Between the fourteenth and early seventeenth centuries, Florentines wrote extensively, committing their personal and business exchanges to ink on paper, even while thinking about wealth not in terms of metallic coins but rather in terms of abstracted moneys of account. In and well beyond Florence, Renaissance artists across Europe worked with gold and silver, wax and wood, sound and space to create both tangible and intangible cultural heritage. This panel seeks to revisit the "material turn" in the humanities and to recouple Renaissance materiality to the immaterial. Thus we ask about the spatial, technical, ritual, and institutional framings of any material work of art and about the past voices, phantom performers, and music that enlivened plays, dances, processions, liturgies, and other events. We seek to incite more performative, active imaginings of various objects in their artworlds—books, musical instruments, tools, pigments, dye woods, lead type, copper plates, among much more—and the artists who once manipulated them, breathed on them, and performed before them.
Proposals will also be considered for a special issue of Arts journal co-edited by Lisa Pon (USC) and Kate van Orden (Harvard).
Please email 150-word abstract and 200-word cv to lisapon@usc.edu and vanorden@fas.harvard.edu before AUGUST 1.

Chicago Printmakers Collaborative could not be more thrilled to partner up with our pals at Hoofprint Studio to host a big summer steamroller printing extravaganza! It’s been 4 whole years since our last one, so we’re practically chomping at the bit to get inky and print up some gigantic relief blocks in our back driveway.

While the steamroller may be the star of the show, the whole shop will be buzzing with activities and fun!

Please visit the link below for more information.

Attraverso le stampe: scambi artistici tra Fiamminghi e Italiani nel XVI secolo/ Prints as Agents of Artistic Exchanges between Fiamminghi and Italiani in the 16th Century

PROGRAM

Thursday, April 7 2022

14.00 Sabine van Sprang (Academia Belgica): Welcome
Dominique Allart & Antonio Geremicca (Université de Liège): Introduction

Moderator: Sabine van Sprang
14.20 Joris Van Grieken (KBR, Royal Library of Belgium): Between Rome and Antwerp. Rome and the Rise of Professional Printmaking in the Low Countries, 1530-1550

14.50 Dominique Allart (Université de Liège): Once Again on the Triumph of Bacchus Engraved by Cornelis Bos, Its Sources and Reception

15.20 Discussion
15.40 Coffee Break

Moderator: Anna Cerboni Baiardi
16.10 Alessia Alberti (Milano, Castello Sforzesco, Raccolta delle stampe ‘A.
Bertarelli’): Il Sogno di Raffaello di Giorgio Ghisi tra Italia e Fiandre

16.40 Antonio Geremicca (Université de Liège): Tra Giorgio Ghisi e Hieronymus Cock. Sul fortuito successo anversese di Bronzino nell’incisione

17.10 Anne-Sophie Laruelle (Université de Liège): L’utilisation de modèles gravés dans les
tapisseries réalisées dans les anciens Pays-Bas au XVIe siècle. Etudes de cas

17.40 Discussion

Friday, April 8 2022

Moderator: Elena Rossoni
09.30 Laura Aldovini (Pavia, Musei Civici del Castello Visconteo): Tiziano, la xilografia e il Trionfo nei Paesi Bassi
10.00 Giorgio Marini (Ministero per i Beni e le Attività Culturali): Cornelis Cort, Titian, the Carraccis: Reproductive Printmaking as ‘Critical Interpretation’ of Venetian 16th Century Painting

10.30 Discussion
10.50 Coffee Break

Moderator: Giorgio Marini
11.20 Elena Rossoni (Pinacoteca Nazionale di Bologna): Due Crocifissioni a confronto: Jacob Bos, il milieu internazionale romano, e le reciproche influenze tra cultura italiana e fiamminga

11.50 Anna Cerboni Baiardi (Università degli Studi di Urbino ‘Carlo Bo’): Francesco Barocci e Cornelis Cort: un incontro decisivo

12.20 Discussion

12.40 Dominique Allart, Antonio Geremicca & Sabine van Sprang: Conclusion

Conception and Organization:
Prof. Dominique Allart (Université de Liège)
Dr. Antonio Geremicca (Université de Liège)
Dr. Sabine van Sprang (Academia Belgica)

Information and Registration:
D.Allart@uliege.be
antonio.geremicca@uliege.be

IMPRINTING RACE: ARTIST TALK BY CURLEE RAVEN HOLTON

THURSDAY, MARCH 17, 2022
5:30 PM–6:30 PM

Master printmaker Curlee Raven Holton, who also serves as executive director of the David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora at the University of Maryland, College Park, discusses his artistic practice, with an emphasis on the intersections of race and printmaking.

Presented live in the Clark's auditorium. This program will also be livestreamed; advance registration online (https://www.clarkart.edu/event/detail/1989-88540) to receive the livestream link is required.


IMPRINTING RACE: A ROUNDTABLE DISCUSSION ON THE MATERIALITY OF PRINT AND THE MAKING OF RACE

FRIDAY, MARCH 18, 2022
3:00 PM–4:00 PM

This roundtable explores the role of printmaking in tangibly shaping and challenging ideas of racial difference. Motivated by colonial encounters and the later, widespread institution of chattel slavery in the Atlantic world, early modern Europeans and their inheritors sought to materialize race to ground social hierarchy in physical, bodily difference. The participants of this conversation will consider two important strands of recent art-historical scholarship on materiality and the production of race, exploring the question: how have the constitution of matrix and print shaped different conceptions of surfaces and bodies?

Participants include Horace Ballard (Harvard Art Museums), Layla Bermeo (Museum of Fine Arts, Boston), Jennifer Chuong (Harvard University), Jase Clark (Raven Fine Art Editions), Thadeus Dowad (University of California, Berkeley), Kailani Polzak (University of California, Santa Cruz), and Curlee Raven Holton (Lafayette College and Raven Fine Art Editions).

Presented live in the Clark's auditorium. This program will also be livestreamed; advance registration online (https://www.clarkart.edu/event/detail/1988-88539) to receive the livestream link is required.

Additional support provided by the Association of Print Scholars and The Rare Book School.

Virtual symposium in conjunction with Imperfect History: Collecting the Graphic Arts Collection at Benjamin Franklin’s Public Library in commemoration of the fiftieth anniversary of the Graphic Arts Department at the Library Company of Philadelphia

Please join us for the concluding program for the exhibition Imperfect History: Curating the Graphic Arts Collection at Benjamin Franklin’s Public Library (September 20, 2021 – April 8, 2022). Imperfect History explores the development of the Library’s graphics art collection as it relates to historical and cultural biases within American history. The exhibition is a candid exploration of the evolution of American graphic arts curatorship and collections in one of the oldest cultural institutions in the country.

Collecting, Curating, and Consuming American Popular Graphic Arts Yesterday and Today, including a keynote lecture by Makeda Best, Harvard Art Museums, continues the conversation started through Imperfect History. The symposium seeks to examine changing and innovative directions in how historical popular graphic art (i.e., art not traditionally classified as fine art, that is representative of popular culture, and/or is mass produced and consumed) is curated, interpreted, and used and understood by those who produced, viewed, and consumed it. Collecting, Curating, and Consuming asks how does historical American popular graphic art act as a mirror, bridge, and barrier in facilitating our visual conceptions of our past and present?

Further information, including sessions, panelists, and where to register is at the External Link below.

The exhibition and programming is supported by the Henry Luce Foundation, Walter J. Miller Trust, Center for American Art, Philadelphia Museum of Art, Jay Robert Stiefel and Terra Foundation for American Art.

The next IADA Symposium will be “SHOW IT AND SAVE IT – Exploring the compromises between exhibition and preservation” which will explore the conservation challenges of exhibiting art on paper, archival materials, bound volumes, manuscripts, or similar materials. We hope to bring together all actors involved in these dynamics, whether conservators, collection managers, registrars, curators, installers, scientists, even artists, in order to initiate a discussion around the challenges and compromises between exhibition and preservation.

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.

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.
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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.

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)"

New Approaches to Piranesi: A Virtual Roundtable
Event date: 16 July 2021

Join us on July 16 for a roundtable of lightning talks on interdisciplinary approaches to the works of Giovanni Battista Piranesi (1720-78). Recent scholarship by Heather Hyde Minor, Carolyn Yerkes, and Susan Dixon, as well as the current bestselling novel Piranesi by Susanna Clarke, have started to open the field of Piranesi Studies to new avenues of research and potentially wider audiences. This roundtable consists of two panels of short presentations of 5-7 minutes followed by ample time for discussion. Papers engage with a wide range of disciplinary fields and methods including globalism, reception, collecting, virtual reality, exhibition curation, book history, archaeology, history of design, and architecture. We hope the themes and format of the roundtable will encourage lively conversation and prompt new critical perspectives that will continue to broaden the interpretation of Piranesi’s works.

Organized by Jeanne Britton and Zoe Langer
digitalpiranesi.org | Irvin Department of Rare Books and Special Collections | University of South Carolina

Sponsored by HECAA (Historians of Eighteenth-Century Art & Architecture)

Questions? Email hecaaevents@gmail.com

Panel 1: 10:00am – 11:30am (EST)

Hélène Bremer (Art Historian and Independent Curator), “For the Love of the Master, 25 Artists Fascinated by Piranesi”

Erik Herrmann (Ohio State Univ.), “Another Campo Marzio”

Mireille Linck (Museum Boijmans Van Beuningen), “Watermark Research: The Beginning of a Research Tool”

Ari Lipkis (Tyler School of Art & Architecture), “Imprisoned in the Fold: Piranesi and the Video Artist”

Jason Porter (Univ. of South Carolina), “The Virtual Piranesi: New Methods of Immersive Literacy”
Carla Scagliosi (Galleria Nazionale dell’Umbria), “Exploring ‘the Dark Brain of Piranesi’”


Panel 2: 1:00pm – 2:30pm (EST)

George Dodds (Univ. of Tennessee), “Giambattista Piranesi, Modernity, and the Continuous Avant-Garde”

Sara Hayat (School of the Art Institute of Chicago), “What We Can Learn from 18th-Century Global Histories of Architecture”

Helen Marodin (Univ. of South Carolina), “The Magnificence of Rome in the Carceri: Flashes of Light into Piranesi’s Shadowy Prisons”

Thomas Mical (India), “Scanning for Duration and Intensity in Piranesi’s Carceri”
Aleksander Musiał (Princeton Univ.), “Beyond the Capriccio: Piranesi’s Candelabra, Classical Transgression, and their Reception in Warsaw and St. Petersburg”
Kate Retford (Birkbeck, Univ. of London), “Piranesi and the Print Room”

Betsey Robinson (Vanderbilt Univ.), “Tunnel Visions: Rendering Conventions and Process at the Alban Lake”

To register, please visit the external link below.