This exhibition takes a groundbreaking look at the little-known history of printing on fabric from the fifteenth century to the present. These stunning artworks, books, broadsides, and maps were initially prized as unique luxury editions of works normally printed on paper. Fabrics were substituted for paper at great cost, often using imported materials. "Impressive Textiles: Printing on Fabric" also investigates the intentional choices of the printers and commissioners, some of whom were female, and shows how the origins of these lavish materials reflected the global world of the early modern textile economy.

Though the sheen of foreign silks enhanced the beauty of these objects for specific recipients, the techniques used to make them soon served wider audiences and cheaper fabrics equally well. From fancy satin state portraits to satirical cotton handkerchiefs, any fabric could become functional. Indeed, while surviving early examples are kept in museum and library collections, they inspired more recent printed statement clothing and accessories. From the ethereally unfamiliar to the everyday, exhibition audiences will find these fabric printings dazzling, intriguing, and thought-provoking.

The accompanying exhibition catalog, authored by 30 print and textile specialists worldwide, "Impressive Textiles: Premodern Printing on Fabric," is available in print and open access (https://asu.pressbooks.pub/impressive-textiles-premodern-printing-on-fabric/).

Julie Mehretu’s large-scale print Epigraph, Damascus upends the representational possibilities of a city view, transforming the printed surface in a layered space of mark making.

This exhibition will create space for close looking and consideration of this monumental work and the experimental processes used to make it. It will further contextualize Mehretu’s active engagement with the description and meaning of place through a selection of other works depicting cities.

In darkness and light, growth and decline, cities have long drawn artists’ and viewers’ attention in ways that expand both the techniques used to depict them and the perspectives with which they are seen. The exhibition will facilitate a deep dive into the artistic power of these works. In addition, it will propose a broader conversation around the shifting meanings of cities in visual form.

Poet and art critic John Yau and artist Richard Hull convened at Manneken Press in 2023 to create "Wanted!", a stunning series of twenty three monotypes. The raison d’etre for this collaboration was the exhibition “Disguise The Limit: John Yau’s Collaborations“, which was being planned by The University of Kentucky Art Museum. In a 2024 interview published in Hyperallergic John Yau talks about his interest in collaboration and how the idea for the exhibition came about. The exhibition, mounted at the UKAM and travelled to the Schneider Museum of Art in Asland, OR, was accompanied by an illustrated catalog.
This video is the story of how Yau's collaboration with Richard Hull unfolded...

Prints in the "Wanted" series are unique monotypes, approx. 30 x 22 inches, published by and available from Manneken Press. View them at https://mannekenpress.com/artists/richard-hull-etchings-and-monotypes/

Online (https://zoom.us/j/95348256393) & in person
No registration needed
latailleetletrait@gmail.com

*** 18 November 2026 ***

9:00 am - Welcome
9:30 am - Introduction

Session 1 - Collaborative practices
Chair: Ulysse Jardat (Musée Condé, Institut de France)

10:00 am - Rhoda Eitel-Porter (journal Print Quarterly)
The Priest, the Pope, the Publisher, the Printmaker & His Wife

10:20 am - Christien Melzer (Kupferstichkabinett, Staatliche Museen zu Berlin)
Creative Collaborations – Maarten van Heemskerck’s Preparatory Drawings for Prints and his Engravers / Etchers

10:40 am - Jina Han (Universiteit Leiden)
Reading Between the Lines: Johannes Galle and the Construction of Authorship in Seventeenth-Century Printmaking

11:00 am - Q&A
11:15 am - Break

11:30 am - Julien Muraille (Université de Liège)
Quand le graveur transforme l’invention : dessins, gravures et contraintes matérielles dans le Groot Schilderboek de Gérard de Lairesse

11:50 am - Marianne Paunet (Sabrier & Paunet)
Les débuts de Jean Mariette comme éditeur d’estampes (1690-1700) : dessinateurs, graveurs et sources visuelles

12:10 pm - Johanna Daniel (Institut national d’Histoire de l’Art)
Graver les Voyages pittoresques à la fin du XVIIIe siècle

12:30 pm - Q&A
12:45 pm - Lunch

Session 2 - Image circulation
Chair: Emmanuelle Brugerolles (Beaux-Arts de Paris, Cabinet Jean-Bonna)

2:00 pm - Aude Briau (École pratique des Hautes Études / Universität Heidelberg)
La plume et le burin. Copies dessinées d’après les gravures de Martin Schongauer

2:20 pm - Lorenzo Giammattei (Sapienza Università di Roma)
Godfried Maes as Draughtsman and the Metamorphoses of Ovid: Drawings, Copies, and Prints in the Banier Edition (1732)

2:40 pm - Jean-Gérald Castex (Musée du Louvre)
Les dessins du Cabinet du roi gravés par le comte de Caylus

3:00 pm - Q&A
3:15 pm - Break

Session 3 - Collecting practices
Chair: Sophie Raux (Université Lyon 2, LARHRA)

3:45 pm - Maria Gabriella Matarazzo (Zentralinstitut für Kunstgeschichte)
Raphael in Black and White: Vincenzo Vittoria’s Collection of Prints and Drawings

4:05 pm - Pierre Husson (Fondation Custodia)
Feuilles préparatoires ou pièces de collection ? Le statut des dessins et des états de gravure dans le livre illustré en France au XVIIIe siècle

4:30 pm - Antoine Gallay (Université de Lausanne)
Les recueils hybrides au XVIIIe siècle et l’émergence d’une approche pragmatique du processus créatif

4:50 pm - Q&A

*** 19 November 2026 ***

Session 4 - Transmedial practices
Chair: Hélène Gasnault (Beaux-Arts de Paris, Cabinet Jean-Bonna)

10:00 am - Dario Donetti (Università di Verona)
Antiquity in Monochrome: Du Cerceau’s Architectural Inventions across Drawing and Print

10:20 am - Georges Farhat (University of Toronto)
On Paper, Vellum, or Copper: Du Cerceau's Transmedial Approach to Perspective

10:40 am - Q&A
11:05 am - Break

11:20 am - Audrey Adamczak (Sorbonne Université)
Crayon - burin - pastel : un jeu à trois ou la maîtrise de l’intermédialité chez Robert Nanteuil, dessinateur et graveur du Roi

11:40 am - Alice Ottazzi (Italian Academy, Gerda Henkel Foundation Fellow in the History of Art)
Matter at Work. Thinking the Interplay of Prints and Drawings in the 18th Century

12:00 pm - Q&A
12:15 pm - Lunch

Session 5 - Hybrid objects
Chair: Maël Tauziède-Espariat (Université Paris Nanterre)

2:00 pm - Vanessa Selbach (Bibliothèque nationale de France)
Estampes à moitié gravées à moitié dessinées : une ou plusieurs mains ? Le cas d'Abraham Bosse

2:20 pm - Ester Giachetti (Ca' Foscari / École normale supérieure)
À travers le papier : la collection des dessins transparents de Nicolas Vleughels (1668-1737)

2:40 pm - Q&A
3:00 pm - Conclusion
3:15 pm - Break

Session 6 - Workshop
Chairs: Pauline Chougnet (Bibliothèque nationale de France), Edina Adam (The J. Paul Getty Museum), Jamie Gabbarelli (The Art Institute of Chicago), Vanessa Selbach (BnF) & Lila Wickers-Lévy (BnF)

3:30-5:00 pm - Reserved for conference speakers.

This seminar in the Kultura Moderna series investigates how books, magazines, typography, and graphic design became powerful tools for cultural experimentation in Ukraine during the turbulent years of revolution and state-building in the early twentieth century. At a moment when political institutions and cultural identities were being reimagined, artists, writers, and designers turned to the printed page to ask a fundamental question: what should a modern Ukrainian culture look like? Focusing on the emergence of a vibrant print culture in Kyiv and beyond, the seminar examines how print, illustration, and design became instruments of artistic innovation and cultural expression.

Kultura Moderna course description:
This eight-week course explores the vibrant and diverse culture of Ukrainian modernism through art, design, literature, music, architecture, and dance. Focusing on the late nineteenth and first half of the twentieth centuries, it examines how Ukrainian artists and cultural practitioners engaged with modernity while drawing on local traditions and transnational influences. Against the backdrop of rapid social and political change—from the final decades of the Russian and Habsburg empires through revolution, independence, and the formation of Soviet Ukraine—the course considers the complex historical circumstances in which new forms of artistic and cultural expression emerged.

UCL History of Art Department and UCL Art Museum are pleased to announce a one-day conference presenting new research and discussion on the histories and futures of print. Drawing from curatorial, artistic and academic perspectives, speakers will address this protean medium in ways that move between artistic, material and critical histories and practice, reflecting also on the role of prints in teaching and research.

As UCL celebrates its 200th anniversary, this event also gives us an opportunity to honour a beloved colleague, Professor David Bindman, whose brilliant scholarship and enthusiasm for print and the graphic arts, and major contribution to the intertwined histories of the History of Art Department and UCL Art Museum, continues to inspire students, friends and colleagues.

10.30 – 10.50 Welcome and Introduction Richard Taws (UCL, Head of History of Art) and Andrea Fredericksen (Head of UCL Art Collections)

10.50 – 11.30 Esther Chadwick (Courtauld Institute of Art) ‘An Unfathomable Sea: Gillray and Tax’

11.30 – 12.10 Marika Takanishi Knowles (University of St Andrews) ‘‘Why are they so dark?’: On the Accessibility of Early Modern Prints, from Subject Matter to Storage Formats’

12.10 – 12.50 Olenka Horbatsch (British Museum, Dept. of Prints & Drawings) ‘Printmaking in Prague: Art at the Court of Rudolf II’

12.50 – 13.40 Break for lunch

13.40 – 14.20 Allison Stielau (UCL, History of Art) ‘The Corners That Held Them: Schongauer’s Flight Into Egypt and the Rectilinear Imperative of Print’

14.20 – 15.00 Paul Coldwell (University of the Arts London) ‘Working with Archives and Collections’

15.00 – 15.30 Break

15.30 – 16.10 Isabelle Sagraves (UCL, History of Art) ‘Félix Buhot’s Multiple Baptisms: Identity and Interpretation in Buhot’s Japonisme Etchings’

16.10 – 16.50 Aparna Kumar (UCL, History of Art) ‘Writing the Border with Seher Shah’s Argument from Silence’

16:50 – 18:00 Reception (Roberts Foyer)

Book Launch: “Inspection Chambers”, Guest Speakers:
Dr. Irena Gordon, Chief Curator of the Petah Tikva Museum of Art.
Prof. Tamar Elor, Professor of Anthropology at the Hebrew University in Jerusalem.
Dalit Matatyahu, Senior Curator Israeli Art, Tel Aviv Museum of Art.
Orit Hofshi, Artist

Landscape is commonly defined as a section of natural scenery that can be seen from a single viewpoint - a totality perceived and interpreted by the human subject.
The word place carries a broad range of meanings, including: a portion of space available or designated for someone; a vacancy or unoccupied position; a position in a sequence or hierarchy; a person׳s rank or status; a geographical location, venue, or setting.

Orit Hofshi׳s (b. 1959, Kibbutz Matsuva) work articulates the intersecting interpretations of landscape, space, and place, as she repeatedly returns to the woodblocks underlying her images, exploring their multiplicity, their incarnations, their modes of existence, as well as their shadows, their ghosts. Her materials, formal, conceptual and mental actions themselves constitute a landscape, a space, and a place, carrying history and time, The affinity between culture and nature: earth and water, humans and animals, seem to emerge reciprocally, mourning and sustaining each other. It is an entity that constantly probes itself, its survival, its loss, as a visual archive that bears traces of the time of its formation.
The images dwell in their own ruins, perhaps in their becoming, in an intermediate realm between a concrete place and nowhere; they unfold as cross-sections, rhythms, resonances, while the cracked, tumultuous earth occupies most of the works׳ visual field. In a continuous seismic movement, in the absence of tranquil or controlled relationship between the figures in the works and the place they inhabit, and between the viewer and the landscape unfolded, the horizon is agitated and the surface disintegrates.
We are confronted with a hybrid language consisting of woodcut prints on handmade paper, as well as the woodblocks from which they were printed, unprinted carved woodblocks, ink and pencil drawings and paintings, rubbings, monotype prints, and spatial installations. In the exhibition Inspection Chambers, all of these converge into an overarching structure, a visual panorama that can be entered, studied, lived in, while evoking memories.
Grounded in woodcutting, Hofshi׳s monumental work undermines the distinction between printing block, image and object, between the original and reproduction, and it is shaped through a virtuoso, painterly and sculptural mastery of the various means of expression. Her images, their traces and echoes, accumulate into an archive from which she continually draws in creating new compositions and meanings.
Much like the infrastructure remnants and monuments, the human and animal figures are both witnesses to the occurrences and inseparable from them; they turn away from the events, and yet remain stubbornly rooted in them, in gestures of lament and grief.

The book, published concurrently with Inspection Chambers, presents a recent body of work alongside earlier pieces, pulling the viewer into the core of the dialogue between print and installation, the printed image and spatial experience. Print, as a reproductive, mobile, archival medium suggesting historical time, encounters installation as a one-off, site- and time-specific medium, a medium of the present.
The turbulent, all-encompassing views in her work are material and mental ruins experienced physically, beckoning the viewer to concentrate on the surface while delving into the depths of Hofshi’s modus operandi.

In the 1950s, the newly established Achenbach Foundation for Graphic Arts became an important advocate of trailblazing American printmakers by acquiring and exhibiting their early work. Based in Los Angeles, artists Sister Corita Kent (1918–1986) and June Wayne (1918–2011, founder of Tamarind Lithography Workshop) helped catalyze a vibrant and experimental period of printmaking in the postwar era. They also trained a generation of contemporary printmakers. This lecture takes a closer look at how the Achenbach Foundation supported these artists’ early careers, illuminating the important role played by the department’s cofounder, Hazel Jacobs Achenbach (1882–1962), and its first director, Irene Lagorio (1921–1994).  

Join Curator of Drawings, J. Paul Getty Museum, Stephanie Schrader for an after-hours tour of Five Centuries of Works on Paper: The Grunwald Center at 70, Part II at the Hammer Museum.

Capacity is limited. Visitors will be admitted on a first come, first served basis.

Since its establishment in 1956 with a gift of prints from Los Angeles collector Fred Grunwald, the UCLA Grunwald Center for the Graphic Arts has evolved into one of the nation’s foremost collections of works on paper. Over the decades, the Grunwald Center’s holdings have expanded through donations and acquisitions, and now comprise more than 45,000 prints, drawings, photographs, and artists’ books dating from the Renaissance to the present. Housed at the Hammer Museum since 1994, the Grunwald Center fosters learning and discovery through its collection, which is regularly presented in exhibitions and made accessible in its dedicated study room. This exhibition marks the 70th anniversary of the Grunwald Center, celebrating its history through a selection of significant works that reflect the collection’s breadth and diversity. It features over 70 works by artists including Albrecht Dürer, Daniel Hopfer, Giovanni Battista Piranesi, Edgar Degas, Édouard Manet, Utagawa Hiroshige, Winslow Homer, Käthe Kollwitz, Gustav Klimt, Egon Schiele, Pablo Picasso, Henri Matisse, Sonia Delaunay, Ansel Adams, Imogen Cunningham, Judy Fiskin, Robert Heinecken, James Welling, Catherine Opie, Jasper Johns, Helen Frankenthaler, Julie Mehretu, James Turrell, Alison Saar, and Kara Walker.

Strange Land, music for voices, chamber ensemble, and electronics with projected media, is an immersive multimedia experience based on the Book of Revelation seen through modern eyes. It sings the long arrow of trepidation and consequence from ancient to future, confronting the collision of ages-old spiritual questions with our modern technological world and a dawning climate crisis, the specter of societal collapse, and forced migration. This concert event is accompanied by etchings by Brian D. Cohen on copper plates, enlarged to colossal proportions and projected in minute detail on the IMAX screen.

Tickets for Strange Land are available! Boston Museum of Science Mugar Omni (IMAX) Theater, Wednesday, September 23 at 7:30pm. The event will be repeated the following evening at the Goel Center for Theater & Dance, Phillips Exeter Academy in Exeter, New Hampshire.

*The Boston MOS show requires tickets (link above); the Exeter show is free and tickets are not required.



music / Gregory W Brown
text / Todd Hearon and Scripture
etchings / Brian D Cohen
composed for and premiered by Nightingale Vocal Ensemble, Benjamin Perry, director, with members of the Juventas Chamber Ensemble and Jonas Budris, tenor.