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Mark Pascale (Session Chair)
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Panel Session: "The Past and Future of International Print Competitions"
Mark Pascale, (Session Chair) Art Institute of Chicago, Chicago, Illinois, USA
Jan Pamula, Academy of Fine Art, Krakow, Poland
Alicia Candiani, Independent Artist, Buenos Aires, Argentina
Endi Poskovic, Columbia College Chicago, USA
Paul Coldwell University of the Arts, London, UK
The Art Institute of Chicago organized its First International Exhibition of Lithographs and Wood Engravings in 1929. For several years thereafter, the museum staged annual international exhibitions of prints, alternating with Etching and Engraving beginning in 1932. Using the Art Institute as a model, I will introduce the panel with a brief overview of these older international exhibitions of prints, and let the panelists focus on their evolution in more recent times. It will be our hope to generate conversation about the relevance of specialist exhibitions, and how they are being adapted today.
MARK PASCALE is the Associate Curator of Prints and Drawings at the Art Institute of Chicago where he has worked since 1989. In addition to his curatorial duties, Pascale also teaches studio art seminars at the School of the Art Institute of Chicago. He received his MFA degree in printmaking from Ohio State University in Columbus, Ohio (USA). His most recent curatorial project at The Art Institute of Chicago was “Beyond Convention. Artists' Ephemera: Printed, Inflatable, etc.” He has organized exhibitions on the work of Ellsworth Kelly, Jasper Johns, Joseph Beuys, and Edvard Munch, as well as exhibitions of prints from Landfall Press and Universal Limited Art Editions. In 1998 he curated “Artists' Lithographs: A Bicentennial Celebration” for the Art Institute of Chicago, During the past decade he has been active as a juror for national competitive print exhibitions in the United States, including the “77th Annual International Competition: Printmaking”, held in 2003 at The Print Center in Philadelphia, Pennsylvania. Three years ago he wrote an essay making a case for the value of such exhibitions titled "Why Bother?" in Graphic Impressions, The Southern Graphics Council Newsletter.