John Dowell (born 1941) is a Philadelphia based, nationally recognized artist, master printer and photographer. Dowell generously organized donations of his work and the work of other artists to the Free Library of Philadelphia's Print and Picture Collection. The prints and photographs in “The Art and Influence of John Dowell” spotlight Dowell's life as an artist and his 46-year teaching career.

“The Art and Influence of John Dowell” is on view now through Friday March 1, 2024 on two floors of Parkway Central Library.

For more info and related programs please visit
freelibrary.org/johndowell

On the one hand, Heike Berl’s solo exhibition presents the lithography series on nature themes from Tidaholm and the surrounding area, showing the artist’s deep connection with the Swedish nature. Furthermore, the focus of the exhibition is on large-scale works made of handmade paper, which deal with the beauty but also the destruction of nature. Recent drawings, artist books and editions show the diversity with which the artist approaches contemporary issues.

The California born sculptress Helen Phillips found printmaking in the 1930s like many artists—at Stanley William Hayter's Atelier 17 in Paris. Though she remained primarily a sculptor throughout her life, this exhibition chronicles her body of intaglio work. Beginning with her early, transformative years in Paris, through her move to New York—when she also became a mother in the 1940s—and back to Paris in the 1950s where she produced her most daring work in color, the prints of Helen Phillips in this exhibition showcase her constant affinity to three dimensions, her growth in the medium, and her experimentation in line and color.

'Form, Growth, and Variation' is the first solo exhibition of Helen Phillips’s work in the United States, and has been made possible by the Estate of Helen Phillips and the Dolan/Maxwell gallery in Philadelphia, PA.

Gemini G.E.L. at Joni Moisant Weyl is pleased to present Ellsworth Kelly at Gemini: An Exploration of Color. The
exhibition opens Wednesday, September 6, with a reception during New York’s Print Week on Friday, October 27
from 6 to 9 pm. The exhibition will be on view through Saturday, November 11, and is generously facilitated by loans
from the collections of Jordan D. Schnitzer and his Family Foundation.

This exhibition celebrates the centennial of Ellsworth Kelly, acclaimed painter, sculptor and masterful printmaker. Kelly
began collaborating with the Los Angeles based print publisher Gemini G.E.L. in 1970, and in 44 years he created
over 300 prints and editioned sculptures with Gemini. Through his work, Kelly taught his audience how to look, how to
really look, to see things in daily existence that are often overlooked or unobserved — the shapes and colors of natural
and manmade things that are a part of everyday life.

Kelly was a committed printmaker, in part because it often gave him permission to explore aspects of his creativity
with considerably different approaches than in his paintings and sculptures. In his prints, Kelly publicly shared his interest
in portraiture as well as gesture, all the while dedicated to his career-long emphasis on the marriage between pure
form and color.

Ellsworth Kelly at Gemini: An Exploration of Color examines the finesse and subtlety with which Kelly used his Gemini
collaborations to explore single-color variations. The exhibition is inspired by the observation of Kelly in the Gemini
artist studio by Gemini co-founder Sidney Felsen: "Ellsworth stood in the lithography studio, motionless, staring at a wall of 12 or 15 yellow “draw-downs,”
which are pure ink samples, straight out of the can. This must have gone on for nearly 15 to 20 minutes.
Finally, he walked away and I asked, “Ellsworth, what was that all about?” Ellsworth said without hesitation,
“Well, there’s a thousand yellows and I want to be sure I’ve chosen the right one.”

If Kelly was obsessed with choosing the right yellow, that same process undoubtedly applied to his other color selections.
This centennial exhibition considers where the emphasis in Kelly’s single-color printmaking endeavors is found—namely
in red, yellow, blue and green. The works on view compare and contrast the variations in these colors in a variety of
formal presentations.

Copy Machine Manifestos: Artists Who Make Zines is the first exhibition dedicated to the rich history of five decades of artists’ zines produced in North America. Since the 1970s, zines—short for “fanzines,” magazines, or self-published booklets of texts and images, usually made with a copy machine—have given a voice and visibility to many operating outside of mainstream culture. Artists have harnessed the medium’s essential role in communication and community building and used it to transform material and conceptual approaches to art making across all media. This canon-expanding exhibition documents zines’ relationship to various subcultures and avant-garde practices, from punk and street culture to conceptual, queer, and feminist art. It also examines zines’ intersections with other mediums, including collage, craft, film, drawing, painting, performance, photography, sculpture, and video. Featuring nearly one thousand zines and artworks by nearly one hundred artists, Copy Machine Manifestos demonstrates the importance of zines to artistic production and its reception across North America.

The exhibition is accompanied by the first comprehensive publication to explore artists’ zines, co-published with Phaidon Press, and including over 800 images of zines and works in other media alongside texts by the curators and specially commissioned essays by Gwen Allen, Julia Bryan-Wilson, Tavia Nyong’o, Alexis Salas, and Mimi Thi Nguyen, as well as an extensive section featuring biographies of all the artists represented in the project.

Noah Breuer, who is a contemporary printmaker and professor of print media at the University at Buffalo, NY is celebrating his first museum exhibition at the National Czech & Slovak Museum, a Smithsonian Affiliate, in Cedar Rapids, Iowa. Breuer's work recovers a small portion of the lost heritage of his family, who owned textile factories in Czechoslovakia and Austria in the early 20th Century. The factory was seized by the Nazis in the late 1930s and most of the family perished in the Holocaust, with the exception of his grandfather. In 2016, Breuer returned to the Czech Republic on a research grant and uncovered several boxes of textile samples from his family's factory at the Czech Textile Museum in Česká Skalice, as well as the company’s business records in state archives in Zámrsk and in Dvůr Králové nad Labem.

Based on this group of original materials, the artist has generated a large body of work in screen printing, paper pulp (at Dieu Donne), and glassmaking techniques, reinterpreting the source imagery for contemporary viewers. As noted in Hanley's essay, "Through digital manipulation of his source imagery, Breuer explores the full spectrum: from the playfulness of their original historical context to the complications that attend modern-day reception of these images."

Make it Pop celebrates Pop artists’ innovative approaches to the acts of transfer and replication through the materiality of print. Focusing on the dynamic growth of Pop Art during the 1960s and 1970s, this exhibition features prints by key figures in the movement working both in the United States, such as Roy Lichtenstein and Andy Warhol, as well as those creating art internationally, such as the Brazilian artist Claudio Tozzi and the British artist Joe Tilson. Through their groundbreaking approaches to the media, Pop artists both aided in the development of a thriving market for contemporary prints and propelled the media in dynamic new directions that continue to shape artistic practices to this day.

I am pleased to share my participation in the Armory Show, Represented Yossi Milo Gallery, NY.
"Yossi Milo is pleased to announce our participation in The Armory Show, taking place at the Javits Center from September 7 – 10, 2023.
Our booth will include work by Linus Borgo, Orit Hofshi, Asif Hoque, Jeremy Jaspers, Sarah Anne Johnson, Pierre Knop, Natia Lemay, Kathrin Linkersdorff, Anoushka Mirchandani, Meghann Riepenhoff, Ibrahim Said, Shikeith, and Cameron Welch, among others. Centering transformation as the engine of their practices, the presented artists share a dedication to the study and potential of change, whether of the body, the spirit, or within the realm of narrative and storytelling."

Curated by Megan N. Liberty and organized by Center for Book Arts, this exhibition reconnects artists’ books to craft by creating a meaningful link between conceptual art and craft, historically placed at odds.

Craft practices are rooted in a material-specific approach; the same is true for artists’ books, which are medium-specific artworks in book form. The critical issues of craft theory, such as the relationship between the vernacular and the contemporary and anti-establishment and grass roots activities are shared with the book arts, an established discipline of craft arts. Yet the legacy of artists’ books, a subset of book art (which also includes altered books and book sculpture) is often traced back to conceptual art—dominated by white male artists, the dematerialization of the art object, and ephemeral art practices, negating artist books’ earlier connection to the book arts and its place in craft history.

Traveling here from San Francisco Center for the Book, this exhibition will tie artists’ books back to craft, reshaping our understanding of craft history and its influence on conceptual art. The curatorial research methodology is archival, with the goal of a cross-disciplinary show that uses archival materials to present a revised timeline of book art, conceptual art, and craft, alongside artworks from various collections including Center for Book Arts, Harvard, Pace Prints Pace Gallery, San Francisco Museum of Modern Art Library, and MCBA. (The two pieces pictured here are from MCBA’s collection.)

Juana Estrada Hernández channels her experience growing up as an immigrant in the United States into drawing and print media that address political and social issues pertaining to communities of Latinx migrants. Mexican culture and folklore, pop culture, and her family’s migration stories inspire her artistic output. Her solo exhibition entitled Las semillas, el sol, y los que sacaron a delante / The seeds, the sun, and those that brought me forward is on display in the Roswell Museum’s Donald B. Anderson Gallery from September 23 to December 17, 2023.

Please visit the link below for more information.