Artist Glenn Ligon, whose work draws on literature and history to explore race, language, desire, and identity, joins Pulitzer Prize–winning author, critic, and Princeton’s Presidential Visiting Scholar Hilton Als to discuss the ways in which art can engage and rethink the most urgent issues of our time.

This event will include live closed captions in both English and Spanish. English captions are available directly in the Zoom toolbar by clicking the "CC" icon. To access Spanish-language captioning, open Streamtext, where you can select “Spanish” to see the live captioning.

For more information and to register please visit the external link below.

Speakers:

Ana Debenedetti, Victoria and Albert Museum
"Re-discovering the Raphael Cartoons at the V&A"

Jane Turner, Rijksmuseum
“XXL Paper”

Gloria Williams, Norton Simon Museum
"Dido and Aeneas: Six Cartoons for Tapestry by Giovanni Francesco Romanelli in the Norton Simon Museum"

Alberto Rocca, Pinacoteca Ambrosiana
"Duoi pezzi di cartone per mano di Raffaello’.How the Raphael’s Cartoon arrived to the Ambrosiana"

For more information and to register please visit the external link below.

On the 100th anniversary of The Brownies’ Book: A Monthly Magazine for the Children of the Sun—a first-of-its-kind periodical for Black children that ran from 1920 to 1921—artist Jennifer Mack-Watkins celebrates the beauty, importance, and complexity of positive representation of African American children in her debut museum solo exhibition at the Brattleboro Museum & Art Center.

Mack-Watkins’ works on paper draw from the illustrative imagery found in The Brownies’ Book, using the medium of printmaking to mirror the genre-bending literary approach taken by the magazine’s editors. Mack-Watkins weaves imagery and narratives from disparate sources: accounts from Vermont storyteller, poet, and activist Daisy Turner of her childhood stand against racism; research findings inspired by the book Daisy’s Turner’s Kin: An African American Family Saga by Jane C. Beck, and the political, empowering, and mystical sensibility (both visual and literary) of The Brownies’ Book.

Jennifer Mack-Watkins’ delicate yet expressive work examines ideas of oral history, memory, literature, and resilience, negotiating how these elements influence both an internal and external vision of and for ourselves.

Chicanx artists and print centers have welcomed, nurtured, and collaborated with non-Chicanx artists from the early civil rights era to today, creating a long legacy of influence and support across communities. Join us for a virtual conversation that explores the impact of this legacy and unites artists who are integral members of the Chicanx print movement. Panelists include Jos Sances, a San Francisco–based artist and master printer, who co-founded Mission Gráfica in 1980, founded Alliance Graphics in 1989, and is a founding member of the performance group The Great Tortilla Conspiracy; and Pepe Coronado, founder of the Coronado Print Studio and a founding member of the Dominican York Proyecto GRAFICA, a collective of Dominican American artists devoted to printmaking and the exploration of Dominican diasporic history and culture. This virtual conversation is moderated by Tatiana Reinoza, specialist in Latinx printmaking and assistant professor of art history at the University of Notre Dame. Reinoza is also a contributor to the ¡Printing the Revolution! catalogue.

This program is the third in a five-part online conversation series that examines Chicanx graphics and how artists have used printmaking to debate larger social causes, reflect on issues of their time, and build community. Hear from artists, scholars, and activists about the Chicanx graphics movement, from civil rights–era prints to today’s digital landscape.

For more information please visit the external link below.

The biennial juried exhibition INK IT: Contemporary Print Practices highlights current fine art print practices by featuring the best graphic work by artists from across the Mid-Atlantic region who choose both traditional and nontraditional printmaking processes to communicate images and words.

The 84 works on display in the exhibition were selected by this year’s juror Susan J. Goldman, an artist, master printmaker, curator, filmmaker and founding director of both Lily Press® and the Printmaking Legacy Project®.

The broad range or prints included in the INK IT: Contemporary Print Practices exhibition employ and combine techniques which include woodcut, linocut, lithography, engraving, etching, drypoint, chine colle, gravure, screenprinting, monoprint, collagraphy, digital printing, mixed media, as well as current innovations in printmaking.

The participating artists are from Delaware, Maryland, Pennsylvania, Washington, DC, Virginia, and West Virginia.

For more information and to view the exhibition virtually please visit the external link below.

An exciting group of local and national printmakers have been assembled to share relief prints full of joy, fun, and beauty. RELIEF is a show of meticulously crafted prints that evoke escapism. The show’s title is an intentional word play on the style of work and also what the exhibit hopes to provide during a period of extreme stress and anxiety.

While the exhibition is focused on relief printmaking, the works vary widely. The scale ranges from the notecard-sized block print Party Coyote by Heather O’Hara to the 43 x 30” reduction woodcut Whisper and Wait by Jun Lee. The techniques are diverse as well and include linoblock prints from Nick Martinez, Vandercook-printed work from Heather O’Hara, hybrid digital/analog prints by Santo Press, and relief reduction prints (aka “suicide” printmaking) from Robert Lindsay. Additionally, installation is varied, from traditionally framed and matted works to the more free-form installations of Melissa Harshman and Daniella Napolitano. While RELIEF is full of beauty and levity, do not mistake the work for fluff; the approach is quite serious.

For more information and to view the exhibition virtually please visit the external link below.

The most famous printmaker in the Netherlands is without a doubt M.C. Escher. His graphic art depicting optical illusions has earned him a unique place in both national and international art history. But he was not the only Dutch printmaker of importance in his time. The exhibition Graphic Grandeur: Escher and his Contemporaries at Escher in The Palace highlights the graphic art of Escher’s Dutch contemporaries. In collaboration with Kunstmuseum Den Haag, the exhibition shows the versatility of Dutch graphic art through prints made by Escher’s friends, acquaintances and mentors. Also on display are the works of other artists who lent colour to the time when Escher was developing into a major printmaker.
Graphic art is a form of art that combines creativity, craftsmanship and tradition with technical challenges. At the end of the 19th and beginning of the 20th century, printmaking was very popular in the Netherlands. Graphic art was alive and well. The works were often produced in editions, introducing the art to a broader audience. This made graphic art popular, also among artists who were best known for other art disciplines. Famous names like H.W. Mesdag and Jozef Israëls, for example, also produced lithographs and etchings alongside their paintings. M.C. Escher enjoyed the company of artists who truly embraced the discipline, such as his mentors Samuel Jessurun de Mesquita and Richard Roland Holst, as well as friends like Gerd Arntz and Paul Citroen.
From landscapes to portraits and from buildings to geometric shapes, Graphic Grandeur brings together the work of 43 merciless printmakers with the work of M.C. Escher from 3 March to 7 June 2021. Prints by such artists as Piet Mondriaan, Matthijs Maris, Jan Mankes, Isaac Israëls, Jan Toorop, Jacoba van Heemskerck, H.N. Werkman and César Domela offer a cross-section of Dutch graphic art at the end of the 19th and early 20th century. The graphic art of Escher’s contemporaries features primarily the same themes as addressed by Escher, often with a surprisingly different end result. Discover the versatility of graphic art this spring at Escher in Het Paleis.

Pace Prints is pleased to announce the exhibition Jean Dubuffet, on view February 5 – March 12, 2021, on the third floor at 32 East 57th Street. This exhibition spotlights the final decade of Jean Dubuffet’s prolific printmaking career, a period during which the artist created prints on canvas, paper, silk and enamel in collaboration with Pace Editions. The lithographs and screenprints in the show range from the playful 1973 portfolio, Présences Fugaces— from the artist’s L’Hourloupe cycle—to his last edition, Lieu Virtuel, 1984. The exhibition at Pace Prints’ 32 East 57th Street gallery will be accompanied by an online presentation focused on Dubuffet’s L’Hourloupe prints.

Jean Dubuffet (born 1901, Le Havre, France; died 1985, Paris) was one of the most important early theorists and collectors of "art brut" and a major force in the recognition and appreciation of outsider and visionary art. Naive and unconventional visions of reality influenced the development of his own singularly personal style and imagery. Dubuffet has been the subject of numerous gallery and museum exhibitions, most recently at the Museum of Modern Art, New York, in 2015, and his work is included in important public and private collections around the globe

Donald Marron (1934–2019) was one of the 20th and 21st centuries' most passionate and erudite collectors, a pioneer of corporate collections, a family man, and a dedicated philanthropist. Over the course of six decades, Marron acquired over 300 modern and contemporary masterworks.

In 2020, Acquavella Galleries, Gagosian, and Pace Gallery joined with the Marron family to handle the sale of the Donald B. Marron Family Collection in a series of exhibitions at the three galleries. Pace Prints is honored to be presenting Marron’s remarkable prints, which highlight not only the importance of printmaking in the practices of the artists whom he collected, but also the role that prints play in building and expanding a comprehensive art collection. In 2021, Phaidon Press will publish a scholarly volume to illuminate Marron’s collection and celebrate his legacy.

The focus of the exhibition are the works of three iconic artists — Lucian Freud, Jasper Johns, and Ed Ruscha — who used printmaking throughout their careers to explore and further their distinct, innovative visions. Complementing these titans of their generation are works by gifted and inventive printmakers Julian Opie, Elizabeth Peyton, and Stanley Whitney. All created since 2000, the works on view illuminate the vitality of printmaking in contemporary art.

Lucian Freud (1922–2011), arguably the greatest portraitist of the 20th Century, was dedicated to the practice of creating etchings in much the same way he created his paintings, using a sitter or setting for weeks or months on end. Solicitor’s Head (2003) and New Yorker (2006) portray friends who became regular subjects that the artist imposed upon for these laborious projects. Freud’s insightful gaze translates into visceral and emotional images, both in these portraits and in the landscape works also on view.

Jasper Johns (b.1930) made his first print, a target, in 1960, and has made more than 400 editions since, seven of which are shown in this exhibition. Bushbaby (2004) which uses a harlequin diamond pattern throughout, features a trompe-l’œil representation of wooden straightedges, which can be seen affixed as a sculptural element to the painting of the same name. Across these prints, the flag, art-making tools, and thinly-veiled art historical content flood this group of prints with meaning, without betraying a singular narrative.

Ed Ruscha (b.1937) is represented in this exhibition with two works that exemplify the broad themes of his career: Ghost Station (2011) and History Kids (2013). Ghost Station reprises the Standard Oil Station, a subject of many early works by the artist, as an inkless, embossed image, the iconic architecture now only faintly visible in its outlines. In History Kids, text hovers over a snowy mountain peak, a theme evocative of Hollywood and cinema that became prevalent in his printing practice in the early 2010s. Ruscha’s use of text as subject has dominated a sixty-year long career, allowing a phrase or word to take visual dominance over the entire image.

A two-day, bicoastal event that centers BIPOC artists, scholars, interventionists, and allies who leverage "print" broadly construed across many media as an accessible form of activism capable of leaving its own unique impressions in diverse communities.

Justice in the Mail! Our speakers mailed each other secret prints. Discover the immediacy and impact of mail art when our speakers reveal what they sent and received from their print pals and react to digital, edible, and paper-based “print” projects in our current social climate. 

Thursday February 25th at 12pm PT/3pm ET.
Plenary panel featuring Lillian-Yvonne Bertram and Jonathan Senchyne

Friday, February 26th at 12pm PT/3pm ET,
Roundtable of four print artists including Victoria Law, Sarah Matthews, Amy Suo Wu, and Rio Yanez.

Free registration for both events.
All registrants are invited to a "Print Mixer" event following the round table on Friday Feb 26.

For more information and to register please visit the external link below.