Josh K. Winkler

Application for Promotion to Full Professor

Department of Art & Design

2022-2023

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• This document is hosted by my professional website. Reviewers are welcome to explore content links in the menu bar at the top of the page, but these links are not direct components of this application for promotion.

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TABLE OF CONTENTS

INTRODUCTION - 4

1. TEACHING - 5-28

2. RESEARCH & ACHIEVEMENT - 29-48

3. CONTINUING PREPARATION & STUDY - 49-57

4. STUDENT GROWTH & DEVELOPMENT - 58-69

5. SERVICE TO UNIVERSITY & COMMUNITY - 70-78

Tenure / Promotion Note:

• I applied for and received Tenure and Promotion to Associate Professor in 2017/2018 academic year.

  This Promotion to Full Professor Application highlights new work in the five criteria exclusively from Spring 2018 - Fall 2022.

APPENDIX

Appendix can be accessed by following highlighted links below to corresponding OneDrive Folders/Files.

A. CV

B. PDRs, PDPs, & Reports

C. Teaching evaluations

D. Student Letters

E. Course Material Samples

INTRODUCTION

I am currently Associate Professor of Printmaking at Minnesota State University and have run the printmaking program for the Department of Art & Design for the past 9 years.

Prior to MSU, I ran a dynamic cooperative space as the Studio Manager at Highpoint Center for Printmaking in south Minneapolis. I also taught Printmaking courses at the University of Minnesota and at the University of Notre Dame. These varied art experiences inside and out of academia have fostered relationships and perspectives that continue to benefit myself and my students.

During my tenure at MSU, I have developed a studio that celebrates a full range of traditional and contemporary print processes in a safe / welcoming environment, found exciting opportunities for my graduating students, pushed my creative research achievements to exciting new levels, developed connections with artists and educators, and fostered new relationships with regional, national, and international non-profit organizations.

My dedication and admiration of print-media has only grown over time. I am as excited about the possibilities of this art form today, as when I took my first printmaking course during my BFA studies more than 20 years ago. These rich and storied processes remain in a constant state of evolution. The inventive, malleable, and cross-disciplinary nature of print media has so much to teach our students. This document illustrates my passion through the progression of my teaching, creative practice, and service from Spring 2018 - Fall 2022

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Printmaking is an extremely versatile and creative art form.  Print media utilizes photographic, drawing, and sculptural process to create printing matrices with hand tools, acids, and computers.  Print processes teach students to relinquish control, express themselves through unique mark-making, become better problem solvers, combine old and new technologies, and to quickly rebound from failure. 

Historically, printmaking is tied to technological breakthroughs and the spread of information. From the earliest Buddhist woodcuts of first century China to the herbal illustrations and devotional woodcuts of the 15th century in the western world, to the colorful postcard-like woodcut landscapes of Edo Period Japan, the multiple impression has always brought imagery and text to the masses. 

Print media is responsible for the information revolution of moveable type, book-making, increased literacy, and the widespread development of laid paper in the 14th and 15th centuries. From the protestant reformation of the 16th century, to the 19th century Taller Graphica Popular in Mexico city, print media also has a long tradition of social commentary and critique. In the 20th Century, printmaking came to be known as the democratic art form. The “multiple original” print made fine art affordable to all classes of society.

Print media is tied to the working class, to labor, to the spread of information. This remains true today. Woodcut and silkscreen posters are ubiquitous at contemporary protest marches. Wheat-pasted prints are spread throughout urban environments bringing free art and ideas to everyone outside the gallery.

The communal nature of printmaking studios - groups of artists gathering around printing presses, equipment, and engaging in dialog - is a long-celebrated tradition of open learning. At MSU’s Nelson Hall print studio, Tree House Press, students become part of this tradition.

Studio art courses provide a unique platform for personal expression. Through projects and discussion, students get to know each other fundamentally by sharing their identities, values, and beliefs. A campus environment that supports diversity, equality, and inclusiveness is essential. Whether discussing student work, or the work of a professional artist, it is important for students to understand how the presence of race, gender, sexuality, and personal experience may inform and or enrich an artwork. Well-informed students in comfortable studio/working-environments become whole-heartedly involved in their courses, establish working communities, and ultimately exhibit a greater sense of accomplishment.

While artists are often uniquely empathetic, the work towards equality is never complete. We must always welcome new ideas and stand against oppressive forces towards people and the environment. Everyone must feel safe in their skin, and feel proud of the facets of their identity. Educators can have a significant impact, and must fully commit themselves to building the best educational environment for all students.

In the university experience, students grow intellectually, socially, and creatively. Their spongy minds are sharp. The people and experiences they encounter during this pivotal time help mold them into the people that they become. Many of my students are from small towns in Minnesota, many are first generation college students. We also have an abundance of international students at MSU, students from Vietnam, students from both east and west Africa, some who came to Minnesota as refugees.

I work hard to create spaces for everyone to feel welcome, enjoy meals together and build community. The printmaking studio at MSU is always open. Students can share music, a kitchenette area, they can project films in the evening. Watching students from vast ranging backgrounds hang out with each other, learn from each other, and develop long lasting friendships has an enormous impact on me and my love of teaching. These tangible experiences change the perspectives and directions of student’s lives in the most positive ways.

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PROCESS SUMMARIES

Printmaking courses encompass a range of traditional and contemporary printmaking processes, and they require the maintenance of dynamic studio space with a variety of equipment, printing presses, and chemicals. The Nelson Hall Print Studio consist of a 650 square foot pressroom, a 650 square foot classroom, a darkroom, a small digital lab, and a combination space for silkscreen washout / intaglio etching baths. Printmaking students also utilize the laser cutter in the graphic design lab to create printing matrices.

Silkscreen:

Fine art prints on paper, fabric, and found materials through hand-drawn and digitally generated photo-mechanical stencil processes. 

Intaglio:

Using an etchant with acid resistant grounds to etch both hand drawn and digitally-generated imagery to copper plates for printing to paper. 

Relief:

Carving imagery in relief to wood and linoleum surfaces for printing to paper.

Lithography:

Drawing and printing from lithographic limestone, or from photo-sensitive lithographic plates.

Letterpress:

Hand-setting type and or creating polymer relief printing surfaces to be printed on on traditional letterpress printing machines.

Combined technologies:

Using contemporary technologies like projection, laser cutters, inkjet printers or photographic processes to create printing matrices to be used in conjunction with traditional processes.

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COURSES

Each academic year, I teach all course titles in printmaking and take on independent study projects with advanced undergraduate and or graduate students. While my focus is studio printmaking courses from the 200-600 level, I occasionally teach drawing courses.

Each of my printmaking courses is driven by a variety of creative prompts.  Every project is introduced with a combination of lecture, examples of both student work and professional artists, in-person print examples, readings and or relevant podcast listening.  Students are expected to work both in and out of biweekly 3-hour class sessions.  They have 24-hour access to the facilities.  Projects culminate with group critiques, and on occasion, public exhibitions. 

The present is always in-flux, especially when it comes to visual culture.  It is important that my course content is in constant evolution.  I update the diverse range of artists that I introduce to the students, find new related content, introduce new projects and tweak successful projects from past semesters. 

A project prompt may even respond directly to the significance of the present moment.  For example, a first project in the Fall 2020 semester required that the students create projects in the public sphere, outside, all around Mankato.  During this intense moment, with the looming election, the grip of the pandemic, and the murder of George Floyd in Minneapolis, students felt the physical release of working outside while making work that connected them directly to the zeitgeist of the community.

An important teaching goal for me in the near future is to develop a new course, Art & the Environment, that will focus on the role of art in relation to the present state of our natural environment.  This course will be half lecture and half making, while fostering some real outdoor experiences in some wild places.  In a course like this, I see potential for collaboration with other art faculty, faculty in the sciences, and or Recreation, Parks, and Leisure Services. 

The following pages outline each of my current courses with a selection of student project samples from Spring 2018 - Fall 2022 .

Course syllabi, process handouts, and some assignment example sheets are available in the appendix to this document.

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 Art 270: Beginning Silkscreen and Lithographic Printmaking

From the pop artists of the 1950s like Andy Warhol or Eduado Paolazzi to contemporary printmakers today like Maya Hayuk or Chan Amornwatanakunchai, the silkscreen medium is known for its uncanny ability to build up color intensely and quickly. At MSU and beyond, the silkscreen medium is extremely popular.  Both silkscreen and Lithographic processes have concrete links to drawing, graphic design, photography, and are versatile for any number of fine art applications on paper or alternative surfaces.  I teach at least one section of this course each semester. 

Like all printmaking courses, drawing is extremely important. In this course, it is also important for students to learn the pre-press work of creating, manipulating, and editing imagery on the computer through Adobe Photoshop and Illustrator. For most students, this is the first time they have combined digitally generated and hand-drawn imagery in their work, and many students have never used the Adobe creative suite.

Found Image Student Examples (Click on images to enter slide show)

 Digital / Manual Student Examples (Click on images to enter slide show)

 Pattern, Form, Transparency Student Examples (Click on images to enter slide show)

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Exercises in Monoprinting

When time permits, I like to have a short monoprinting exercise between silkscreen and lithography curriculum to familiarize them with new equipment and materials in the studio preparing them for lithography and the use of oil-based inks.

Monoprint Student Projects (Click on images to enter slide show)

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Lithography Horror Vacui Student Examples (Click on images to enter slide show)

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Art 271: Beginning Intaglio & Relief Printmaking

In this course, students learn traditional techniques of carving & printing wood / linoleum relief blocks as well as a range of intaglio printmaking processes.  Whether using gouges to carve imagery into wood, or using an etchant to bite lines into copper, each printing matrix has a physicality and dimensionality that is sculptural. Both of these mediums have an intimate relationship to natural materials, and they foster a unique range of mark-making. Over the past few years, I have developed several new projects for this course.

We start the class with woodcut.  Students draw on planks of wood and use wood gouges to carve away the whites of an image.  Carved blocks are inked up and transferred to paper with hand-burnishing or a printing press.  The expressive quality of the medium, the boldness of black ink on white paper, and the intense graphic nature of the medium is infectious. The transformation, surprise, and excitement of a student pulling their first woodcut or intaglio impression is never lost on me.  The feeling of something impossible happening before their eyes is heartening to me and empowering to the students. 

Sibley Park and Trafton Hall woodcut examples (Click on images to enter slide show)

Color woodcut, large-scale linocut, and repeated pattern linocut examples (Click on images to enter slide show)

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All things small exchange folio examples (Click on images to enter slide show)

Etchings with tone & proverbs project examples (Click on images to enter slide show)

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Art 370, 470, 570: Upper-Level Printmaking

Art 370, 470, and 670 courses are taught concurrently in the same space at the same time. Students share the studio and have project critiques together. I have found this dynamic to be beneficial for everyone involved.

Students in these courses have the opportunity to work in some of the following printmaking processes: silkscreen, intaglio, relief, lithography, letterpress, cyanotype, digital/manual, and combined media processes. Certain projects may call for students to expand these media beyond the single sheet like installation, animation, or 3-dimensional prints. It is also common for upper-level students to collaborate with another class for a project. For example, the students might screen-print posters with a typography class, work on a public installation with an installation class, or collaborate on a folio of broadside prints with a creative writing class. It is also common for students in these courses to have public exhibitions of their work on and off campus.

Art 370: Intermediate Printmaking

In this course, students expand their knowledge of introductory printmaking processes while broadening their conceptual ideas through experimentation and research. Students are expected to enhance their print tool kit through hard work, risk, experimentation, and open-mindedness establishing a critical sensibility that prepares them for advanced printmaking and beyond. In any given semester, each student will complete 4-5 projects and present an artist presentation or apply to a juried exhibition beyond our region.

Art 470: Advanced Printmaking

Advanced print students push the boundaries of their intermediate printmaking knowledge while developing technical and intellectual skills. Students complete 4-5 projects with instructor guidance and supervision. Students explore contemporary processes and concepts while gaining an awareness of contemporary applications and dialog surrounding the media of printmaking. 

Art 670: Graduate Level Printmaking

Graduate print students push the boundaries of their advanced printmaking knowledge while applying their technical and intellectual skills.  They complete 4-5 self-initiated and self-managed projects with instructor guidance and supervision. They articulate their work in written statements that address their decisions for both the form and content of their work. Students expand the boundaries of the media through the exploration of contemporary processes and concepts. 

The following pages of slide carousels highlight 370,470, and 670 student content and media successes from recent years.

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At the start of the fall 2020 semester, as we were experiencing the height of the pandemic, social unrest after the murder of George Floyd, and the approaching election, my 370/470 print students were prompted to create a project that brought their work outside and to the public sphere.  There was a broad range of work created from political to environmental to inserting joy into these uncertain times.  One student created an outdoor installation highlighting statistics of police gun violence, another student projected his work onto public architecture at night that encouraged people to vote in the upcoming election, another printed a series of joyful illustrated postcards that she dropped into random mailboxes around town.  This project generated some of the strongest work for a few graduating seniors. 

Prints in the Public Sphere Student Examples (Click on images to enter slide show )

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3D print examples (Click on images to enter slide show)

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Woodcut Projects (Click on images to enter slide show)

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Steam Roller Woodcut Projects (Click on images to enter slide show)

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One Page Comic Exchange (Click on images to enter slide show)

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Above: Combined Media Project. Laser-cut inkjet print on dimensional mat board with two layers of silkscreen.

Misc. Project Highlights (Click on images to enter slide show & see image info)

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Collaborative broadsides with poetry faculty and students

Printed on one side of single sheet of paper, broadsides have historically been used to inform the public about various events, decrees or announcements, to advocate for a social cause or concern, or to declare government proclamations (think of old wanted posters...the Dunlap Broadsides are famously the first publication of the Declaration of Independence). Even early in their history, broadsides had a relationship with poetry. In the 17th and 18th centuries “broadside ballads” were tacked up in relation to the performance of a popular song.

While early broadsides were often quickly discarded, artist and writers have elevated these into an art form that embraces quality materials and printing matrices. Contemporary broadsides may be an intimate celebration of a poem “outside of the book,” or they may function more like a poster with large text describing a social message. In many cases, artists will go beyond the text incorporating imagery into a broadside. Broadsides are collected and cherished, a fitting format for an exchange portfolio.

The Collaborative prints with Richard Robbins and his students were exhibited in the Spring of 2018 off-campus at the 410 Project Gallery, as well as in the Nelson Hall display cases.

The Broadsides with Michael Torres and his students were exhibited publicly at the 410 Project Gallery during an English Department Writers Bloc session, and then again at the Grand Center for Arts and Culture in New Ulm.  These projects encourage collaboration between students, departments, and MSU with the broader community.

Collaborative Broadside Examples (Click on images to enter slide show)

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STUDENT EXHIBITIONS

Student exhibitions supplement course curriculum, teach practical processes of installing & curating, facilitate student connections with the community, and build student resumes for future opportunities.

The pandemic slowed down public exhibitions on all fronts. Nevertheless, since the Spring of 2018, I organized two on-campus exhibitions of print student work, 3 off-campus exhibitions of student work, and I have shown student work in the 1st floor Nelson Hall display cases at least once per academic year.

Student Exhibition Images (Click on images to enter slide show)

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SOLO STUDENT EXHIBITIONS

As students develop strong bodies of work, I encourage them to seek exhibition opportunities. A young artist’s first solo exhibition is a transformative experience. Students learn practical and technical installation skills, they have new spacial problems to solve, and they experience praise and critical feedback from a broader community. Local galleries in our region do an amazing job of providing MSU students with these opportunities.

Printmaking students Josh Guth, Edson Rosas, Mai Tran, Wardah Sabrie, Taryn Sakry, Anwen Teachout, and Wade Davis had solo exhibitions at the 410 Project Gallery in Mankato from Spring 2018 - Fall 2022. Mai Tran also had a solo exhibition at a Tea House in Ho Chi Minh City, and The Fillin Station coffee shop in Mankato.

Solo Student Exhibition Images (Click on images to enter slide show & see image info)

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CLASS FIELD TRIPS

Field Trip Images (Click on images to enter slide show)

Fall of 2021

I decided to add a field trip to inspire students with two important exhibitions relevant to their concurrent large-scale woodcut projects. 

• I took my 370/470 printmaking students to Minneapolis to see “A Contemporary Black Matriarchal Lineage in Printmaking” at Highpoint Center for Printmaking featuring the work of several contemporary black women printmakers.  Most notable, for our upcoming steamroller woodcut project, were Latoya Hobb’s large-scale woodcut prints.  The show at Highpoint, was the first time this group of women printmakers exhibited together in Minnesota.  We were lucky that the executive director, Carla McGrath, took the time to talk to our students about the show and discuss some recent editions made by one of the exhibiting artists, Delita Martin. More on this exhibit here: https://www.highpointprintmaking.org/calendar/2021/9/24/cbmlip

• We also went to Mia to see Leslie Barlow’s MAEP exhibition Within, Between, and Beyond.  This exhibition, “Explores representation, race, family, and belonging.  Comprised of both paintings and video interviews, the work shares stories of 16 Minnesotans who use the terms mixed race, multiracial, and/or transnational/transracial adoptee to identify themselves and their lived experiences. Within, Between, and Beyond invites us to hold space for, recognize, and reconsider our presumptions about race in Minnesota.” More on this exhibit here: https://www.youtube.com/watch?v=3qObeKVqhYo

Spring 2018

• We toured the printmaking facilities at Macalaster College in St. Paul and enjoyed a gallery discussion with printmaking professor Ruthann Godollei.

• We enjoyed an exhibition of paintings by contemporary artist Samuel Weinberg at the Hair and Nails Gallery in South Minneapolis.

• We saw installation exhibitions by artist Maggie Heath at the White Page Gallery in South Minneapolis.

• We attended the opening reception of printmaking artist Carolyn Swiszcz at Highpoint Center for Printmaking in the Uptown neighborhood of Minneapolis.

• Lastly we headed to Public Functionary in Northeast Minneapolis for a panel discussion about the challenges and lack of exhibitions venues for artists of color in the twin cities.

Fall 2018

• We toured an exhibition of paintings and prints by Charles Burchfield at the Hillstrom Museum of Art at Gustavus Adolphus College. There were a number of spit bite etchings in the exhibition. I introduced this process to upper-lever print students for their final projects in relation to this exhibition.

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CURRICULUM DEVELOPMENT

In the past 5 years I have created many new projects, lectures, and enrichment activities on and off campus to keep my courses fresh and relevant. During a colleagues sabbatical, I developed new curriculum for two upper-level drawing courses that I had not previously taught. During the pandemic, I created a series of silkscreen process videos to supplement instruction, and instituted Sunday Emails to check in with students at the start of each week. I have highlighted some curriculum development examples below that go beyond the the regular curriculum developments in my courses.

Process Videos

The printmaking studio has tight spaces utilized for printmaking processes.  For example, the darkroom and the silkscreen washout rooms are repurposed closets.  During the pandemic, it was not safe to present demonstrations in these tight spaces.  In response, I recorded a series of process videos for students to access the information via D2L video links.  I continue to upload these videos to D2L today, and they have proved to be a very beneficial and accessible supplement to in-class instruction.  You can find the example, “coating a screen with photo emulsion for silkscreen printmaking” here:

Sunday Emails

Prompted by the changing landscape of the early pandemic, I began sending out emails every Sunday to all my classes providing the agenda for the coming week.  I have continued this process to the present.  In addition to weekly agenda, the casual Sunday email has become a way to share more content with students and help them (and myself) foster a good mindset for a productive week.  I often share links to process videos, relevant art podcasts, and art opportunities in these emails to encourage students to dig deeper into related content.

Sunday Email Examples (Click on images to enter slide show)

Drawing 210, 310,410

In the Fall of 2018, I taught drawing 210, 310, and 410 courses for the first time while a colleague was on sabbatical. I wrote entirely new curriculum for these courses, and challenged myself to learn and teach section of animation with relation to drawing.

For their animation projects, we started with some quick classroom exercises like 3-panel gif animations or thaumatropes, and then students made a longer format stop motion animation in photoshop. The students had a good time making animations, they learned how to use new software, and they thoroughly worked their drawing muscles with 40 frame animations.

3-4 frame GIF animations

Thaumatrope animations

40 Frame stop motion animations (right click to loop the videos for the full effect)

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EVALUATING TEACHING:

Over the past years I have utilized MSU’s Office of Institutional Research evaluation forms each semester. I value student feedback, and each semester, I thoroughly reflect on the strengths and weakness of my teaching.

Upon reviewing my evaluation results from MSU’s Office of Institutional Research, I am pleased with my performance from the vantage point of my students. Evaluations for all courses during my time at MSU are quite high. The following data details the general averages from Section 1 of my course evaluation report for each semester from Spring 2018 - Fall 2021

Note: Original evaluation documents are available in document appendix.

• Fall 2018

  ART 370/470 – Intermediate / Advanced Printmaking: 4.9 / 5pts

  ART 271_01 – Intro to Intaglio & Relief Printmaking: 4.8 / 5pts

  Art 310/410 – Advanced Drawing / Drawing Workshop: 4.1 / 5pts

• Spring 2019

  ART 270_01 – Intro to Silkscreen and Lithography Printmaking: 4.9 / 5pts

  ART 270_02 – Intro to Silkscreen and Lithography Printmaking: 4.7 / 5pts

  ART 370/470 – Intermediate / Advanced Printmaking: 5 / 5pts

• Fall 2019 / Spring 2020 : Sabbatical

• Fall 2020 Note: In the past, I requested paper evals to be administered during class sessions.  During the pandemic, paper evals were not an option, and the online evals have taken on a more voluntary demeaner.  As a result, response rates decreased.  In some cases, early in the pandemic, the response rate was so low, less than 5 participants, that a course evaluation report could not be generated. 

  ART 270 – Intro to Silkscreen and Lithography Printmaking: 4.77 / 5pts

  ART 271 – Intro to Intaglio & Relief Printmaking: Not enough submissions for report

  ART 370/470 – Intermediate / Advanced Printmaking: Not enough submissions for report

• Spring 2021

  ART 270 – Intro to Silkscreen and Lithography Printmaking: Not enough submissions for report

  ART 271 – Intro to Silkscreen and Lithography Printmaking: Not enough submissions for report

  ART 370/470 – Intermediate / Advanced Printmaking: 4.9 / 5pts

• Fall 2021

  ART 270_01 – Intro to Silkscreen and Lithography Printmaking: 4.85 / 5pts

  ART 271_01 – Intro to Intaglio & Relief Printmaking: 5 / 5pts

  ART 370/470 – Intermediate / Advanced Printmaking: 4.9 / 5pts

• Spring 2022

  ART 270_01 – Intro to Silkscreen and Lithography Printmaking: 4.0 / 5pts

  ART 110 – Drawing foundations: 4.87 / 5pts

  ART 370/470 – Intermediate / Advanced Printmaking: 5 / 5pts

• Fall 2022

  ART 270_01 – Intro to Silkscreen and Lithography Printmaking: 4.9/5pts

  ART 271_01 – Intro to Intaglio & Relief Printmaking: 5/5pts

  ART 370/470 – Intermediate / Advanced Printmaking: 5/5pts

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Student Comment Samples

I enjoy reviewing written comments from my students in all of my courses and I always consider their suggestions as I am working to improve course materials and instruction techniques. I’ve shared a few comments below for each of my courses. 

 Art 270 - Introduction to silkscreen and lithography Printmaking

•  I think Josh's greatest strengths are his enthusiasm and willingness to help students/problem solve. He was always so ready to jump into projects and show us examples and really motivated me personally to believe that I could make some great art. I didn't see anything I would classify as a weakness, if anything trying to fit as much as possible into the semester

• The materials kit was very beneficial, both in cost and the effectiveness at which the materials were utilized. Another thing that was big for me was the 1on1 discussions about how the course is going, evaluations of progress, as well as the brief discussions about going through the assignments with the ideas we created.

• Grading was on time and within reasonable circumstances of grades. Quiz was well-prepared and orderly upon studying and taking the quiz. The feedback per assignment was exceedingly useful to see and recognize how the professor sees what we did. Nothing to change.

• I really liked that I had access to the studio at any time. This made it easy for me to work on my work whenever I was free.  I really liked that he put on music while we worked and that he was goofy and checked in on us to see how we're doing and if we needed any help.  I often looked forward to going to class because he was just fun to be around.

Art 271 Introduction to Intaglio and Relief Printmaking

• This was one of the best learning experiences that I’ve had. Professor Winkler provides a clear framework and illustrates the technique. He then gives us the space to work through the process ourselves... stepping in when we ask for help and showing us the next level of techniques if we want to push our pieces. He creates a calm and positive space to work.

• It would be helpful to beef up D2L for folks who want to dig in to the subject matter a little more. For example, to have links to videos from artists, to have a list of 10-20 good print cooperatives or artists, to have a list/links to other printmakers.

Art 370/470 Intermediate/Advanced Printmaking

• Major strengths include his enthusiasm to the course and how helpful he is. He was always ready to see our ideas and would provide feedback to better our projects to make them the best they could be. Any question we had he would do his best to answer them. He is just overall an amazing instructor who cares about his students and wants them to be successful.

• Gaining more knowledge about different processes of printmaking. Learning different ways of problem-solving when unexpected results occur. Projects were challenging, thoughtful, and rewarding

Art 110 Drawing/Foundations

• Always able to answer questions or give you feedback whenever, gives out more examples if students are confused, helps out if having troubles, makes sure everyone knows what they are doing before moving on, creates things as he teaches so we can see what we have to make right in front of us, very understanding with a lot of things and pushes us to be out best in art.

• I would suggest not having three-hour classes.

• Mainly all aspects of the class were beneficial to me. but the most interesting part was the tone, we were drawing with charcoal which I have never done before or even have the clue about. I was introduced to something that I have never tried and I really loved that part.

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Excerpts from Student Letters / Notes

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PRINTMAKING STUDIO MANAGEMENT

The following is a list of regular work that I oversee in the printmaking studio:

• Silkscreen frame sanding, stretching, and de-hazing

• Press maintenance

• Hazardous wastes disposal

• Supply purchasing for 4 levels of printmaking encompassing 5 printmaking media types

• Preparing variety of materials, chemicals, and expendables for course use.

• Rag laundering service weekly maintenance

• Weekly testing of emergency equipment

In the past few years, I have made the following physical changes to improve the space:  

• Cleaned up hallway storage clutter outside the 3rd floor print studio and installed a 4ft x 16ft presentation wall for displaying student projects in the hallway

• Coordinated the install of a new vented spray booth

• Restructured the printmaking studio’s small digital lab and printers

• Removed a large 16ft screen-printing table and constructed two smaller screen-printing stations on wheels to better utilize space

• Installed new dry erase board for teaching

• Added a new-to-us letterpress machine to studio
  

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SUMMARY

I work from my home studio (SKS Press) in an outbuilding in rural Minnesota. I primarily utilize printmaking processes. I love the democratic nature of multiple impressions, the portability of paper, and the rich history of commentary and dissemination in these media. Personal experience in the landscape, historical research, and the endless magic and mystery of the natural world drive my creative practice.

Conceptually, I am most concerned with interactions between humans and our environment as we grow in population and seek new sources of energy.  The difficult narratives of Euro-American westward expansion and the destruction of forests and waterways continue to teach lessons on sustainability, the importance of our natural resources, and cultural discrimination.  My work encourages people to think about their relationship to the environment, history, and the present moment. Narrative can foster empathy and encourage positive change.

Recent research has taken me to the Grand Tetons to study the plight of a dying keystone species, to drought-stricken landscapes in northern California, and to the last northern remnants of old-growth eastern white pine in Minnesota.  These trips generated the experiences and imagery presented in recent work.  Half of the projects reflect on environmental conflict and destruction.  The other half focus on positivity, and the potency of personal connection to the land.  These parallel forces of hope and despair are emblematic of the present. 

My studio practice is in an exciting state of change. I love the power and presence of large scale color woodcuts on paper. I am also really excited about combining printed textures with found objects from nature and the built environment. I believe exhibiting these two bodies of work creates compelling dialogs between the macro and micro, the personal and the societal.

Since the Spring of 2018, I have benefited from a number of exciting grants, fellowships, national and international artist residencies. These experiences have impacted my perspectives, the direction of my work, and fostered a number of new relationships. Many of these achievements were extremely competitive and they have provided the means to travel, receive critical feedback about my work, and to purchase tools and equipment to expand the possibilities of my practice. I have shown work throughout the United States, had two exhibitions in Canada, and participated in a group exhibition in Spain. I was invited as a visiting artist, gave talks at several institutions, and taught a steam-roller printing workshop in Wyoming. Perhaps most notably, I received a McKnight Fellowship in 2021, and my second Artist Initiative Grant from the Minnesota State Arts Board in 2019.

The following lists highlight professional achievements since the spring of 2018

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GRANTS & RESIDENCIES

• 2021-2022 McKnight Printmaking Fellowship at Highpoint Center for Printmaking.

  This year-long fellowship, starting February 2021, granted extensive access to Highpoint’s cooperative printshop, technical advice and support, studio visits with accomplished arts professionals, career development support, an unrestricted $25,000 award, among other benefits. Their fellowship concluded with an exhibition at Highpoint in January 2022 and featured a public conversation.

  https://www.highpointprintmaking.org/calendar/2021/1/8/mcknight-fellowship-exhbition-77rj3

• Resident Artist Research Project at the Bell Museum of Natural History. University of Minnesota.

  15-Week Artist Residency, Solo exhibition, public art project, outdoor sculpture, public lecture, blog writing, and meditation videos. 

  2020-2021

  https://www.bellmuseum.umn.edu/blog/connecting-to-nature/

• Teton Arts Lab.  Uncommon Artist Residency.

  December 7th-22nd 2020.  2-week art residency at the Art Association of Jackson Hole printmaking studio, and public lecture.

• 2019 Artist Initiative Visual Artist Grant - Minnesota State Arts Board.

  Grant provided 10K in funding for the creation of new work about forests of northern Minnesota, 2 public solo exhibitions, and teaching an accordion book workshop at the Carnegie Art Center in Mankato.

• Chilkoot Trail Artist Residency.

  The residency is a collaboration between the US National Parks Service and Parks Canada that sponsors artists to spend two weeks hiking the rugged, historic mining trail made infamous during the Klondike Gold Rush at the turn of the century. I completed my 2-week residency in June of 2018. I taught postcard woodcut workshops on the trail, made 3 new works of art, and delivered a public lecture for the National Parks Service in Alaska, and a lecture for Parks Canada in Whitehorse Yukon.

  Blog Format essay with images and text here:

  http://joshkwinkler.com/blog/2018/7/31/the-chilkoot-trail-artist-residenccy

• Natural and Manufactured Artist Residency. Klondike Institute of Art & Culture. July 2018. I was selected with one other artist (Lindsay Dobbin), and a curator/artist Michael McCormack for this 6-week residency in Dawson City, an old mining town in the Yukon Territory of Canada. This six week residency culminated with a solo exhibition in KAIC's ODD Gallery.

  More info here:

  https://naturalmanufactured.com/?cat=26

  And a critical analysis of the work by curator here:

  https://naturalmanufactured.com/?p=1652

  
  
  

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Highlights - Grants & Residencies

(Click on images to enter slide show & see image info)

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EXHIBITIONS

Solo & Invitational Exhibitions (Spring 2018 - Fall 2022):

• Solo Exhibition at Ridgewater College - Willmar, MN. (Nov 7th - Dec 9th 2022)

• ·Artists, Educators, People.  Minneapolis College of Art and Design. Invitational exhibition. Minneapolis, MN.  Summer 2022

• Carving the American Landscape. Solo Exhibition. Saint Peter Art Center. March 4th - March 26th. Saint Peter, MN 2022

• McKnight Printmaking Fellowship Exhibition. Highpoint Center for Printmaking. Minneapolis, MN. Jan 14 - Feb 12th 2022. https://www.highpointprintmaking.org/calendar/2021/1/8/mcknight-fellowship-exhbition-77rj3

• Connecting to Minnesota’s Forests Past, Present, and Future.  Bell Museum of Natural History.  Solo Exhibition of 2D works and videos.  St. Paul, MN.  Nov 2020 – Nov 2021

• Sequoiadendron giganteum.  Solo Exhibition.  Constellation Studios.  Lincoln Nebraska.  March 2020. 

• The Endless Highway. Solo Exhibition at RACA GALLERY at the POOR FARM. Mankato, MN. January 2020.

• No Horizon. Solo Exhibit at the Carnegie Art Center. Mankato, MN. July 2019.

• INFO/FLOE, Finding A Pace, Sensing A Place. Two-person show. Hermes Gallery. Lindsay Dobbin and Josh WInkler. Curated by Michael McCormack. Halifax, Nova Scotia. March 2019.

• Land and Sky. Conkling Gallery. Minnesota State University. Solo Exhibition. Feb 2019.

• Midwest Made: Contemporary Print Invitational. Peninsula School of Art. Fish Creek, WI. Jan 2019

• The Big Crash/ El gran choque. Impact 10 Conference, Encuentro. Santander, Spain. September 2018

• Outstanding Affiliates.  University of Wyoming.  Centennial Complex Gallery.  Laramie, WY.  October 2018

• Carnegie Art Center Member’s Exhibition. Mankato, MN. November 2018

• Natural and Manufactured. Odd Gallery. Klondike Institute of Art & Culture. Solo Exhibition. Dawson City, Yukon Territory, Canada. July 2018.

• Laura Corcoran and Josh Winkler. Two person show at the Waseca Art Center - Laura Corcoran and Josh Winkler. June 2018.

• Altered Nature, a printmaking exhibition curated by Viviane Le Courtois in conjunction with Mo’ Print Denver. Processus Gallery. Denver, CO. May 2018

• Land Body Industry. Katherine E. Nash Gallery. University of Minnesota - Minneapolis. Artist in the Exhibition: Lamia Abukhadra, Julie Reneé Benda, Leslie Grant, Alexa Horochowski, Rini Yun Keagy, Alison Malone, Monica Sheets, Nina Pessin-Whedbee, and Josh Winkler. Jan 2018.

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Highlights - Solo & Invitational Exhibitions

(Click on images to enter slide show)

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Juried Exhibitions (Spring 2018 - Fall 2022):

• 2022 Full Court Press Juried Print Exhibition of the Americas. Corpus Christi, TX

• 2022 Mid America Print Council Juried Exhibition. Kent State University, Ohio.

• 2022 Four Rivers Print Biennial. March 2022. Carbondale, IL

• Surface Impressions 2022. Relief Printmaking Biennial exhibition. Lincoln, NE. May 2022. 2nd Place Cash Award.

• Field Projects Gallery NYC. Afterlight Online Exhibition. April 2021. Link: http://www.fieldprojectsgallery.com/afterlight-online

• Printwork 2021. Artist Image Resource. Pittsburgh, PA. December 2021.

• Many Waters: A Minnesota Biennial.  Minnesota Museum of American Art. St. Paul, MN. Summer 2021

• Mapping the Anthropocene. Exchange Portfolio for SGCI 2020. Puerto Rico. April 2020.

• Surface Impressions 2020, Relief Printmaking Biennial. Lincoln, Nebraska. July 2020.

• 2019 Carnegie Art Center Juried Exhibition.

• Bradley International Print and Drawing Exhibition. Bradly University, Peoria, IL. March 2019.

• Twin Rivers Council for the Arts Mural Project. Woodcut mural. Ardent Mills, Mankato, MN. Sept. 2019

• The Boston Printmakers 2019 North American Print Biennial.  Boston, MA. Aug. 2019

• Okanagan Print Triennial, An International Printmaking Exhibition. Three works selected for this exhibition in Kelowna British Columbia, CA.

• The Boston Printmakers 2017 North American Print Biennial. The Lunder Arts Center, at Lesley University College of Arts and Design, Cambridge, MA. Jan. 27th - March 4th 2018.

• International Print Center New York, New Prints 2018/Winter. New York, NY.

Juried Exhibition Awards (Spring 2018 - Fall 2022)

• BEST IN SHOW - 2022 Full Court Press Juried Print Exhibition of the Americas. Corpus Christi, TX

• 2ND PLACE AWARD - Surface Impressions 2022. Relief Printmaking Biennial exhibition. Lincoln, NE. May 2022.

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Highlights - Juried Exhibitions (Click on images to enter slide show & see image info)

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Artwork Created (Spring 2018-Fall 2022)

• Full beaver moon II (over the Minnesota River), mixed media, collaged woodcut prints, carved woodblock, and found objects. 60”x50,” summer 2022

• White bark pine on the edge, steam roller woodcut, 32”x48,” summer 2022

• Full Beaver Moon, mixed media, collaged woodcut prints, carved woodblock, and found objects. 64”x58,” spring 2022

• Pissing on Fire, color woodcut, 40”x72,” fall 2021

• Under Indiana Walnuts, Silkscreen and lithography, 30”x22,” fall 2021

• Midday Moon, color woodcut, 14”x14,” fall 2021

• Whitebark Pine Triptych, Death of a Keystone in the Rockies, woodcut and silkscreen, 30”x72,” summer 2021

• MN River wetlands, linocut, 5”x7,” summer 2021

• Tree rockets, stone lithograph, 24”x36,” summer 2021

• Connection, color woodcut, 24”x34” fall 2020

• Connection geocache, screenprint and letterpress, 11”x8”, fall 2020

• Wetlands, carved woodblock, 18”x24,” fall 2020

• Louisville Swamp Boulder, color linocut, 5”x7”, fall 2020

• Boreal Sky Island, color woodcut & silkscreen, 22”x30” winter 2021

• Sad Human Animal, color woodcut, 24”x18,” winter 2021

• Death at the Yukon Headwaters, silkscreen, 22”x32,” spring 2021

• Campfire, silkscreen, 30”x22,” Spring 2021

• Black Cloud Over Blue Mound, Silkscreen, 30”x22,” spring 2021

• Sky Lodge, Color Woodcut, 32”x26,” spring 2021

• Everything We Touch. Sculpture.  Cast concrete, cast iron, moss, and lichen.  36”x36”x36”.  Installed at Bell Museum in Minneapolis.  2020. 

• Land and Sky.  Series of 9 short videos.  2020. 

• Sticks and Stones.  Series of cast iron sculptures.  2020. 

• Keeping the Water on the Land.  Color woodcut.  18”x24.” 2020

• Spring.  Woodcut and Etching.  8”x10.” 2020.

• Everyone is home.  Woodcut and Etching.  20”x16.” 2020

• The Late Great Pine Forests.  Woodcut. 40x120” 2020.

• Death by a Billion Cuts.  Woodcut.  40”x120.” 2020.

• Day Glow.  30”x48”.  Reduction woodcut.  2020. 

• Night Glow.  30”x48”.  Reduction woodcut.  2020. 

• The endless highway.  Lithography and sculpture.  22x30x26. 2020

• Mapping the Anthropocene.  Woodcut and etching.  11”x30.” 2020

• Big Woods Bur Oak.  Color Woodcut.  52”x36.” 2019

• Night Forest.  Ink drawing.  36x48.” 2019

• Tree Rockets.  Ink drawing.  36x48.” 2019

• Reflection.  Mixed media sculpture home facade with found materials, woodcut prints and animation. 9ftx24ft. 2019

• Plane over Ocean.  Ink drawing.  42x36.” 2019

• Summit.  Color woodcut print installation on gallery columns. 14ft x 30.” 2019

• No Horizon (diptych).  Waxed woodcut prints in light boxes. 36x48.” 2019

• White Pine Portraits.  Series of 8 woodcut prints.  20”x16” each.  2019

• Northwood Panorama.  Accordion book of woodcut prints.  18”x50.” 2019

• Sky.  Carved and painted door.  80”x33.” 2018

• Pace.  Screenprint.  14x11.” 2018

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Highlights - Artworks Created

(Click on images to enter slide show & see image info)

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Highlights - Large Plates

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The Land Project

A handmade limestone cabin and reforestation project in rural Indiana.  In the Summers of 2019 & 2020, I finished the stone work for the structure. In the Summers of 2021 and 2022, I worked with the local Amish community and my dad to mill dead emerald ash borer trees from the property.  We planed the wood on site and created flooring and cabinetry entirely of local materials.  This 10+year project has taught me more about my work and myself than any other creative project, and has proved to be an excellent space for writing, carving woodblocks, and thinking creatively. I hope to host writers in the space and have community building events in the future.

http://joshkwinkler.com/landproject

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PUBLICATIONS / WRITING

Publications

• The Emerald Ash Borer Project - March 2018

  Article published in Journal of Sustainability Education: Art, Social Justice, and a Vision for Sustainability

  http://www.susted.com/wordpress/content/the-emerald-ash-borer-project_2018_03/

• INFO/FLOE Finding A Pace, Sensing A Place

  Curator’s essay by Michael McCormack, Curator of The Natural & the Manufactured, 2018. Edited by Meg Walker. Presented by The Odd Gallery and the Klondike Institute of Arts & Culture

  https://naturalmanufactured.com/?p=1652

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Independent Writing

• Lost, The Late Great White Pine and the Superior National Forest.

  http://joshkwinkler.com/blog/lost

• Resident Artist Research Project: Connecting to Minnesota’s Forests Past, Present, and Future:

  1.     The Pandemic:

  http://joshkwinkler.com/blog/2020/6/19/past-and-present-connecting-to-the-minnesota-landscape-bell-residency

  2.     Seven Mile Creek – A Deeper Look at the Land Near Home.

  http://joshkwinkler.com/blog/2020/6/24/connection-to-minnesotas-forests-past-present-and-future-2-a-deeper-look-at-land-near-home

  3.     Everything we Touch – Faux Stone Cairn Project

  http://joshkwinkler.com/blog/2020/7/3/3-connecting-to-minnesotas-forests-past-present-and-future
  
  
  

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TALKS / VISITING ARTIST INVITATIONS (Spring 2018 - Fall 2022):

• Wild Walls Steam Roller Printing Event in Jackson, WY

  In the Fall of 2021 Jackson Hole Public Art reached out to me about teaching a relief printmaking workshop and coordinating a steamroller printing event for an outdoor arts festival in the Grand Tetons.  I traveled to Jackson, WY in March of 2022 and taught a woodcut workshop to participants.  Participants, including myself, were paired with an environmental awareness non-profit.  Each of us spent 3-months carving 32”x48” woodblocks.  In late May, I traveled back to Jackson, to coordinate the printing.  The printing event had a DJ, a food truck, and each of the non-profits had tables from which guests could bid on our prints to raise both awareness and funds.  All the while I inked and printed blocks.  It was a huge success, and the work was later wheat pasted around Jackson.  JHPA produced a short video of the event (see below).

• McKnight Fellowship Panel Discussion with writer Kim Todd and printer Gaylord Shanilec.  Feb.  2022. 

• Uncommon Artist Residency.  Zoom talk at Teton Art Lab.  December 2020.

• Connecting to Minnesota’s Forests: Past, Present, and Future.  Zoom talk at the Bell Museum of Natural History.  December 2020

• Hixon-Lied Visiting Artist – University of Nebraska.  Lincoln, NE. March 2020

  I was invited to visit the Art Department of the University of Nebraska in early March of 2020.  During the visit I met with printmaking classes, presented a technical demonstration, conducted critiques with MFA candidate print grads, had a solo exhibition at Constellation Studios, and delivered a well-attended public lecture. 

• Minneapolis College of Art & Design.  Classroom artist lecture.  March 2020

  During this short visit to Natasha Pestich’s Print, Paper, Book class, I presented slides of my work and walked the students through some in person examples. 

• Public artist talk at Klondike Institute of Art and Culture.  Dawson City, Yukon Territory Canada. Summer 2018

• Chilkoot Trail Residency Artist Talks.  US National Park Service Headquarters in Skagway, Alaska, and at Arts Underground.  Whitehorse, Yukon. Summer 2018

• Reaching for the Sun. Public artist lecture and classroom visit with students.  Truman State University.  Kirksville, MO.  Spring 2018.

Wild Walls Steam Roller Printing Event Documentation. Jackson, WY

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SUMMARY

I actively pursue educational opportunities to grow as an artist and educator. I regularly attend lectures on campus, and proximity to the twin cities promotes attendance to contemporary exhibitions at many institutions and galleries. The cities also have a thriving printmaking community with places like the renowned Highpoint Center for Printmaking, the Print Study Room at MIA, and the Minnesota Center for Book Arts. Beyond Minnesota, I seek museum and gallery exhibitions, attend academic print conferences, and do a significant amount of creative research in the American landscape.

In the following pages, I reflect on some meaningful educational experiences of past four years

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PRINTMAKING CONFERENCES

• Southern Graphic International – Puerto Rico

  2020 SGCI was cancelled due to the pandemic.  I was ready to go to Puerto Rico in March when they decided to cancel.  I was selected for a portfolio to be exhibited at the conference and shared with peers.  The work I created, Mapping the Anthropocene, will be shared at a future event.

• Southern Graphics International - Las Vegas, Nevada.

  This four-day conference was held in Las Vegas, NV in March of 2018. Over 1,500 people attended the conference from all over the United States and beyond. I had the opportunity to absorb countless exhibitions of both national and international print work. In addition to exhibitions, I attended the open portfolio event, artist lectures, demonstrations, and panel discussions about the state of contemporary printmaking. This conference also served as the culmination Nicole Soley’s SGCI Undergraduate Printmaker Award Project. Nicole was granted this award while a student at MSU in March of 2017. In March of 2018, she had a solo exhibition at the University of Nevada, Las Vegas for the SGCI Conference. It was a pleasure to see Nicole, and to see her hard work received by the international print community.

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STUDIO VISITS / PANEL DISCUSSION

• Studio visit with Jerry Saltz, Senior Art Critic, New York Magazine

• Studio visit with Dennis Michael Jon. Minneapolis Institute of Arts, Senior Associate Curator in the Department of Prints and Drawings

• Panel Discussion with naturalist writer and professor Kim Todd, myself, and artist Gaylord Shanilec.

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WORKSHOPS & RESEARCH TRIPS

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EXHIBITION ATTENDANCE

Exhibition Attendance General:

• Nicole Soley Jerome Emerging Artist Residency Exhibit, Minnesota Center for Book Arts, Minneapolis. Fall 2022.

• Our Blue Planet: Global Visions of Water.  Seattle art museum. Spring 2022.

• Lauren Halsey. Seattle art museum. Spring 2022.

• Animals Print. Highpoint Center for Printmaking.  Minneapolis.  April 2022.

• Southern Graphics International Conference Exhibitions.  Madison, WI. Spring 2022. 

• David Hockney: People, Places & Things.  Walker Art Center. Minneapolis.  Spring 2022

• Supernatural America: The Paranormal in American Art. Mia. Minneapolis.  Spring 2022.

• Envisioning Evil: "The Nazi Drawings" by Mauricio Lasansky. Mia. Minneapolis.  Spring 2022.

• Sixties Psychedelia: San Francisco Rock Posters from the Paul Maurer Collection.  Mia. Minneapolis.  Spring 2022.

• Fly Zine Archive: A Chronicle of Punk, Queer, and Anarchist Counterculture.  Mia. Minneapolis.  Spring 2022.

• Inhabitants. Areca Roe at Soo Visual Art Center. Spring 2022.

• McKnight Fiber Artist Exhibition.  Textile Center.  Minneapolis. Jan 2021.

• Sacred Invocations. Sylvia Hernandez Textile Center. Jan 2021.

• Crystal Bridges Museum, Bentonville, AR. Spring 2021.

• Nicole Havekost: Chthonic. Mia. Minneapolis. January 2021.

• Abstract prints by Hagawara Hideo, Mia.  Minneapolis. Fall 2020.

• In the Presence of Our Ancestors: Southern Perspectives in African American Art.  Mia. Minneapolis.  Spring 2021

• Amy Cutler: A Narrative Thread.  Madison MOCA. Madison, WI. May 2021.

• Piotr Szyhalski / Labor Camp & Labor Camp Report. Mia.  Minneapolis.  Fall 2021.

• Within, Between, and Beyond.  Leslie Barlow.  Mia. Minneapolis.  Fall 2021.

• A Contemporary Black Matriarchal Lineage in Printmaking. Highpoint Center for Printmaking.  Minneapolis.  Fall 2021.

• The Contemporary Print: 20 Years at Highpoint Editions.  Mia. Minneapolis. Fall 2021.

• Julie Mehretu. Walker Art Center. Minneapolis.  Fall 2021.

• Aaron Dysart: Passage. Mia. Minneapolis.  Fall 2021.

• The Beginning of Everything: An exhibition of Drawings.  Nash Gallery.  University of Minnesota.  January 2020

• Artists Respond American Art and the Vietnam War, 1965-1975.  MIA.  Jan. 2020. 

• 2019 McKnight Printmaking Fellowship Exhibition Justin Quinn and Jenny Schmid. Feb. 2020

• Weather: Prints by Karen Kunc. Highpoint Center for Printmaking. Aug 2019

• Transference: Printmakers in Mni Sota Makoce.  Highpoint Center for Printmaking. Sep 2019

• Alyssa Baguss: You Were Never Here.  MIA.  December 2019

• Drunken Forests, Areca Roe, Roselux Gallery.  June 2019.

• The Hearts of Our People: Native Women Artists.  MIA.  Summer 2019.   

• Jonathan Herrera Soto: In Between / Underneath. MIA. Summer 2019

• The form will find its way, contemporary ceramics sculptural abstraction.  Nash Gallery.  Jan 2019.

• KITSCH BITCH WITCH.  Hennepin Made Gallery.  Minneapolis.  Jan 2019.

• Crossing Dimensions, Highpoint Center for Printmaking. Heather Delisle, Edward S. Eberle, Ron Meyers, JJ Peet, Patti Warashina, in conjunction with (NCECA) 2019 conference Claytopia.

• Beautiful Sky. Alexa Horochoski at Rochester Art Center.  Jan. 2019

• Stand Out Prints 2018. Highpoint's Center for Printmaking International Juried Exhibition. Minneapolis.  Sep 2018

• Edie Overturf at the Roselux.  Minneapolis. October 2018

• Kinngait Studios Printmaking in the Arctic Circle.  Highpoint Center for Printmaking. Oct 2018

• Founder Effect, Art(ists) on the Verge 9. Rochester Art Center, October 2018.

• Several Print Focused exhibitions in Larmie Wyoming in Conjuction with MAPC Conference.  Fall 2018

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Exhibition Attendance Regional (Mankato / St Peter / Waseca / New Ulm)

• BECAUSE: Susan Heggestad. St Peter Art Center.

• Shop, a Buy and Take Exhibition. St Peter Art Center.

• Ben Determan, New Work. CAC. Mankato

• Inmate show from state hospital. St Peter Art Center.

• Taryn Sakry and Ben Liebl.  410 Project.  Spring 2022.

• Anwen Teachout.  410 Project.  Summer 2022.

• St Peter Art Center Members Show 2021 & 2022

• Hend al-Mansour. 410 Project. April 2022.

• Daniel Kerkhoff.  CAC. March 2022

• Installation student show at the Grand. March 2022.

• Mural show.  410 Project. Fall 2021

• Russ White.  410 Project.  Spring 2021.

• Mai Tran. 410 Project.  Fall 2021.

• Daniel Kerkhoff.  410 Project. March 2021

• Dave Ryan, Steve Ryan, Josh Gumiela, Allison Baker.  Carnegie Art Center. 

• Brian Frink: Minnesota Magical Landscapes. Carnegie Art Center. 

• 2019 Carnegie Member’s Exhibition. 

• RACA Gallery at the Poor Farm.  Brad Coulter and David Hamlow

• Nicole Soley Exhibition at Emmy Frentz Gallery

• Wood Engravers Network.  St Peter Art Center.

• Andrew Judkins.  Lonley Skies, Cool Water.  Carnegie Art Center. 

• David Hyduke, Andrew Hellmund.  TWO GENERATIONS--TWO METALS: SOME METTLE REQUIRED Carnegie Art Center 

• 2019 Carnegie Art Center Juried Exhibition

• Charlie Putnam Visual Fragments. Carnegie Art Center. 

• Bradley Coulter.  Origin of the Species: An exhibition of Prints.  Carnegie Art Center. 

• 2018 Carnegie Members Exhibition. 
  

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ATTENDING ART LECTURES

It has been enjoyable attending the Art Department Enrichment lectures. In many cases, after lectures dinners allow for deeper connections with our guests and extended conversation about their creative work. Despite many pandemic cancellations, I have also attended a number lectures, and readings locally, online or in the cites since the spring of 2018.

Lectures Attended

• All MSU Mankato Art Enrichment Lectures including

  (Prints Against the Present Panel, Gabriel Grier Art & Change Lecture, Sherril Roland Art & Change Lecture, Kevin Snipes, Danielle Evans, Jopsepth Tisiga, Xavier Tavera, Rafael Perez, Cast Iron Design, Sue Crowlick, Jason Yi, Nicole Licht)

• Department Art & Change Workshops

  • Sherril Roland - “Community Contracts”

  • Gabrielle Grier - “Fusing Beauty, Social Space, and Design for the Culture”

• Creative Confinement: Art Under Quarantine, Panel discussion.  Rochester Art Center.

• Susan Heggestad. Exhibition Artist Talk at the St. Peter Art Center.

• SCGI 2022 Our Shared Future. Lectures and Panels.  University of Wisconsin – Madison.

• Jerry Saltz, How to be an Artist. Granada, Minneapolis.

• Contact, Art and the Pull of the Print.  Remotely attended this lecture series by Jennifer Roberts, Harvard Art Historian.

• Karen Kunc at Highpoint Center for Printmaking

• Jenny Schmid and Justin Quinn at Highpoint Center for Printmaking

• MAPC 2018. Lectures and Panels.  Las Vegas, Nevada.

• McKnight Fellowship Talk Sean Connaughty, Shanai Matteson

• SCGI 2018 Altered Landscapes. Lectures and Panels.  Las Vegas, Nevada.

• Seven Mile Creek Watershed Talk. Carnegie Art Center.

Readings

• Writers Bloc at the 410 Project

• Richard Robbins. Book launch and poetry reading. Poor Farm Studio. Mankato

• Good Thunder Reading Series, Tyler Barton

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READING / PUBLICATIONS

To maintain contemporary engagement with the field of printmaking arts I read relevant printmaking and contemporary art publications. I also read a number of non-fiction publications for my own creative research.

List of relevant magazines and academic podcasts that I engage regularly:

• Mid America Print Council Journal

• Cabinet Magazine

• Lay of the Land - Center for Land Use and Interpretation Newsletter

• Art Forum

• Hello Print Friend, Podcast

• For the Wild, An Anthropology of the Anthropocene, Podcast

• Edge Effects, The Center for Culture History, and Environment, University of Wisconsin, Madison

Nonfiction books that have informed research and teaching in recent years:

• Prints and their makers / Phil Sanders.

• Tinkering with Eden: A natural history of exotics in America / Kim Todd.

• Screenprinting: the ultimate studio guide, from sketchbook to squeegee / Print Club London.

• Recollections of My Non-Existence / Rebecca Solnit

• The Death and Life of the Great Lakes / Dan Eagan

• Finding the Mother Tree / Suzanne Simard

• Entangled Life / Merlin Sheldrake

• Underland, A Deeptime Journey / Robert Macfarlane

• The Invention of Nature / Andrea Wulf

• Under a White Sky, The Nature of the Future / Elizabeth Kolbert

• Mind of the Raven / Bernd Heinrich

• The Nature of Oaks / Douglas Tallamy

• Women of the Klondike / Francis Backhouse

• The Klondike Stampede / Tappan Adney

• Chilkoot Trail, Heritage Route to the Klondike. / David Neufeld and Frank Norris.

• Klondike Fever /Pierre Burton

• Braiding Sweetgrass / Robin Wall Kimmerer

• The Mushroom at the End of the World On the Possibility of Life in Capitalist Ruins / Anna

  Lowenhaupt Tsing

• Letterpress Now: A DIY Guide to New & Old Printing Methods. Jessica White

• Pulled: A Catalog of Screen Printing

• Jacob Lawrence: The Complete Prints, 1963-2000

• Artemio Rodriguez: American Dream

• What May Come: The Taller de Gráfica Popular and the Mexican Political Print

• Moebius Library: The World of Edena

  
  
  
  
  
  
  

56 Josh K. Winkler / Tenure and Promotion / 2022-2023 3. CONTINUING PREPARATION

HOME STUDIO DEVELOPMENT - SKS PRESS

SKS PRESS Images (Click on images to enter slide show)

57 Josh K. Winkler / Tenure and Promotion / 2022-2023 3. CONTINUING PREPARATION

58 Josh K. Winkler / Tenure and Promotion / 2022-2023 4. STUDENT GROWTH

VISITING ARTIST PROGRAMMING

Visiting artist programming is extremely valuable to our students. Throughout my time at MSU, I’ve tried to bring in an artist every year or every other year. Unsurprisingly, the pandemic affected our enrichment programming, and had detrimental impact on our students during the 20/21 academic year. We did manage to present a few zoom lectures that year, but it is only in this past year and a half that I have really seen the positive impact as enrichment programming has regained its traction for our students.

Since the spring of 2018 I have hosted several artists for classroom visits, exhibitions or residencies, and remotely for zoom lectures.

Prints against the Present

Each of these artists utilize contemporary and or traditional techniques of lithography, relief, silkscreen, or intaglio to spread their perceptions and critiques of contemporary society.  Whether the work is about immigration, subjugation, or the magic and mystery of the natural world, each artist reflects intimately and emotionally on the contemporary society and culture of the present.

Valeries Lueth founded a successful business creating original woodcut prints in Pittsburgh. J. Leigh Garcia is from Texas. She makes work about her biracial heritage and immigration policies at the Mexico border. Emmy Lingsheit teaches in Illinois and focuses her work on interaction and conflict between humans and nature. Kill Joy makes a range of protest art and public projects creating awareness about the destruction of natural resources. Kathryn Polk’s detailed lithographs utilize metaphor, humor, and self to critique political structures and the treatment of women in our society.

All of my students wrote reflections on this enrichment programming. Engaging with the work, the ideas, and contributing to an in-person project had a significant impact on them. 4 of my print majors were inspired to do a wheat past wall of their own in downtown Mankato on the side of a new gallery/venue, “The Enchanted Muse.”

Prints Against the Present Images from MSU’s Conkling Gallery, image credits to Mai Tran (Click on images to enter slide show)

Killy Joy mural installation with students, video credit to Mai Tran (Click on images to enter slide show & see image info)

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Jim Denomie in the Studio

Jim Denomie Images (Click on images to enter slide show & see image info)

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Joseph Tisiga - Pandemic Zoom Lecture

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Classroom Visiting Artists

62 Josh K. Winkler / Tenure and Promotion / 2022-2023 4. STUDENT GROWTH

WORKS ON PAPER - PRINTMAKING STUDENT CLUB

After a pandemic hiatus, the Works on Paper RSO is back up and running! I am happy to be the faculty advisor for this student-ran club. They have regular meetings that are open to any interested MSU student to learn more about printmaking, and even make a print or shirt of their own. The club has sales to raise funds to assist with conference travel and materials for making more work at club meetings. In the past, the club has done a number of off-campus activities and events in collaboration with other organizations.

Print Making Club Images (Click on images to enter slide show & see image info)

63 Josh K. Winkler / Tenure and Promotion / 2022-2023 4. STUDENT GROWTH

PRINTMAKING CONFERENCES FOR STUDENT GROWTH

Printmaking Conference Images (Click on images to enter slide show & see image info)

64 Josh K. Winkler / Tenure and Promotion / 2022-2023 4. STUDENT GROWTH

STUDENT EXHIBITION ATTENDANCE

On Campus, I attended nearly all student exhibitions (excluding my sabbatical year) in the Conkling Gallery and the CSU Gallery, and I facilitated print student exhibitions in the CSU Gallery in 2018 and 2021. Overall, these exhibits ranged from group shows and juried shows, to senior shows and MA thesis exhibitions. 

The 410 Gallery in Mankato hosts a variety of exhibitions, most of which celebrate MSU art students.  I have attended the majority of student exhibitions at the 410 Project including the annual juried shows and annual Halloween shows.  I also attend the regular MSU Art installation student exhibitions at the Grand in New Ulm and or the Waseca Art Center.

Attending student exhibitions supports our students and builds stronger relationships outside the classroom.

Student Exhibition Images (Click on images to enter slide show & see image info)

65 Josh K. Winkler / Tenure and Promotion / 2022-2023 4. STUDENT GROWTH

MA THESIS COMMITTEES

I advised and participated in the MA Thesis Committee for printmaking student Wardah Sabrie in the Spring of 2022. I worked extensively with Wardah as she planned and executed her graduate work.

I participated in the MA Thesis Committee of drawing student Rhonda Dass in the Spring of 2022. 

I advised and participated in the MA Thesis Committee for printmaking student John Grabko in the Spring of 2021. I worked extensively with John as he planned and executed his graduate work.  I participated in the MA Thesis Committee of drawing student Connor Johansen in the Spring of 2021.  Both of these students were accepted to funded MFA programs in the fall of 22. 

I advised and participated in the MA Thesis Committee for printmaking student Sarah Huttner in the Spring of 2020.  I worked extensively with Sarah as she planned and executed her graduate work.  The pandemic was just starting before her exhibition opening, and while the gallery was not open to the public, we were able to meet as a committee for her defense and see the quality of her achievements in person. 

Master of Arts Exhibition Images (Click on images to enter slide show & see image info)

66 Josh K. Winkler / Tenure and Promotion / 2022-2023 4. STUDENT GROWTH

ACADEMIC ADVISING & MENTORING

I meet with my advisees several times throughout the academic year.  I meet most of these students weekly in short one-on-one meetings about current projects, their schedules and or graduate school applications and summer internships. We also discuss exhibition opportunities, scholarships, and research grants. Most importantly, these brief meetings help create a support structure for my students and foster long term relationships.

I regularly write recommendation letters for graduate school applications, internships, and other employment opportunities. In the past few years, former students have been selected for competitive internship opportunities at Highpoint Center for Printmaking, received acceptances to funded Master of Fine Arts programs around the country, and awarded Jerome Emerging Artist Fellowships. A recent student just accepted a permanent full-time position at Highpoint Center for Printmaking.

67 Josh K. Winkler / Tenure and Promotion / 2022-2023 4. STUDENT GROWTH

LIBRARY

Acquisitions

Since the Spring of 2018, I have requests 38 publications for our campus library holdings. These books provide supplemental historic and contemporary resources for both my printmaking and drawing students. I regularly take classes of students to the library for to check out books or see the zine collection as related to specific projects.

Library Image Resource Visits

To take advantage of our Librarian, Nat Gustafson-Sundell, In Spring 2018, I took silkscreen printmaking classes to the library for lectures on the use of online image resources via his Image Resource LibGuide.  His instruction on copyright, and the ethical use of found imagery is particularly relevant to print students who often incorporate appropriated imagery into their photo-based project curriculum. 

68 Josh K. Winkler / Tenure and Promotion / 2022-2023 4. STUDENT GROWTH

STUDIO ACQUISITION

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70 Josh K. Winkler / Tenure and Promotion / 2022-2023 5. SERVICE

COMMITTEES AND RELATED WORK ON CAMPUS

Committees

I have now participated on all committees for the Department of Art and Design. Since Spring 2018, I have served on 4 or more committees annually for the department.

2020-2022

The Budget Committee prioritized faculty expense purchases for computers and equipment needs, and selected department scholarship recipients.  On the Enrichment Committee, we created a new annual Art & Change lecture series, and selected additional enrichment artists for exhibitions, lectures, and projects.  The Public Relations Committee focused on creating new outreach to current and future students by creating a student-designed series of art department stickers that highlight our new Instagram account @mnsu_art.  I worked with the Social committee to organize and implement our annual art department pizza party.  We had this event, complete with live t-shirt printing and kiln-fired pizza outdoors in the fall of 2021 after taking a year off due to the pandemic.

I also worked with colleagues in a request for a new tenure track faculty member in painting.  I fully intend to work on this again until this critical position is approved. 

2018-2020

On the Personnel Committee, I worked with my peers to review and or summarize Article 22 Reports. The Enrichment Committee worked to select visiting artists and scholars for the 2018/19 academic year. On the Social Committee, we planned and implemented another successful Art Department Pizza Party with kiln-fired pizza and hand-printed t-shirts.  The Art 100 committee worked on updating and unifying the curriculum for our Art 100 and 101 courses.

2017-2018

On the Budget Committee, I worked with my peers to organize and select students for art department scholarships. The Enrichment Committee worked to select visiting artists and scholars for the 2018/19 academic year. On the Social Committee, we planned and implemented another successful Art Department Pizza Party with kiln-fired pizza and hand-printed t-shirts. The Public Relations committee collected raw materials for the department website.

71 Josh K. Winkler / Tenure and Promotion / 2022-2023 5. SERVICE

Portfolio Review

In the Spring of 2021 I taught the Portfolio review course (Arts 391) for the department.  Class sessions leading up to the review focused on professional practices and Q&A.

Graduate Advisor

During the 2018/19 academic year I served alone as the Graduate Advisor for our Master of Arts program.  I organized meetings with past and incoming grads, collected and distributed application materials for incoming grads, and met regularly with the broader cohort of graduate advisors as we transitioned to a new application process. 

From 2020 to the present, I have been co-coordinating our Master of Arts graduate program with colleague Mika Laidlaw.  We have put significant additional work into our MA program.  Instating bi-monthly graduate critiques has created the time and space for faculty and graduate students to get to know each other better.  Arranging and building out MA studio spaces has generated a creative and comfortable community space for the grads in the program.  Regular meetings with Mika, and the broader university graduate coordinators has kept me informed to updates in admissions processes, and ensured that our students graduate on time with appropriate documentation.

AEM Conference

In the Fall of 2019 I co-taught a mono printing workshop for the Art Educators of Minnesota in the Nelson Hall Print Studio. Monoprinting exercises are a great way for beginners to connect with print media with minimal technical knowledge and materials. Art educators could bring this process into their classrooms.

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LOCAL ART ORGANIZATIONS

Waseca Art Center

• Volunteer Juror - Waseca Art Center, Annual High School Exhibit.

  In early April of 2018, 10-12 regional high schools presented select student artwork in the Waseca’s Art Center’s main gallery. I was asked to select eight works from the 60 exhibited works for cash awards. On April 13th, all the exhibiting students came to the art center. I passed out the awards and talked with the students about my decisions. I discussed the importance of hard work, showing up, filling sketchbooks, and seeing contemporary art whenever possible. I was impressed with the quality of work submitted for this exhibition.

• In September of 2018, I worked with the director of the Waseca Art Center to organize and implement a steam roller printing event.  Residents of Waseca carved linoleum blocks that we inked up and patched together to form large-scale quilted images.  Some MSU art students also carved blocks and drove to Waseca to print at the event. 

73 Josh K. Winkler / Tenure and Promotion / 2022-2023 5. SERVICE

Carnegie Art Center

Class – Craft and Concept: Panoramic Landscapes in Accordion Books

• In the summer of 2019, I taught a class at the Carnegie Art Center coinciding with an exhibition in their gallery.  This two-day workshop reached max enrollment.  The students ranged in age from 9yrs into their 70s. 

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The Grand Center for Arts and Culture – New Ulm

• Press and Composing Table - 2019

  I worked with colleague Brad Coulter, a donor, the Children’s Museum of Southern Minnesota, and the Grand Center for Arts and Culture in New Ulm to help the Grand set up a new letterpress shop in their space.  We moved a large composing table out of the printmaking studio at MSU, and they moved a kluege letterpress printer from the Children’s Museum to the Grand in New Ulm.  The Grand’s Cellar Press opened in May of 2019.  https://www.thegrandnewulm.com/cellar-press

• Adult Classes 2018-2020

  I taught two adult classes at the Grand carving/printing relief blocks and making books. 

• Woodblock Calendars 2020-2023

  I have donated time to carve 3 relief blocks for the Cellar Press’s annual letterpress calendars for the past 3 years.

• Consultation and Connections

  In 2021 - 2022 I worked with their gallery to show MSU printmaking student work, consulted with the director as they developed a new artist residency, consulted with them about equipment purchases (like a new etching press), and connected them with educators for their adult class programing.

Art Center of Saint Peter

• I have become an active member of the Saint Peter Art Center in recent years.  I presented a solo exhibition of my work in the Spring of 2022, participated in Live from Saint Peter Arts Center, A KMSU radio show with Ann Fee in the summer of 2022, I have work available in their gift shop, and regularly attend exhibitions and music events.

Twin Rivers Council for the Arts - Mankato

• In 2019 I created a public woodcut mural to be displayed for a year on the Ardent Mills Building in downtown Mankato

75 Josh K. Winkler / Tenure and Promotion / 2022-2023 5. SERVICE

ADDITIONAL COMMUNITY OUTREACH

Saint Peter Art Stroll

• In the Fall of 2020, I participated in the Inaugural St. Peter Arts Stroll. For this 1-day event, 25 artists in St. Peter opened their studios to the public for 8 hours on a Saturday. I was fun to connect with new members of the community and share my work, space, and some snacks with visitors.

Lost in the Woods T-Shirts

• In the Spring of 2019, I volunteered to design and screen-print t-shirts for a local trail race in St. Peter

Key City News Outreach

• In the winter of 2018, I was invited to talk about the art department, and more specifically printmaking, on the Key City News morning television show. During this short segment, I spoke about the history of relief printmaking, did a mock demo of the printing / carving process, and promoted an off-campus exhibition of my student’s work at a local gallery.

Spring Board for the Arts

• In the Winter of 2021 I presented a zoom talk for Springboard for the Arts discussing the selection of and presentation techniques when submitting to grants and art opportunities. 

  
  

Grand Teton National Park Association

• I donated a large woodcut print to the GTNP Association to raise funds to support the threatened whitebark pine in the greater Yellowstone area.

Mid America Print Council

• I donated a print, Under Indiana Walnuts, to be auctioned for MAPC Fundraiser in the Fall of 2022.

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PUBLIC PROFESSIONAL WORK

GeoCache Project  

• In the Fall of 2020, as many of us were quarantined, I created a public art project that encouraged people to go outside.  I carved out a basswood log, printed an edition of 100 hand pulled prints, and set up a Geocache spot in Seven Mile Creek County Park.  This project made the free art accessible to an audience outside the gallery, encouraged an adventurous activity during the difficult moment, and allowed me to try a new approach for engaging the public.  More info on project here:

  http://joshkwinkler.com/blog/2020/10/12/4-connecting-to-minnesotas-forests-past-present-and-future

  And the geocache link can be found here:

  https://www.geocaching.com/geocache/GC917VF

Process Video for Geocache Project

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Professional Website

My professional website is an important connection point for spreading my professional artwork and ideas to a larger audience. To keep the site relevant, and to add more in-depth commentary on my work I update the site regularly and post photo-essays about recent projects. In recent years, I have started creating and sharing process videos to highlight and share technical aspects of my work.  The following list highlights videos from the past two years.  Most of these videos are available http://joshkwinkler.com/videos and or via YouTube

-       Etching with chine colle

-       SKS Press

-       Printing woodcuts by hand

-       Printing Under Indiana Walnuts Lithograph

·       Secret Knots Studio Press

Process Video: Etching with woodcut chine colle and dip registration

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