Recent scholarship in bibliography and the history of the book has attended to the ways in which bibliographic media resist, defy, and elude uniformity, even under the greatest technological pressures to
conform. Whether through variables in the production process or through the vagaries of transmission and consumption, each manuscript or printed book carries with it the traces of a unique history. Yet bibliographers and historians of the book have long neglected the role of the visual in these histories, perceiving the pictorial as supplemental to the book, an import from some other medium. At the same time, the book itself has never featured in art history’s triumvirate of media: painting, sculpture, and architecture. In the belief that the book itself is an important medium in the history of art, this symposium brings together scholars who explore how the visual and pictorial features of bibliographic media behave (and can be made to behave) in defiant ways.

Speakers
Radiclani Clytus, Columbia University
Michael Gaudio, University of Missouri
Aden Kumler, University of Chicago
Phillip Round, University of Iowa
Kathryn Rudy, University of St. Andrews, Scotland
Juliet Sperling, University of Pennsylvania

Révoltes et évènements révolutionnaires ponctuent l’histoire européenne depuis la fin du Moyen Âge. On a longtemps cru que l’analphabétisme qui régnait parmi l’écrasante majorité de la population n’avait laissé aux insurgés que peu de moyens d’expression. Or la diffusion d’images lors des révoltes atteste d’une culture visuelle populaire qui préexiste à la Révolution française. On en décèle les traces les plus évidentes avec les Hussites en Bohême au XVe siècle, et lors de la Guerre des paysans qui ébranla le monde germanique en 1525.

Une iconographie de la révolte se forme et se transmet, sur des supports éphémères mal conservés, mais aussi dans le livre manuscrit, et bientôt grâce aux nouveaux médias. Dans l’estampe et l’imprimé, les rebelles expriment leur vision. En réaction, les pouvoirs contestés endiguent leur diffusion, et affichent, par d’autres images, la légitimité ou le rétablissement de leur autorité. Ces images suscitent bien des interrogations. Quelle part les révoltés ont-ils pris à leur production ? Comment les mutations techniques (l’imprimerie) ou spirituelles (la Réforme, l’iconoclasme...) ont-elles modifié leur diffusion mais aussi leurs formes et contenus ? Quel degré de confiance l’historien doit-il leur accorder ?

L’exposition présente un large panorama d’images, des rébellions des villes flamandes au XIVe siècle, des jacqueries, des troubles religieux des XVe et XVIe siècles, des soulèvements et révolutions qui marquent le milieu du XVIIe siècle (en France, à Naples, dans les îles britanniques, au Portugal), des contestations jansénistes du XVIIIe siècle... Elles constituent un patrimoine visuel aussi saisissant que méconnu, et un témoignage décisif sur les cultures politiques européennes.

Exposition organisée par la Bibliothèque Mazarine en partenariat avec le projet ANR Culture des révoltes et révolutions

9h50 : accueil

10h : Ouverture, par Yann Sordet, directeur de la Bibliothèque Mazarine

10h15 : « Toutes choses sont engendrées par la discorde » : éléments d’introduction
Tiphaine Gaumy (Bibliothèque Mazarine & projet CURR), commissaire de l’exposition Images & révoltes.

10h40 : La révolte médiévale en image
Vincent Challet (Université de Montpellier) & Jelle Haemers (Université de Louvain)

11h10 : Violence et révoltes au Moyen Âge
Christiane Raynaud (Aix-Marseille Université)

11h30 : Se révolter au nom de Dieu. Héroïsation, dérision, allégorie
David El Kenz (Université de Bourgogne)

11h50-12h30 : Synthèse et débat, animé par Philippe Hamon (Université Rennes 2)

12h30-14h : pause

14h00 : Iconographie populaire de l’antipapisme anglais (XVIe – XVIIe s.)
Stéphane Haffemayer (Université de Caen)

14h20 : La Fronde en Images
Jean-Marie Constant (Université du Maine)

14h40 : Synthèse et débat, animé par Malte Griesse (Université de Constance)

15h10 : L’illustration des mazarinades
Christophe Vellet (Bibliothèque Mazarine)

15h30 : Images et révoltes dans le monde méditerranéen (XIVe –XVIIIe s.)
Alain Hugon (Université de Caen)

15h50 : Synthèse et débat, animé par Michel Pastoureau (EPHE)

16h20 : pause

16h40 : Allégories
Pierre Wachenheim (Université de Lorraine)

17h00 : Héros et anti-héros, représentation des élites ou des peuples ?
Serge Bianchi (Université de Rennes 2 )

17h20 -18h20 : Synthèse et débat, animé par Véronique Meyer (Université de Poitiers)

18h30 : inauguration de l’exposition Images et révoltes dans le livre et l’estampe, Bibliothèque Mazarine, 14 décembre 2016 – 17 mars 2017

Entrée libre dans la limite des places disponibles.

Réservation : contact@bibliotheque-mazarine.fr

The aim of the conference is to study the place of writing, and its forms and functions in the European engraving in the sixteenth century, in addition to the production of matrices for the dissemination of images and its use by figures occupying different roles. This conference will bring together specialists in engraving of the printed book, culture and the arts in order to reflect on the typology of the letter, on its technical and artistic uses, the meaning of inscriptions and the role of writing in numerous categories of prints produced at that time. Long neglected by the specialists of engraving, the study of the letter appears today as an essential way of analyzing the printed images and reflection on the different literacy practices in European culture in the sixteenth century.

The goal of this symposium is to dissect the interpretive aims of “materiality studies” through a focused lens of works on paper. In recent years, “materiality” has become a buzzword across the humanities, and an impressive range of methods, investigative starting points, and analytic goals have come to rest under the term’s mantle. But in grouping this diverse array of approaches under a single heading, does each method’s unique potential risk becoming flattened and obscured? An illustrated book might just as easily inspire a reconsideration of workshop practices as it could a chemical investigation of ink formulae; are social history and chemistry, to name just these two examples, justifiably held together within the rubric of materiality? 

The institutional landscape of object-based study has had a role to play in miscommunications about the goals of focusing on materiality. As art historians, we have noticed that materiality, as a concept, has often complicated communication between scholars of art objects in academic and museum settings. Conversations about process and the substance of things in the academy often veer quite far from the ways of engaging objects with which curators and conservators have long been deeply invested. In light of this muddled translation across institutions, we have chosen to focus this symposium on a single genre of objects that rely upon the materials of paper and ink. Books, prints, drawings, and documents, to name but a few examples, attract intense interest across not only museums and the academy but also libraries, archives, and antiquarian collections. By looking at the spectrum of approaches generated by these materials, this symposium works towards answering a pressing question: do the academy, museum, archive, and library define “materiality” differently? And, if so, what are future avenues towards intersection and collaboration? 

The questions and objectives of this symposium have been shaped by the emerging field of “critical bibliography,” which unites scholars from a range of disciplinary and methodological backgrounds around the central axis of the book. We aim to map these connections onto art history by gathering academics, archivists, artists, conservators, and curators to think together about shared and divergent premises and, most importantly, goals for object-based study. The symposium will interweave hands-on workshops led by curators, conservators and artists with public talks by materially-focused scholars. In turn, discussions will not solely center on formal presentations, but will extend to alternative venues: the conservation lab, the studio, and the study room. Participants will present “materialist” case studies of 20 minutes in length, with 5 additional minutes devoted to explicitly addressing how “materiality” operates in their work. What are the analytic goals of a materially focused account? Where and how does such an inquiry begin? And, finally, how do those aims and methods relate to the field’s broader material turn? Talks will engage these questions in relationship to works on paper across time, and a range of geographic origins. 

Confirmed speakers include:
· Nancy Ash, Philadelphia Museum of Art
· Cathleen A. Baker, University of Michigan Library
· Julie Nelson Davis, University of Pennsylvania
· Michael Gaudio, University of Minnesota
· Barbara Heritage, Rare Book School at the University of Virginia
· Daniel Heyman, Pennsylvania Academy of the Fine Arts 
· Christopher Heuer, the Clark Institute of Art 
· Shelley Langdale, Philadelphia Museum of Art
· Barbara Mundy, Fordham University
· Andrew Raftery, Rhode Island School of Design 
· Jennifer Roberts, Harvard University 
· Elizabeth Savage, Institute for Advanced Studies, University of London 
· Madeleine Viljoen, New York Public Library 

Atelier 17 was a collaborative print center located in Paris that had a major impact on contemporary printmaking. Organized and operated by S.W. Hayter, the Atelier was driven to relocate to NYC during World War II where it reshaped American thinking about the graphic arts. SUArt’s series of events will feature special lectures by Domenic Iacono (director, SUArt Galleries), Joann Moser (former deputy chief curator, Smithsonian American Art Museum), Christina Weyl (freelance curator), and Andrew Raftery (Professor, Rhode Island School of Design).

Sponsored, in part, by the Syracuse University Humanities Center in the College of Arts and Sciences as a part of the Syracuse Symposium™ Place.

Friday, September 23
10am – 1pm

Opening Remarks:
Domenic Iacono, curator of About Prints: The Legacy of Stanley William Hayter and the Atelier 17

Featured Speakers:
Joann Moser, former deputy chief curator, Smithsonian American Art Museum
Andrew Raftery, Professor, Rhode Island School of Design

Saturday, September 24
10am – 1pm

Featured Speakers:
Forum with Print Fair participating art dealers
Christina Weyl, freelance curator

SYRACUSE FINE ART PRINT FAIR
September 23 – September 25, 2016
Friday & Saturday, 12:00 p.m. – 6:00 p.m.; Sunday, 12:00 p.m. – 4:00 p.m.
Shaffer Art Building, Galleria

In conjunction with the symposium, Atelier 17: A Gathering Place for Avant-Garde Artists, the SUArt Galleries will feature a fine art print fair with leading galleries in attendance. The exhibitors include Susan Teller Gallery (New York City), Dolan Maxwell (Philadelphia, PA), The Annex Galleries (Santa Rosa, CA), The Old Print Shop (New York City), Thomas French Fine Art (Fairlawn, OH), and Lake Effect Editions (Syracuse University).

The American Printing History Association's 41st Annual Conference, The
Black Art and Printers’ Devils: The Magic, Mysticism, and Wonders of
Printing History. taking place October 7-9, 2016, is now open for
registration. The Huntington Library’s new Steven S. Koblik Education and
Visitor Center in San Marino, California, will be the main venue.

Conference program and registration:
https://printinghistory.org/2016-conference/

Our Southern California wizards have put together what promises to be a
spellbinding program: a keynote featuring the book-collecting
sleight-of-hand artist Ricky Jay, enchanting tours, a wonder-full book
fair, and captivating presentations that explore printing history through
the lens of magic, mysticism, secrecy, spiritualism, animism and alchemy.

Space is limited and you are encouraged to register and reserve tours and
accommodations early to avoid disappointment.

We hope to see you in October!

This all-day event addresses the historiography of 19th century art in a contemporary context. Speakers include Caroline Arscott (Courtauld Institute, London), Mark Crinson (University of Manchester), and André Dombrowski (University of Pennsylvania).

The scholarly research on early modern printmaking has evolved from a focus on the Romantic concept of the Peintre-Graveur to studies of artists and printmakers in their specific cultural and socioeconomic context. In addition, the idea that publishers played a vital role in artistic, commercial and organisational aspects of printmaking is now widely accepted. Both art-historical and art-technical research on these matters have resulted in reference works and exhibition catalogues of high standard. In these studies, however, the position of the consumer has often been ignored or dealt with only briefly. In addition, print collections in the past have often failed to recognise the importance of contemporary adaptations, signs of usage and collecting conditions.

However, for a proper understanding of early modern culture, it is crucial to study the consumption of printed images and the socioeconomic and artistic processes behind it. Prints were a widespread and artistically diverse medium and the creative process of a print did not stop after printing. Researching the creative afterlife of prints is therefore an essential development in the study of early modern visual culture. Although the consumption and reception of early modern books has received increasing attention in the past decades, only some scholars such as Jan Van der Stock (Printing Images in Antwerp. The Introduction of Printmaking in a City: Fifteenth Century to 1585, 1998), Peter Schmidt (Gedruckte Bilder in handgeschriebenen Büchern. Zum Gebrauch von Druckgraphik im 15. Jahrhundert, 2003), Jan van der Waals (Prints in the Golden Age. From Art to Shelf Paper, 2006), Kathryn Rudy (Virtual Pilgrimages in the Convent. Imagining Jerusalem in the Late Middle Ages, 2011) and Suzanne Karr Schmidt (Altered and Adorned. Using Renaissance Prints in Daily Life, 2011) have integrated the consumer’s side of the print market and the concrete use of prints in their research.

In order to stimulate this promising evolution, the Rijksmuseum is organising an international conference on early modern prints, ranging from precious artistic prints that were carefully collected to cheap printed images that were used and discarded. Paragons and Paper Bags. Early Modern Prints from the Consumer’s Perspective will take place at the Rijksmuseum in Amsterdam on Thursday 9 June 2016. The aim of this symposium is to further develop this new approach in order to achieve new insights on target audiences, the application and usage of prints, and special collection practices.

Offered in conjunction with the exhibition “Van Dyck, Rembrandt, and the Portrait Print” (5 March – 7 August 2016), the colloquium will include a private viewing of the exhibition, short presentations by Stephanie Dickey (Queen’s University), Jesus Escobar (Northwestern University), Jessica Keating (Carleton College), Claudia Swan (Northwestern University), and Maureen Warren (Krannert Art Museum), as well as a keynote lecture by Antony Griffiths, former Keeper of Prints at the British Museum and the 2014-2015 Slade Professor at the University of Oxford. The program will take place from 9:00 am to 2:30 pm.

RSVP to Judith Broggi at 312-443-3756 or jbroggi@artic.edu.

Print Matters : Printing Matters
October 5-8
2016 MAPC Biennial Conference
Indiana University Southeast
University of Louisville

Featured Speaker: Carmon Colangelo

What does it mean to be a printmaker in an increasingly screen-based world? For centuries, prints on paper have been the primary and most accessible mode of sharing current events, ideologies, advertisements, and images. Through their work as artists, educators, publishers, and entrepreneurs, contemporary print artists articulate what prints are, and why they matter. Whether they engage centuries-old techniques or emerging technologies, printmakers remind us that we still live in a world surrounded by print media, and that we must be conscious of the ways images convey meaning and message. The handmade, multiple nature of prints remind us of the labor of creating art. While social and business relationships are increasingly managed online, printmaking studios create communities for emerging and professional artists to work together in real life. The do-it-yourself nature of many printmaking processes allows people to access prints in everyday places, beyond the walls of the gallery or artist’s studio. MAPC 2016 will feature panel discussions, demonstrations, and exhibitions that span both sides of the Ohio River, with Indiana University Southeast in New Albany, IN as the conference’s home base, and the University of Louisville as an anchor in the expanding art scene of Louisville, KY.