CONFERENCE PROGRAM

MICHAL HASSON (Hebrew University, Jerusalem)
Minority printing and the theatre in colonial India

BORNA IZADPANAH (University of Reading)
Simplified Urdu: Nasta’liq type for mechanical composition and the question of ownership

RITIKA PRASAD (University of North Carolina)
Producing knowledge, organizing information: the colonial Native Newspaper Reports

EPSITA HALDER (Jadavpur University, Kolkata)
Bangla Qur’an in the marketplace: a paratextual reading of translation, distribution, and consumption of the sacred

VAIBHAV SINGH (University of Reading)
Legitimizing movable type in colonial Bombay: Javaji Dadaji’s typefoundry and the Nirnaya Sagar Press

WEI JIN DARRYL LIM (University of Reading)
Altering the script: evangelical networks of print and missionary exceptionalism in maritime Southeast Asia

ZEINAB AZARBADEGAN (Columbia University)
‘Adornment of the lands’: entangled geographies of Persian lithographs in Bombay

EMILY M.K. MÜLLER (Metropolitan Museum of Art, New York)
Hide and seek: how UV reflectance reveals secrets about Indian chromolithographs in The Met’s collection

AD STIJNMAN (Independent scholar)
Nihon Dôbanga: the Japanese school of etching, 1783–1900

The conference is free, though advance registration is required due to limited capacity. Please register by 22 March 2019.

Please visit 'External Link' below for more information and to register.

Texchange is an arts conference engaging the capacity of printmaking to act as an agent of transformation in its practices within the field, contributions to other art media, and larger cultural roles.

Texchange offers lively demonstrations, experiences, product vendors, lectures, and exhibitions focused on print practices. Featured solo exhibitions include the transformative works of Alison Saar, Judy Youngblood, Juergen Strunck and Gfeller + Hellsgård. Other honorees include Tally Dunn, owner/director of Tally Dunn Gallery; the late Sam Coronado, founder of Serie Project; Katherine Brimberry, co-founder of Flatbed Press; and Katherine Wagner, CEO of the Business Council for the Arts. Programming will also take place at Brookhaven College, Texas Christian University, University of Dallas, University of North Texas, and University of Texas Arlington.

Several conference events are free and open to the public, including exhibition receptions, Open Portfolio sessions, and a Vendor / Program / Publisher Fair.

Southern Graphics Council International (SGCI) is a well-established organization with over 1,500 professional and student members focused on the understanding of the role of printmaking in art and society. The organization’s annual conferences offer its members and community the opportunity to discover new ideas and places while exchanging ideas and innovations.

Please visit the 'External Link' below for more information.

Throughout his 20-plus career, artist Tom Hück’s often brash sociopolitical commentary has drawn from great satirical artists like Hogarth and Daumier. His technique, on the other hand, is inspired by the famed German woodcut artists of the Northern Renaissance, including Albrecht Dürer and Martin Schongauer. Rival Cuts: Process and Technique in Prints by Tom Hück and Albrecht Dürer, on view at the Michael C. Carlos Museum of Emory University from February 16-June 9, 2019, brings a selection of Hück’s woodcuts together with works by Dürer, his printmaking hero.

In conjunction with this exhibition, Tom Hück will be in residence February 16-24, thanks to the Donna and Marvin Schwartz Center Artist-in-Residency program and the Andrew W. Mellon Foundation.

In December 2018, Jasper Johns donated 23 prints to the Davison Art Center at Wesleyan University in honor of art historian Richard “Dick” Field, who served as DAC's curator from 1972 to 1979. Field, who curated exhibitions of Johns' work at the Philadelphia Museum of Art and Davison Art Center, published three books about the artist: Jasper Johns: 1960–1970 (Philadelphia Museum of Art, 1970); Jasper Johns Prints: 1970–77 (Wesleyan, 1978); and The Prints of Jasper Johns, 1960–1993: A Catalogue Raisonné (Universal Limited Art Editions, 1994).

Johns' gift joins the Davison Art Center’s collection of more than 25,000 works of art. Please visit the 'External Link' below for the full article, published by Olivia Drake in the university's "News @ Wesleyan" blog.

Women in Publishing (#WIP) is the focus for the 2019 History of Art series at The Center for Book Arts.

The Center for Book Arts will be hosting three lively discussions in which leading scholars, publishers, artists and activists will explore women’s contributions to Western book history from the Renaissance to the present. Collectively, these women are rewriting the dominant patriarchal narrative of book history, placing women’s contributions to printing and publishing at the fore. Their work demonstrates that the history of Women in Publishing is truly a Work in Progress (#WIP). Through the series, the Center for Book Arts hopes to encourage further action toward a more inclusive history by recognizing and sharing under-recognized histories, voices, viewpoints and practices. The series is moderated by Sarah Kirk Hanley, independent scholar and critic in fine prints, multiples and artists’ books.

"Contemporary Presses Led by Women"
Friday, March 1, 6:30 pm / Future Forward Reception, 8-10 pm
Guests: Camille Crain Drummond (Pioneer Works Press), Russet Lederman (10 x 10 Photobooks), Tammy Nguyen (Passenger Pigeon Press)

More women than ever are at the helm of publishing ventures. For this talk we will focus on smaller, art-focused presses led by broad-minded women who are pushing the envelope. At the reception to follow, CBA will announce the winner of the 2020 Future Forward Award to a woman under 35 years old working in the publishing industry.

The Center for Book Arts is located at 28 West 27th Street, 3rd Floor. New York, NY 10001.

Please visit the 'External Link' below for more information, including the opportunity to RSVP to this event (free of charge).

Women in Publishing (#WIP) is the focus for the 2019 History of Art series at the Center for Book Arts.

The Center for Book Arts will be hosting three lively discussions in which leading scholars, publishers, artists and activists will explore women’s contributions to Western book history from the Renaissance to the present. Collectively, these women are rewriting the dominant patriarchal narrative of book history, placing women’s contributions to printing and publishing at the fore. Their work demonstrates that the history of Women in Publishing is truly a Work in Progress (#WIP). Through the series, the Center for Book Arts hopes to encourage further action toward a more inclusive history by recognizing and sharing under-recognized histories, voices, viewpoints and practices. The series is moderated by Sarah Kirk Hanley, independent scholar and critic in fine prints, multiples and artists’ books.


"Women Activist Publishers"
Friday, February 22, 6:30 pm / Opening Reception 8-10 pm
Guests: Sheila Levrant de Bretteville, Kimi Hanauer, Soledad Salamé, Felice Tebbe

With the feminist movement of the '60s and ‘70s, a critical mass of women began to speak truth to power in published artworks--their ranks have only grown since. Join us to discuss this history with women who are now (and have been) influencers in this arena.

The Center for Book Arts is located at 28 West 27th Street, 3rd Floor. New York, NY 10001.

Please visit the 'External Link' below for more information, including the opportunity to RSVP to this event (free of charge).

Women in Publishing (#WIP) is the focus for the 2019 History of Art series at The Center for Book Arts.

The Center for Books Arts will be hosting three lively discussions in which leading scholars, publishers, artists and activists will explore women’s contributions to Western book history from the Renaissance to the present. Collectively, these women are rewriting the dominant patriarchal narrative of book history, placing women’s contributions to printing and publishing at the fore. Their work demonstrates that the history of Women in Publishing is truly a Work in Progress (#WIP). Through the series, the Center for Book Arts hopes to encourage further action toward a more inclusive history by recognizing and sharing under-recognized histories, voices, viewpoints and practices. The series is moderated by Sarah Kirk Hanley, independent scholar and critic in fine prints, multiples and artists’ books.

"Self Actualizing: A Feminism of Book History"
Saturday, March 9, 5:30 pm
Preceded by "Work in Progress: A Community Forum on Women in Publishing", Saturday, March 9, 4:00 pm
Guests: Lisa Unger Baskin, Paula McDowell, Madeleine Viljoen, Sarah Werner

The history of women in all areas of culture has been systematically suppressed over the centuries. In this panel, we will hear from pioneering scholars who have unearthed the forgotten contributions of women to the history of printing, book arts, and publishing in their research.

The Center for Book Arts is located at 28 West 27th Street, 3rd Floor. New York, NY 10001.

Please visit the 'External Link' below for more information, including the opportunity to RSVP to this event (free of charge).

The exhibition is being staged to mark an extraordinarily generous gift from the New York artist, Kiki Smith (b. 1954 in Nuremberg). The artist has provided the collection with nearly all the edited printwork she has produced over her lifetime – hundreds of individual prints, portfolios and illustrated books created since the mid-1980s – making Munich the only place in the world where her work as a printmaker is comprehensively represented. The prints address widely varied themes including the human body, the world of animals and plants, natural phenomena and fairy tales, and probe beneath the surface of such questions as woman’s identity, the innocence of childhood and the relationship between man and woman.

The exhibition "Ding / Unding" casts a glance at artists’ books in the Graphische Sammlung ETH Zürich. In the early 1930s, the writer Bob Brown (1886–1959) confidently declared that “books are antiquated word containers” – and although he was of the opinion, even then, that books were already on the way out, rumours of the death of the medium seem to have been greatly exaggerated. In the world of art, the book has far from disappeared. Time and again, artists have challenged our ideas of what a book might comprise. Does it have to be bound? Printed? Made of paper?

Forecasts about the future of the book have long been made, and still continue. Yet the prophecy that they have become superfluous in the so-called information age has not come to fruition. Fortunately not. In the world of art, engaging with this medium in all its many forms still plays an important role. Even the most fundamental elements of a book – pages bound inside a cover – are open to question, thwarting all attempts to define the artist’s book within any kind of fixed category. This exhibition looks at the reasons why artists continue to work with the medium of the book, asks whether and to what extent they overstep its boundaries, and explores the ways in which the artist’s book can assert its place in the digital and post-digital age. Today, more than ever, books oscillate between the physically tangible and the immaterially intangible.

Organized in celebration of the centennial anniversary of the Print Club of Cleveland, this exhibition presents a selection of significant prints generously donated to the museum by the club over the last 100 years. Since its founding in 1919, the Print Club—the first museum affiliate group in the United States—has supported the Cleveland Museum of Art through its twofold mission to enrich the institution’s world-class print collection and to promote interest in the history of printmaking. A Lasting Impression, which includes more than 75 gifts by masters such as Albrecht Dürer, Rembrandt van Rijn, Francisco de Goya, Edgar Degas, Käthe Kollwitz, Pablo Picasso, and Jasper Johns, thematically traces the history of European printmaking over the course of six centuries, through subjects ranging from landscape to abstraction and techniques such as woodcut, etching, and screenprint. The depth and quality of these works underscore the Print Club’s transformative effect on the Cleveland Museum of Art’s internationally recognized print collection.

In honor of their centennial, the club has published, in partnership with the CMA, The Print Club of Cleveland: 100 Years, 1919–2019, which features an illustrated selection of notable gifts over the past several decades.