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.

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.

ial 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)"

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.

circulation of artistic knowledge long before the rise of mechanical reproduction. Printing, nevertheless, looms large over discussions of copying from the late fifteenth century to the early seventeenth century. Its emergence has led scholars to promote dichotomies between the manual and mechanical as well as the artistic and indexical, often casting reproductive practices as derivative and banal. Focusing on Western Europe as well as broader cross-cultural and transregional exchanges, this conference, originally planned for May 2020, seeks to redress this issue and shed new light on practices of graphic copying. Specifically, it aims to go beyond the classic framework of emulation and imitation and the connoisseurial topos of replica and forgery to look at how copying was a fundamental constructive act, epistemic operation, and generative practice, one that spawned new thinking and ideas, as well as new modes of artistic engagement. The conference also seeks to interrogate the essential physical processes of reproduction themselves, which have often fallen outside traditional investigations of meaning, and to understand how different realms of graphic production came to be mutually informed through a complex range of reproductive modes.

Organized by Jaya Remond (Rijksuniversiteit Groningen) and Michael J. Waters (Columbia University), participants include Shira Brisman (University of Pennsylvania), Aaron Hyman (Johns Hopkins University), Elizabeth Merrill (London), Kathryn Blair Moore (University of Connecticut), Stephanie Porras (Tulane University), Cara Rachele (ETH Zürich), Femke Speelberg (Metropolitan Museum of Art), and Madeleine C. Viljoen (New York Public Library).

For more information, including the schedule and registration instructions, please visit the external link below.

the Venetian predilection for colore. Scholarship of the past few decades has, however, challenged this perspective and drawn attention to the importance of the Venetian disegno. This digital conference brings together some of the most novel research in this field in order to establish a new frontier.

Disegno is applied in its multifaceted nature to encompass the physical act of drawing, the tangible drawn object, and the role of design in artistic practice. Papers will bear witness to this mutability by addressing topics including printmaking, workshop reuse, under-drawings and the adoption of diverse graphic media by Venetian artists active between circa 1430 and 1620. The term ‘Venetian’ is here taken in its broadest sense to encompass both Venice and its mainland territories. Also under consideration are artists who relocated to the Veneto and their contribution to the region’s artisanal culture. In its broad chronological, geographical and technical scope, this conference will reinvigorate consideration of what defines both Venetian art and the Venetian disegno.

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

11:00 – 11:05 AM
Opening Remarks
Carter Foster, Deputy Director for Curatorial Affairs and Curator of Prints and Drawings, Blanton Museum of Art

11:05 AM– 12:30 PM
The Circulating Lifeblood of Ideas: Leo Steinberg’s Library of Prints
Holly Borham, Associate Curator of Prints and Drawings, Blanton Museum of Art

Crushing It: The Flatbed Picture Plane and the Pressure of Print
Jennifer Roberts, Elizabeth Cary Agassiz Professor of the Humanities, Faculty Director for the Arts, Radcliffe Institute for Advanced Study, Harvard University

12:30 – 1:00 PM
Break

1:00 PM-2:30 PM
Lines of Fate: Leo Steinberg’s Use of Prints to Interpret Michelangelo’s Work
Bernadine Barnes, Professor of Art History, Wake Forest University

The Sexuality of Virtue in Renaissance Prints
Patricia Emison, Professor of Art and Art History, University of New Hampshire

Zanna Gilbert, Getty Research Institute 
“The Inside is the Outside: The Ontology of the Object in South American Art & Poetry” 

Jana Dambrogio/Daniel Starza Smith, MIT Cambridge/Kings College London 
“Letterlocking: Communication Security Without Envelopes” 

Chair: Lisa Pon, University of Southern California 

BREAK 

Natalia Lauricella, University of Southern California 
“Crafting the Limited Edition Print in Fin-de-Siècle France” 

Amy Knight Powell, University of Southern California 
“Boxes and Strings” 

Brittany Webb, Pennsylvania Academy of the Fine Arts 
“Taking Space: Contemporary Women Artists and the Politics of Scale” 

Chair: Michaela Rife, University of Michigan 

CLOSING REMARKS AND DISCUSSION 

For more information, email Veronica Peselmann at vp_811@usc.edu
Register via Zoom by using the external link below.

l to printmaking – whether it is the contact that takes place between the inked matrix and a sheet of paper, or the ways that the printed multiple fosters contact with fellow artists and the public more broadly. Even as we cannot meet in person, our social need for contact is at the core of printmaking and our experience as humans. With “remote” technologies we can still make contact while ensuring public health and safety. During our current health crisis, this virtual printmaking symposium seeks to help students make artistic, cultural, technical, philosophical, and creative contacts with one another.

The symposium will bring together a tremendous variety of current and recent students, from undergraduates to PhDs from Australia, Canada, South Africa, the United Kingdom, and the United States. The symposium will be free of charge, but will be limited to 300 attendees.

y the Library of Congress, the National Gallery of Art and the National Archives and Records Administration. The Washington DC organizers have transformed the original in-person Congress into an online colloquium that will enable greater participation by paper historians, scholars and students from around the world.

The Congress will open with a keynote address from the eminent paper historian John Bidwell, Astor Curator and Head of the Department of Printed Books and Bindings at The Morgan Library & Museum in New York, and will feature talks given by 35 other outstanding international scholars. Presentations will cover a wide variety of topics, including the international paper trade from the 17th century to the present; technical studies of papers used by artists such as Leonardo da Vinci, Albrecht Durer, Pablo Picasso and Jasper Johns; early handmade papers imported, fabricated and used in North, Central and South America; historical papermakers’ equipment; papers used in incunabula, illustrated books and manuscripts, including those associated with the First US Federal Congress; papers used by the Inuit printmakers of Canada and the print publisher Currier & Ives.

Presenters will also discuss international watermark databases, new methodologies of paper studies, and toolkits for paper and watermark identification. In addition to the pre-recorded formal presentations with live question and answer sessions, workshops will allow participants to gain greater familiarity with watermark imaging tools and international watermark databases, guided by their creators. The IPH Congress 2021 offers an unprecedented assembly of experts available for interactive discussion.

Beginning in late May 2021, registered participants can view the pre-recorded presentations at their convenience on the conference website. The live Congress week, June 7-11, 2021, will be devoted to dialogue between registered participants and speakers in live question and answer sessions. The Congress week will also include live workshops on watermark databases and short videos from the host institutions. The IPH Business Meeting, for IPH members only, will be held on June 11, 2021.

Registration:
Please see the attached Registration Instructions for essential information about the Prekindle page and the Pay.gov payment form. Be prepared to enter the Event ID 14267, the Event Name 35th IPH Congress, and the Event Date 06/07/2021 on the Pay.gov form. Categories of registration are General Admission ($150) for IPH members and non-members, and Student ($50). The Payment Type is Event Registration. Make sure that the email you provide is correct as it will be used for all future conference communications. After April 1, 2021, registered participants will be contacted via email to reserve places in the workshops. For any questions, contact the 2021 IPH Congress Planning Committee at IPH35thcongress@gmail.com.

We hope you will join us on June 7-11!