Harlan & Weaver, the distinguished intaglio studio that has been an integral part of the Lower East Side’s artistic neighborhood since 1985, is thrilled to announce its first-ever gallery pop-up, running from October 1st through October 30th, 2024, at 30 Orchard Street.

Founded by Master Printer Felix Harlan and his late wife, Carol Weaver, Harlan & Weaver has specialized in intaglio printmaking for nearly four decades. The pop-up gallery will feature works from contemporary artists, including Louise Bourgeois, Francesco Clemente, Kiki Smith, Nicole Eisenman, Steve DiBenedetto, Bonnie Lucas, James Siena, Katia Santibañez, Stanley Whitney, Didier William, Pat Steir, José Antonio Suárez Londoño, and Anthony Cudahy.

Nestled in the heart of the Lower East Side, Harlan & Weaver has been an active participant of the New York art scene. For the first time, the studio will showcase etching prints in a ground floor gallery space, allowing art lovers and collectors to experience intaglio printmaking in a curated setting.

“We are excited to bring our long-standing tradition of printmaking into a new space where people can engage directly with the work we’ve been doing for nearly four decades”, says Jane Kim, Studio Director. The exhibition will feature both new works and works from the studio’s extensive archive, making it a must-see for anyone interested in the contemporary etching prints.

Even Details:

Dates: October 1-30, 2024

Location: 30 Orchard Street, New York, NY 10002

Gallery Hours: everyday 11am-7pm

Opening Reception Celebration: October 3, 6-8pm

For media inquiries, contact: jane@harlanandweaver.com

About Harlan & Weaver:

Founded in 1985 by Felix Harlan and his late wife Carol Weaver, Harlan & Weaver is a New York-based studio specializing in intaglio printmaking. The studio collaborates with contemporary artists to create finely crafted etching prints, fostering innovation and artistry in the filed of printmaking.

Etched into Memory focuses on the form of intaglio printmaking and its connection to concepts of memory. Through these processes, the artists are able to explore concepts of loss, family and collective histories, and the persistence of memory.

The Enlightenment period in Europe (about 1685–1815), long celebrated as "the age of reason," adopted a revolutionary emphasis on individual liberty, direct observation, and rational thought. Enlightenment society prized learning and innovation, producing an unprecedented flowering of knowledge with major advances in fields as diverse as art, philosophy, politics, and science. Important thinkers of the time questioned long-held beliefs, instead using scientific reasoning to uncover new principles on which to base a modern society. Yet the Enlightenment ideals of truth and knowledge could also at times be used to promote subjective values and biases about marginalized peoples and their experiences.

During this same period, imagination became a hotly debated topic in Enlightenment circles. While some saw it as necessary to truth and innovation, others believed it was a dangerous temptation leading to immorality and vice. Artists in particular reveled in the power of the imagination to expose hidden truths, conjure strange worlds, or concoct illusions. François Boucher and Francisco de Goya, among others, drew on imagination to envision far-off places and people, attract new buyers for their art, and comment on society and its values. They blurred the boundaries of fact and fantasy often without distinguishing between the two. Imagination was a dynamic tool through which Enlightenment-era artists marketed their work, revealed or obscured truth, entertained or educated viewers, and supported or criticized systems of power.

Imagination in the Age of Reason explores the complex relationship between imagination and the Enlightenment’s ideals of truth and knowledge. Pulled from the CMA's rich holdings of European prints and drawings from the 1700s and early 1800s, the exhibition presents an exceptional opportunity to see exciting recent acquisitions on view for the first time as well as rarely shown collection highlights, including prints and drawings by Canaletto and Goya and a pastel portrait by Swiss artist Jean-Étienne Liotard.

Throughout their printed works, Glenn Ligon and Jasper Johns demand and disrupt the act of reading. Both artists frequently discompose the visual elements of language and communication: targets drip and letters smudge. Johns and Ligon exploit the processes of printing—which entail contact and separation, mirroring and reversals—to parse the distances between signs and their meanings, and also to address the mechanics of looking on the part of the spectator. This exhibition will feature etchings and lithographs by both artists as well as screenprints by Johns in the Davison Art Collection.
September 18 – December 11, 2024. CLOSED October 19–22; November 25 – December 2.

When Things Falling Apart: Group Show

Unparalleled in its monumental scale and ambitious technique, LaToya M. Hobbs’s Carving Out Time shows the Baltimore-based artist, wife, mother, and educator balancing her many priorities. Its five 8-by-12-foot scenes depict moments in a typical day for Hobbs, her husband Ariston Jacks, and their two children, ending with a self-portrait of Hobbs in her studio when she finally has time to create new work. Through this awe-inspiring glimpse into Hobbs’s routine, the series addresses universal themes of legacy, parenthood, and representation.

Hobbs originally created Carving Out Time as a set of carved wooden panels. Then, she printed the panels to produce a version of the series in woodcut. Currents 39 celebrates the Museum’s recent acquisition of the prints. It also marks the first occasion when the panels and prints will be exhibited together, offering the opportunity to marvel at Hobbs’s artistry in two forms.

Initiated in 1982, the Museum’s Currents exhibition series highlights new trends in contemporary art. Currents 39: LaToya M. Hobbs, Carving Out Time was curated by Nikki Otten, Associate Curator of Prints and Drawings at the Milwaukee Art Museum.

Balıkesir University Mail Print (BUMP) International Printmaking Exhibition, organized by Balıkesir University Faculty of Fine Arts Printmaking Department, was held for the first time in 2021. BUMP is derived from “Mail Art”. Mail art, which focuses on sending small-scale works through the mail, also known as mail art or letter art, has turned into a global art event as an artistic movement. The difference between Mail Print and Mail Art is that the works sent are produced using printing techniques. It consists of works printed on a surface and sent via mail. The printmaking's ability to be reproduced, produced in different sizes and easily transported allows them to be easily sent by post to anywhere in the world. BUMP creates an artistic sharing space between the audience and artists through printmaking, which by its nature can reach wider audiences. BUMP brings together printmaking artists from all over the world.
PARTICIPATION CONDITIONS
1- The topic has been determined as “Sea and Human”. 2- You can participate with a maximum of 2 works. 3- Paper size should not exceed A4. 4- Any printing technique can be used (except monoprint and photocopy) 5- The application deadline for participation has been determined as Friday, October 11, 2024. 6- All participants will be given an e-participation certificate. 7- An e-catalog will be made from the works selected by the jury. 8- The works sent are considered donated. Works will not be sent back. 9- Participation is free.
APPLICATION ADDRESS
Studies; BUMP-II will be sent to Balıkesir University, Faculty of Fine Arts, Department of Printmaking, Cagis Campus, 10145, BALIKESİR/ TURKEY.
Instagram: bump.baunmailprint E-Mail: baskisanatlari@balikesir.edu.tr
Exhibition Information: It can be followed at https://www.balikesir.edu.tr/site/birim/guzel-sanatlar-fakultesi-104353 , https://www.balikesir.edu.tr/site/duyuru/18211

The Turner is thrilled to host the 10-year anniversary edition of the Screenprint Biennial. Featuring the work of more than 20 contemporary artists from across the country, the Biennial highlights innovative approaches to screenprint today.

Artist Panel & Opening Reception
Join us for a conversation between Biennial founder and curator Nathan Meltz and visiting artist Sheila Goloborotko, whose installation Ecosistema is featured in the exhibition.

September 12, 5:30pm | Performing Arts Center Rm 134, California State University Chico
Reception to follow at the Turner

Biennial Artists: Ann Aspinwall; Tyanna Buie; Myles Calvert; Dadisi Curtis Jr.; Jeffrey Dell; J. Leigh Garcia; Matthew Willie Garcia; Sheila Goloborotko; John Hitchcock; Matthew Hopson-Walker; Mark Hosford; Sophie Isaak; Travis Janssen; The Little Friends of Printmaking; Taryn McMahon; Dana Potter; Power Washer Zine; Nicholas H. Ruth; Mizin Shin; Lenore Thomas; Tonja Torgerson & Christa Carleton

Danielle Orchard: Tender Observer showcases lithographs made by Orchard at Tamarind Institute from 2019 to 2022. Every work in Tender Observer marks a specific moment in Orchard’s life, celebrating the inspirations that fueled her during each residency. This intimate connection between the artist’s experiences and her ongoing exploration of printmaking imbues Tender Observer with a profound sense of storytelling and emotional resonance. All the work created across three residencies was made in collaboration with Tamarind Master Printer Valpuri Remling. This partnership informs the work and points to a shared language between artist and printer.

The exhibition is open and free to the public, Tues-Fri, 10am to 5pm. Opening reception Friday, August 23, 5-7pn, with curator walk-through at 5:30pm. On view until December 20, 2024.

"The Work of Art: The Federal Art Project, 1935–1943" presents a remarkable group of artworks that reflect the creative efforts of artists working under difficult circumstances. During the Great Depression, President Franklin D. Roosevelt’s New Deal initiated a series of nationwide support programs for the visual arts. The largest and most ambitious program, the Federal Art Project (FAP), put more than 10,000 artists to work. Their artworks, in turn, decorated municipal spaces, circulated through exhibitions, and were allocated to institutions across the country. In 1943 the Saint Louis Art Museum received 256 prints, drawings, watercolors, and paintings. Around half of those were intended for use at the People’s Art Center, the city’s first interracial community art center. This group included the first works by African American artists to enter the Museum’s collection.

This exhibition draws from the particular makeup of the FAP collection at SLAM to examine how art works to bridge communities near and far. From the vantage point of St. Louis, The Work of Art asks: who was supported as an artist? For which audiences and what purposes was art made? And what does it look like to picture a nation through the eyes of artists working across its breadth?

The FAP provided expanded opportunities for professional artists, students, and viewers alike. Through its display of work made by African American, Asian American, and female-identifying artists, this exhibition celebrates the fundamental idea of art being made by and for everyone.