Paper Trails: Latin American Art in Print (1950-1995) features important portfolios of modern and contemporary Latin American printmaking in the collection of the Blanton Museum of Art. During the 1960s, as interest in Latin American art increased internationally, curated print sets emerged as portable exhibitions showcasing the art of the region and of particular countries to audiences abroad. This show explores prominent portfolios produced in the context of a regional printmaking boom that was bolstered by a network of international biennials, key printmaking studios, and the support of transnational corporations. It will feature print sets produced in influential workshops in Mexico and Puerto Rico, while also featuring print sets from other countries, including Bolivia and Paraguay, whose art is seldom exhibited in the United States.

When two technologies converged in the first half of the sixteenth century—artillery warfare and monumental printmaking—a new genre was the result. The monumental siege print was an experiment in how to depict distance between enemies as the defining condition of war. In this talk, Carolyn Yerkes explores a series of enormous woodcuts created in the German-speaking lands of northern Europe during a period of constant war, political turmoil, and religious strife.

The unique beauty of the American Southwest has inspired generations of artists including printmakers. Thanks to Barbara J. Thompson’s generous gift of fine art prints on display in "Southwest Impressions: Prints from the Barbara J. Thompson Collection", the Petrie Institute of Western American Art is able to tell these multi-faceted stories of inspiration, exchange, and artistic excellence. In conjunction, this symposium will consider an array of American printmakers’ stories and techniques from the late 1800s into the mid-1900s as they sought to capture and express their impressions of the region.

"Deep Cuts: Block Printing Across Cultures" explores the world's oldest and most versatile method of making multiple images. More than 150 works from Asia, Europe, and the Americas present the medium as both a means of creative expression and a vehicle for mass production that enabled images and ideas to circulate widely. Textiles, prints, and books offer intricate patterns and striking imagery that reveal block printing’s global history, from the patterned fabrics of India to the illustrated books of the Kelmscott Press to modern artistic experiments by German Expressionist artists and contemporary makers like Christiane Baumgartner. The exhibition also includes a section developed with Los Angeles–based Block Shop, highlighting how contemporary makers continue to reinterpret this enduring art form.

This exhibition explores the intersections of poetry and printmaking in the Turner collection. Discover work by over 20 poets, including Gwendolyn Brooks, Billy Collins, Lawrence Ferlinghetti, Allen Ginsberg, Naomi Shihab Nye, Anne Sexton and more, alongside prints inspired by poetry. Featuring letterpress printing, illustrated books, and contemporary broadsides, prepare to be delighted by the poetic art of print.

Vivid prints of divinities are part of daily life for Hindus in India and around the world, used for worship in homes, factories, and offices, as well as for adornment on cars, calendars, computers, and shop counters. The art world has historically overlooked these images, often called “calendar art,” because they are inexpensive and mass produced. But they have a rich and fascinating history in and influence on Indian art, religion, and society.

“Divine Color: Hindu Prints from Modern Bengal” explores these popular prints’ origins and powerful impacts. When Indian artists encountered the new printmaking technology of lithography in 19th-century Calcutta (today Kolkata), then the capital of British India, they used it to reinvent devotional art. Depictions of Hindu gods became more realistic, colorful, and accessible than ever before. Shrines in homes across the economic spectrum came to host these images, mixed and matched according to a family’s taste. Though the lithographs of Hindu gods created by Bengali artists were not expensive, they were valuable in other senses. Sold in the bustling bazaars of Calcutta where presses competed to attract customers, the prints served an important role in home worship, satisfied the artistic sensibilities of a Bengali society that had absorbed European fine art values, and helped to spread new political ideas. The exhibition considers how lithography gave these artists—who produced thousands of prints that traveled quickly across the nation—a means to change not just devotional but also artistic, political, and social life.

A highlight of the exhibition is the MFA’s collection of 38 vibrant lithographs from 19th-century Calcutta. The MFA is one of only two American museums that collects this material. This exhibition, the first of its kind in the United States, features more than 100 objects, including other prints, paintings, sculpture, and textiles from the Museum’s South Asian collection and select loans. It culminates in an immersive room developed in collaboration with the Delhi-based Tasveer Ghar—an organization dedicated to collecting, digitizing, and documenting South Asian popular visual culture—featuring wall-sized collages of 20th-century popular images.

In Hinduism, the act of darshan, or “seeing god,” is central to worship. This intimate exchange between deity and devotee traditionally takes place in the temple. But within each home is also a shrine, dedicated to that householder’s chosen deity. The need to display an image of the divine in the home was traditionally fulfilled by small icons made of clay or metal. In the mid-19th century, new technologies were introduced into India, first photography and then the chromolithographic press. The latter permitted the production of inexpensive prints of the Hindu gods for mass consumption. These proved immensely popular and for the first time in India, even the humblest home could afford a colorful icon of their chosen god to display in the household shrine.

Household Gods: Hindu Devotional Prints, 1860–1930 presents the first encyclopedic exhibition of these chromolithographic prints from the pioneering studio presses of Calcutta (Kolkata), Poona (Pune), and Bombay (Mumbai). These mass-produced prints became a powerful means of expressing Indian religious identity at a time when the country was experiencing the first stirrings of the Independence movement.

Featuring approximately 120 works, shown in four rotations, from The Met’s collection of chromolithographic prints, along with paintings and portable triptych shrines, Household Gods provides a unique window on the vibrant tradition of Indian devotional imagery on the cusp of modernity.

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 will feature nearly 100 works by over 90 artists, including Andrea Mantegna, Albrecht Dürer, Hendrick Goltzius, Rembrandt van Rijn, George Cruikshank, Jose Guadalupe Posada, Henri de Toulouse Lautrec, Vassily Kandinsky, Käthe Kollwitz, Pablo Picasso, Grant Wood, Ansel Adams, Norman Lewis, Elizabeth Catlett, Charles White, Corita Kent, Ruth Asawa, Bridget Riley, David Hockney, Ed Ruscha, Analia Saban, and Toba Khedoori.

Five Centuries of Works on Paper: The Grunwald Center at 70 is organized by Naoko Takahatake, director and chief curator, Grunwald Center for the Graphic Arts, and Cynthia Burlingham, former deputy director of curatorial affairs, with Jennie Waldow, curatorial assistant and collection specialist, and Kelin Michael, curatorial fellow, Grunwald Center for the Graphic Arts.

In collaboration with St Cuthberts Mill – makers of heritage Somerset printmaking paper – the Centre for Print Research is delighted to be hosting a 1-day symposium dedicated to paper. This special event will bring together experts and enthusiasts, featuring contributions from John Purcell Paper, Michael Craine of Cranfield Colours , and the St Cuthberts Mill ambassadors for Somerset paper.

New Bedford and Nantucket, Massachusetts, share a rich maritime history, reflected in their museum collections and well-preserved historic districts. You are invited to spend two days in New Bedford for a series of lectures, gallery talks and behind-the-scenes tours focusing on the prints and print-related artifacts in the New Bedford Whaling Museum and visits to other historic sites in the city. The third day will include a program at the Nantucket Whaling Museum and the option of either a historic walking tour of the town or a bus tour of the island. Most meals will take place at the New Bedford Whaling Museum, including a cocktail reception in the museum’s Lagoda Gallery followed by dinner in the Harborview Gallery.

SAVE THE DATES: June 9-11th 2026. The program is sponsored by the American Historical Print Collectors Society, AHPCS, which is celebrating its fiftieth anniversary. An optional program on June 8th, will be held at the Heritage Museum in Sandwich, where the Society held its first annual meeting in June 1975.

The registration will open early in 2026. For more information, see the website: https://ahpcs.org/ Membership in the AHPCS is not required, but If you are not already a member of the AHPCS, please consider joining. Membership fees begin at $50.