Art & Design, which currently lacks facilities for printmaking. Instructor Lori Larusso approached me to give a workshop and lecture to support the illustration curriculum in her class, so I taught at KYCAD for one day and the students came to my studio to make their own prints the following week.

 

Middle Tennessee State University, Murfreesboro, TN (October 23, 2017 - October 24, 2017).

Conducted two Cyanotype Printing workshops with advanced, intermediate, and beginning-level printmaking students, incorporating experimental approaches utilizing a combination of photographic and intaglio-based imagery. Met with graduating seniors for individual critiques, and toured the studio art and design facilities.

 

University of Notre Dame, South Bend, IN, 40 participants, (October 10, 2017 - October 11, 2017).

Attended graduate and undergraduate printmaking classes and an MFA seminar to provide tutorials of the processes employed in the work on display in the on-campus exhibition of my work, Tracing a Line. My exhibition collaborator, University of Louisville assistant professor Rachel Singel, and I also met individually with graduate students in their studios, to conduct critiques of their work.

 

Catapult Creative House, Cape Girardeau, MO, 50 participants (April 7, 2017).

In a free, public workshop, I worked with students and members of the Cape Girardeau community to mine antique newspaper printing plates from a local newspaper’s archive to create original, letterpress-printed cards. These explored intersections between seemingly-disparate text and images from different eras of local history. This workshop was open to students, faculty, staff, and community members ages 8 and up.

 

California State University - Chico, Chico, CA, 25 participants (October 2016).

I was invited to give a printmaking demonstration for an advanced print class at CSU-Chico. I introduced the class to a specific technique of printing on more than one paper type at the same time.

Letter with feedback from Professor Eileen Macdonald

 

Danville High School, Danville, KY, 100 participants (January 2016 - May 2016).

I taught five relief printing workshops at Danville High School, in which high school art students prepared, drew on, carved, and printed wood blocks used in a public Steamroller Printmaking Event in May. These workshops included Powerpoint presentations, as well as carving and printing demonstrations and one-on-one instruction. Funded by National Endowment for the Arts grant. 

Workshops and Presentations Attended

The following activities contribute greatly to my teaching and curriculum development: 

1-2 times per year - I present in national and regional printmaking conferences, such as Southern Graphics Council and Mid America Print Council. Conference-goers include professional artists, educators, publishers, illustrators, designers, curators, and students. So far, I have participated in these conferences as a lead organizer, career mentor, panel chair, panelist, and themed portfolio curator, presenting both my teaching and research.

 

Conferences Attended

Mid America Print Council (MAPC) Conference, IU Southeast and University of Louisville, Oct 2016

Southern Graphics Council International (SGCI) Conference, Portland, OR, March 2016

Southern Graphics Council International (SGCI) Conference, Atlanta, GA, March 2017

Southern Graphics Council International (SGCI) Conference, Las Vegas, NV, April 2018

Mid America Print Council (MAPC) Conference, University of Wyoming, Laramie, WY, Oct 2018

Society for Utopian Studies Conference, St. Mary’s College and UC-Berkeley, Berkeley, CA, Nov 2018

Southern Graphics Council International (SGCI) Conference, Dallas, TX, March 2019

 

The Professional Practice Interview, a required grading element for the Stacked Printmaking curriculum, is an example of curriculum development implemented based on attending the SGCI conference. In 2016, I was selected to serve as a Career Mentor at SGCI, the largest printmaking conference in the US. I was invited to speak on the basis of my role as a practicing artist, educator, and business owner (Calliope Arts Printmaking Studio & Gallery in Louisville, KY).

3-4 times per year - I present technical demonstrations and lectures on my research at universities across the country. See more in the "Non-Credit Instruction Taught: Workshops and Masterclasses" section, below. During these engagements on campuses like Cornell University, University of Notre Dame, Middle Tennessee State University, and California State University - Chico, I meet with faculty, undergraduate and graduate students, and tour facilities. We speak about equipment, tools, and processes they are using, where they order materials from, and innovations they have made in their classrooms. Each time, I bring many ideas for learning activities and resources back to IU Southeast. 

 

3-4 times per year - I attend ILTE workshops and symposia on campus. To better assess my own teaching, I became certified as a FACET Peer Reviewer through ILTE in spring 2017. In spring 2018, I conducted a summative peer review of an IUS faculty member. 

 

1-2 times per year - Workshop/Tutorial Attendance at Professional Printmaking Studios. Examples include:

Gelatin Printing with Michelle Wilson, San Francisco Center for the Book, May 2020. In spring 2020, my classes transitioned to remote teaching mid-semester due to the COVID-19 pandemic. Fall 2020 classes will be Hybrid courses, using Zoom for synchronous meetings, critiques, demonstrations, and lectures; and video tutorials and web-based resources for asynchronous instruction. The Gelatin Printing workshop took place over Zoom with 20 participants from around the country, and allowed me to participate as a student in learning a new printmaking technique that can be performed at home. This was invaluable to my efforts to plan best methods for technical demonstrations and a collaborative working environment over a video-conferencing platform.

 

Archival Inkjet Printing Workshop, Kala Art Institute, December 2017. For the first two days of a month-long residency at Kala Art Institute, I worked closely with the studio’s manager of the Electronic Media Arts Center to calibrate and test Epson inkjet printers for use with specialized Japanese kozo papers, designed for digital printing. We worked with software and hardware to yield the best results. I have brought these skills to the classroom at IU Southeast and its Gear Lab printing shop. 

 

Stone Lithography Workshop, Edinburgh Printmakers, June 1-3, 2016

 Over the first three days of a month-long residency at Edinburgh Printmakers Studio in Edinburgh, Scotland, I attended a private workshop series with the director, Alastair Clark, to review less-toxic processes for stone and plate lithography. I brought these processes back to the printmaking studio at IU Southeast, and have implemented them in my printmaking curricula in lithography and advanced courses.

Activities as a Catalyst/Leader for Enhancement of Teaching and Learning 

 

Veterans for Peace Mural Project

In 2017, in partnership with the Louisville Visual Art association, the Fund for the Arts, and IU Southeast, I helped create the Veterans for Peace Mural—a large-scale screen print and painting. Participants in the project included student veterans and IU Southeast Assistant Professor Mariana Grohowski.

 

Cyanotype Workshop and Exhibition

In January 2017, Tiffany Carbonneau and I brought our advanced Printmaking and Digital Art students together to conduct a Cyanotype workshop, which resulted in an exhibition in the Knobview Hall lobby—a collection of original prints titled, The Color of Horizons.

 

Mixed Media Collaboration for Outdoor Art Competition and Exhibition

In September 2017, Emily Sheehan, Lindsey Dezman, and I created a collaboration between 3D, Drawing, and Printmaking students. Together, they created a large wearable sculpture, The Phoenix, which they wore and performed for audiences at the #IAMPUBLICART event at the Riverfront Amphitheater on September 23. Students designed and executed all parts of this complex project.  The IUS team won a competition between Kentucky College of Art + Design, Spalding University, Bellarmine University, and the Phoenix was displayed at the Carnegie Center for Art and History in Oct and Nov 2017.

 

Mid-America Print Council Conference

From August 2015 – March 2017, I collaborated with Donna Stallard to host the 2016 Mid-America Print Council Conference at IU Southeast and University of Louisville. IU Southeast was the primary host for this four-day conference, supported by a New Frontiers in the Arts and Humanities program. This was a powerful and unique teaching and learning opportunity for students, who prepared several studios for the 500-person conference, served as lead technical assistants to visiting arts professionals, and presented their work during the conference’s Open Portfolio event. One student wrote,

 

“MAPC is/was very awesome. Put printmaking and art into a new perspective. You were spectacular. I was so proud to tell everyone that I was your student. I’m looking forward to working together and have renewed confidence in myself.”

 

RESEARCH

Statement of Research

 

“Maps, like other graphic conventions, construct normative notions about time, space, and experience that become so familiar we take them for accurate representations rather than constructions.”

Johanna Drucker, Graphesis: Visual Forms of Knowledge Production

 

I use print media, video, and sculpture as tools to investigate and interpret data from archival and community-based research. Historical and contemporary maps appear to be scientific or distanced from the societies they represent, but are a product of their place, time, and maker. They shape the social lives of places in ways that may go unnoticed but have a significant impact on economies, communities, and the environment. Printmaking processes like lithography, woodcut, cyanotype, and intaglio have long histories within mass media publishing and graphic art. Print media forged social contracts for image consumption that persist in digital media today. Borrowing the visual authority of maps, advertisements, and blueprints, I create multilayered views of specific places in which the past and present are concurrent and vital. 

 

My work often combines digital and analog processes and techniques. Since 2017, my ongoing Alternative Maps project has explored the globe as an ephemeral printed object, a device for the distortion of landscape, and a tool to perpetuate sociopolitical relationships. Often out-of-date as soon as they are produced, a globe asks viewers to visualize the world not as an image on a screen or a flat abstraction, but at a fixed scale in relation to their bodies. Alternative Maps merges traditional globemaking techniques, printmaking processes like cyanotype, lithography, and woodcut, and digital tools like CNC devices and software. Working with traditional printmaking techniques allows me to connect to the social significance of the globe as a printed object in both concept and form. Using print processes allows me to merge visual languages from past and present, and facilitate conversations about the ways that yesterday’s words and images promote today’s social norms and historical erasures. 

 

Research is central to my projects, and the development, presentation, and overall impact of my work is typically activated through collaborations with archivists, community leaders, and stakeholders. Because I typically make work about specific places, I facilitate community and civic engagement throughout each project. My collaborations with Tiffany Carbonneau engaged large, public audiences outside of the traditional gallery context. Collaborative workspaces play a significant role in my practice, such as Calliope Arts, which I co-founded with Rodolfo Salgado Jr in 2015 and Mildred's Lane, a 96-acre research space in Pennsylvania cofounded by J Morgan Puett and Mark Dion.

 

Collaboration is a pillar of my artistic and teaching practice. I spend a significant amount of time working with other artists to facilitate community and support through the practice of printmaking. This takes many forms, including collaborative publishing projects at Calliope and my university's publishing program Rolling Knob Press; artist residencies at studios in the US and abroad; panels and presentations with other artists; workshops and lectures at universities; and work as President of the Mid America Print Council. I work to promote roles and accessibility of print media and opportunities for students and practitioners who too often are met with socioeconomic circumstances that present challenges and barriers to a focused and sustained artistic practice. 

Publications

Podcast conversation with Julie Lillie, "Mapping and Print: Perspectives from Contemporary Art and Art History." Conversations, College Art Association, New York, New York, United States. Submitted: August 20, 2019, Accepted November 1, 2019, Published February 2020. Research/Creative Activity, International. Refereed, Invited, Publicly Available. 

The College Art Association (CAA), as the preeminent international leadership organization in the visual arts, promotes these arts and their understanding through advocacy, intellectual engagement, and a commitment to the diversity of practices and practitioners. With interviewer Robert Howsare, Susanna Crum and Julia Lille present “Mapping and Print: Perspectives from Contemporary Art and Art History.” Susanna Crum, Assistant Professor at IU Southeast and President of Mid America Print Council, and Julia Lillie, a PhD Candidate at the Bard Graduate Center in New York and former Collections Manager in the Department of Drawings and Prints at the Metropolitan Museum of Art, discuss historical and contemporary intersections between Lillie's studies of modern European print culture and Crum's creative research in collaborative printmaking studios and the politics and perspectives in mapmaking.

Cover image, Graphic Impressions, Southern Graphics Council International, Atlanta, GA, United States, vol Summer 2018, pp. Cover and page 7, 2 pages. Submitted: May 17, 2018, Accepted July 17, 2018, Published July (3rd Quarter/Summer) 17, 2018. Refereed, Awarded, Publicly Available. 

 

SGC International is an educational non-profit organization committed to informing our membership about issues and processes concerning original prints, drawings, book arts, and handmade paper. Significant dialogue and exchange of technical and critical information occurs each year at our annual conference, which draws participants nationally and internationally. Our awards, publications and exhibitions promote greater understanding, scholarship, and enjoyment of these art forms to the public at large.

Exhibitions 

During the period of my work towards tenure and promotion at IU Southeast, I have exhibited my work in over 40 juried, invitational, solo and two-person exhibitions, at venues such as Museu do Douro in Douro, Portugal; Ross Art Museum in Delaware, OH; Nicole Longnecker Gallery in Houston, TX; 1078 Gallery in Chico, CA; Manifest Creative Research Gallery and Drawing Center in Cincinnati, OH; and the Kentucky Museum of Art and Craft in Louisville, KY. In 2017, I was the sole US artist awarded a Special Prize at Lessedra Art Gallery's 16th Lessedra World Print Annual, Sofia, Bulgaria. I have recently been awarded artist residencies and research fellowships at Kunstnarhuset Messen, Ålvik, Norway; Mildred's Lane, Beach Lake, PA; the Newberry Library, Chicago, IL; Edinburgh Printmakers, Edinburgh, Scotland, and Kala Art Institute, Berkeley, CA. 

One and Two-Person Exhibitions (two-person shows marked with asterisk*)

2020

Carnegie Center for Art and History, The Watershed Globe Project, New Albany, IN (forthcoming)

* Starfangled Press, Found Fictionstwo-person exhibition with Rodolfo Salgado Jr., Brevard, NC

2019

* Kunstnarhuset Messen, Mapping AlvikÅlvik, Norway

* Flat Tail Press Gallery, Found Fictions, two-person exhibition with Rodolfo Salgado Jr., Minot State University, Minot, ND

 

2018

Meijer Artway, Constellations, Indiana University East, Richmond, IN 

 

2017

Ross Art Museum, The Shadows We Cast, architectural video projection in collaboration with Tiffany Carbonneau, Delaware, OH 

* AAHD Gallery, Tracing a Line, University of Notre Dame, South Bend, IN

 

2016

1078 Gallery, A Collecting Place, Chico, CA 

2013 

Revelry Gallery, Fight or FlightLouisville, KY 

2012 

Art Building West Gallery, The Heart of the ParkUniversity of Iowa, Iowa City, IA

Juried and Invitational Exhibitions

2020

Mildred’s Lane Complex(ity), Silver-Iron-Light, Narrowsburg, NY (forthcoming/postponed)

Southern Graphics Council International Conference, Printilla, San Juan, Puerto Rico (forthcoming/postponed)

 

2019

Davis Gallery, The Worth of Water, Hobart and William Smith College, Geneva, NY

Kore Gallery, Printmaking at the Edge, Louisville, KY 

Southern Graphics Council International conference, Ecological Connectivity: Trace (Mapping Space), University of Northern Texas, Denton, TX 

Rozsa Center, Salon!, Michigan Technological University, Houghton, MI

 

2018

Visual Arts Gallery, Mid-America Print Council Members’ Juried Exhibition, Laramie, WY

Pacific Studies Gallery, Paper Connections: Works by Faculty and Students of Indiana University Southeast and the National University of Samoa, National University of Samoa, Apia, Samoa 

Mildred’s Lane Complex(ity), The Mildred Complex(ity): From the Archives of Mildred’s Lane, Narrowsburg, NY 

Grunwald Gallery, On Structure, collaborative work with Tiffany Carbonneau, Indiana University, Bloomington, IN

Southern Graphics Council International Conference, Imaging Utopia: Blueprints for Intent and Dissent, Las Vegas, NV

Museu do Douro, 9th International Printmaking Biennial, Douro, Portugal 

Kala Art Institute, Artists' Annual, Berkeley, CA 

University Art Gallery, The Flat Object: Sculptural Prints & Installations, Indiana State University, Terre Haute, IN  

 

2017

Morlan Gallery, MAP/PING, Transylvania University, Lexington, KY

Lessedra Art Gallery, 16th Lessedra World Print Annual, Sofia, Bulgaria. Juried by Kalli Kalde, Estonia; Anita Klein, England; Luce, Belgium; Jan Wellens, Belgium; Snezhina Bisserova, Bulgaria; and Grethe Hald, Norway. Awarded Special Prize.

Museu do Douro, 3rd Global Print 2017, curated by Nuno Canelas, Douro, Portugal 

Nicole Longnecker Gallery, NEXT 2017: A Biennial of Contemporary Print, Houston, TX. Juried by Nancy Palmeri, Professor, MFA Director, and Assistant Chairperson of Art & Art History at University of Texas at Arlington (letter)

New Harmony Gallery of Contemporary Art, Mercatus, curated by Garry Holstein, New Harmony, IN 

Artlink Contemporary Gallery, 37th Annual National Print Exhibition, Fort Wayne, IN. Juried by Patrick Flaherty, president and executive director of the Indianapolis Art Center, Indianapolis, IN (catalog)

New Harmony Gallery of Contemporary Art, The Disseminator of Useful Knowledge, curated by Brett Anderson, New Harmony, IN 

 

2016 

Brick Street Gallery, A Bridge Between, in conjunction with the Mid-America Print Council conference, curated by Susan Harrison, New Albany, IN

Chicago Printmakers Collaborative, Cuts: An Exhibition of Relief Prints, Chicago, IL 

City Gallery at Downtown Art Center, Beveled Edges – Printmaking in Kentucky, Lexington, KY

Manifest Creative Research Gallery and Drawing Center, Memory Palace, Cincinnati, OH

 

2015

Carnegie Center for Art and History, Held from Beneath: An Exploration of Cultural Sustainability, New Albany, IN, Curator: Karen Gillenwater

 

2014

Kentucky Museum of Art and Craft, Press: Artist and Machine, Louisville, KY

Kentucky Derby Museum, Impressions: The Art of the Race, Louisville, KY, Curator: Dominic Guarnaschelli

Green Building Gallery, Print and Process, Louisville, KY, Curator: Daniel Pfalzgraf

Huff Gallery, Sustain Invitational, Spalding University, Louisville, KY, Curator: Joyce Ogden

Creative Research

Numerous grants totaling $24,680.00 have supported my research-based creative work, including two Summer Faculty Fellowships in Research from IU Southeast (2016 and 2018) and one Artist Professional Development Travel Grant from the Great Meadows Foundation. On-site research with historical archives and community historians is often the basis of my independent and collaborative artworks. In recent years my artwork has engaged the collections of the Industrial Workers’ Museum (Ålvik, Norway); Prelinger Archive (San Francisco, CA); Letterform Archive (San Francisco, CA); Wayne County Historical Society (Honesdale, PA); Delaware County Historical Society (Delaware, OH); Indiana Historical Society (Indianapolis, IN); the University of Edinburgh Centre for Research Collections (Edinburgh, Scotland); Filson Historical Society (Louisville, KY); the Frazier History Museum (Louisville, KY); and the University of Kentucky's Louie B. Nunn Center for Oral History (Lexington, KY).

Each of my creative projects begin with a central research question. Their scope and subjects then grow and change as I research and investigate connections between seemingly disparate social phenomena, geography, material artifacts, and historical records. For internationally-recognized multimedia artist Mel Chin, art is a “catalytic structure” to create possibility and social change, and research is a fundamental first step in his creative process. In an article by Michael Agresta, Chin articulates a relationship between communication and research - and therefore, knowledge - in a way that particularly motivates my work. “It’s not about you as an artist changing the world.” Instead, “You need to understand that you have to do your homework and have a critical dynamic that’s going to enlarge the conversation to a degree where you are better informed.”   Being on-site and working with archivists and community members allows me to discover surprising connections between materials and histories, shaping my approach to visual representations of data and history, and selecting artistic processes that serve as the best vehicle for content. After doing the necessary “homework” of research, my multilayered works in print, sculpture, and video ask further questions. How do geographical and schematic representations shape our communities? How does the selective process of historical preservation influence contemporary city planning, local identities, and social relationships? What about this history is not represented in the archive?

Architectural Video Projections

From 2016-2017, I created four collaborative architectural video projections with Tiffany Carbonneau, artist and IU Southeast Associate Professor of Fine Arts - Digital Art. These large-scale, research-based artworks have ranged in scale and scope from one-night events, to a six-week automated projection with a budget of $10,000.00. Through digital video and projection, community-based research, and public engagement, we engaged the past, present and future of specific sites.  We used specialized software to map digital and analog imagery onto facades, activating the site and facilitating conversations about a place’s social history. By conducting historical investigations, archival research, and journalistic interviews, these works combined found and original digitized motion picture film, imagery, and text to create layered visual narratives that highlight intersections between a space’s past and present, and foster dialogue about its future.

In many cases, these projections highlighted histories that were lost or on the verge of being forgotten or replaced. Inside and Outside projected Homeowners’ Loan Corporation maps from the 20th century that we now call “redlining” - a federally-backed real estate practice that projected racist lending policies onto American cities. This projection took place in a neighborhood long underserved due to exclusionary redlining practices. A Running Loop projected the portraits and names of Black jockeys that won the first Kentucky Derby races, projected over the paddock and Jockey Club at Churchill Downs. A Place in Time displayed images and information about Black-owned businesses and society in the Indianapolis Canal district, projected onto a prominent A.M.E church and site on the Underground Railroad, which was about to close and become a hotel. After the lights of our projection went off, the church members, including the historian who we worked with closely on the project, handed their keys to the hotel owners. The Shadows We Cast projected images of postcards and letters from the region on a former US Post Office, exploring the role of postcards and highways as instruments for defining and promoting “the American Dream.”

About cyanotype: 

In addition to traditional printmaking techniques like silkscreen, lithography, and woodcut, I often use the cyanotype process in my work. Popularly used in the 19th and 20th centuries as a method for scientific illustration and urban planning, the cyanotype printing process requires a lensless photographic exposure and creates a complex range of rich blues, which vary based on the amount of time they are exposed to light. My work often begins as ink or digital drawings based on collections of archival imagery from maps, artifacts, newspapers, schematics, and other commercial print media. The process of drawing these elements by hand and exposing them photographically results in a flattened visual space where images from very different eras and sources overlay and merge with one another.

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Capriccio Series, 2015-2018

For centuries, prints have been a means to illustrate, define, and share scientific findings, political ideologies, and social actions. Maps and printed ephemera like newspapers, banknotes, and advertisements provide material evidence of the ways social frameworks and cultural norms are promoted and maintained. Printed currency, or bank notes, provide visual evidence of how nations present their resources, people, landscapes, and histories. The handmade cyanotype “blueprints” in this series combine imagery from bank notes from countries around the globe. More information about recent works on paper here.

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A Collecting Place, 2016

With cyanotype, lithography, woodcut, and silkscreen, A Collecting Place featured multilayered images that explore the past and present of Edinburgh's camera obscura attraction, which for more than 150 years has projected a 360-degree, live view of the city within a dark chamber. With its movable lens and glowing screen, the camera obscura continues to facilitate observation, contemplation, and playful manipulation of landscape, in a way that feels at once futuristic and ancient, public and private, introspective and voyeuristic.

 

A Collecting Place was supported by a Summer Faculty Fellowship in Research, an artist residency at Edinburgh Printmakers, the Camera Obscura and World of Illusions, Riddle's Court, Edinburgh, and Scottish Historic Buildings Trust

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Mapping Ålvik, 2019

During a residency in Norway, collaborating artist Rodolfo Salgado and I mapped the industrial and social anchors of a purpose-built environment established as a company town in the early 20th century. We interviewed local historians, factory workers, and residents in the rural fjordside town of Ålvik. Inspired by Renaissance-era maritime portolan charts, which were printed on animal skin and unrolled for shared use at sea, this is a map without an "up" or "down" orientation. Though all maps have a point of view, this record of historical and contemporary life in Ålvik can be turned and read from all directions. 

 

I created the graphite drawings and cyanotypes (below) on Salgado’s handmade paper. They feature renderings of metallic byproducts of 20th-century ferrosilicon production, which often washed ashore outside the fjordside ferrosilicon plant and residency center. 

 

This project was supported by a Great Meadows Artist Professional Development Grant and an artist residency at Kunstnarhuset Messen, Ålvik, Norway. 

Ongoing Body of Work: Alternative Maps (2017-present)

Printmaking’s potential for wide distribution and accessibility has played a major role in social activism, politics, and policy for centuries as broadsides, pamphlets, and posters. By making work that recalls the visual language of maps and schematic drawings, I create opportunities for conversation about the relationships between people and place. My approach utilizes print-based media as artifacts of social change, I propose an interpretation of place in which elements from the past, present, and future are concurrent and vital. Maps have long been a subject of my work, as they appear to be scientific or distanced from the societies they represent, but have in fact had a significant social impact from their very beginnings.

 

Despite their known social and physical distortions, printed maps have a continuing scholarly and cultural significance in our world today – for example, Gerhard Mercator’s 16th-century map projection is the basis for translating 3D space to easily-navigable 2D space used by Google Maps today:

Current studies, such as Mapping Inequality: Redlining in New Deal America— a collaboration between the University of Richmond’s Digital Scholarship Lab, University of Maryland, Virginia Tech, and Johns Hopkins University—has created an interactive, web-based map that updates the study of federal government, housing and inequality for the 21st century. It offers “unprecedented online access” to the national collection of “security maps” and area descriptions produced, between 1935 and 1940, by the Home Owners’ Loan Corporation (HOLC). These maps had a tremendous and long lasting social impact, helping “set the rules for nearly a century of real estate practice.” As they describe on their website, “Through offering a digital library of the state’s role in housing developing, Mapping Inequality illustrates vividly the interplay between racism, administrative culture, economics, and the built environment.” Using interactive, web-based media, the Mapping Inequality project utilizes historical maps to tell a story whose influence echoes in nearly all American communities today.

 

My current ongoing project, Alternative Maps, embodies a hybrid practice that combines digital and analog techniques from research and concept, to design and production. One might think cartography is a seemingly-antiquated field, often relegated to exploration and navigation. In fact, data mapping is an increasingly emerging field and practice for business, marketing, public policy, apps, and contemporary art. For example, companies like ESRI in Redlands, CA create geographic information systems (GIS), which combine data analytics and cartography to predict, manage, and record the flow of action and markets. With computer science and coding, 21st century cartographers like those at ESRI, extrapolate location data in nearly any subject matter or market. This inevitably has an impact on how communities in specific locations are served or underserved, included or excluded from growth and development. In contemporary art, the artist, geographer, and 2017 MacArthur Fellow Trevor Paglen’s practice makes “the invisible operations of military and corporate power visible to everyday citizens. He draws on his training as a geographer and utilizes the tools of image-making, coupled with painstaking review of public records and declassified documents, to explore infrastructures of warfare, surveillance, and social control that are generally hidden from the general public.”

 

I began Alternative Maps in the summer of 2017 with intensive research in materials, techniques, and processes in traditional globe-making methods dating back to the 15th century, as well as cutting-edge software and laser-cut tools. Beginning in June 2017, I researched historical and contemporary globemaking, including a 1757 treatise on equipment and processes by Denis Diderot, which outlined techniques for casting plaster spheres and attaching printed imagery, to using software developed by NASA, and corresponding with contemporary artisanal globemakers, including Planetenkugel Manufaktur in Germany and Globe Sauter & Cie in Bensançon, France. Though Alternative Maps embraces the globe as a printed and ephemeral object, there is something performative and absurd about the process of making and showing them – I’m asking viewers to visualize the world not as a satellite image on a screen, but in three dimensions, in the social space of a gallery or other venue, with a fixed scale and relationship to their bodies. 

I have been invited to present this series in artist lectures at Cornell University, Ithaca, NY; Hobart & William Smith Colleges, Geneva, NY; Kent State University, Kent, OH; University of Kentucky, Lexington, KY; University of Notre Dame, South Bend, IN; and Middle Tennessee State University, Murfreesboro, TN.

Alternative Maps: Handheld Utopias, 2017

The first iteration of this project, Handheld Utopias, was featured in three exhibitions in 2017-2018 including Tracing a Line, a two-person exhibition with Rachel Singel at the University of Notre Dame, and MAP/PING, a group exhibition at Morlan Gallery featuring artists and cartographers curated by Andrea Fischer. A print related to this series was on display in the 9th Douro Biennial 2018, Douro, Portugal. Another was featured in an international exchange portfolio I organized, Imaging Utopia: Blueprints for Intent and Dissent, which explores the role of the artist as an inventor of alternate realities, on display at the 2018 Southern Graphics Council International printmaking conference, Las Vegas, Nevada.

Project statement. For centuries, globes have signified power, education, and scientific inquiry, but are often out-of-date just after they are produced. Handheld Utopias explores the globe as an ephemeral printed object and a device for presenting (and distorting) spatial and political relationships. It features a borderless map of designs, patterns, and architecture from the banknotes of 195 countries, rendered as a three-dimensional cyanotype blueprint with traditional globe-building techniques and specialized software. In cartography, a projection is a rendering of three-dimensional space to two dimensions. From medieval shipping maps to Google Earth images, efforts to convey geographic relationships have been embedded with the privilege and perspectives of the map-maker, from relative scales of countries to international borders. The Handheld Utopias projections feature cyanotype blueprints that are distorted in such a way to conform to the spherical surface of a globe, and offer a fractured presentation of oceans and continents in a form we do not typically view as a flat map.

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Alternative Maps: The Watershed Globe, 2019-20

The most recent iteration in the Alternative Maps series, The Watershed Globe, was selected for display in two group invitational exhibitions in 2019: Salon! at the Rosza Gallery curated by Lisa Gordillo, Michigan Technological University, Houghton, MI; and the Worth of Water exhibition curated by Nicholas Ruth at Davis Gallery, Geneva NY. In the Worth of Water, I was excited to show my work alongside fellow exhibitor and recent Creative Capital grant recipient Cannupa Hanska Luger. Along with a new series of drawings from 2020, The Watershed Globe is a subject of a solo exhibition at Sally Newkirk Gallery, Carnegie Center for Art and History, New Albany, IN, opening in August 2020. 

Project statement. The Watershed Globe uses drawing, printmaking, animation, and sculpture as tools to examine maps of the Ohio River from 1793 to 2019. From European settlers to Google Maps, developers and cartographers make a series of choices when drawing a map. As the artist re-drew these maps layer by layer, she charted the ways that waterways, railroads, and roads were represented over time. What can we learn if we read a map as a reflection of social relationships, values, or ideas? A multitude of users continuously update the maps we use today. How do maps inform our sense of a place?

watershedglobeproject-images.jpg

Future Plans for Research

Alternative Maps is a series with a rich field of future opportunities and collaborations, particularly with contemporary cartographers and data mapping companies like ESRI (Redlands, CA) and Genscape (Louisville, KY), as well as historical archives and collections. I look forward to applying for grants and funding to collaborate with professional cartographers, exhibitions about intersections between art and technology, and residencies and fellowships (art-related and otherwise) that would enable me to access artifacts and collections pertinent to forthcoming iterations of Alternative Maps.

Curatorial Work and Presentations

My research includes scholarly and curatorial investigations on the social impact of historical and contemporary print media. I have chaired and participated in numerous panels on this subject. This includes a 2018 presentation at the Society for Utopian Studies conference, Berkeley, CA. At the March 2017 Southern Graphics Council International conference in Atlanta, GA, I served as panel chair on a discussion on the significance of appropriation of print media for cultural and sociopolitical critique in contemporary art. Titled Crossroads: Intersections and Interventions, the panel discussion featured presentations by two artists from the US and one from Australia. The impetus for this panel discussion was an exhibition I curated from the collection of 21c Museum, titled Interventions: Re-Framing the Printed Image, which was on display in conjunction with the 2016 Mid-America Print Council conference. Curating exhibitions from artists and collections allows me to connect with emerging and professional artists, and work with significant works of art by renowned contemporary artists such as Mark Dion, Kara Walker, and James Rosenquist, as well as historic prints by naturalist John James Audubon.

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Calliope Arts: Platform for Collaborative Research and Publishing

In addition to my research-based artwork, I am committed to advancing print media scholarship on a local and national scale. Collaborating with other artists and scholars through publishing new editions of prints  is an important part of my research. Through these projects, I learn new techniques, work in ways I otherwise wouldn’t, and develop new techniques and approaches. In 2012, I returned to my hometown, Louisville, KY, to start a cooperative fine art printmaking studio Calliope Arts with fellow printmaker Rodolfo Salgado Jr. In 2013, I was awarded the inaugural Mary Alice Hadley Prize for Visual Arts, which funded research and development for the studio.

Since 2015, Calliope Arts has provided facilities for relief, lithography, etching, and silkscreen, as well as classes, a visiting artist program and exhibitions by local and nationally-known artists. Since then, we have used our facilities and equipment to publish limited editions of artwork by artists like Caroline Woolard (New York, NY), Micah Bloom (Minot, ND), Sophie Radl (New Orleans, LA) and Douglas Degges (Storrs, CT). This kind of collaboration requires consulting with artists on a variety of techniques and processes, a longstanding practice at printmaking studios globally, such as Idem Paris, Paris, France; Tamarind Institute of Lithography, Albuquerque, NM; Crown Point Press, San Francisco; and Gemini G.E.L., Los Angeles, CA.

C19: Art Works for Kentucky

Since April 2020, Calliope Arts has been working on a large publishing project with 19 artists, writers, and musicians to publish open editions of prints in response to the COVID-19 pandemic. So far, we have donated over $1,400 to Artist Relief Trust, a state-wide coalition initiative led by ELEVATOR Artist Resource to provide emergency assistance to artists in Kentucky and Southern Indiana. Article by Steven Krolak on IUS Now, here.

Contributions to Collaborative Projects

Publisher, collaborative editions of 19 original artworks "C19: Art Works for Kentucky

April 2, 2020 - present

19 visual, literary and performing artists with Kentucky ties are working with Calliope Arts to publish open editions of prints. Hand-pulled lithographs, relief prints, screenprints, and etchings will be available for purchase on Calliope’s website. At least 33% of proceeds will be donated to Artist Relief Trust, a state-wide coalition initiative led by ELEVATOR Artist Resource to provide emergency assistance to artists in Kentucky and Southern Indiana.

Session Leader, "Silver-Iron-Light" 

June 15-July 5 2020 (postponed dates TBD due to Covid-19 pandemic), Mildred's Lane, Beach Lake, PA

Collaborators Noah Doely and Rodolfo Salgado Jr

Description: Set in the landscape with an extravaganza of 19th and 20th-century equipment, we will facilitate a series of plein-air tintype, cyanotype, and anthotype processes using a variety of materials including hand-coated plates, paper, fabric, and plant-based pigments. You may bring your own equipment or learn to use ours. These alchemical processes combine science and wonder; collaboration and experimentation will be part of events and activities throughout the session. We will begin with the design and setup of a photography studio for processing and developing in the field. Participants will work in the landscape, composing site-sensitive ‘portraits’ of Mildred’s Lane. This session will culminate in a collective, curated image archive exhibition at The Mildred Complex(ity) Project Space.

Publisher, collaborative edition of original artwork "Outside In", with artist Micah Bloom

Aug 3 - 8, 2019, Calliope Arts, Louisville, KY

Professor Micah Bloom of Minot State University received professional development and research funding from Minot State University to travel to my Louisville studio, Calliope Arts, and produce an edition of original artworks in stone lithography. Fellow artist Rodolfo Salgado and I organized the project and materials, and provided technical feedback and advice throughout the artmaking process. Together we printed an edition of stone lithographs, some of which will become part of Minot State University's permanent print collection and will be shown in future exhibitions.

 

Session Leader, "Mildred Archaeology"

July 8, 2019 - July 22, 2019, Mildred's Lane, Beach Lake, PA 

Rodolfo Salgado Jr and I led a session at an interdisciplinary research space and art residency program. With a group of other artists from across the US, we restored a printing press and made large cyanotypes on fabric and monotype prints, which we displayed during public events. As part of my work at Mildred's Lane, I led a tour and introduced a panel discussion by artists from Russia, Ukraine, Kazakhstan, and Uzbekistan, who were in New York with the CEC ArtsLink program.

Publisher, collaborative edition of original artworks "Woodcuts for Caroline Woolard's Moore College of Art Exhibition" with artist Caroline Woolard

Jan 15 - April 27, 2019, Calliope Arts, Louisville, KY 

Caroline Woolard is the first recipient of the Jane and David Walentas Endowed Fellowship at Moore College of Art. As part of this Fellowship, Woolard partnered with Calliope Arts to produce a suite of 9 laser-cut woodblock printed editions, which were exhibited alongside her sculptures in an exhibition at Moore College of Art in fall 2019. Because Woolard is not a printmaker, Calliope Arts offered creative collaboration and expertise in making solutions to her creative problems and questions, and allowed Woolard to include printed multiples in her exhibition.

 

Collaborating artist, A Place in Timecollaboration with Tiffany Carbonneau

Aug 2016, architectural video projection during IN Light IN Festival in Indianapolis, IN

Supported by The Indianapolis Community Foundation

 

Collaborating artist, A Running Loop, collaboration with Tiffany Carbonneau

April 2016, Churchill Downs

Supported by The Louisville Fund for the Arts; equipment supported by Indiana University Southeast

IUS Now, “IU Southeast fine arts faculty create video projection for opening night at Churchill Downs,” Steven Krolak, April 29, 2016

 

Collaborating artist, Inside and Outside, collaboration with Tiffany Carbonneau

April 2016, 1619 Center for Art and Activism

Supported by B. Kind Festival and 1619 Center for Art and Activism; equipment supported by Indiana University Southeast.

The Courier-Journal/USA Today, “Art of all stripes featured in B.KIND events”, Elizabeth Kramer

 

Collaborating artist, It’s Possible Here. Collaborative Public Art Proposal with Tiffany Carbonneau and Gresham Smith and Partners Architecture Firm

2016, Louisville, KY

Our proposal for a $150,000 public art commission that engages the 9th Street underpass at Main Street in downtown Louisville was short-listed for the commission. See full proposal in Grants section. 

Grants and Contracts related to Research

Received 

Artist Professional Development Grant, Great Meadows Foundation, External

$2,400.00 awarded Dec 10, 2018

Supported travel and a residency at Kunstnarhuset Messen, Ålvik, Norway from April 27 to June 7.

(Full grant proposal)

Faculty Development Travel Grant, “Society for Utopian Studies Conference: Presentation and Attendance”

$1,000.00 awarded Nov 10, 2018

This Faculty Development Travel Grant supported travel and lodging to present at the Society for Utopian Studies conference to a crossdisciplinary audience at University of California – Berkeley on Nov 3, 2018. A large part of my teaching practice focuses on interdisciplinary approaches to research and image-making, including work with historical archives, libraries, and museum collections. At the Society for Utopian Studies conference, I presented my creative research alongside three other printmaking professors from University of Minnesota, University of Arizona, and California College of the Arts. Each of us models a research-based practice in our artwork and our teaching, and I made connections with scholars in a variety of fields, including American Studies, Cultural Studies, Economics, Engineering, Environmental Studies, Gender Studies, and History.

(Full grant proposal)

Grant-in-Aid of Research: "Artist’s Residency at Mildred’s Lane"

$1,000.00 awarded March 7, 2018

The Grant-in-Aid of Research provided crucial support for the payment of fees related to an artist residency at Mildred’s Lane in Beach Lake, PA, which I attended in July 2018. Through this experience, I met many artists, scholars, and curators who work in fields related to my own personal creative research. Based on my collaborative work during the residency with these artists, Rodolfo Salgado Jr and I led a session at Mildred's Lane the following summer (2019) and we completed a collaborative publishing project with artist Caroline Woolard, who we met there. 

(Full grant proposal)

Commissioned Prints on Canvas for Omni Hotel Louisville, Local Language, Oakland, CA, External, National. 

$1,150.00 awarded December 31, 2017

My artwork was selected by Local Language, an art, design & fabrication studio that specializes in custom hospitality design. The Omni Hotel hired Local Language to research and select artists, and they selected two of my artworks for display in high-visibility areas of the hotel. I licensed the singular production of two original artworks, "A Place on the Globe" and "Capriccio II: Imagined Communities", to be featured in Louisville's new Omni Hotel, which opened in March 2018. (Image of artwork installed)

(Contract

Summer Faculty Fellowship in Research: "The Collaborative 'Workstyle' and the Teacher-Scholar", Indiana University Southeast, Competitive, IU Internal.

$8,000.00 awarded December 6, 2017

Supported studio work and a residency at Mildred's Lane, a 96-acre installation and research space in Beach Lake, PA created by artists Mark Dion and J Morgan Puett.​ 

(Full grant proposal)

Grant-in-Aid of Research: "Cyanotype in Many Colors", Indiana University Southeast, Competitive, IU Internal.

$1,000.00 awarded April 24, 2017

Cyanotype printing of photographs dates back to the 19th century when it was an important method of making prints of plant materials and photographic negatives. With this grant, Professor Darnowski and Assistant Professor Crum have been mixing alternative solutions to create photographic imagery with additional colors on paper.

(Full grant proposal

Grant-in-Aid of Research: "Artist Residency at Kala Art Institute", IU Southeast, Competitive, IU Internal

$445.00 awarded December 6, 2017

Supported the studio fee for an artist residency an internationally-renowned studio in Berkeley, CA, founded in 1974. While there, I created a series of original stone lithographs and my artwork was acquired for the Kala Art Institute permanent collection and featured in the invitational Kala Artists Annual exhibition, on display at Kala’s gallery Jan - Feb 2018. 

(Full grant proposal

Grant for Public Art, Louisville Fund for the Arts 

$3,000.00 awarded April 2016

Co-PI with Tiffany Carbonneau, Associate Professor of Fine Arts - Digital Art, IU Southeast

Tiffany Carbonneau and I received this grant for the research and production of an architectural video projection on display during the opening night of Churchill Downs, Spring Meet.

(Project proposal)

Research Support Fund, IU Southeast, Competitive, IU Internal 

$2,835.00 awarded January 5, 2016

Supported travel May 31 – July 4, 2016 to and from Edinburgh, Scotland, where I worked as a visiting artist in the Edinburgh Printmakers studio, creating original lithographs that were part of my solo exhibition, A Collecting Place, at the 1078 Gallery in Chico, California in October – November 2016. See the Summer Faculty Fellowship and Improvement of Teaching Grant descriptions (below) for more details on my activity and productivity.

(Full grant proposal

Summer Faculty Fellowship in Research, "A Collecting Place," IU Southeast, Competitive, IU Internal 

$5,000.00 awarded December 8, 2015

Supported travel May 31 – July 4, 2016 to and from Edinburgh, Scotland, where I worked as a visiting artist in the Edinburgh Printmakers studio, creating original lithographs that were part of my solo exhibition, A Collecting Place, at the 1078 Gallery in Chico, California in October – November 2016. In addition to my daily work in the studio, I also conducted research with the collection of the Camera Obscura and World of Illusions, and attended a one-day symposium organized by the Scottish Historic Buildings Trust, which featured speakers from the National Library of Scotland, the City of Edinburgh Council, and the University of Edinburgh. During this symposium, I attended a special viewing of artifacts and archival documents in the University of Edinburgh’s Centre for Research Collections, which were pertinent to my research of Patrick Geddes and the 19th-century Outlook Tower.

(Full grant proposal)

New Frontiers in the Arts and Humanities, “Print Matters, Printing Matters: Mid-America Print Council Biennial Conference,” Indiana University, Bloomington, IN

$19,838.00 awarded April 22, 2016

Co-PI with Samantha Earley and Donna Stallard

Provided funding for speaker honoraria, materials for printmaking demonstrations, promotional materials, and shuttle bus schedule for a conference that brought 500 artists, educators, and students to IU Southeast’s campus Oct 5-8, 2016. 

(Final grant report)

Mary Alice Hadley Prize for Visual Art, Community Foundation of Louisville, Hadley Pottery, and Louisville Visual Art, Louisville, KY 

$5,000.00 awarded June 9, 2013

Supported research and development for the founding of Calliope Arts Printmaking Studio & Gallery, Louisville, KY. In the grant period, I traveled to community-based printmaking studios across the US and met with directors, founders, and studio members. This grant was included in my incoming research records when I joined the faculty at IU Southeast, via Dean Samantha Earley. 

(Full grant proposal)

 

Articles

Arts-Louisville.com, "Louisville Artist Susanna Crum Wins First Hadley Prize Fellowship," Keith Waits, June 12, 2013. 

WFPL, "Susanna Crum Awarded Inaugural M.A. Hadley Visual Art Prize," Erin Keane, June 10, 2013

Applied for and Not Received

Public Art Commission, "It's Possible Here" - Finalist, 2016

Collaborative Public Art Proposal with Tiffany Carbonneau and Gresham Smith and Partners Architecture Firm 

$5,000 awarded April 15, 2016. Not selected for $150,000.00 budget.

Our proposal for a $150,000 public art commission made it to the final round of submissions and is currently in review. Our proposed artwork includes architectural lighting with negative spaces that recall the historic warehouses once located at this site, and brick plaques placed in the sidewalk area with imagery that calls attention to important Civil Rights sites located in West Louisville. The lights would change color throughout the night, beginning with warm hues of dawn, and followed by bright blues of day and returning to warm hues of dusk. See full proposal here.

New Frontiers of Creativity and Scholarship Grant, "Possible Futures," Indiana University, 2016

Primary Investigator: Tiffany Carbonneau, Associate Professor of Fine Arts – Digital Art, Indiana University Southeast

Co-Investigator: Susanna Crum, Assistant Professor of Fine Arts - Printmaking, Indiana University Southeast

Not selected for $60,000.00 funding request

Abstract: With the intent of creating public artworks that democratize our local, regional and national historical narrative, Tiffany Carbonneau, Associate Professor of Fine Art - Digital Art and Interactive Media, and Susanna Crum, Assistant Professor of Fine Art - Printmaking, are combining their practices into a new hybrid art medium that emphasizes the inherent material qualities of both digital and analog processes, while interrogating inherent biases in the historical archive, and facilitating conversations about how fragile or forgotten histories affect a community’s present and future. Discarded and undeveloped 16mm and 8mm film, found in abandoned/discarded vintage home-movie camcorders throughout the Midwest, will be hand processed, digitized and combined with found archival material that documents predominant histories specific to the region, converging the personal home movie with the regional and national archive.

Though we did not receive funding for this, we did create and exhibit an architectural video projection on the exterior of the Ross Art Museum at Ohio Wesleyan University. We used specialized software to allow the image to conform to the architecture (“projection mapping”) of the over 100-year-old historic post office that houses the museum. See full proposal here.

Time & Place: Exhibitions of Public Art & History, A Public Art Exhibition Presented by Alexandria Office of the Arts’ Public Art Program, 2016

Not selected for $45,000 budget

Tiffany Carbonneau and I were one of a few selected artists and artist teams invited to submit a proposal for this public art project in Alexandria, Virginia. See full proposal here

Press

Presented below are reviews and interviews in two sections: “Exhibitions, Projects and Creative Research” and “Community-based work, Entrepreneurship and Leadership.” Both are pillars of my practice as a teacher-scholar. I rely on social connections and collaborations across the US and abroad to conduct my research-based artwork. I maintain roles as a leader, advisor, and mentor on local and national levels by mobilizing and connecting emerging and professional artists with resources like Calliope Arts, the Mid America Print Council, grants, and juried exhibitions. I share these reviews and interviews with my students via social media platforms and class discussions, in a transparent and open effort to empower them to consider roles as both beneficiary and provider after graduation: What do you need from the world to make your best work? What roles and platforms could benefit most from your passions, talents, and interests? 

Exhibitions, Projects, and Creative Research

IUS Now, "Susanna Crum uses art and history to boost morale in Louisville", Steven Krolak, April 27, 2020

 

WLKY News, "Creative Louisville duo spreads positivity using history",  Andrew Chernoff, Louisville, KY, May 7, 2020

 

WXOX 97.1 FM, "Printmaking Exhibition of Kentucky Artists", Dec 5, 2019

 

LEO Weekly, "STAFFPICKS: Extreme Prints: Printmaking At The Edge", Dec 10, 2019

 

IU Research Impact, "Expanding the creative process with digital tools", Oct 2019

 

First Build, "Today’s spotlight is on local artist, Susanna from Calliope Arts print studio. She works with us to merge ancient print techniques with modern #cnc technology and dedicates the art back to the community,” Louisville, KY, April 18, 2019.  

 

TV6, "“Historical art tradition open to public on MTU's campus”, Houghton, MI, Mar 6, 2019 

Minot Daily News, "‘Found Fictions’ mixes the human body and art", Shyanne Belzer, Feb 27, 2019

A review of my 2019 two-person exhibition with Rodolfo Salgado Jr. 

Excerpt: "Examining and exploiting the authority of the historical cartographer, Susanna Crum’s prints present questions on place, land ownership, and political boundaries. After deconstructing maps and globes, Crum graphically reassembles planet Earth without regard to national or state borders. Like the official voice of the architect’s blueprint, Crum’s maps emerge in the classic cyanotype, imbued with a new authority, suggestive to the imagination. As the prints draw in the eye, with the deep, rich blue, they quiet the mind for reflection on how and why humans have made boundaries."

 

College Art Association, "Mildred’s Lane, an Art Institute of Social Engagement”, Hovey Brock, Feb 14, 2019.

Hovey Brock wrote and presented this paper at the international CAA conference in the panel discussion, Inhabit the World in a Better Way: Art between Political Practice and Relational Aesthetics, chaired by Kristopher Holland, University of Cincinnati and Sabine Flach, School of Visual Art, New York, NY.

 

IUS Now, "Fine Arts Faculty Biennial Exhibition celebrates spirit of experimentation", Steven Krolak, Oct 22, 2018

 

OWU News, “The Shadows We Cast,” Cole Hatcher, Columbus, OH, Sept 11, 2017

 

Columbus Dispatch, "Museum director Erin Fletcher puts art at center of discussion", Nancy Gilson, Columbus, OH, April 9, 2017

 

Indianapolis Recorder, "Interactive Light Festival to brighten Indianapolis Downtown Canal," Aug 3, 2016

 

Chico News and Review, "The Artist as Anthropologist: Bridging Past, Present, and Future", Sacramento, CA, Nov 3, 2016 

 

IUS Now, "Printmaker Susanna Crum exposes fractured history of segregation", Feb 17, 2016

 

Community-based work, Entrepreneurship and Leadership

 

WXOX 97.1 FM, "C19: Art Works for KY", July 10, 2020

Louisville Metro TV, "C19: Art Works for KY", Nicole Lechniak, June 12, 2020

Visionspire, "Visionspire Artist Feature Series", Andrew Kung Photography, Oct 15, 2019

​​

IUS Now, "Susanna Crum to Lead Mid America Print Council", New Albany, IN, Oct 12, 2018

For Good: Louisville's Philanthropy Magazine, "Supporting Our Creative Community", Elizabeth Kramer, Louisville, KY, Oct 8, 2018

WXOX 97.1 FM, "2018 Hadley Prize Opportunity", Mar 15, 2018

Artspace.com, "Destination: Louisville, Kentucky - An Art-Lover's Guide," Artspace Editors, Oct 17, 2017​

LEO Weekly, "Printmaking City, a wealth of local talent", Oct 5, 2016

The Courier-Journal, "Print Matters: Printmakers Converge to Show Art's Evolution", Louisville, KY, Sept 30, 2016

Sweet Magazine by Hearst Digital Media, "The Ultimate Print Shop", Rebecca Bates, July 2, 2016

Mighty Tieton, "10x10x10x Tieton Juror Spotlight", Lucas Spivey, Tieton, WA, May 8, 2016

Louisville Eccentric Observer, “A Q&A with artist Susanna Crum on the Opening of Calliope Arts,” Jo Anne Triplett, Louisville, KY, Oct 16, 2015

Awards and Honors 

Artist Residency at Kunstnarhuset Messen, Ålvik, Norway

International, competitive

Awarded Nov 1, 2018

Following an application and portfolio review process, I was invited to attend a residency at Kunstnarhuset Messen in Ålvik, a village in Norway transformed in 1905 with the arrival of Bjølvefossen, an industrial company  that used local waterfalls to become one of the world’s largest magnesium-ferrosilicon producers. Housed in the company’s former administrative building, the international residency program’s mission is to provide an environment where regional and international artists live and work together. Collaborator Rodolfo Salgado Jr and I used the print facilities to create works in cyanotype and intaglio exploring relationships between natural and built environments in Ålvik. We gave a presentation and workshop, documented viewpoints of the shore and village, interviewed local factory workers and community leaders, and conducted research at the Ålvik Industrial Workers’ Museum. Concurrent resident artists were from South Africa, Finland, Portugal, and the Netherlands.

 

Research Fellowship "Exploring Early Modern Maps" at Newberry Library, Chicago, IL

National, competitive

Awarded Oct 29, 2018

A one-day research methods workshop with doctoral candidates and researchers. Led by Jim Akerman of the Center for Renaissance Studies, we examined maps, atlases, and other cartographic material from the Newberry’s collections, with a focus on the production, dissemination, and use of printed maps in the early modern period. This was invaluable for my work with my ongoing, research-based project, Alternative Maps, which utilizes mapping principles, techniques, and norms from the past and present.

Artist Fellowship at Mildred's Lane Complex(ity), Beach Lake, PA

International, competitive

Awarded Nov 14, 2017

Following an application and portfolio review process, I was awarded an artist fellowship at Mildred’s Lane, a selective cross-disciplinary research program run by interdisciplinary artists Mark Dion and Morgan Puett in collaboration with artists, curators, and scholars from the US and Europe. I attended this program with support of a Summer Faculty Fellowship in Research from July 8 - 30, 2018.

 

Special Prize in Art Exhibition, Lessedra Art Gallery, Lessedra World Art Print AnnualSofia, Bulgaria

International, competitive

Awarded June 22, 2017

I was the sole prize winner from the US - others were based in England, Denmark, India, Poland, Finland, Austria, Bulgaria, and Japan.

Themed Exhibition Curator, Imaging Utopias, 2018 Southern Graphics Council International conference, Las Vegas, NV

International, competitive

Awarded June 3, 2017

My proposal to curate an exhibition of new works for the 2018 Southern Graphics Council International Conference, Altered Landscapes, was selected by a jury of five SGC International members and former conference chairs. The exhibition features a portfolio of works created by 15 artists working in the US and Qatar, and will be on display at the conference and included in the permanent collection of the Zuckerman Museum of Art, Kennesaw, GA.

Artist Residency at Kala Art Institute

International, competitive

Awarded July 31, 2017

Kala Art Institute is a renowned professional art studio and gallery in Berkeley, CA. Since 1974, they have provided resources for artists to make work in lithography, intaglio, screen printing, and more. It was an honor to be selected among an international pool of artists in July 2017 to attend the competitive Artist-in-Residence in December 2017-January 2018. This residency also included the use of Kala's Electronic Media Center, where I used specialized software to complete the designs. Kala Art Institute is an international community of artists who work in the studio and exhibit work on the premises and beyond. My work as Artist-in-Residence resulted in important professional development and invaluable connections with artists and arts professionals in the Bay Area. 

Artist Residency at Edinburgh Printmakers, Edinburgh, Scotland

International, competitive

Awarded Oct 5, 2017

Based on a written proposal and art portfolio submission, I was awarded a month as a visiting artist at Edinburgh Printmakers studio in Edinburgh, Scotland, which hosts artists from across the world as they conduct research and create artwork in the studio. I created work for a solo exhibition, A Collecting Place, at 1078 Gallery, Chico, CA in October 2016. This residency was completed with the help of grants from IU Southeast Improvement of Learning Committee and Research & Grants.

Artist Residency at Kentucky Derby Museum, Louisville, KY

Local, invitational

Awarded Sept 6, 2013

Over six months, I conducted research and created a large-scale mixed media drawing in preparation for an invitational group exhibition, Impressions: The Art of the Race. I was invited to create an artwork in response to the historical archive of the Churchill Downs racetrack, and given access to all objects in their collection. The result was the project, A Place on the Globe, now in the permanent collection of the Omni Hotel Louisville and featured in the 2016 architectural video projection in collaboration with Tiffany Carbonneau, A Running Loop.

Professional Engagements 

3 or 4 times per year, I am invited to present my creative research as an Artist in Residence, Research Fellow, Visiting Artist, or Guest Lecturer. Often these lectures are in conjunction with a workshop, masterclass, and/or exhibition of my artwork. 
 

Artist Lecture, "Several Worlds in Several Circles", Hobart and William Smith Colleges, Geneva, NY, Oct 24, 2019

Description: In her lecture, Susanna will discuss the development of her research-based art practice, the roles of digital technology and software in her work with historical print media, and the ways she hopes a transhistorical approach to map-making can inspire new questions and conversations about what comprises a sense of place.

Artist Lecture, "Transmissions from Calliope Arts"

Mildred's Lane, Beach Lake, PA, July 12, 2019

Artist Lecture,  "Mapping Alvik"

Kunstnarhuset Messen Open Studio event, Kunstnarhuset Messen, Alvik, Norway, May 24, 2019

 

Artist Lecture, "Found Fictions"

Minot State University, Minot, ND, Feb 27, 2019

 

Panel Discussion, Making Our Place: Disruptive Narratives in Contemporary Printmaking, Society for Utopian Studies conference (program)

University of California - Berkeley and St. Mary’s College of California, Berkeley, CA, Nov 6, 2018

"Speculative Futures and Queer Ecologies" - Corinne Teed, University of Minnesota, Minneapolis, MN

"Alternative Maps, Aspirational Pasts" - Susanna Crum, Indiana University Southeast, New Albany, IN

"Out of the Sky, Into the Dirt" - Aaron Coleman, Arizona State University, Tucson, AZ

"Queer Illuminations: Utopias in Print and Performance" - Jaime Knight, California College of the Arts, Oakland, CA

 

Panel Abstract: Each printmaker in this panel will approach the question of creative dissent through the production of the utopic imaginary via printmaking and collaborative studio practices. In the 502 years since Thomas More published “Utopia”, printmaking has enacted social change, broadened worldviews, and made stories of those on the margins visible to the largest possible audience. Throughout the 20th century, as print processes became more ubiquitous and accessible, they allowed marginalized communities new strategies for cultural production and for engaging with public discourse. Prints become interventions on public space, on the hegemony of dominant narratives, and on elitist jurisdictions of knowledge production.

Panelists discuss strategies of printmaking for reimagining, revising, or resisting our present social landscapes. These artists use the authority of print’s visual languages and distribution techniques to expose stories and perspectives that challenge the status quo. Utopic trends in printmaking include the mapping of future social relations, practices of collectivity and collaboration and traditions of appropriation and reimagining the archive. In contrast to popular notions of the solitary artist, printmakers often thrive in collaborative studio environments and facilitate community-based practices within and beyond  traditional exhibition contexts. Panelists will discuss the ways their work engages collective utterances throughout their creative process. In place of utopia’s Greek etymology meaning “no place,” they will discuss print-based strategies that create places and opportunities for concrete utopias that urge viewers to imagine beyond.

Artist lecture, "Collaborative "Workstyles" at Mildred's Lane"

SARC Series, Indiana University Southeast, New Albany, IN, Oct 31, 2018

Artist lecture, "Structure and Experience"

Mildred's Lane, Beach Lake, PA, July 9, 2018

 

Artist lecture, "Alternative Maps"

Kent Blossom Workshop Series, Kent State University, Kent State University College of Art, Kent, OH, May 31, 2018

 

Artist lecture, "A Call to Print"

University of Kentucky School of Visual Studies, Lexington, KY, April 13, 2018

 

Artist lecture, "Worldmakers"

Middle Tennessee State University School of Art and Design, Murfreesboro, TN, Oct 24, 2017

I discussed the development and influences for my research-based artistic practice, as well as recent artist residencies and creative entrepreneurship, including my experiences establishing and managing Calliope Arts Printmaking Studio in Louisville. The MTSU printmaking area head, Nick Satinover, wrote the following of my lecture and visit: 

 

"Your visit has created tangible proof that [a visiting artist program] is a thing the department should devote our resources to continue.  Most importantly to me, it showed my advanced students an intellectual and research based approach to art/printmaking."

 

Artist lecture, "Imaginary Lines", University of Notre Dame, South Bend, IN, Oct 11, 2017

 

Artist lecture, "Constellations"

Catapult Creative House, Southeast Missouri State University, Cape Girardeau, MO, April 6, 2017

 

Guest Lecture, "People Powered Prints"

California State University - Chico, Chico, CA, Oct 2016

Along with fellow artist Rodolfo Salgado Jr, I gave an hour-long presentation, “People Powered Prints,” on my creative research, teaching activities at IU Southeast, as well as the founding of Calliope Arts Printmaking Studio & Gallery in Louisville, which has provided a space for artists to make and exhibit prints since 2015. Rodolfo and I gave advice and answered questions about starting your own printmaking studio, applying to graduate programs, and career opportunities in printmaking. After our visit, Professor Eileen Macdonald wrote, 

 

"Your lecture with Rudy Salgado truly inspired our students and was commended by faculty that attended; you are such an articulate speaker. By sharing your creative process... you showed our students how ideas and creative work develop over time... Your lecture instilled the importance of research, which is so important for all students to understand." 

 

Artist lecture, “A Collecting Place” 

1078 Gallery, Chico, CA, Oct 2016

During the public reception for my solo exhibition A Collecting Place, I gave a brief lecture in my artwork and research, supported by a 2016 IU Southeast Summer Faculty Fellowship in Research. Following my visit, exhibition curator Thomasin Saxe wrote, 

 

“From the beginning of our planning your show last year through the installation and the reception this year, you have been the most conscientious, professional, helpful, intelligent, generous, and talented artist… exhibiting a brilliant, interesting, complex show that looks beautiful in our space; and giving such a polished, enthusiastic detailed long talk at the reception, which kept everyone riveted (rather than restless).... I believe the art world - especially as it connects with the broader social world - will benefit from your inspiring plans for many years to come.” 

 

Artist lecture, "People Powered Prints"

Kentucky College of Art & Design at Spalding University, Louisville, KY, Sept 2016

 

Artist Lecture, "Lost in (Public) Space"

Community Arts Center, Danville, KY, May 2016

Presentation followed by discussion of my community-based approach to historical research and art-making. The audience for this lecture was primarily members of Danville's Community Arts Center, who had previously been engaged with the "Art Under Pressure" steamroller printmaking event, funded by a National Endowment for the Arts Challenge America grant, for which I was a guest artist, instructor, and consultant.

Panelist, “Constructing Programs and Communities" 

Southern Graphics Council International conference

March 18-21, 2015, Knoxville, TN

I was invited to serve on a panel with an international group of panelists: 

Emmy Lingscheit (chair), University of Illinois, Urbana-Champaign, USA

Mark Bovey, Nova Scotia College of Art and Design University, Nova Scotia, Canada

Zach Stensen, Virginia Commonwealth University in Qatar, Doha, Qatar

 
 

SERVICE

 

Service Philosophy

Service to the university, department, and community are integrally bound to my creative and teaching practice. As an artist and educator, I see my role as an agent of change and transformation. I am deeply committed to making the Fine Arts program a collaborative, nurturing, and rigorous learning environment that is comparable to highly-ranked programs across the country. As an interdisciplinary artist, I consistently seek ways to benefit the school and community through engagement, partnerships, and advising, which works across a diversity of disciplines and backgrounds to identify and serve common goals. As you will see in each of my efforts, I work to enhance the visibility and reputation of the university within the local community and region. I work to identify and serve on committees and programs that enhance and support university standards, and create opportunities for growth. 

 

Louisville is my hometown, and though I do have students who venture elsewhere after graduation for graduate study and work, many of them stay in the region. I moved back to Louisville to enrich its many communities through art, and see my efforts as an educator at IU Southeast, as a partner to local organizations, and as cofounder of Calliope Arts Printmaking Studio, as a combined venture to promote critical engagement and support of the arts in the area. In each of my service activities, I model for students what a professional artist-educator can do for and in her community, and to help them make connections to define their own roles as cultural producers, critical thinkers, and agents of change. 

Feedback from 2016 Faculty Annual Report, Dean Jim Hesselman

Ms. Crum’s service to her program, our campus, and the university have been exemplary. She has used her own expertise to maintain the quality of exhibitions in the Barr Gallery, served on several vital school and campus committees, and served the university as a whole with the successful MAPC conference which gained national attention and acclaim. She is engaged with the Fine Art community on a local, regional, national, and international level. As a local business owner she is a fine example for her students of a committed member of the campus and local community on an array of social, political, as well as artistic issues. 

Service to the Printmaking Area

In addition to teaching Printmaking classes, I maintain the studio’s inventory, equipment, consumables, tools, and facilities. I often work closely with and supervise a Work Study student on these projects. Three priorities guide my continued work within the Printmaking studio: 

  1. Arrange the studio and class time so that a student who takes even one printmaking class leaves with the knowledge and experience to work in a professional studio after graduation. When I arrived at IU Southeast in summer 2015, students cleaned Silkscreen materials outside with a garden hose, and washed photographic emulsion down drains in the parking lot. The Lithography setup was not conducive to productive work and presses needed maintenance. Each semester, I work closely with students to show them how to conduct regular press and equipment maintenance - from greasing presses and mixing etchants and sharpening gouges and engraving tools. Projects with Rolling Knob Press and visiting artists challenge students to utilize their skills on demand. Because printmakers often make editions of their work, the printing process is a repeated process of rolling out ink, arranging blocks and paper on the press, and running the press. The less physical steps they need to take while printing and the better-organized the studio, the more successful they will be in producing printed editions. We work together at the End-of-Semester Cleanup to reflect upon and arrange equipment in a way to maximize productivity. 

  2. Ensure a safe and up-to-date environment for students to work. Printmaking processes have traditionally utilized an array of petroleum-based solvents, oil- and lacquer-based materials, and strong acids. However, it is standard practice for university and professional printmaking studios to replace these materials and techniques with more environmentally-friendly and healthy ones. Susan Groce, Professor of Art at the University of Maine, began work on developing less-toxic, environmentally-friendly techniques and processes with the artists at Edinburgh Printmakers in 1995. In her article “The Green Art School,” Groce writes that there are many benefits to replacing a printmaking studio’s traditional chemicals and processes with safer, less-toxic ones. In addition to the obvious health and environmental improvements, she cites that as Printmaking departments became more aligned with environmental values and new technologies, student enrollments in printmaking increased as the processes “were shown to be user-friendly.” As studios feel (and smell) safer, they become more accessible for more members of an art program to engage in interdisciplinary work with digital, new media, and installation-based art production. Facilities became more economical, due to less of a need for costly ventilation and safety equipment. I consistently research and examine standard and emerging practices at conferences, artist residencies (including at Edinburgh Printmakers via an Improvement of Teaching Grant), visiting artist engagements at other universities, and with friends and mentors who run programs at universities and in communities across the US, Canada, and Europe. Research shows that student engagement increases when programs replace traditional chemicals with less-toxic ones. 

  3. Collect and document decades of student artwork and Rolling Knob Press publications.  I work closely with the Work Study student to maintain and document the IUS Printmaking Archive. They are currently working on assigning accession numbers to each print. By our estimate, there are currently more than 2,000 prints in the growing collection, which is an important teaching tool and resource for students. Stored in the Printmaking studio, this collection includes prints by visiting artists working with Rolling Knob Press, as well as several decades of past IU Southeast students. Once documented, it is my hope the IU Southeast Archive will be available for digital study on the People Powered Prints website.

 

2015-2016

  • Installed professional, backlit Silkscreen washout booth and vacuum printing table, and implemented the use of drain-safe emulsion and cleaning agents. This was purchased with my startup budget. 

  • Installed a new exposure unit for Lithography, Intaglio, and Silkscreen, processes, and a vacuum table for precise alignment of Silkscreen imagery. This was purchased with my startup budget. 

  • Worked closely with Environmental Health & Safety inspector Jon Hoffman to: 

    • Ensure proper labeling of equipment and containers, setup of equipment, and disposal of unnecessary solvents and chemicals

    • Retire the use of Nitric acid baths for Intaglio etching processes, in favor of the much safer Ferric Chloride corrosive salt, which is more frequently in use at professional and academic environments.  

    • Move Lithography stone library from annex room to the Lithography workspace. 

    • Convert annex room to Silkscreen darkroom and Lithography stone graining room. 

  • Began the Printmaking Resource Library (an ongoing process), purchasing and bringing in books from my own collection for student research and use

 

2016-2017

  • Organized and executed significant painting, organization, and cleanup ahead of the Mid America Print Council conference, which met Oct 5-8, 2016 at IU Southeast. This included replacing cracked glass tabletop work surfaces, patching walls, instituting a new ink inventory and organizational system, disposing of unused chemicals and solvents, moving presses and equipment to other classrooms to accommodate 500 conference-goers, and the installation of an exhibition of the 2016 MAPC Conference Portfolio Exchange in the classroom. 

  • Established the @iusprintmaking Instagram account, a platform for sharing student works-in-progress, visiting artists, and exhibitions, and connects current and former students with alumni. I administer this account and often invite students to do an “Instagram Takeover” where they post to the account over a 7-day period, sharing behind-the-scenes views of their work in the studio, special projects or presentations, and research. 

  • Following feedback from a fall 2017 peer review, which included focus groups with students, class observations, and reviews of all course content for my introductory printmaking class, I established People Powered Prints, an online platform for web-based resources, video tutorials, student interviews with professional artists and designers, and images of student work. I continue to maintain and manage this website, which is a crucial teaching tool and a point of connection with Fine Arts program alumni. 

  • With some of the revenue from the MAPC 2016 conference, I established the Rolling Knob Press rollover subaccount, which collects funds from Print Club fundraisers and printed editions and distributes to students for professional development opportunities, including fees and travel to conferences and workshops. This has been a crucial support mechanism for student professional development opportunities, to bolster funds awarded from Student Life and Research & Grants.

 

2017 - 2018

  • Implemented pre-mixed etches for Stone Lithography, so that students no longer work with undiluted nitric acid. 

  • Letterpress Rehabilitation: organized and purchased necessary equipment to make the proofing letterpress in the studio available for student use. 

  • Brought damaged silkscreens for professional re-screening services at One Stroke Inks, Louisville, KY 

 

2018 - 2019

  • Picked up and transported 12 new lithography stones for IUS Printmaking from Syracuse, NY (I was in the region for an artist residency at the time). These are permanent additions to the program, as they are reusable indefinitely. They were free, but when purchased new cost between $425-658 each. Quality lithography stones come from Bavaria, Germany, and additional crating fees are also applied. 

  • Increased access to digital technology in the classroom. Purchased a new 12.9” iPad and Apple Pencil for the studio (funded by an honorarium from the 2017 #IAMPUBLICART Phoenix Collaborative Project, awarded by the Carnegie Center for Art and History); began the process of advocating for a second computer in the studio.

 

2019 - 2020

  • Conducted a major structural repair to lithography graining sink, which is a necessary component to the Lithography curriculum. 

  • Researched and purchased a Risograph stencil duplicating machine for the Printmaking program, with FY 2019-2020 budget. In and out of academia, this machine is extremely popular and in-demand in contemporary print media and graphic art, and will increase opportunities for students to make new work with an additional printmaking medium. Students will be able to produce larger runs of zines, artist’s books, posters, and illustrations than with any other printmaking technique. 

  • Second desktop computer installed in the studio. 

Service to the Fine Arts Program

BFA Coordinator (August 1, 2020 - June 1, 2022)

I conduct all communications with prospective and accepted Bachelor of Fine Arts majors regarding the BFA application process, fall BFA group exhibition, spring thesis exhibitions, studio workspaces for graduating students, and formal critiques with students and faculty.

 

Marketing Coordinator for Fine Arts Department, approximately 80 hours spent per year, Appointed. (August 1, 2018 - present).

I coordinate promotions and marketing for Barr Gallery exhibitions, design and create the Fine Arts department’s shared promotional materials for Open House and College & Career Day, update images of the Fine Arts program for monitors in Knobview Hall lobby, and manage the Instagram account for @iusoutheastfinearts, which featured graduating BFA thesis projects in spring 2020 and regular alumni spotlights.

CNC Router (ShopBot) Advisor (July 2019-present)

Developed expertise with the CNC router (with the support of a 2019 Summer Faculty Fellowship in Teaching), created a PDF and video tutorial for students and faculty on using the CNC router in the 3D Foundations classroom, led a workshop for faculty in Oct 2019, order replacement tools and supervise student work with the router (ongoing). 

 

Scribe/Archivist, Fine Arts (2018-present) 

I take notes in our weekly departmental meetings, present them for discussion and approval at subsequent meetings, and manage the IUSFINEART master folder of departmental administrative files. These files include documents and records relating to the BFA Coordinator, Fine Arts program recruitment and promotion materials, class scheduling spreadsheets, program policies and procedures, and more. In summer 2020, I oversaw file management related to the Box Migration, backed up IUSFINEART files to an external hard drive, and am currently working to ensure access on the new shared document platform.

Workshop instructor, Frame Building Demo for Fine Arts majors (Feb 28)

Taught 10 students the woodworking tools and processes necessary to build a frame for artwork. 

Adjudicator/Judge, International Student Art Exhibition

Invited, approximately 3 hours spent per year. (June 12, 2018).

Along with three other Fine Arts faculty members, I reviewed student and faculty submissions for the "Paper Connections" exhibition, which was on display at the Pacific Studies Gallery at the National University of Samoa, Apia, Samoa, and the Barr Gallery at IU Southeast. My work was also selected for this exhibition by other jurors.

Faculty Advisor/Mentor, Senior Capstone Professional Development Class

Invited, approximately 2 hours (November 26, 2018)

Reviewed graduating BFA students' resumes and applications for artist residencies. Invited by instructor Miri Phelps. 

Barr Gallery Co-coordinator, Organizer/Coordinator, approximately 240 hours spent per year, Appointed. (Aug 1, 2016 - Sept 15, 2018).

  • Co-coordinator Emily Sheehan (Associate Professor of Fine Arts - Drawing) and I worked with artists locally and nationally to develop the calendar of 7-8 professional and student exhibitions each year. This includes coordinating with exhibiting artists, installing artwork, purchasing supplies, maintaining the budget, conducting community outreach and promotions, and hosting evening receptions.

  • Annual Student Juried Exhibition: each year, Sheehan and I arranged purchase awards with administrators and organizations across campus, hired an outside juror to judge a large pool of student artwork for inclusion in the exhibition and awards, and coordinated the hanging of artwork. This juried exhibition is a unique and invaluable opportunity for Fine Arts students to apply for a competitive show, and to see their work in a professional gallery context attended by families and alumni.

  • Marketing and Promotions: communicated with artists and arts writers in the Kentuckiana community, arranged visiting artist presentations during exhibitions, created promotional content for social media and local and regional newspapers, communicated with Academic Information Officer Steven Krolak to promote and document exhibitions, and oversaw work study students.

  • BFA Exhibitions: In 2017, I designed a rubric for assessing thesis exhibitions, and implemented this rubric with BFA coordinator Tiffany Carbonneau. This rubric has resulted in a measurable increase in student responsibility and accountability in planning and installing capstone BFA exhibitions.

  • In 2018, co-coordinator Emily Sheehan and I oriented new Barr Gallery co-coordinators Anne Allen and Kok Cheow Yeoh to the tasks and responsibilities, while managing install, de-install, promotions, and logistics for the first professional exhibition of the 2018-2019 academic year— artist Becky Alley's solo exhibition. I worked closely with Ms. Alley and her studio assistant on this meticulous and large-scale sculptural installation, ending my duties as Barr Gallery Coordinator when her exhibition closed.

 

Faculty advisor, Publication of student work on online juried art feature, "Artebella", approximately 10 hours (May 2016).

I advised 5 students in the preparation of materials to submit to Artebella, an online art feature published by local art organization Louisville Visual Art. Five graduating BFA students from IUS were featured, one for each day of the week, along with their artist's statements and artwork. Having one's work featured on Artebella presents opportunities to sell artwork and spread the word locally about accomplishments, and helped publicize the high quality of work being produced at IU Southeast.

Instructor, "Wear Your Type" Silkscreen Workshop for Graphic Design FINA-S 351 Typography class (Nov 4, 2015)

Assistant Professor Kok Cheow Yeoh asked me to lead a three-hour workshop for his class. Students designed original letterforms and in the Printmaking studio at IU Southeast, made silkscreens and printed their designs on T-shirts and paper. 

Service to the School of Arts & Letters

Committee Chair, Strategic Plan Committee, Committee Chair, United States, approximately 25 hours spent per year, Appointed. (December 12, 2016 - Present).

Working with Dean Hesselman and two other faculty members to revise and update the Arts and Letters Strategic Plan to match Campus Strategic Plan language and initiatives, update Mission, Vision, and Diversity statements, and more. In Sept 2018, I presented the current draft of the Strategic Plan to around 45 faculty members at an Arts & Letters faculty meeting. Throughout Oct 2018, I led collaborative revisions via a shared Box document. In our last meeting on April 3, 2019, Dean Hesselman reported that he would share the draft for finalizing in an upcoming Arts and Letters faculty meeting.

 

Committee Member, School Review Committee, approximately 40 hours spent per year, Appointed. (August 1, 2016 - August 1, 2017).

Reviewed tenure and third-year review dossiers for three candidates in fall 2016, as well as the Arts and Letters and campus guidelines for tenure and promotion. We observed classroom learning of each candidate, discussed candidates with faculty, drafted letters of recommendation to share with the candidates, and submitted recommendation letters to Executive Vice Chancellor Uric Dufrene.

Committee Member, Recruitment and Marketing Committee, approximately 60 hours spent per year, Appointed. (January 1, 2016 - May 2016).

Attended meetings to plan and execute recruitment, marketing, and retention techniques in Arts & Letters.

Led tours of the Fine Arts studio facilities in the campus Open House in spring and fall 2016.

Service to the Campus

Committee Member and Representative for Arts & Letters, Improvement of Learning Committee, Elected. (Forthcoming: Aug 1, 2020 - June 1, 2022)

As the elected representative for the School of Arts & Letters, I will review and recommend recipients to the Associate Vice Chancellor for Academic Affairs for several awards including: Improvement of Teaching Grants, Faculty Development Travel Grants, Summer Faculty Fellowships for Teaching, and Trustees Teaching Awards.

 

Faculty Governance, Faculty Senate, (Aug 1, 2018 - Aug 1, 2020).

As a member of Faculty Senate, I represented and updated the School of Arts & Letters as needed, providing a voice and information relevant to my department and school, for the greater goal of faculty governance and roles in university-level and administrative decision-making. I also received updates from head administrators during these sessions, which I share with Arts and Letters faculty to make sure we stay on task with important goals like accreditation, new courses and opportunities for community outreach and recruitment, and more. This was especially crucial in April and May 2020, when the university was making decisions about the 2020-2021 upcoming academic year during the COVID-19 pandemic.

Adjudicator/Judge, IU Southeast Student Research Conference, approximately 8 hours (April 20, 2018).

I served as a judge for the IU Southeast Student Conference, reviewing poster presentations with fellow faculty members, ranking student presentations,  and selecting awards.

Committee Member and Representative for Arts & Letters, Honors Council, approximately 60 hours spent per year, Appointed. (June 1, 2016 - June 1, 2020).

Reviewed applications to the IU Southeast Honors Program with the help of Dr. Dement and Dr. Salas, and attended orientation and graduation events for students in the program. I reviewed scholarships and courses for the Honors Program, and worked with other faculty members to determine ways that we can create resources and expand student participation and its civic engagement and service. A major project was the development of a Strategic Plan for the Honors Program, which I have developed with other faculty members. In 2018 and 2019 I helped the Honors Program Student Advisory Board (HPSAB) chairman access paint and supplies for a pumpkin painting event for elders in a nursing home. In 2017, I designed and printed internal promotional posters to increase awareness and participation in the Honors Program, which were approved by marketing and distributed by Campus Life. In 2016, I participated in a review of the Honors Program by an outside reviewer, to determine a strategic plan and outline future goals for the organization. I have attended Honors Program events, such as the Honors Program welcome ceremony in spring 2016, as well as monthly meetings.

Facilitating Artist and Project Lead, Veterans For Peace Mural Project, approximately 100 hours, Appointed. (May 1, 2017 - Sept 26, 2017).

In the summer of 2017, in a partnership with the Louisville Visual Art association, the Fund for the Arts, and IU Southeast, Assistant Professor Mariana Grohowski and I helped student veterans create the Veterans for Peace Mural— a large-scale screen print and painting. I led a series of 6 workshops with students and community members, completed the 4' tall by 16' long mural, and worked with university Facilities and Physical Plant personnel to coordinate permanent installation of the project at University Center. I worked with the IUS Marketing department, Student Affairs, and the News and Tribune to promote and document the event. The project — around $3,500 — was funded in part by the Louisville Center for Neighborhoods and through a matching grant from the Jennifer Lawrence Arts Fund, a subsidiary of the Greater Louisville Fund for the Arts. The project culminated with a public reception at IU Southeast, with a dedication by Chancellor Ray Wallace and attended by Meredith Lawrence of the Jennifer Lawrence Art Fund. 


News and Tribune article “'Veterans for Peace' mural unites veterans, community at IUS”, Aprile Rickert, Sept 26, 2017.

Peer reviewer, FACET/ILTE Peer Review, approximately 25 hours spent per year, Appointed. (March 20, 2017 - May 5, 2017).

I conducted my first peer review as a certified FACET/ILTE Peer Reviewer in spring 2017. This included attending two classes, meeting individually three times with the faculty member being reviewed, and writing a summative review for the faculty member's application for Promotion and Tenure to Associate Professor. I sent the complete summative review letter to the Dean of the faculty member's school on May 5, 2017.

Adjudicator/Judge, IU Southeast Student Research Conference, approximately 8 hours (April 22, 2016).

As a judge for the conference, I used a rubric for judging students' research or creative activity.

I judged students' research and creative activity at the conference.

Service to the University

 

Author and presenter of "White Horses" exhibition podcast, Speed Art Museum / IU Eskenazi Museum of Art, approximately 10 hours (August 10, 2018 - November 28, 2018).

The "Picasso to Pollock: Modern Masterworks from the Eskenazi Museum of Art at Indiana University" art exhibition at the Speed Art Museum featured significant artworks on loan from the Eskenazi Museum of Art, Bloomington, IN. It was on display June 16, 2018 - January 20, 2019, and was the first in a series of collaborations and collection exchanges between the Speed Art Museum and the Eskenazi Museum at Indiana University. This includes free admission for IU Southeast students, and other collaborations, such as the Monotype Printmaking Workshop that six IUS students gave at the museum in Nov 2018. I worked with Amber Thieneman, Teaching Programs Coordinator at Speed Art Museum, to record a curatorial analysis within a contemporary and historical context of one work from the exhibition, "White Horses," by Erich Heckel. This was published as a podcast on the Speed Art Museum website in November 2018. I met with Ms. Thieneman at the exhibition to discuss the role of podcasts by curators and artists in their exhibition programming. I am the first artist-scholar to have been interviewed for a podcast. Audio is available here.

Faculty Advisor/Mentor, IU Public Art - IU Office of the Bicentennial, approximately 10 hours (December 1, 2017)

Mission of Public Art Discussion: The IU Public Art Strategic Plan will provide a vision and structure for IU's public art. The creation of the plan will take into account the needs and resources of each campus and and driven by people at the table. On 12/1/17 I attended a meeting of faculty and staff from a range of IU regional campuses to discuss art-related components for a strategic plan regarding the upcoming IU Bicentennial celebration. Led by David Brenneman of the Eskenazi Art Museum, we discussed various ideas for the ways that regional campuses across the IU system could participate in the university-wide event. I believe more information will be forthcoming on the specifics of my participation in the planning and execution of these ideas. On 3/26/18, I provided written feedback on a Strategic Plan for IU Public Art with MaryClaire Pappas and David Brenneman.

Lead Coordinator, Mid-America Print Council Conference, approximately 1200 hours spent per year (August 1, 2015 - April 1, 2017).

MAPC is an educational and community-based organization that focuses on all print-related arts, and works to promote awareness and appreciation of traditional and contemporary forms of printmaking through artist resources, opportunities, newsletters, and a biennial conference. The 2016 conference, "Print Matters, Printing Matters," was hosted by IU Southeast with one day at University of Louisville from Oct 5-8. It included technical demonstrations, panel discussions, portfolio exchanges, exhibitions, and artist presentations. Speakers included keynote speaker Carmon Colangelo— Dean of the Sam Fox School of Art, Washington University in St Louis, and Chicago Printmakers Collaborative director Deborah Maris Lader, as the recipient of the biennial Outstanding Printmaker award. In addition to activities on the campuses of Indiana University Southeast and University of Louisville, area galleries, museums, artist-run print studios, colleges, universities, and other cultural venues in Louisville, KY and southern Indiana hosted conference events, including more than 20 exhibitions by artists working across the US. I worked closely with Senior Lecturer of Fine Arts Donna Stallard to co-chair this conference. This project was supported by Indiana University's New Frontiers in the Arts & Humanities Program. 

 

I will be forever grateful to the IUS and IU Bloomington faculty, staff, and administration for their support in this major project, who responded to my requests for innumerable favors as a junior faculty member and new hire. In my time serving as President of the MAPC board (2018-2020), I have better outlined these various roles. Future conference co-chairs will delegate these responsibilities and request course releases ahead of the conference. My responsibilities since I began work as Assistant Professor - Fine Arts, Printmaking at IU Southeast August 2015 until the conclusion of the conference and through December 2016 included: 

 

  • Registration coordinator (lead contact person for web and on-site registration)

  • Social media and promotions coordinator (managed conference-specific Facebook page, lead contact for local newspaper for exhibition calendar, interviews, and articles about the conference)

  • Technical demonstration and panel discussion coordinator (ordered/distributed all demo materials and supplies for both IUS and UofL, arranged audiovisual plans with Ogle Center and University of Louisville’s lecture spaces)

  • Design Center liaison - lead contact and content writer for conference website team (led regular meetings with designers to provide schedule, content, and deadlines)

  • Marketing coordinator - organized and conveyed all photos and marketing materials for websites and MAPC's social media coordinator, Breanne Trammell

  • Exhibitions co-coordinator - arranged 20+ exhibitions throughout southern Indiana and Louisville with Rachel Singel at UofL

  • Conference and Catering Liaison - coordinated catering needs for food, portfolio exchanges, and vendors/publishers fairs at IUS

  • Transportation Co-coordinator - Donna Stallard and I designed bus route and shuttle schedule

  • MAPC Board liaison - sent regular conference reports via email from March 2016 - October 2016 to MAPC board

  • Created, published, and received post-conference survey form, distributed by MAPC social media/marketing team

500 artists, educators, and students from across the US and Canada attended the four-day conference. According to our post-conference survey, 59% were general attendees, while approximately 30% identified themselves as panelists, featured speakers, exhibition curators or hosts, technical demonstration leaders, and volunteers. 69% traveled from more than 200 miles away, while 11.8% came from 50 miles away or less. 49% of conference-goers reported that this was their first MAPC conference, and it was evident that many members of the Louisville Metro and Southern Indiana communities came to experience the conference on the IU Southeast and UofL campuses. 96.3% of respondents rated that the conference fulfilled their reason for attending. 85.4% of respondents stated they were either “Extremely Satisfied” or “Satisfied” with the events at IU Southeast, and 83.7% stated they were either “Extremely Satisfied” or “Satisfied” with the studio facilities and demonstrations at IU Southeast.

 

Notable quotes from conference-goers include:

“The professionalism and generosity of the exhibits, the presentations, the staff, the volunteers, the studio spaces. Mostly I felt like I was in the company of some of the rock stars of the print world. It just seemed like a historic event for the history of printmaking.”

 

“The conference is expertly organized, and it's a fine way to celebrate both the many forms of prints and its makers in a concentrated period of time. It's also an amazing way to connect with colleagues and friends and to meet and see the work of emerging printmakers.”

 

“Crum and Stallard were very organized insuring that all ran smoothly. It was a great conference.”

 

“Kudos to all the organizers of the conference. It's a huge logistical undertaking and I appreciate the way all the moving parts came together.”

 

From an IUS printmaking student: “MAPC is/was very awesome. Put printmaking and art into a new perspective. You were spectacular. I was so proud to tell everyone that I was your student. I’m looking forward to working together and have renewed confidence in myself. Thank you!”

 

According to respondents to our post-conference survey, the most beneficial aspects of the conference included panels, the sense of community, the open portfolio presentations, demonstrations, meeting new printmakers, the Midwest location, the studio facilities, viewing innovations in the field of printmaking, introducing students to well-established printmakers, and the high quality of work exhibition. Conference-goers responded that they would recommend the conference to others who seek to increase knowledge of printmaking culture, meeting other printmaking professionals, and the opportunity to view different cities, art communities, and college campuses with printmaking programs.

Engagement with Non-Academic Communities and Agencies

LOCAL

Event host and organizer, Shop Local Print Sale, Calliope Arts, Louisville, KY

Self-Initiated, Pro Bono, approximately 25 hours each year (November 30, 2019).

Organized, promoted, and hosted the First Annual Shop Local Print Sale at my studio Calliope Arts. 12 local artists sold their artwork and retained 100% of the sale value - we did not collect a commission or fee.

Co-organizer, "One Night Stand" Artist Critique Night

Appointed, Pro Bono, approximately 20 hours spent per year (August 1, 2017 - April 1, 2018).

In a collaboration with Miranda Lash, Curator of Contemporary Art at the Speed Art Museum, Tiffany Calvert, Assistant Professor of Painting at University of Louisville, and Adrienne Miller, Exhibitions Manager at Speed Art Museum, we led two community-based artist presentations in Louisville, in which artists Joyce Ogden and Todd Smith presented their work to 15-20 artists and curators.

REGIONAL

Co-founder and Associate Director, Calliope Arts Printmaking Studio & Gallery, Louisville, KY

2013-present 

Dedicated to increasing knowledge and practice of contemporary print media on a national scale, Calliope Arts provides access to equipment, classes, and exhibitions for intaglio, relief, lithography, and screen printing. Along with cofounder Rodolfo Salgado Jr, we have completed several collaborative publishing projects, hold an annual community-based print sale, and display work by over 35 artists working in the US and Canada. 

Guest Artist and Professional Advisor, Community Arts Center, Danville, KY

National, invited

Jan 5, 2016 - May 31, 2016

Sponsored by National Endowment for the Arts Challenge America grant

I provided consulting for the original grant proposal and implementation of workshops, and later wrote rubrics and lesson plans to accompany a $10,000.00 National Endowment for the Arts Challenge America grant, submitted by the Community Arts Center of Danville. After the grant was awarded, artist Rodolfo Salgado Jr and I planned and facilitated a coordinated series of printmaking events engaging over 200 students at Danville High School, culminating in a public steamroller printmaking event with students and area residents. The finished prints were hung as a public art installation in the community.


From Dec 18, 2015 article in KY Forward: “The NEA Challenge America program awarded 130 grants totaling 1,300,000 during its fall 2015 round of grant-making. Grants were awarded to organizations all across the country. The Community Arts Center was the only organization in Kentucky to be awarded an NEA Challenge America grant."

Service to the Profession

LOCAL

Artist Lecture, "S.T.E.A.M Speaker Series", Kentucky Country Day School, Louisville, KY 

Dec 6, 2019, Compensated

This speaker series features professionals whose careers are based in S.T.E.A.M. disciplines: Science, Technology, Engineering, Art, and Math. All students were enrolled in classes in Kentucky Country Day's Fabrication Lab, so I discussed the role of CNC (computer numeric controlled) technology in my artwork and teaching, and together we talked about ways that digital technology can enhance handmade objects and artworks.

Member of the Advisory Council, Jefferson County Public Schools, Local, Committee Member

Appointed, Pro Bono, approximately 10 hours spent per year (November 18, 2015 - June 1, 2016)

As a committee member on the Advisory Council for the Communications, Media and Arts schools in Jefferson County Public Schools, I attended meetings in which I've collaborated with others who want to support high school art programs. We discuss resources in the community for art students, both in high school and after graduation, and I learn about the programs preparing local high school graduates for a pursuit of an art career. I connected with area art teachers, and other committee members who are connected to visual arts in the Louisville Metro area. Discussed high school arts curricula and opportunities for high schoolers to develop their work in preparation for college and career.

REGIONAL

Guest Critic, Governor's School for the Arts, Centre College, Danville, KY

July 6, 2018

I was invited to serve as a visiting critic for the final review day of the 2018 Governor's School for the Arts - Visual Arts program. I attended student presentations of work, and led formal group discussions in response to their group art exhibition.

Guest Critic, University of Kentucky School of Art & Visual Studies, Lexington, KY

April 13, 2018

Conducted 8 studio visits with MFA and BFA candidates, viewing their artwork, providing professional advice, and responding to their research.

NATIONAL

Program Reviewer, Minot State University, Minot, ND

Aug 2020 (forthcoming)

I was selected among faculty at similar institutions to travel to Minot State University and conduct a review of their Art Program. Evaluation will now be remote due to COVID-19 pandemic.


From their website: “Minot State offers five art degrees, with potential career fields in advertising, illustration, graphic design, marketing, art history, commercial photography, museum and gallery administration, exhibition design, art therapy, professional studio art, independent art instruction, arts organization management and K-12 education. Art students select from these five degrees: BFA in Visual Art, BA in Visual Art, BS in Arts Administration, BS in Multimedia Studies and BSE in Art Education. (BFA and BA degrees offer specialized option areas in Ceramics, Drawing, Graphic Design, Painting, Photography, Printmaking, Traditional Arts, Integrated Media, and Sculpture).”

President, Mid America Print Council

Elected, Pro Bono, approximately 200 hours each year (2018 to present)

Since my election in October 2018, I have led the board of this member-driven nonprofit organization in the planning of a biennial conference, the publication of the MAPC Journal, and the organization of juried exhibitions, grants, professional development opportunities, and other programming to support our membership. 

The Mid America Print Council is an educational and community-based organization that focuses on all print related arts. Embracing both time-honored and innovative approaches, we promote awareness and appreciation of traditional and contemporary forms of printmaking. We are an inclusive association for individuals and institutions, administering the sharing of technical and critical information regarding print. Honoring our predecessors, we aim to bring new and sustained interest to this unique medium. Active on multiple platforms, MAPC is an organization that provides members with access to a network of printmakers, resources, opportunities, newsletters, and a biennial conference that features speakers, workshops, panels, shows, and exchanges. Through calls for participation, we organize members’ exhibitions and publish The Mid America Print Council Journal. Our goal is to recognize, advocate, and continue research in historical, current, and future print technologies.

Guest Critic, Hobart & William Smith Colleges, Geneva, NY

Oct 24, 2019, Compensated

I was invited to serve as a visiting critic for studio art students at Hobart & William Smith Colleges. I attended a group critique and provided feedback on screenprints.

 

Guest Critic for MFA Program, Cornell University College of Architecture, Art and Planning, Ithaca, NY

Oct 22, 2019, Compensated

I was invited to serve as a visiting critic for two exhibitions by studio art MFA students at Cornell University. I met individually with 7 graduate students in the galleries and in their studios.

Artist Lecture, "Live/Work", Cornell University College of Architecture, Art and Planning, Cornell University, Ithaca, NY, Compensated

Oct 22, 2019

Description: AAP Connect “Fearless Creatives” Lecture Series. "Becoming an artist is one thing, being a fearless creative is another. Join Susanna Crum (B.F.A. '08) and hear why entrepreneurial drive, resourcefulness, and grit are so important when building any type of creative career."

​ 

Artist Lecture, "Featured Artist", Slippery Rock University, Slippery Rock University, Slippery Rock, PA

Mar 27, 2019, Pro Bono

Description: I gave art students a virtual tour of my studio via Skype, and discussed my creative research and recent projects, as well as my studio Calliope Arts and teaching practice. The conversation resulted in a fall 2019 collaboration with the Interuniversity Sketchbook Project, an exchange of 14 sketchbooks between students at university art programs across the US.

Roundtable discussion, "Yes, You Can! The Ups, Downs, Ins, and Outs of Hosting a Conference", Mid America Print Council conference, University of Wyoming, Laramie, WY

Oct 6, 2018, Pro Bono

A panel with three past Mid America Print Council (MAPC) conference coordinators with the goal of sharing our experiences with collaboration, cooperation, and community while planning a four-day event at our institutions and hometowns. I had served as a lead conference organizer for the MAPC conference in 2016, which was hosted at IU Southeast with one day at University of Louisville. Each panelist presented a brief introduction of the types of collaboration they engaged in, the cooperation from colleagues and the university in general they asked for and received, as well as the level of interest and involvement of their local community while planning for their conference. After their presentations, we led a discussion with the panelists about the benefits, the drawbacks, the challenges, and the rewards from hosting the MAPC conference at their institution. Time was allowed for questions from the audience. The goal was to give panel attendees a realistic look into what the process of hosting a MAPC conference is like at institutions and cities of various sizes and scope.

 

Exhibition juror, 10x10x20 Exhibition

California State University - Chico, Chico, CA

April 9 - 11, 2018, Compensated

I was invited to serve as a juror for a student art exhibition. I met with students, reviewed artwork, and selected awards for the exhibition.

 ​

Guest Critic, University of Kentucky, Lexington, KY

April 2018, Compensated

Conducted 8 studio visits each with MFA and BFA candidates, viewing their artwork, providing professional advice, and responding to their research.

Roundtable discussion, "Yes, You Can! The Ups, Downs, Ins, and Outs of Hosting a Conference"

Mid America Print Council conference, University of Wyoming, Laramie, WY

Oct 6, 2018

A panel with three past Mid America Print Council (MAPC) conference coordinators with the goal of sharing our experiences with collaboration, cooperation, and community while planning a four-day event at our institutions and hometowns. I had served as a lead conference organizer for the MAPC conference in 2016, which was hosted at IU Southeast with one day at University of Louisville. Each panelist presented a brief introduction of the types of collaboration they engaged in, the cooperation from colleagues and the university in general they asked for and received, as well as the level of interest and involvement of their local community while planning for their conference. After their presentations, we led a discussion with the panelists about the benefits, the drawbacks, the challenges, and the rewards from hosting the MAPC conference at their institution. Time was allowed for questions from the audience. The goal was to give panel attendees a realistic look into what the process of hosting a MAPC conference is like at institutions and cities of various sizes and scope.

Adjudicator, Madison Chautauqua art fair, Madison, IN

Sept 30, 2017. Invited, Compensated, approximately 8 hours spent.

Together with two artists and curators, I attended the Madison Chautauqua art fair in Madison, IN, met with artists who had come to the event from across the US, and viewed their work. In September of each year, Madison’s historic district welcomes thousands of visitors during the two-day Madison Chautauqua Festival of Art. The festival is a juried fine arts and crafts show with approximately 250 exhibitors. My fellow jurors and I selected prizewinners for the art fair, which were presented at the conclusion of the event.

Adjudicator, St James Court Art Show, Louisville, KY

April 23, 2017. Invited, Compensated, approximately 8 hours spent. 

Along with three other professional artists, I reviewed 240 applications from artists working across the country for inclusion in the Saint James Court Art Show, a nationally-renowned outdoor art fair that was voted one of "America's Best Art Fairs" in 2016, by ArtFairCalendar.com.

Panel chair, "Crossroads: Intersections and Interventions

Southern Graphics Council International conference

March 16, 2017, Atlanta, GA

My proposed panel was selected with an international group of panelists:

Carolyn McKenzie-Craig, Lecturer in Printmaking, National Art School, Sydney, Australia

Aaron Coleman, Assistant Professor, University of Arizona, Tucson, AZ

Nicholas Satinover, Assistant Professor, Middle Tennessee State University, Murfreesboro, TN 

Abstract: Artist Hank Willis Thomas said, “My work is about framing and context. More specifically, I am fascinated with how history and culture are framed, who is doing the framing, and how these factors affect our interpretation of reality.” For centuries, prints have been methods to share social actions and political ideologies. Maps and publications provide material evidence of the ways social frameworks and norms have been maintained. As commercial media grows increasingly screen-based, image-making techniques that reproduce inequities and erasures remain. Panelists discuss artworks that appropriate historical contexts of printmaking to perform interpretations of print media’s authority and agency today.

​Relevant dates include reviewing applicants for panel discussion, organizing and communicating with panelists - April 11, 2016 - March 18, 2017.

Guest Curator, "Interventions: Re-Framing the Printed Image"

21c Museum, Louisville, KY

April 2016 - Oct 2016

Chief Curator Alice Gray Stites invited me to curate an exhibition from the 21c Museum collection of contemporary art, in conjunction with the 2016 Mid America Print Council conference.

Curatorial statement: For centuries, prints have been a means to illustrate, define, and share scientific findings, political ideologies, and cultural norms. In "Interventions: Re-framing the Printed Image" at 21c Museum in Louisville, KY, contemporary artists appropriate, intervene upon, and reinvent printed images to reveal new interpretations of their impact and agency in our times.

Career Mentor, “FLUX”, Southern Graphics Council International conference, Portland, OR. 

April 1, 2016

Based on my application, I was invited to serve as Career Mentor during 6 one-on-one sessions with arts professionals and graduate students during the international printmaking conference. 

Committee member, Mid-America Print Council Outstanding Printmaker Selection Committee

Appointed, Pro Bono, approximately 30 hours each year (November 2015 - October 2016).

After the organization's vice president invited me to participation as a member of the 2016 Mid America Print Council Outstanding Printmaker selection committee, I reviewed nominations from across the US, and wrote a biography and statement about the printmaker we selected for the award, Deborah Maris Lader. I then managed her preparation and transport of artwork from her studio in Chicago to the Barr Gallery at IU Southeast for an exhibition in conjunction with the Mid-America Print Council conference.

© Susanna Crum, 2008-2020