10:00-10:45
Stephen Bann (University of Bristol), "The Death, and Life, of French Reproductive Engraving in the Nineteenth Century"

11:00-11:30
Benedicte Coste (Unversity of Burgundy), "The Child in the House of Print: Henry Daniel's edition of Walter Pater's 'The Child in the House'"

11:30-12:00
Sophie Aymes (University of Burgundy), "Woodcuts and some Words: Writing about autographic wood engraving in the early 20th century"

MSH, salle R03

The idea of creating a digital resource of prints and drawings has in recent years become a reality on a global scale – for example the virtual print room of the Herzog Anton Ulrich-Museum in Braunschweig and the Herzog August Bibliothek in Wolfenbüttel (www.virtuelles-kupferstichkabinett.de). A collaborative project of these two institutions, along with the University of Marburg - Bildarchiv Foto Marburg and the University of Göttingen, is currently linking the online publication of prints and drawings from the collections of Braunschweig and Wolfenbüttel with iconographic indexing and academic research into the early modern collecting of prints.
The conference will take as its starting point two key questions. How can research into the history of art collecting and digital indexing work together to form a mutually beneficial partnership? How can indexing adapt to the demands of the research community?
Papers on the following subjects and case studies will be welcome:
• The theory and practice of collecting in the early modern period
• Case studies: religious and secular orders, private individuals, artists and universities as collectors of graphic arts
• Networks and trade structures: art agents, dealers, advisers
• The indexing and publicising of graphic collections: from the ‘Recueil’ to the online database
• How can indexing and online publication adapt to the demands of the research community?
• The functionality and organisational systems of graphic collections
• The research and documentation of provenances
We invite proposals for 20-minute papers devoted to the subjects mentioned above.
Proposals (maximum of 500 words) with the title of the paper, institutional affiliation (if applicable), postal and email address and a short CV can be sent up to 30 November 2015 to:
vkk@hab.de. The conference programme will be published in early 2016 on the conference website:
//diglib.hab.de/?link=046

The Trustees of International Print Center New York invite you to join them for PrintFest, a two-day event for undergraduate and graduate students from the New York area to show, sell and trade their prints.


October 16; 3 - 8pm & October 17; 11 - 6pm
@ Rogue Space Chelsea
508 West 26th (9th Floor) 9E-9F, NYC 10001

For more information, please visit: http://www.ipcny.org/exhibitions/printfest-october-16-17-2015/

The aim of the seminar is to invite prominent artists, theorists, curators and museums to discuss the status of contemporary printmaking; from a traditional, theoretical and historical standpoint, to what is happening today and what could happen in the future.

The primary impact of the seminar is aimed at Nordic educational institutions, whose strong cultural connections continue to foster the development of printmaking as an artistic practice. Invited international speakers will deliver a series of talks, to contextualise Printmaking in the Expanded Field and present evidence of its future relevance within contemporary art.

For more information please send an email to: pitef@khio.no

The symposium will bring together an international group of art historians and curators interested in Rembrandt's graphic experimentation to reflect on the newest scholarship in the field.

Organized and moderated by Robert Fucci

With:
Clifford Ackley, Curator of Prints and Drawings, Museum of Fine Arts, Boston
Stephanie S. Dickey, Bader Chair in Northern Baroque Art, Queen's University,
Kingston, Ontario
Jan Piet Filedt Kok, Professor of Studio Practices, University of Amsterdam, former Senior Curator of Early Netherlandish painting, Rijksmuseum
Erik Hinterding, Curator of Prints, Rijksmuseum, Amsterdam 

Nadine Orenstein, Drue Heinz Curator in Charge, Department of Drawings and Prints, Metropolitan Museum of Art, New York

RSVP: https://calendar.columbia.edu/sundial/webapi/register.php?eventID=79770®ISTER_SESSION_NAME=d34fdf4c36bf2714796c7ea7694c7cb6&state=init&

Sculpture, printmaking and photography are essentially multiple, often experiencing many prints as much as all three stem from a matrix that can be changed and give rise to significant variations. Complex objects, they hold both of the original work, interpretation or copying; in this they often confuse lovers and art historians attached to the study of other art forms. They ask specific questions of the rest. Their multi-purpose character does not mask their own characteristics.
Tool and fundamental genre of art history, the catalog has recently been a number of studies. While the paintings and drawings catalogs are the first to have benefited from this research, for "multiple", the field is still little discussed, because of the difficulties posed by the very nature of the objects concerned.

What are the first catalogs multiple objects, how were they treated these objects, compared to unique items, what were the first editors and first uses? What challenges and what choices for catalogs of this type, even today?

Scientific Committee:

Claire Barbillon (University of Poitiers), Véronique Meyer (University of Poitiers), Sylvie Aubenas (National Library of France), Cecilia Hurley Griener (École du Louvre), Valerie Sweat-Hermel (National Library of France), Pierre Wachenheim (University Lorraine), and Anne-Élisabeth Buxtorf (Library INHA)

28, 29 and September 30, 2015
Auditorium Colbert Gallery
Free admission, limited seating available
2, rue
Vivienne, 75002 Paris

In honor of the eightieth anniversary of James Watrous, a noted expert on prints and drawings, joining the Art History faculty at UW, our department is pleased to announce a symposium, "Paper: The Place of Discovery." Our speakers will investigate the importance of works on paper to art historical investigation, demonstrating how fifteenth-century silverpoint drawings reveal creative process, how the prints of a jewelry designer indulge the geographic imaginary, how letter writing was vital to the artistic process, and how surviving sheets reveal Rembrandt's failures. In keeping with Professor Watrous’s dedication to making art historical knowledge accessible, our keynote speaker will present his path-breaking development of software to promote techniques of art historical analysis.

Thursday, October 8, 6pm:
"Computer Vision as Art Historical Investigation"
L160 Elvehjem Building
John Resig, Developer, Khan Academy; Creator, jQuery Java Script Library

Friday, October 9, 10am-12:30pm
"Paper: The Place of Discovery"
Chazen Auditorium

Stephanie Buck, Curator of Drawings, The Courtauld Gallery, London
Thomas Rassieur, Curator of Prints and Drawings, The Minneapolis Institute of Art
Shira Brisman, Assistant Professor, Art History, University of Wisconsin-Madison
Madeleine Viljoen, Curator of Prints, The New York Public Library
Andrew Stevens (Moderator), Curator of Prints, Drawings, and Photographs, Chazen Museum of Art

Books and Print between Cultures investigates the role that books (printed books and manuscripts, including maps, scrolls, etc.), prints, and their associated technologies played in mediating and instantiating cultural difference in the early modern period. It approaches these materials as intermediary (“between”), but also as “flows,” a term borrowed from social-cultural anthropologist Arjun Appadurai, to underscore the fluid and yet chaotic manner in which books and prints proliferated and were circulated, reconfigured, and reconstituted around the globe. Rather than considering books and prints through a strictly semiotic or iconographic lens—i.e., as assemblages of signs and symbols, texts and images—this symposium foregrounds the materiality of these objects qua objects. It asks, for example, in what ways the formal features and physical components of books shaped their reception abroad; how artisans, collectors, merchants, priests, and litterateurs made sense of alien alphabets, inks, type, and handwriting, among other book and print technologies; with what other media—including textiles, sculpture, architecture, and drawing—books, prints, and their makers were in conversation; and how book- and print-making, -collecting, and -viewing practices translated across space, from one locale to another. By framing the history of books and print as meandering and material, this interdisciplinary symposium aims to contribute new dialogues to the study of the global early modern.

Our one-day symposium will present research on the impact of books and print on intellectual contact (broadly construed) within Europe as well as between European and non-European cultures.

The symposium is intended to encourage cross-disciplinary conversation, and is therefore defined by a conceptual framework rather than a strict thematic focus. Its title is an homage to Elizabeth Eisenstein’s seminal book, The Printing Press as an Agent of Change, which helped to establish the study of print culture as an area of study in its own right, one that has contributed to – and helped to transform – research in intellectual history, literary studies, the history of science and of visual culture, among others. While Eisenstein’s interest was in uncovering the “impact of print on western society and thought” (as she put it in the title of an early article), this symposium will explore the impact of forms of paper-based media on how western society and culture understood other cultures and societies, how western societies and cultures understood each other, and how non-western cultures and societies understood the west.

Participants will present work on how books and print mediated contact across ethnic, cultural and linguistic boundaries in the early modern period. They will explore how such boundaries were produced and reworked by the formal, material features of print and manuscript, by the structures of the production and circulation of books, texts and images – in other words, on how the materiality of textual and visual artifacts articulated connections, distance and difference between cultures, countries and communities.

In order to allow for a stimulating conversation across disciplines as well as for focused scholarly exchanges, the event will consist of a series of panels of 2-3 participants giving short (10-15 min) presentations based on their pre-circulated work, followed by extended discussion.

To celebrate the opening of the special exhibition Corita Kent and the Language of Pop, on view September 3, 2015 to January 3, 2016, the Harvard Art Museums will host a panel discussion to introduce the show’s primary themes. Jennifer L. Roberts, Harvard’s Elizabeth Cary Agassiz Professor of the Humanities, will discuss screenprinting and Kent’s reliance on reversal as a printmaking strategy; history of art and architecture graduate student Taylor Walsh will address Kent’s interactions with the pop art movement; and American studies graduate student Eva Payne will consider the influence of Vatican II on the artist. Exhibition organizer Susan Dackerman, the former Carl A. Weyerhaeuser Curator of Prints at the Harvard Art Museums, will moderate the discussion.

Before the 6pm talk, visitors will have an opportunity to view the exhibition, which opens to the public that day. Attendees are invited to return to the exhibition after the discussion, as well as to enjoy a reception in the Calderwood Courtyard.

Free admission; seating is first come, first served.

The panel discussion will be held in Menschel Hall, Lower Level.