Over the past twenty years, the Smith College Print Workshop has been a vital part of the practical teaching of printmaking at Smith College. The workshops introduce students to new ideas and techniques as well as giving them access to leading artists and printers and hands-on experience in the creation of an editioned print.
A successful workshop is one during which students learn, the public feels welcome, the artist is comfortable enough to be open and creative, and the printer has all the support needed to do the job. While these goals are simple, the execution often isn’t, and it takes an enormous amount of energy on the part of everyone involved to produce just the right environment. Untold numbers of people—staff, volunteers, students, community members, and members of the administration—have made the Smith College Print Workshops successful, and I would like to thank them for their important contributions to the program.
The support of my colleagues in the art department has always been an essential part of the program, and I am particularly grateful to Professor of Art Gary Niswonger for assistance during the early workshops and Technical Assistant Mark Zunino for his continuing role in each workshop since joining the department in 1996. Edward Snyder and Daniel Bridgman have provided essential aid with digital technology during the past several years. My colleagues Roseanne Retz at the University of Massachusetts, and Nancy Campbell at Mount Holyoke College, have always been willing to step in with a helping hand when needed.The Jerene Appleby Harnish Bequest supplied the financial resources that made the workshops possible from 1986 to 2000. Special thanks are due to Dee Dee Niswonger for her help with early workshops (particularly a memorable van ride to and from Bub’s BBQ), and to my wife, Connie Pogue, for twenty years of assisting in innumerable activities to make each workshop a success. From the beginning of the workshop, the art department and museum of art have collaborated on making this a successful program. Former curators Christine Swenson and Ann H. Sievers provided vital assistance during their years at Smith. Sievers served as Workshop Co-Director from 1986 to 2000, providing crucial support during the bulk of the workshop’s years of operation.
Janice Carlson Oresman, Smith class of 1955, has been a strong supporter of the workshops from the beginning. In addition to finding welcome homes for prints produced during the Workshops, she has been instrumental in suggesting artists and in promoting interest in printmaking at Smith.
All the master printers we have worked with have been superb in collaborating with the artists and highly skilled in their craft. Maurice Sanchez, in particular, has become an important contributor to the graphic arts program at Smith College. During his many workshops Maurice has always taken time to help Smith students with their printing questions and problems, and in addition he has sponsored internships and written recommendations for aspiring Smith printers. His inventive approach to printmaking has influenced my own teaching, and he has proved to be valuable as both a colleague and a resource.