rations, with networking opportunities for seasoned and new printmakers, or simply those curious about the field of printmaking.

Registration is open Friday, February 12 through Sunday, March 7 and the first 70 people to register will receive a printed handkerchief designed by Pavel Acevedo, SHG’s Beyond The Press resident artist. Tickets are $15 for general admission and $10 for students.

The Print Summit opening day will include SHG’s monthly Artist Lab: In the Studio series on March 10 at 4:00 p.m. PST facilitated by Artist Sandra Fernandez, with members of the Consejo Gráfico Nacional. The portfolio, Perro Mundo, created by Consejo Gráfico Nacional in 2019, will be highlighted as a virtual exhibition, from March 10 - April 30, 2021.

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

for Tapestry by Giovanni Francesco Romanelli in the Norton Simon Museum"

Alberto Rocca, Pinacoteca Ambrosiana
"Duoi pezzi di cartone per mano di Raffaello’.How the Raphael’s Cartoon arrived to the Ambrosiana"

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

ies.

Justice in the Mail! Our speakers mailed each other secret prints. Discover the immediacy and impact of mail art when our speakers reveal what they sent and received from their print pals and react to digital, edible, and paper-based “print” projects in our current social climate. 

Thursday February 25th at 12pm PT/3pm ET.
Plenary panel featuring Lillian-Yvonne Bertram and Jonathan Senchyne

Friday, February 26th at 12pm PT/3pm ET,
Roundtable of four print artists including Victoria Law, Sarah Matthews, Amy Suo Wu, and Rio Yanez.

Free registration for both events.
All registrants are invited to a "Print Mixer" event following the round table on Friday Feb 26.

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

/www.clevelandart.org/events/virtual-events/creation-collection-making-and-marketing-drawings-nineteenth-century-france

In anticipation of a major exhibition and publication focused on the Cleveland Museum of Art’s holdings of 19th-century French drawings in 2023, scholars present new research related to the materials, function, and collecting of drawings during this period. This is a two day event.

Opening Remarks [2:00 - 2:10 PM]
William Griswold, Director, Cleveland Museum of Art

Britany Salsbury, Associate Curator of Prints and Drawings, Cleveland Museum of Art

The Materials and Techniques of 19th-Century French Drawings I [2:30 – 3:30 PM]
“Drawing without a Master”: Visual Memory Training and the Politics of Skilled Labor in Nineteenth-Century France
Shana Cooperstein, Visiting Lecturer, Department of Art and Design, Community College of Philadelphia

Learning to Draw Landscape
Patricia Mainardi, Professor Emeritus, Doctoral Program in Art History, The Graduate Center of the City University of New York

Delacroix’s Drawings for Prints on Tracing Paper and Wood
Ashley Dunn, Assistant Curator, Department of Drawings and Prints, Metropolitan Museum of Art

Degas’s Alchemy
Michelle Foa, Associate Professor of European Art, Tulane University

The Materials and Techniques of 19th-Century French Drawings II [3:30 - 5:00 PM]
Unintended Outcomes: Recognizing Change in Late 19th Century Drawings
Harriet Stratis, Independent Research Conservator

Material as Meaning: Time and Technique in Cézanne’s Drawings
Samantha Friedman, Associate Curator, Department of Drawings and Prints, The Museum of Modern Art and Laura Neufeld, Associate Paper Conservator, The David Booth Conservation Department, The Museum of Modern Art

Negotiating Privacy and the Art Market: Thinking about the Public Exposure of Toulouse-Lautrec's Private Drawings
Alexandra Courtois de Vicose, Visiting Professor of Art History, Kenyon College

Symbolist Drawing: The Lure of the Particulate
Jay A. Clarke, Rothman Family Curator of Prints and Drawings, Art Institute of Chicago

Friday, March 12, 2021

Opening Remarks [2:00 - 2:10 PM]
Heather Lemonedes Brown, Virginia N. and Randall J. Barbato Deputy Director and Chief Curator, Cleveland Museum of Art

Britany Salsbury, Associate Curator of Prints and Drawings, Cleveland Museum of Art

Collecting 19th-Century French Drawings: Exhibitions, Institutions, and the Market [2:10 - 3:30 PM]
The First Retrospective Exhibition of the Drawings of J.-A.-D. Ingres (1861)
Andrew Carrington Shelton, Professor of History of Art, The Ohio State University

Private Lines: Collecting and Displaying Studio Drawings in the École des Beaux-Arts in the 19th Century
Anne-Cécile Moheng, Curatorial Fellow, Drawings Collection, Beaux-Arts de Paris

Private Collecting for Public Institutions: 19th-Century French Drawings in Early 20th-Century Cleveland
Britany Salsbury, Associate Curator of Prints and Drawings, Cleveland Museum of Art

The Elusive Mr. Richard Owen: A Dealers Rise and Fall from Grace in the American Art Market
Danielle Hampton Cullen, Research Assistant, European Paintings Department, Nelson-Atkins Museum of Art

Discussion [3:30 - 4:00 PM]

ty Departments of Art & Art History and English, this symposium provides undergraduates, graduates, and professionals at SJSU and beyond the opportunity to attend a day-long event featuring a series of panels lead by nationally renowned artists, printmakers, book arts librarians, scholars and interdisciplinary designers. Presentations and discussion will focus on the significant impact letterpress and bookmaking technologies have had on the distribution and communication of ideas about culture, place and politics since the time of their invention.

Additionally, two small run books, one poetry collection for SJSU literary periodical Reed Magazine and an artist book made by SJSU printmaking students with Professor Irene Carvajal are being printed and designed in collaboration with The Sam Fox School of Design & Visual Arts printmaking department at Washington University in St. Louis and St. Louis based interdisciplinary design studio WORK/PLAY. These books and the details of their production will be presented as part of the symposium.

Participating speakers include master printer and co-founder of The CODEX Foundation Peter Koch in conversation with H. Rafael Chacón Ph.D. Professor of Art History and Criticism at the University of Montana and Director of the Montana Museum of Art and Culture, Professor Irene Carvajal from San José State University, Assistant Professor of English Kirstyn Leuner from Santa Clara University, UC Berkeley Bancroft Librarian Amelia Grounds, master printer Tom Reed of Washington University in St. Louis, Danielle and Kevin McCoy from the design studio WORK/PLAY, Chelsea Thompto Assistant Professor of Digital Media Arts at San José State University and Artist Carla Torres.

This symposium was organized by Coordinator and Assistant Professor of Pictorial Arts, Shaun O’Dell, with assistance from Lucia Znamirowski and Dr. Katherine D. Harris Professor of English and Comparative Literature at San José State University and with the support of an Artistic Excellence Programming Grant.

Please visit the external link below for more information and to register.

ne, and head of Artura Content Committee Tatiana Reinoza, as they introduce a new resource under development by the Brandywine Workshop in Philadelphia, the Artura database of diverse contemporary prints (https://www.artura.org/). For a full schedule of the presentation, see external link below.

Topic: Introduction to Artura.org Contemporary Print Resource

Time: Jan 21, 2021 07:00 PM Eastern Time (US and Canada)

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This presentation is offered to APS and PCA members.

onal case studies of print as a tool for raising public consciousness. This session critically considers the ethics of print, inherent in the medium’s daily use-value beyond its function as a rarified fine-art object in a museum. Democratic in nature, print communicates through text and/or image as well as through its multiplicity. In considering the “graphic conscience” – or the social responsibility – of print, this session will celebrate the medium’s impacts on everyday life. The framework for this session responds to the thesis of the 2011 publication Philagrafika: The Graphic Unconscious, which reflected on the formal characteristics of print and argued for its assimilation within art at large. Papers can address a wide range of art historical as well as visual and material culture examples, including but not limited to Martin Luther’s Ninety-Five Theses of 1517; the seventeenth century etchings of Jacques Callot’s Les Grandes Misères de la guerre; the didactic agitprop of Taller de Gráfica Popular in late 1930s Mexico; and the commercially-produced postcards mailed to Americans by the Centers for Disease Control in response to the COVID-19 pandemic in 2020. Prints of all techniques – from Renaissance woodblocks to contemporary risograph zines – are eligible. Papers engaging post-colonial critique and/or topics from outside North America and Europe are strongly encouraged. Practice-based papers by artists, giving us a perspective from inside the studio or printshop, are particularly welcomed.

Session Chair:
Ksenia Nouril, PhD, Jensen Bryan Curator, The Print Center, Philadelphia

Presentations:
"Conscience and the Market: Frans Hogenberg's Current Events Prints and their Legacy"
Thomas Brown

"The Violence of the Cut: Wood Engraving, Illustrated Newspapers, and the Rendering of Civil War Atrocity"
Anne Strachan Cross, University of Delaware

"Graphic Solidarity: Krakow's Antibiennale of 1984"
Wiktor Komorowski, The Courtauld Institute of Art

"Re-Telling the Story: A Collaboration with Alberta Whittle"
Sandra De Rycker

"Expanding the Boundaries of Printmaking: Nuria Montiel’s Imprenta móvil (Mobile Press)"
Alberto McKelligan Hernandez

Please visit the 'External Link' below for more information about attending this online session.

nd overlaps of historic and contemporary practices in the field of graphic design. As design disciplines shift to increasingly orient towards digital products, human-computer interfaces, and virtual experiences, there is also a sustained interest in physical, tangible, design objects. Graphic design programs across the country are—at the same time—equipping themselves to support new media platforms (AR/VR), and digital fabrication (3D printing), as well as experiencing a renewed interest in analog processes like RISO printing, letterpress, and calligraphy.

This session intends to bring together design educators and practitioners whose methodologies integrate both the digital and material; who make use of both high- and low-tech tools; and/or both virtual and physical experiences. We invite proposals that respond to the following questions:
- How does an understanding of analog and manual production methods support exploration into digital fabrication methods and/or designing virtual experiences?
- How might we contextualize analog processes, like printmaking, bookbinding, and calligraphy, for students whose career paths will most likely be characterized by designing interactive digital experiences?
- How have you supported a “both/and” approach to analog and digital production methods?

Session Chair:
Diane Lee, San Jose State University

Presentations:
"Office Offset"
Jan Blessing

"Making to Transgress, Risograph Printing as the Practice of Freedom"
Elaine Lopez, Maryland Institute College of Art

"Applying Variable Font Design to Letterpress Type Production"
Ryan Molloy, Eastern Michigan University

"Both Analog and Digital Syntheses"
Tricia Treacy, Dartmouth College

"Migrating Dimensions: The Book Space and Sculptural Typography"
Rebecca Leffell Koren, Washington University in St. Louis

ssion will focus on the production and reception of such books between the widespread adoption of the printing press in Europe, circa 1500, and the nineteenth-century rise of public museums and libraries, with their increasingly standardized and discrete organizational systems. Papers may address any books into which independently printed images have been incorporated, whether these books include text and whether they are analyzed as unique items or as products of broader creative or curatorial practices. This session seeks papers that consider both the material and the conceptual aspects of these complex volumes. Themes may include the agendas of specific creators; the codex as a structure and ways in which prints were designed for, or adapted to it; or how these works inform histories of reading, book and print production, or book and print collection. Papers may also address how these books relate to those of earlier centuries. Themes addressing subsequent reception are also welcome. Such themes include interpretive and practical challenges that the books present, and opportunities they offer, to the evolving institutional and media landscapes of the twenty-first century.

Session Chair: Jeanne-Marie Musto, Program Committee, Bibliographical Society of America

Presentations:
"Reading Between the Lines: Passion Prints in a Hybrid Book of Hours, ca. 1480-1490"
Larisa Ann Grollemond, Getty Museum

"Bibles Unbound: The Material Semantics of Nineteenth-Century Scriptural Illustration"
Sarah C. Schaefer, University of Wisconsin-Milwaukee

"Crossed Gazes: Prints in Books in Parma and Berlin"
Silvia Massa, SMB-Kupferstichkabinett

"Making Paper Windows to the Past: Extra-Illustration as the Art of Writing"
Julie Park

Please visit the 'External Link' below for more information about attending this online session.

ations, but also for ornamental initials and other decorative elements.The collection of nearly 14,000 woodblocks has remained relatively invisible for a long time. In the early 1960’s the woodblocks were treated with a poisonous anti woodworm product, which makes consultation substantially difficult. With the support of the Flemish government the Plantin-Moretus Museum has now digitally photographed the entire collection. By putting online these digital pictures, linked to basic descriptions in the online catalogue, this exceptional and unique collection is now available for use by the international research community and the wider public alike.

The webinar intends to stimulate interest and research in woodblock collections in general and this extremely valuable collection in particular. The seminar is aimed at book and art historians, students, curators and anyone with a keen interest in the wonderful world of woodblocks.

PROGRAMME
16.00 - 16.05
Welcome

16.05 – 17.25
Session 1: Digital approaches to woodblock collections

Jolien Van den Bossche (Museum Plantin-Moretus)
The Digitization Process of the 14,000 Woodblocks

Bruno Vandermeulen & Hendrik Hameeuw (Imaging Lab KU Leuven)
Advanced Imaging of Woodblocks with the Portable Light Dome System

Michael Goodman (Cardiff University)
Things to Make and Do: Making the Victorian Illustrated Shakespeare Archive

17.25 – 17.30
Short break

17.30 – 19.00
Session 2: Describing woodblocks stimulates new historical research

Joost Depuydt (Museum Plantin-Moretus)
The Challenge to Describe a Diverse Corpus of 14,000 Woodblocks

Lisa Voigt (Ohio State University)
Tall Tales and Crocodile Tails in Plantin’s Illustrated Travel Accounts

Stephanie Leitch (Florida State University)
Woodblocks and their Afterlives

Moderated discussion after each session.

Please visit the 'External Link' below to register for this free event.