JOHN R BLAKINGER - Terra Visiting Professor of American Art, University of Oxford
From Signal to Noise: The Aesthetics of Communication and Miscommunication

CATHERINE DAUNT - Hamish Parker Curator of Modern and Contemporary Graphic Art, The British Museum
Politics and Printmaking in the USA: The Art and Its Audiences from the 1960

KIP GRESHAM - Master Printer, The Print Studio, Cambridge
Whatever it takes

MICHAEL HREBENIAK - Faculty of English and Wolfson College, University of Cambridge
Louise Bourgeois and the Principle of Ineloquence

AMALIA PICA - London-based Argentinian artist who explores metaphor, communication, and civic participation through sculptures, installations, photographs, projections, live performances, and drawings. Amalia will speak about her practice in relation to the themes of the exhibition.

ELISA SCHAAR - Guest curator and Visiting Tutor in the History and Theory of Visual Culture, The Ruskin School of Art, University of Oxford
Facilitator

Tradizione, innovazione e modernità: Il Disegno a Roma tra Cinque e Seicento (1580 ca. – 1610 ca.)

9.30 am Greetings
Stephen J. Milner, Direttore della British School at Rome
Ariane Varela Braga and Francesca Parrilla, coordinators of the Rome Art History Network

Introduction: Marco Simone Bolzoni and Stefan Albl

Moderator: Simonetta Prosperi Valenti Rodinò
10 am Clare Robertson, Federico Zuccaro’s Modes of Drawing

10.30 am Riccardo Gandolfi, “Li copiò in fretta per la gelosia che ne haveva”. Gaspare Celio e il disegno a Roma tra XVI e XVII secolo

11am Coffee break

11.30 am Patrizia Tosini, Il cielo in una stanza: il disegno per le decorazioni di paesaggio a Roma nella seconda metà del Cinquecento

12 pm Heiko Damm, L’uso della matita nell’opera di alcuni disegnatori romani del tardo Cinquecento

12.30 pm Rhoda Eitel-Porter, Parallel Lives? Printmaking and drawing in late sixteenth-century Rome

1 pm Discussion

1.30 pm Break

Moderator: Ursula Verena Fischer Pace
3 pm Mauro Vincenzo Fontana, Cristoforo Roncalli e la sua scuola

3.30 pm Michele Nicolaci, Giovanni Baglione disegnatore

4 pm Coffee break

4.30 pm John Marciari, Caravaggio Did Not Draw–but are there Caravaggesque Drawings?

5 pm Carel Van Tuyll van Serooskerken, The Carracci and the academy study

5.30 pm Babette Bohn, “Disegni di sua mano senza numero...”. Guido Reni’s Drawings in Rome

6 pm Discussion

The eighth exhibition at the Heong Gallery engages with themes of communication, breakdown of communication, and isolation. It brings together a collection of contemporary American and British prints, from the British Museum, and works in various media from private lenders, including prints, postcards, books, diagrammatic drawing, sign painting, tape recording, neon, LED, enamel plaques, bunting, and campaign posters.

The rise of mass and electronic media meant that artists were no longer required for the transmission of objective content. Artists in this exhibition make communication and its technologies the medium and subject of their work. For these artists, as for thinkers such as Ludwig Wittgenstein and Marshall McLuhan, communication is never straightforward.

From Louise Bourgeois' parables of personal relationships He disappeared into complete silence (1947-2005) to Bob and Roberta Smith’s open Letter to Michael Gove (2011) and Wolfgang Tillmans' pro-EU posters (2015), the exhibition explores the potential and limitations of communication in making connections across distances - whether they be psychological, cultural or geographical - and art's own role in ensuring that 'no man is an island'.

To be held 7-9 November in Melbourne, the Graphic Encounters conference will be presented by La Trobe's Department of Archaeology and History and the Centre for the Studies of the Inland. The conference hopes to provide a welcoming, inclusive forum in which conversations can be started, and in some cases continued, on prints depicting Aboriginal Australians. There are many, diverse people interested in this colonial visual archive within and beyond the academy - scholars, librarians, bibliophiles, art historians, curators, artists, collectors, dealers, researchers, descendants, community - and we very much want to open the conference to different approaches and formats in the presentations and panels.

Graphic Encounters is an Australia Research Council project led by Dr Liz Conor and based in the Department of History and Archeaology at La Trobe University. It intends to decolonise the colonial visual archive, spanning images from voyages of exploration to federation. This formative colonial visual library will be collated in a comprehensive online database to be made available (subject to cultural permissions) to Aboriginal researchers, artists, curators, descendants and community of the Aboriginal people who were depicted - often without names and anonymised as racial types. The prints are often very confronting, and were created, disseminated and commodified to foment and entrench the assumptions and perceptions about Aboriginal people, which justified their violent dispossession and recurring discrimination over generations. We hope to make this collated archive of prints of Aboriginal Australians available to interested communities and we are seeking funds to create opportunities to involve Aboriginal researchers and artists to critically interrogate this visual archive of their ancestors and country.

We particularly want to avoid another academic talkfest given these prints have Aboriginal content, they are therefore part of Aboriginal heritage and the way they are discussed needs to be of use and interest, first and foremost, to Aboriginal people. The conference aims to prioritise Aboriginal perspectives on this colonial visual library and give scope to the many different kinds of people interested and involved in these prints.

Registration for the conference, including a tour of the Australian Print Workshop, can be found via the 'External Link' below.

To learn more about confirmed speakers, visit https://www.latrobe.edu.au/archaeology-and-history/research/graphic-encounters/conference

Seriously Funny: Caricature through the Centuries celebrates the Yale University Art Gallery’s recent acquisition of several important 19th-century French satirical lithographs. The exhibition contextualizes these prints within the larger comedic tradition in Europe and America, demonstrating the enduring appeal and impact of visual humor through a selection of prints, drawings, paintings, and sculpture from the 16th to the 21st century. Distinguished by a sense of levity and immediacy, caricature has traditionally been considered inferior to fine art but has been used for centuries by classically trained artists as a vehicle to engage with subjects that are familiar and accessible. The witty works included in Seriously Funny trace the development of the genre from its inception as a studio exercise to its pointed use in highlighting human foibles and, finally, to its disruptive role as an instrument of political critique.

Print Promises brings together more than 50 works by artists utilising printmaking in different ways, from woodcuts to screen prints, and etchings to lithographs. Using the permanent collection of the Iziko South African National Gallery, the exhibition includes historical works from the 18th century up until newly produced works from 2017. It shows the diverse possibilities and influences of printmaking on art-making, and how artists have found unique approaches to engage with the technique.

This exhibition presents portraits, mostly done in printmaking, created by artists since the 1980s.

This exhibition is organized on the occasion of the 100 year anniversary of the Schweizerische Graphische Gesellschaft (SGG). It presents works published by the SGG since its creation in 1918. The Kunsthaus Gretchen is a member of the SGG since 2016.

The Triennale Gretchen has been founded in 1958. Every three years, it shows a selection of works from international artists. The 2018 edition is particularly devoted to the newest trends in the printmaking field and to the exhibition of the most classical techniques.