Associate Professor of Printmaking

About

  • Website:

    http://johnnyplastini.carbonmade.com
  • Office Hours:

    by appointment
  • Role:

    Faculty
  • Position:

    • Associate Professor of Printmaking
    • Graduate Advisor of Printmaking
  • Concentration:

    • Printmaking
  • Department:

    • Art and Art History
  • Education:

    • M.F.A. (2012 Tyler School of Art and Architecture, Temple University), B.A. (2008 University of California, Santa Cruz)
  • Curriculum Vitae:

Biography

Johnny Plastini received his BA in interdisciplinary studio art from the University of California, Santa Cruz [2008] and received his MFA in printmaking from the Tyler School of Art and Architecture, Temple University [2012]. He has completed residencies at the Haystack Mountain School of Crafts in Deer Isle, Maine [2012], the Vermont Studio Center in Johnson, Vermont [2019], and MUDHOUSE in Crete, Greece [2021].

Professor Plastini employs sustainable printmaking, papermaking, and book arts processes to meaningfully link the arts and sciences together. Plastini’s current research interests are guided by symbiotic lichen ecosystems across the globe. He asserts that "lichens represent a particularly potent metaphor to consider because they are a composite organism of fungi, algae, and/or cyanobacteria, which form a symbiotic relationship. They offer a seemingly simple, yet complex example of how human communities could evolve into a more mutually beneficial state, apart from our current hierarchical exploitation strategies. I am interested in re-examining the definition of culture through an interdisciplinary lens. By “culture” I am referring to both the scientific definition as applied to lichen ecosystems (a collection of cells maintained in a condition suitable for growth) and anthropological culture (the customs, arts, social institutions, and achievements of a particular nation, people or other social group)."

Plastini's pluralistic approach to critical studio engagement advocates for the multiplicity of agents participating with human-derived systems of logic and encourages us to analyze these architectures together, holistically, as expansive models for discovering new cultural ecologies. Plastini has exhibited extensively at museums, conferences, non-profit spaces, art fairs, and galleries, nationally and internationally. Recent exhibition venues include: Cheltenham Center for the Arts, Ulrich Museum of Art, Bradbury Art Museum, New Bedford Art Museum, SITE: Brooklyn, Center for Contemporary Printmaking, Manhattan Graphics Center,  Lee Gallery at Clemson University, McMaster Museum of Art, and Southampton Art Center, among others. Plastini has been featured in numerous publications including CRED, West Branch (Bucknell University Literary Arts Journal), Studio Visit, New American Paintings, and Embodied Forest. Plastini’s work is held in the permanent public collections of Zayed University in Dubai (United Arab Emirates), the Zuckerman Museum of Art at Kennesaw State University in Georgia (USA), and the Nickle Museum at the University of Calgary (Canada). His work is also held in the Special Collections Archive in the Norlin Library at the University of Colorado, Boulder, the Mid-America Print Council archive in the Eskenazi Museum of Art at the University of Indiana, Bloomington, and in the Artist Printmaker Research Collection (AP/RC) at the Museum of Texas Tech University.

Courses

  • ART 265: Introduction to Printmaking (Intaglio/Relief)

    Syllabus

    This course at its core focuses on introductory foundation processes in both intaglio printmaking from etched zinc plates and relief printmaking from carved woodblocks. Historical and contemporary issues are addressed throughout the semester from a diverse perspective. Students are expected to grasp a basic knowledge of not only what a print is and how to make one, but also what creative potential printmaking, as a medium, has to offer from a conceptual standpoint. Our goal together as a class is to cultivate a socially responsible studio space that reflects professionalism and integrity through inclusive community support.

  • ART 365: Intermediate Printmaking Laboratory (Lithography/Serigraphy)

    This course at its core focuses on introductory foundation processes in both lithographic printmaking from organic limestone and aluminum plates as well as serigraphic printmaking from silkscreen stencils. Historical and contemporary issues are addressed throughout the semester from a diverse perspective. Students are expected to grasp a basic knowledge of not only what a print is and how to make one, but also what creative potential printmaking, as a medium, has to offer from a conceptual standpoint. Our goal together as a class is to cultivate a socially responsible studio space that reflects professionalism and integrity through inclusive community support.

  • ART280a3: Book Arts – History, Meaning, and Form

    Syllabus

    This team-taught course focuses on book arts and their histories from a diverse perspective. Students explore and apply conceptual, theoretical, and historical frameworks of the book as an expressive art form. There are six required assignments: Four tangible art projects: paper/ink making, eastern and western binding samples, relief printing, and contemporary book arts making. Historical and theoretically relevant topics are reinforced through reading, writing, and discussion modules and two written responses. Instructional conversation that is collaborative, inclusive, and supportive creates a sense of community in a class that may already have familiarity with the book as a form but will now explore their sense of the book as a concept and a vital creative opportunity for artistic expression.

  • IDEA310F: Foundations in Sustainable Textiles

    Syllabus

    Employ design theories and methods to sustainable textile projects that promote “iterative tinkering” through cutting-edge technological printing processes in a collaborative maker-space setting. Learning occurs in an interactive classroom environment and online discussion/research through a hybrid modality. The instructor presents course information through lectures, collaborative group discussion, and hands-on demonstrations including MUTOH direct-to-fabric printing and synthetic dye-sublimation techniques. Students complete a variety of tangible assignments designed to integrate conceptual information from lectures and develop crucial skills. Evaluation and assessment is based on real-world applications that demonstrate each students’ understanding of the material. Our goal together as a class is to cultivate a socially responsible space that reflects professionalism and integrity through inclusive community support.

  • IDEA310N: Post-Digital Printmaking

    Syllabus

    Develop proficiency with specific prototyping skills utilizing post-digital printmaking methods. Students explore the open source software GIMP in the digital space and then translate imagery from that software into the physical world through innovative ECO-UV printing, historic cyanotype, non-toxic relief printmaking methods from laser-engraved woodblocks, and non-toxic screen-printing on paper and fabric. Learning occurs in an interactive classroom environment and online discussion/research through a hybrid modality. The instructor presents course information through lectures, collaborative group discussion, and hands-on demonstrations. Students complete a variety of tangible assignments designed to integrate conceptual information from the lectures and develop crucial skills. Evaluation and assessment is based on real-world applications that demonstrate each students’ understanding of the material. Our goal together as a class is to cultivate a socially responsible space that reflects professionalism and integrity through inclusive community support.