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CURRENCY: 11th Turner National Print Competition and Exhibition

January 30-March 4, 2017
CALL FOR ENTRIES, due by 10/30/2016

We are looking for artists to show us what is current, important and relevant in printmaking today! In the 21st century prints may include unique and innovative combinations of media encompassing 2D, 3D, time-based work, installations and other new technologies. The exhibition seeks work that expresses contemporary issues with a well developed aesthetic, shows printmaking’s current innovations, and is also a reflection of its history.

Entry format:
Online: Use interactive online form for submission and payment. OR Snail mail: Print/copy/download form, fill out, include CD or thumb drive in file format described. Include check or Money Order made payable to CSU, Chico University Foundation #06479. SASE required for return of submission disk or drive.
File format for ALL entries is JPEG, not to exceed 1600 pixels in any direction, resolution of 150-300ppi.
Electronically rename the images with artist’s last name, title, technique and # matching entry form, e.g. Brown
arrow woodcut1.jpg. Time-based work should identify program used and must be able to play on a Mac.

Information/Terms: artist pays all shipping; US Postal, UPS, Fe d EX preferred. Accepted artists notified by November 30, 2016.

Entry Fee:
$25 per each individual entry
Cash prizes and Purchase awards up to $3,000.00,
Best in Show Friends Prize-solo exhibition in 2018.

Snail mail address:
Janet Turner Print Museum National Print Competition
California State University, Chico
400 W. 1st Street, Chico, CA 95929-0820

Juror: Erin Sullivan Maynes
Erin Sullivan Maynes is Hoehn Curatorial Fellow for Prints at the University of San Diego, California. She received her Ph.D. from the University of Southern California in 2014. She is a specialist in the graphic arts, with a focus on prints and print culture of the 19th and 20th century, especially in Germany. Her dissertation, Speculating on Paper: Print Culture and the German Inflation, 1918-1924, considered the boom in graphic production that occurred during the most intense period of inflation in early Weimar-era Germany.

Juror’s Thoughts:
“Contemporary printmaking is less transparent in terms of process—you cannot just look at a print anymore to know how it is made. This challenges us to again redefine what print is at this moment and what it can be in the future. I would consider the connections between currency and print that resonate in a contemporary context as follows: the most literal is shared materials, paper and ink, and shared character as a multiple that nevertheless has limits put on its reproduction (an edition for the print, what a government is willing to print to keep prices stable in the case of money). Regarding material and edition, an alchemical transformation of material happens with both fine art and money—both take on a value far exceeding the value of their materials by virtue of a conceptual transformation rather than a material one. This conceptual link to value is necessary for both paper money and for the print to retain value and status, to be considered something more than pictures printed on paper.”

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