This Fall a two-volume catalogue of all prints produced and published by the Liefrinck dynasty has appeared in The New Hollstein Dutch & Flemish series (Sound & Vision Publishers). Compiler Jeroen Luyckx (Illuminare - KU Leuven) and editor Huigen Leeflang (Rijksmuseum, Amsterdam) are delighted to invite you to the virtual book launch on Thursday 9 December 2021 at 17:00 CET.

The Liefrinck family was a Netherlandish dynasty of printmakers that consisted of three generations and was active for over a century. From c. 1500 until the turn of the seventeenth century various family members were involved in printmaking and publishing, producing a highly diverse output. This fully illustrated catalogue brings together almost 400 woodcuts, etchings and engravings, including dozens of undescribed prints, states and editions. To order the volumes, please visit www.hollstein.com.

Programme
17:00 Welcome by editor Huigen Leeflang (Rijksmuseum, Amsterdam)
17:10 Lecture on the Liefrinck dynasty by compiler Jeroen Luyckx (Illuminare - KU Leuven)
17:40 Questions
18:00 End

This online event is free of charge, but registration is required. You can register by providing your name and e-mail via the external link. If you do, you will receive an e-mail with all practical information in the week of the event.

Join us for a two-part workshop that explores printmaking with the Robert Blackburn Printmaking Studio. Held in conjunction with Jasper Johns: Mind/Mirror, this workshop offers an opportunity to discover the printmaking process through the technique of monotype. Inspired by the hundreds of experimental monoprints Johns has created throughout his career, participants will print images using different colors to create a multi-layered print. All skill levels are welcome.

During each hour-and-a-half session, participants will be guided by printmakers from the Robert Blackburn Printmaking Workshop and will be able to ask questions live through Zoom breakout rooms.

Session 1
Dec 3, 3 pm

Session 2
Dec 10, 3pm

The Robert Blackburn Printmaking Workshop is a co-operative printmaking workspace that provides professional-quality printmaking facilities to artists and printmakers of every skill level. The RBPW is committed to inspiring and fostering a racially, ethnically, and culturally diverse artistic community dedicated to the making of fine art prints in an environment that embraces technical and aesthetic exploration, innovation, and collaboration. Robert Blackburn’s vision of a welcoming creative environment with a spirit of openness serves as the backbone of the workshop today.

Free with registration.

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

Join us for the virtual opening lecture for the Memorial Art Gallery's newest exhibition, Renaissance Impressions: Sixteenth-Century Master Prints from the Kirk Edward Long Collection! Bernard Barryte, an expert on this collection and author of the catalog, will discuss printmaking techniques and how the prints were marketed and prized by collectors. He will also discuss Mannerism, the imaginative style of art that was dominant in Europe during the 1500s, as well as the ways that these images can be interpreted.

For questions about this program, please contact Chiyo Ueyama at cueyama@mag.rochester.edu. For general visitor information, visit mag.rochester.edu/about.

To register, please visit the external link below.

Renaissance Impressions, which includes 82 masterworks in varying techniques by artists as diverse as Albrecht Dürer and Hendrik Goltzius, explores the seminal role that prints played in shaping Renaissance visual culture throughout Europe. The exhibition offers a rich and comprehensive survey of the Golden Age of printmaking and reveals the vital impact of this new creative medium on art, education, and society. It was through the printed image that the myths and motifs of ancient Greece and Rome became widely known, and religious imagery was transmitted across geographical and cultural boundaries. Artistic innovation was also impelled by this new reproductive medium, which allowed the broad distribution of influential compositions by such towering figures as Lucas Cranach, Albrecht Dürer, Michelangelo, and Raphael. The exhibition features many of the era’s most extraordinary and influential prints, including examples in all graphic media from Europe’s major printmaking centers of Antwerp, Florence, Fontainebleau, Haarlem, Mantua, Paris, Prague, and Rome.

Works from MAG’s rich collection of Renaissance decorative arts, including armor, stained glass, ceramics, and textiles, are interspersed throughout the loan exhibition of prints. These works highlight the surprising interconnections between this new print medium and how artists in other media transmitted, transformed, and translated print imagery. This appropriation of the print medium by other artists and craftspeople created a shared visual vocabulary that crossed artistic media and geographical boundaries.

Printmaking has been called the “contemporary art” of the Renaissance. Throughout the 16th century and beyond, print images proliferated and the market for both religious and secular imagery flourished. This developing market led to the new profession of print publishers, who offered collectors diverse subjects from ancient myths to traditional Christian motifs. Compelling imagery, imaginative design, and technical virtuosity were the qualities most prized by 16th-century collectors; professional print publishers straddled the line between art and business, commissioning works from the best artists of the time.

Please join the Historians of Eighteenth-Century Art and Architecture for its Emerging Scholar Showcase on Saturday, November 13 at 2 pm EST. Seven panelists will discuss their research on global 18th-century art and visual culture. Q&A. will follow the presentation.
***⁠
⁠
This virtual event is free and open to the public.
Register at the external link below

Contact Daniella Berman at daniella.berman@nyu.edu with any questions.

During the 1930s and 1940s, abstraction began to gain momentum as an exciting, fresh approach to modern artmaking in the United States, and a small contingent of American artists dedicated themselves to it. Labyrinth of Forms, a title inspired by an Alice Trumbull Mason work in the exhibition, alludes to the sense of discovery that drove these artists to establish a visual language reflecting the advances of the twentieth century.

A significant number of American abstractionists were women, and their efforts propelled the formal, technical, and conceptual evolution of abstract art in this country. A few, such as Lee Krasner and Louise Nevelson, have been duly recognized, but most remain overlooked despite their contributions. With over thirty works by twenty-seven artists drawn almost entirely from the Whitney’s collection, Labyrinth of Forms highlights both the achievements of these artists and the ways in which works on paper served as sites for important exploration and innovation.

While abstraction would prevail in the United States after World War II, in the preceding decades American abstractionists were vastly outnumbered by realist practitioners. Maligned by critics, and largely ignored by museums and galleries, these artists nevertheless saw themselves as aesthetic revolutionaries. In contrast to their European counterparts, who were often involved with movements defined by manifestos, they felt free to experiment, harnessing a broad range of styles to express the mood of the modern United States.

Buoyed by modernist art courses and new venues for viewing European avant-garde art, they forged a network of overlapping communities, organizations, and creative spaces—including the American Abstract Artists and the Atelier 17 print studio—that allowed them to support one another, exchange ideas, and exhibit their work. Women were key figures in such groups, often taking on leadership roles. They also wrote and lectured on abstraction and advanced methods of making, particularly in print media. Though many of these artists still deserve wider acclaim, their influence and ideas resonate even today.

CHAIRS

Sarah Bane
University of California, Santa Barbara

Michelle Donnelly
Yale University

PRESENTATIONS:

- Francesca Kaes (University of Oxford)
"Like a Print: Alexander Cozens’s Inkblots as Interstitial Objects"

- Courtney Wilder (Metropolitan Museum of Art)
"The Interstices of Adaptation: Lithography, Textile Printing, and the Aesthetics of Commercial Expansion around 1820"

- Melissa Trafton (College of the Holy Cross)
"Located in the Block 6E Recreation Hall Barrack: The Silk Screen Shop at Amache"

- Gemma Sharpe (Sarah Lawrence College)
"Graphic Intimacies: Sadequain Naqvi and the Artist’s Book (1966-1971)"

Across her prolific career as a pioneering artist, educator, and activist, Emma Amos (American, 1937–2020) created boldly colorful and innovative works that explore the intersections of race and gender in American life. This exhibition surveys her body of work from the 1950s to the 2010s for the first time, spotlighting her inventive approach to printmaking, painting, and weaving as well as her signature practice of combining distinctive materials and artistic techniques. Amos’s works investigate identity and privilege while unsettling the lines between figuration and abstraction, craft and fine art, beauty and power.

Present Tense: New Prints, 2000–2005 is an exhibition that celebrates the institution’s 20th anniversary by revisiting works shown at IPCNY in the first five years of its founding New Prints program. From early prints by Julie Mehretu and Beatriz Milhazes to experiments in materiality by Roxy Paine and Melvin Edwards; from the socio-political gestures of Dread Scott and A.J. Bocchino to the technical mastery of Carol Wax and Lothar Osterburg—Present Tense brings together a selection of highlights that reflect just a handful of the practices and players that shaped IPCNY’s early years. It is co-organized by Anne Coffin, IPCNY’s founder and first director; and Deborah Cullen-Morales, currently a program officer at The Mellon Foundation, and previously executive director of The Bronx Museum of the Arts.

“Present Tense has hindsight: these were formative years for a new organization, for a new century, and for artists who were cutting their teeth on printmaking and deepening their commitment to the medium,” says IPCNY director Judy Hecker. “Here, we can re-meet these works that were fresh and formative in their day and remain relevant now.”

In 2000, IPCNY inaugurated its Chelsea exhibition space with New Prints 2000, the first in a free, open-call juried exhibition series designed to democratize access to exhibition opportunities by showing established and emerging artists side by side. Presented between two and four times annually in its early years, the exhibition program had shown some 500 artists by 2005. It aimed to reflect the immediacy, scope, and vitality of print production by the early 2000s, and mapped its networks of workshops, publishers, and printers. IPCNY was also launched in the context of rapidly expanding digital technologies, the post–9/11 political and cultural landscape, and a rapidly shifting and globalizing art world. Representing the vast range of approaches that defines the New Prints program, the works on view in Present Tense contend with identity, migration, materiality, and abstraction as they show how artists navigated the terrain of the early aughts.

For more information please visit the external link below.

This exhibition explores two parallel Japanese print-making movements through the Clark’s collection of shin-hanga and sōsaku-hanga works. Although conceived in opposition, these two movements became deeply intertwined. By focusing on two key moments in the international exchange of Japanese prints in the twentieth century, the inter-war period and the post-war period, the exhibition considers how travel, tourism, and commercialism intersected within the medium of printmaking during the period.

Shin-hanga, or ‘New Prints,’ reached their zenith of popularity in the 1930s, following a concerted promotional effort by the publisher Watanabe, whose offices in Japan and London, as well as distribution routes to the United States, facilitated a renewed fervor for the Japanese print abroad. Following the model established by famed ukiyo-e printmakers during the Edo Period, shin-hanga prints were created through a collaborative process whereby work was divided amongst the artist, carver, printer, and publisher. The picturesque views of famous places (meishō) of Kawase Hasui and lyrical landscapes and dusk-shrouded street scenes of Yoshida Hiroshi constitute the majority of the Clark’s collection of shin-hanga works. Further, prints within the collection by artists such as Torii Kotondo, Tsuchiya Koitsu, and Takahashi Hiroaki would further add to visitors’ understanding of the movement.

These works will be put into conversation with the Clark’s collection of sōsaku-hanga, or, ‘Creative Prints’. Arising as a direct response to shin-hanga’s popularity, sōsaku hanga artists emphasized their individual agency in creating works of art. Indeed, two works within the collection by the sōsaku-hanga artist Saitō Kiyoshi are coupled with small slips of paper that declare the prints “self-carved and self-printed in Japan.” Although sōsaku-hanga prints did not receive the same amount of attention as their counterparts during the inter-war years, the movement’s works became ubiquitous after WWII.

For more information please visit the external link below.