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(wow) Words Of Wonders Level 1861 Answers – Pressing Matters is a public philanthropy project that empowers diverse participants in Cleveland, Ohio, through participatory printmaking, visual literacy, and self-defense. The project consisted mainly of two parts: an art history course at Case Western Reserve University (CWRU) and a printmaking workshop for youth in the predominantly Hispanic Clark-Fulton neighborhood on the west side of Cleveland. and employees of Zygote Press, a Cleveland nonprofit graphics studio and educational institution.
Pressing Matters is organized thematically around printmaking as a means of collective social activity and includes hands-on training in printmaking and academic training in art history analysis. With the support of the social and racial justice grant from CWRU’s Expanding Horizons Initiative, the first Print Matters art history course at CWRU took place in the spring of 2022 and the first summer workshop for youth for seven weeks from June to July 2022.
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After years of academic research on printmaking and years of his own practice of printmaking, Benny envisioned mattes as a way to combine artistic practice with humanistic research.
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“The initiative as a whole brings conversational interpretation and artistic practices to use the history of printmaking in conjunction with printmaking to reflect creative ways of self-preservation.”
Benay developed the project in collaboration with Zygote Press Executive Director Jackie Feldman and Senior Program Manager Brittany Hudak, and CWRU designed the course to introduce students to the history of printmaking and provide them with hands-on experience in both printmaking fields. . The Spring 2022 Print Matters course, open to advanced and graduate students and inter-major students in the fields of art history and humanities, guides students through exercises that help them develop a curriculum for Printing Matters Summer 2022 in the Printing Matters Workshop for Youth. It took place at the Cleveland Museum of Art Community Art Center in the Clark-Fulton neighborhood.
Binay, Feldman, and Hudak saw the printing press as an introduction to the political power and democratic potential that printmaking offers to people of different ages, experiences, and demographics in Cleveland’s social and cultural arts scene. They put a lot of thought into how to involve both CWRU and high school students in ideas for social change through participatory art. An important aspect of this was to bring Cleveland’s own history of printmaking into dialogue with recent printmaking trends in Cleveland, especially as it intersects with race and political action. During the 1930s and 1940s, several black printers affiliated with Cromo House, a black performing and community arts center in Cleveland, achieved national fame for their vivid depictions of local issues, both positive and negative, of affected communities. After the 1940s, however, this history of Cleveland printmaking was largely obscured by the white European-American printers and collectors who dominated Cleveland printmaking. The Camaro House’s long history of printmaking has helped ground pressing issues in the politics of its surroundings.
Unlike most art history classes that don’t usually involve studio time, a third of the CWRU Pressing Matters class meets at Zygote Press, where undergraduate and graduate students gain hands-on experience using a printing press. vehicle. Working in a nonprofit arts environment. In addition to the academic component in the classroom, this hands-on training at Zygote had a huge impact on how CWRU students perceived what to include in their summer workshop curriculum for juniors. “When they come to the studio and get ‘inked’ as we say, ‘Wow, this is so different than we imagined! It takes much longer. Much harder. How do we print it? Shall we talk about its connection to self-defense?”
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“How can we create a curriculum that is realistic and actionable in its scope, yet iterative and fluid? And what impact will participants have after this experience,” Feldman explains.
As a graduation project for the Urgent Issues course, CWRU students prepared a 72-page book with an introduction about their project and curriculum for youth.
In developing curricula and related materials for young people, Binay, the Zygote team and students also identified and sought to address the negative impacts that could arise from arts-based campaigns in urban neighborhoods. Revitalization in the form of arts programs can often lead to homelessness and gentrification, and Binay, the Zygote team and students developing the summer workshop curriculum for youth have scrutinized the community arts centre. This is how to start a workshop. Clark Fulton is of great benefit to the neighborhood’s longtime residents, particularly the Puerto Rican neighborhood. Feldman says students had some thoughtful discussions with Zygote staff about what it means to work with the community. “Students were interested in how to truly engage with a community as a white liberator, creating a program that would deliver it to the community, and saying, ‘This is what you need, here you are, you’re welcome’.” Feldman remembers. “They wanted to figure out how to deliberately take the time to meet a community, invite a community to take ownership of a project, and let the project develop from there.”
In the summer of 2022, Benay and the Zygote team implemented the CWRU student curriculum in a workshop for youth at the Community Arts Center. Similar to the CWRU course, this seven-week workshop combined the history of printmaking in America with practical printmaking skills to encourage participants to think about how printmaking can be used for social change. Instead of teaching the historical importance of printmaking through lectures, as Binay did in his CWRU course, the workshop instructors taught this history by recreating important historical events in hands-on printmaking education. Participants met once a week for a three-hour session, simultaneously learning how to operate the printing press, how printmaking was used for social change in the 20th century and how it worked. Social change social media. to change
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In order to emphasize the connection between printmaking and social activism more to the students and to include this connection in the contemporary moment, guest artists who talked about how they used art in their practices and affected social change took part in the workshop. The guest artist, Zygote resident artist Amanda King, shares her experiences as a photographer and director of Shooting Without Bullets, a Cleveland-based nonprofit that equips youth with cameras and workshops. From this perspective, King talked about the role of art in connecting students and how it can break down personal identity and inform community identity.
During the youth workshop, students imagined and created prints with pictures and words that represent what is important to them. The subjects of the edition were very diverse, as students chose any subject that they found personally important. Feldman explains that this is an area where the way teens relate to graphics may differ from college students. “We don’t want to be politically tight-lipped because sometimes these are not issues that students care about or they don’t see them as overtly political,” Feldman says. “So we don’t want to dictate what the art of social justice is.” Young people in the program, “Protecting our pollinators!” and equal access to knowledge and experience. As a highlight of the workshop, Zygote organized the print sale of posters featuring the participants. It was created with the proceeds donated to various non-profit organizations according to the preferences of the participants.
As Pressing Matters completes the Racial and Social Justice Grant-funded work, Binay and Zygote are committed to expanding their Pressing Matters workshops to partner with other Cleveland neighborhoods. They envision future distributions with a careful focus on location and neighborhood dynamics, and therefore vary according to their location and participant demographics. However, they hope that the pattern of combining printmaking history with applied printmaking experience will remain the same, as is the idea that printmaking can enhance academic, artistic and advocacy skills.
As Feldman points out, printmaking is ideal for a public humanities project as it encourages both personal and political expression and can be more accessible than other art forms: “Printmaking By making multiples of a single design and putting them in a lower cost,” Feldman says. printmaking allows artists to make their work accessible to a wider audience.
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