Odilon Redon (1840–1916) is known for his enigmatic art that celebrated the beauty of nature and mined the dreamlike depths of the imagination. Featuring an exceptional group of charcoal drawings, lithographs, and pastels from Getty’s collection, this exhibition presents the French artist’s fantastical world of haunting darkness and luminous color. Discover Redon’s singular vision and his diverse sources of inspiration, from religion and mythology to literature and modern science.

Personal to Political highlights the pioneering work of Paulson Fontaine Press in Berkeley, known for championing African American artists. This traveling exhibition features prints by seventeen significant contemporary artists, including Edgar Arceneaux, McArthur Binion, Kerry James Marshall, Martin Puryear, and three generations of women from the Gee’s Bend Quilters.

Enjoy a conversation with Pam Paulson and Rhea Fontaine, owners of Paulson Fontaine Press, on Thursday, September 3. The talk will be held in the Chico State Recital Hall (Arts 150) from 5:30-6:30pm, followed by an opening reception from 6:30-7:30pm at The Turner.

Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press was organized by Bedford Gallery at the Lesher Center for the Arts, Walnut Creek, CA.

This focused exhibition celebrates the PrintLab Artist Residency (2025–26) at Brandywine Workshop and Archives (BWA) in Philadelphia. An expansion of BWA’s Visiting Artist Residency Program, PrintLab enabled eight interdisciplinary artists to push the boundaries of printmaking. Working with collaborative printers Justine Ditto (BFA, PAFA, ’17) and Alexis Nutini, artists experimented with both traditional printmaking techniques and emerging technologies, including photolithography, woodcut, CNC routing, laser cutting, phototransfer, and animation. With rigorous attention to scale, color, materials, and layering, they explored themes of ancestry and memory, identity and mythology, diaspora and survival.

Find more information at the link below.

Art in the West is an annual juried exhibition and silent auction featuring traditional and contemporary art that celebrates the landscapes, wildlife, people, cultures and history of the High Desert—a region that stretches from the eastern slope of the Cascades and the Sierra to the Wyoming Basin and Colorado Plateau.

Featuring more than 120 artworks, the entire collection will be on exhibit at the High Desert Museum beginning Saturday, July 18. The collection will be available for viewing through our online auction page beginning July 13. The auction goes live at 9:00 am July 18.

Proceeds from the Art in the West auction helps support the participating artists and the Museum’s exhibitions and programs, bringing science, art and history education to lifelong learners through the region.

Saturday, August 8, 2026
2-4 pm

Center for Contemporary Printmaking
Mathews Park, 299 West Ave, Norwalk, Connecticut

It is our great pleasure, together with the Center for Contemporary Printmaking, to invite you to celebrate the launch of the online catalogue raisonné, "The Editions of Robert Kipniss, 1967-2023," on Saturday, August 8, from 2-4 pm. The artist, 95, plans to be present.

Kipniss worked at the Center for Contemporary Printmaking from 2004 to 2013 with master printer Anthony Kirk and then with Anthony Kirk Editions in North Salem, New York, until 2023, when the artist retired.

The updated catalogue raisonné will provide essential information on Kipniss’s editions during those years and flesh out gaps and additions to the previously published catalogues raisonnés by Lunde (1980), Lundgren (1981), and Grace (2004), providing a comprehensive and definitive view of his important contributions to printmaking.

Please RSVP here: https://forms.gle/xLGh7eokHb9JXTh26

This focused exhibition celebrates the PrintLab Artist Residency (2025–26) at Brandywine Workshop and Archives (BWA) in Philadelphia. An expansion of BWA’s Visiting Artist Residency Program, PrintLab enabled eight interdisciplinary artists to push the boundaries of printmaking. Working with collaborative printers Justine Ditto and Alexis Nutini, artists experimented with both traditional printmaking techniques and emerging technologies, including photolithography, woodcut, CNC routing, laser cutting, phototransfer, and animation. With rigorous attention to scale, color, materials, and layering, they explored themes of ancestry and memory, identity and mythology, diaspora and survival. By placing finished prints alongside working materials, Proof Testing illuminates how PrintLab served as an incubator for experimentation and innovation.

Proof Testing is organized in partnership with Brandywine Workshop and Archives. A concurrent exhibition, PrintLab: Material Futures, is on view at BWA June 18–October 26, 2026.

Caira Art Editions publishes prints in all media with a growing roster of Boston-area artists and printers. Caira’s aim in publishing is to support the artist in their exploration of a new material, while providing a new market. Caira also partners with mission-aligned organizations to publish benefit editions. Seeing Boston’s artists and institutions garner recognition nationally and internationally, Caira encourages collectors to grow with them as active contributors to the artistic community.

"In 2024, Lucy Rosenburgh found herself making a connection between two people, as she has countless times over a 20-year career in the arts. On this occasion, however, the introduction she made between artist Crystalle Lacouture and fine art printer Bryan Smith, sparked a realization for Rosenburgh that there was an ongoing role for her to play as a catalyst and supporter of printmaking collaborations. From this Caira Art Editions was born.

In the past two years, as a print publisher, Caira Art Editions has forged a path for artists to explore traditional and experimental processes and assisted in the creation of poetic original works. In fostering individual collaborations between a small group of artists and printmakers in the Boston area, Rosenburgh has also mindfully given rise to new relationships and opportunities within her community." - krakowwitkingallery.com

Why Prints? Prints present the artist with new material possibilities, while generating collaboration and connection through their making. Prints prioritize the multiple over the singular and in doing so, open wide a door to art. Prints have been used to transmit, to activate, and to ignite movements. Once out in the world, they prompt others to ask questions, share thoughts, and collect - all of which Caira Art Editions seeks to foster.

During the German Romantic movement, active from about 1770 to 1850, many artists hoped to gain a deeper understanding of universal questions. They experienced the French Revolution, France’s invasion of Germany during the Napoleonic Wars (1803–1815), and a shift from the Enlightenment’s emphasis on reason to more interest in emotion and feeling. Decades of changing borders and values led artists to reconsider their national identity and sense of self, as well as their relationship to nature and the divine.

Featuring 84 drawings, prints, and paintings that highlight the Milwaukee Art Museum’s German Romantic collection—one of the strongest in the country—the exhibition examines how artists attempted to comprehend and shape their world. They looked to the sublime beauty of the landscape, religious devotion, and travel to help them respond to the urgent issues of their time. Ultimately, even when it did not uncover answers, the process of seeking offered its own reward. The Romantics’ approach offers an example we can follow today as we live through our own unpredictable moment in history.

The devastating stock market crash of 1929 triggered the Great Depression, the worst economic crisis in the history of the United States. At the height of the Depression in 1933, nearly 13 million people—roughly 25 percent of the workforce—were unemployed. In response, President Franklin D. Roosevelt created an economic relief program known as the New Deal to offer employment to struggling Americans. The Works Progress Administration (WPA), a federally funded agency, hired some ten thousand artists to produce work for public buildings and traveling exhibitions as part of the Federal Art Project (FAP).

From coast to coast, the WPA supported artists who created paintings, drawings, prints, photographs, and murals for the American public. These artists drew on their everyday experiences as they depicted their own communities in a wide range of locations from urban centers to rural outposts. The WPA employed such established figures as John Steuart Curry as well as newcomers like Jacob Lawrence, providing materials, community, and income at a critical moment in their careers. After the WPA was closed in 1943, works of art produced under federal sponsorship were allocated to institutions across the country, including what is today the Blanton Museum of Art. The museum’s allotment serves as the basis for Art in Every Corner and is displayed in the context of pieces made by WPA artists before or after their periods of federal employment, encouraging an exploration and celebration of the dynamic impact of the WPA’s programs on artists who represented every corner of American life during the 1930s and ’40s.

We are pleased to announce that a podcast created by the New Books Network on our recent publication on the European print trade is now available online. Please see the link below.

The Burgeoning European Print Trade is the culmination of years of archival research into the distribution of prints from Antwerp between ca. 1550 and 1640 that illuminates the activity of numerous Antwerp print publishers, including but not limited to: Hieronymus Cock, Volcxken Diericx, the Galles, and the Wierixes. Moreover, the distribution of hundreds of thousands of prints from Antwerp – both plain and hand-colored – is discussed not only from the perspective of the print publishers, but also in terms of the markets where their work was in demand, and the involvement of the Plantin-Moretus family of booksellers, who organized many essential practical matters in support of this trade. Throughout, significant new information on how these prints were ordered, the quantities in which they were sold, and, unprecedented, the prices each of these print sellers asked for their own wares is documented in detail.

Thanks to the thoughtful layout and high-quality production of this publication for the Harvey Miller series, it is a pleasure to page through and enjoy as an attractive publication in of itself (see here for more information).

If you have any questions concerning our book, please feel free to contact us.

Sincerely, Karen Bowen and Dirk Imhof
(bowenimhof@gmail.com)