Diana Scultori (1547–1612), also known as Diana Mantuana, was the first documented woman in Europe to have a professional career as a printmaker. Born in the Italian city of Mantua, Diana came from a family of artists with professional connections to the ducal court of the Gonzaga dynasty. Like many printmakers in this period, she specialized in engraving renditions of paintings, drawings, and sculptures by other artists, which required the creativity and technical acumen needed to translate an image from one medium to another.

Diana was eventually drawn to Rome, where ambitious printmakers went to make their fortunes. Rome attracted travelers from across Europe eager to see ancient artifacts, holy sites, and work by the leading artists of the time. As an enterprising printmaker, Diana carefully selected religious, antiquarian, and mythological subjects that resonated with these audiences. Placing her work in dialogue with other printmakers in her orbit, this exhibition highlights Diana’s contributions to the dynamic world of printmaking in late-1500s Rome.

As part of ZEITGLEICH - ZEITZEICHEN, around 50 portfolios are currently traveling throughout Germany in joint exhibition projects by the state and regional associations of visual artists, giving printmakers nationwide visibility. Printmakers from the Berufsverband Bildender Künstler Sachsen-Anhalt and the Künstlerbund Dresden were also invited to present their positions on experimental printing to the public. The results can now be seen at the Anhaltischer Kunstverein Dessau. They show the range of printing possibilities - from classic printing processes to new, experimental techniques.

Working from the perspective of an Osage person, Norman Akers' use of maps of Kansas, Missouri, and Oklahoma is central to his printmaking as direct references to traditional, tribal homelands. While the contemporary maps record places the Osage live, they also trace a history of settler colonialism upon ancestral lands. Using imagery such as elk, birds, architectural structures, roads, tree stumps, lunch boxes, and flying saucers inhabited by historical figures found on US currency, Akers records a history of removal and change over Osage homeland while reconstructing a new sense of place in the (23) recent monoprints chosen for this exhibition.

Norman Akers is an Osage artist from the Greyhorse District community in Oklahoma. He has been an associate professor of art teaching painting and printmaking at the University of Kansas since 2009, and continues to maintain an active exhibition schedule around the country.

I Saw It: Francisco de Goya, Printmaker is open at the Norton Simon Museum. It is the first exhibition on the West Coast to show the prolific artist Francisco de Goya’s (1746-1828) four major print series: Los Caprichos (1799), Los Desastres de la Guerra (c. 1810-15), La Tauromaquia (1815-1816), and Los Disparates (c. 1815-23). The Disasters of War is represented by a rare working proof set, one of only two in the world (82 prints). Select working and trial proofs, bound volumes and hand-colored impressions from the Caprichos are also exhibited.
In the small focus gallery on the museum’s main level is I Saw It: Modern Artists Respond to Goya is a supplementary exhibition that examines Goya’s legacy as reflected in the work of Yinka Shonibare, and the prints of Enrique Chagoya, Pablo Picasso, Leon Golub, and Andy Warhol. Chagoya’s work presents contemporary interventions to Goya’s prints, Picasso and Shonibare make direct references to them, and Warhol and Golub take on similar formal approaches and themes.

"ReBloom" is the first biennial of the world's leading organization for papermakers and paper artists, the International Association of Hand Papermakers and Paper Artists (IAPMA). The exhibition will showcase 100 works of Paper Art by artists from 40 countries around the world between April 21 and August 11, 2024. The exhibition will take place on the premises of Hagen Castle in Bremischen, Germany.

In everyday life, paper is mostly used as an information carrier or packaging material. However, it is also amazingly flexible and versatile as an artistic medium in its own right. It is in the nature of paper that it can be reused and recycled, thus embodying a permanent life and offering countless possibilities for reuse and changeability. The exhibition theme "ReBloom", developed by IAPMA Exhibition Coordinator and Curator Ângela Barbour, revolves around paper's inherent potential to bring to life the memories and experiences it has absorbed. The IAPMA Biennial "ReBloom" will feature artworks that illustrate this and tell stories of renewed life, an awakening that can be experienced with paper and the fibres of which it is mostly made.

Enjoy more than 130 woodblock prints and painted scrolls from one of history’s most vibrant artistic eras.

After centuries of conflict and war, Japan’s Edo period (1603–1868) was a time of peace, stability, and economic growth. Members of the ruling class patronized artists, merchants, entertainers, and courtesans in major cities like Tokyo (then called Edo), Kyoto, and Osaka. Sharing a visual culture and appreciation for the transient pleasures of life, such diverse groups comingled in a metropolitan melting pot known as ukiyo, or “floating world.” There, a new art genre emerged: Ukiyo-e. These “pictures of the floating world” depict the lifestyle, pleasures, and interests of the urban population— from samurais, geishas, and kabuki actors to boat parties, palaces, and lush landscapes.

Not to be missed, this presentation marks the first time the Worcester Art Museum is touring its famed collection of Japanese artworks.

Yossi Milo is pleased to announce Nebulous, Orit Hofshi’s debut solo exhibition with the gallery, and the artist’s first to be held in in New York in over two decades. Nebulous opens to the public on Thursday, March 14, and an artist’s reception will be held the following week on Thursday, March 21, from 6 – 8 PM. The show will coincide with the inclusion of Hofshi’s work in The Anxious Eye: German Expressionism and Its Legacy, a group presentation at the National Gallery of Art in Washington, D.C. On March 23, 2024, Hofshi will participate in a conversation with Shelley Langdale, the National Gallery’s Curator and Head of Modern Prints and Drawings, which will draw connections between the artist’s practice and the historic 20th century works on view.

Orit Hofshi's large-scale works on paper relate natural phenomena with mass social and political events. Drawing from the artist’s experiences witnessing conflict in the Middle East and across the world; the lasting effects of the Holocaust; and crises across history, Hofshi cautiously populates her compositions with expressive subjects engrossed in mysterious yet urgent activity. Mired in uncertainty, they are caught between searching, finding, and intently looking on. She situates these figures in imagined landscapes that are seemingly forever devastated yet dotted with evidence of former human life.

Orit Hofshi creates her monumental works through a laborious combination of mediums, taking a purist, traditional approach to each. Hofshi’s works on paper are often immersive in size, verging on the scale of installation. In the studio, the artist begins by drawing directly onto pinewood panels, which she herself then carves with hand tools. Hofshi engages in a deeply physical dialogue with pinewood through this process, forming a collaboration with the natural qualities of her materials. The artist prints these woodcuts by hand, rubbing the back of large sheets of handmade paper with a wooden spoon, forgoing the use of presses or assistants. This solitary and labor-intensive process exists as a performative extension of the works themselves.

Hofshi’s methodologies encompass not only this distillation of traditional printing technique, but expansions on it. The artist shifts strategies of transferring ink from each woodblock, moving between printing, rubbing, and offsetting, often working in bold, saturated colors. Hofshi also adds drawn elements, incorporating layered movement and texture. These differing techniques play into a sense of alienation and displacement of the complex relationships within and between humankind and the natural world. Her frequent depiction of solitary figures draws on the artist’s philosophy that humanity must overcome adversity, and that growth only comes through reflecting upon one’s own held values, while facing the consequences of their decisions and actions as individuals and as part of society.

Hofshi has maintained a "library" of her carved wood blocks since early on in her career — one that she continually revisits in the creation of new work. The artist deploys recurring imagery of people, structures, and natural landscapes, reconfiguring them into an elliptical, nonlinear narrative in which the drama of the human condition plays out in the open. One particular recurring figure is a self-portrait of the artist, an avatar by which she locates herself within her work’s ongoing allegorical struggle. Hofshi’s own likeness makes clear that these reappearing forms are not just a pictorial strategy, but an existential situation. This replication of imagery throughout the artist’s oeuvre forms a dreamlike logic: a language of symbols that form cycles in an inescapable space, representative of a seemingly endless universal psychic state.

The exhibition shares a title with one of its central works: Nebulous, a monumental polyptych that realizes a life-sized moment of stillness from an epic narrative.

The Anxious Eye: German Expressionism and Its Legacy presents insights into the work of these innovative, early 20th-century artists and their continuing impact a century later. The National Gallery of Art has important holdings of prints and drawings by German expressionists Erich Heckel, Ernst Ludwig Kirchner, and Emil Nolde, among others. The exhibition features recent acquisitions as well as works that have rarely, if ever, been on view, including gifts donated by celebrated Washington, DC, collectors Jacob and Ruth Cole Kainen. Among the early 20th-century artists represented in more than 100 prints, drawings, illustrated books, portfolios, and sculptures are Otto Dix, Käthe Kollwitz, Egon Schiele, Karl Schmidt-Rottluff, and lesser-known artists such as Walter Gramatté.

Through their bold, inventive art, the German expressionists sought to interpret the dramatic changes in the world around them during the tumultuous historical period 1900–1930, marked by world war and revolution. New scholarship following the recent World War I centenary adds depth to our understanding of these artists and their artistic heirs. Post-1950 and contemporary artists shown in the exhibition—Leonard Baskin, Nicole Eisenman, Orit Hofshi, Rashid Johnson, Matthias Mansen, and others—carry on the rich legacy of the German expressionists. These later artists invite us to compare the social, political, and cultural transformations taking place in our own societies today.

Print culture flourished in the North and South Netherlands during the 17th century as the region became the epicenter of printing and publishing in Europe. Artists such as Rembrandt van Rijn, Jan Van de Velde, and Cornelis Visscher participated in the influx and exchange of ideas that the industry fostered and created prints in an expansive variety of genres, styles, and techniques. Drawn from the Museum’s collection, the works in this exhibition reflect popular subjects of the time, including scenes from the Bible and mythology, landscape, and portraiture. They also highlight the market forces and networks that allowed prints to play a prominent role in the art world.

This exhibition celebrates Kathryn A. and James E. Whistler’s outstanding collection of prints by the artist James McNeill Whistler. The Whistler collection includes over fifty etchings and ten lithographs, featuring superb impressions from the artist’s most famous series including the French Set and the First and Second Venice Sets. Bringing together these works at USD’s Hoehn Family Galleries, Glorious Harmony explores Whistler’s innovative approach to printmaking, revealing the artist’s profound impact on the history of the medium.