This may be of interest to those of you who work on incunables and early modern print.

Alex da Costa (University of Cambridge), Aditi Nafde (Newcastle University), Devani Singh (Université de Genève) and Kathleen Tonry (University of Connecticut) are launching a network for print scholars, called Print Exchanges.

In a nutshell: Print Exchanges is a network designed to facilitate research into incunable and early modern print culture and to support early and mid-career academics, especially those who may be marginalised. It aims to help scholars make their current research more visible to others in the field through its website and to create world-wide opportunities for collaboration.

It’s unique in its emphasis on collaboration and supporting work in progress.

You can find more about it here: https://printexchanges.org

Join Us
We’d love to have you on board if you’d like to join us. If that appeals and you want to add your details to the website, please send Alex at ad666@cam.ac.uk:

• 100 words stating your affiliation (if relevant), broad research interests and current research project; and
• a picture of yourself (jpg or png) OR, if you prefer, something relevant to your research

Launch Event
We also have an informal launch event on 31st March by zoom, 3-4.30pm BST:

This launch event is a chance for network members to meet each other virtually and share work in progress. After a brief welcome, we will split into 3-4 breakout rooms based on attendees’ broad interests. Everyone will have 3-5 mins to introduce themselves, their latest research, and research goals for the next 6-12 months, before continuing with informal conversation. We hope this ‘cafe’ might help members to:

• clarify research questions
• share experience and knowledge
• connect with scholars working in similar areas or methodologies
• provide a motivational boost to research plans
• generate writing partnerships

If you’d like to attend please register by 25th March: https://cam-ac-uk.zoom.us/meeting/register/tJ0vcempqzMvGde-T24MWacOUL5r24r9gw1u

The great Ghanaian-born, Nigeria-based sculptor
El Anatsui has donated a major new artwork—Wade in the Water, 2021 (8' x 8'), which was assembled at Brandywine Workshop and Archives over several months in 2021. It will be sold at the evening auction at Sotheby's London to benefit the establishment of the El Anatsui Fellowships in Printmaking at BWA. Planning is underway to initiate the Anatsui Fellowships, which will further the artistic, professional, and personal development of artists living and working on the continent who exhibit talent, commitment to a career as a visual artist, are disadvantaged by socioeconomic factors, and/or have limited access to the art market, gallery representation, and institutional support due to location.

All proceeds from the auction will be invested in a newly established, specially designated endowed fund that—pending auction results—will underwrite travel and living expenses, provide an honorarium, and deliver all the creative and technical resources and opportunities of a month-long residency at BWA for two artists each year. During the artists' concurrent residencies, they will visit artist studios and art museums in Philadelphia, New York City, and Washington, DC. The first year of residencies is planned for fall 2023. Hannah O'Leary, Sotheby London’s Director/Head of Modern and Contemporary African Art, is coordinating the sale.

Just a friendly note to say in 2022, I am posting a biography of the printer/publisher Ernest Edwards in parts at https://20min2trenton.blog/. The story runs from London to Boston to New York City, 1836 to 1903. In keeping with this Dickensian format, I do not know the end until I get there. Join me if you like. Julie

PRINT MONTH 2021

Print Month returns, October 4 - October 29, with daily online programs at 12 Noon Eastern. The IFPDA is proud to share this platform with our members, our cultural partners, and our community with programs and symposia organized by The Metropolitan Museum of Art, the International Print Center of New York, the Print Council of America, the Association of Print Scholars, and the galleries and publishers of the IFPDA.

Oct. 4: Paupers Press (London); A Virtual Studio Visit and Conversation

Oct. 5: A Conversation on the Impact of Prints in Museum Collections: What Do Museum Directors Say? --- with Michael Govan, Glenn Lowry, Sasha Suda, and Sir Norman Rosenthal

Oct. 6: Prints in Relief; Print Study Day Presented by The Metropolitan Museum of Art; A Census of Italian Renaissance Woodcuts; “To Put Art to the Service of People”: Elizabeth Catlett and Prints for Black Liberation; Linocuts: Making and Meaning

Oct. 7: Full Spectrum: Celebrating 50 years of the Brandywine Workshop and Archives

Oct. 8: Gemini G.E.L Celebrates The Met’s 150th Anniversary --- A Virtual Studio Visit and Conversation

Oct. 11: The Art of To-day: Grosvenor School Linocuts and their Legacy --- A Symposium on the Occasion of “Modern Times: British Prints 1913-1939” at the Metropolitan Museum of Art; Perceptive print-making: Grosvenor School linocuts and the middlebrow market

Oct. 12: IFPDA Foundation 2020 Book Award Lecture: Happy Accident: Robert Rauschenberg, Robert Blackburn, & Tatyana Grossman and the Rise of Collaborative Printmaking

Oct. 13: Looking Back on the New York Graphic Workshop, 1964-1970 (sponsored by APS)

Oct. 14: Themes and Variations: Topics from Print Council of America --- Gilbert Stuart, the Print Trade, and the Genesis of Art as Intellectual Property in the United States

Oct. 15: Harlan & Weaver; A Virtual Studio Visit and Conversation with Felix Harlan & Kiki Smith

Oct. 18: The Art of To-day: Grosvenor School Linocuts and their Legacy --- A Symposium on the Occasion of “Modern Times: British Prints 1913-1939” at the Metropolitan Museum of Art

Oct. 19: Highpoint Editions (Minneapolis); A Virtual Studio Visit and Conversation

Oct. 20: El Nopal Press: Cross Border Discourses Through Print (sponsored by APS)

Oct. 21: Themes and Variations: Topics from Print Council of America --- Poetic Science: The Origins of Digital Printmaking

Oct. 22: Breaking Ground, Part I: Pattern and Print with Polly Apfelbaum and Jean-Paul Russell, Durham Press

Oct. 25: The Art of To-day: Grosvenor School Linocuts and their Legacy --- A Symposium on the Occasion of “Modern Times: British Prints 1913-1939” at the Metropolitan Museum of Art; Contemporary and Historical Perspectives on the Market for Grosvenor School Artists; A Discussion with Mary Ryan and Gordon Samuel

Oct. 26: Printmaking in the Expanded Field with Susan Tallman

Oct. 27: Sybil and Cyril: Cutting Through Time with Jenny Uglow, Moderated by Gordon Samuel

Oct. 28: Themes and Variations: Topics from Print Council of America --- Art and the Pull of Print; A Conversation

Oct. 29: Breaking Ground, Part 2: Pattern and Print with Joyce Kozloff and Judith Solodkin, SOLO Impression

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

Nineteen new grants totaling over $1.55 million will support exhibitions, publications and digital projects that center the graphic arts as part of the Getty Foundation’s ongoing Paper Project initiative.

Prints and drawings are an unsung area of curatorial innovation and a place for museums to bring new forms of storytelling to their permanent collections. Launched in 2018, The Paper Project funds professional development and experimental projects for curators around the world who study prints and drawings to make graphic arts collections more accessible and relevant to 21st-century audiences.

“Permanent collections that include prints and drawings are the lifeblood of museums, archives and libraries,” says Heather MacDonald, senior program officer at the Getty Foundation. “As the cultural sector moves into post-pandemic rebuilding, institutions have a tremendous opportunity to refocus on their own holdings while they also invest in the professional growth of their staff. These grants provide the resources needed to take a deep dive into seldom-seen collections and develop creative and relatable ways to display works on paper in galleries, in print and also online.”

The curatorial projects represent collections of prints and drawings created across more than a millennium and dozens of countries. They also demonstrate the wide range of works on paper that exist, including personal travel journals, political posters, illuminated manuscripts, architectural plans and maps, woodcuts, acid-based etchings and more. Participating curators have chosen a variety of in-gallery and digital solutions to present these objects in fresh and compelling ways.

APS-Affiliated Grantees Include:

International Print Center New York - For an exhibition and accompanying publication on Margaret Lowengrund, the first woman in the United States to open her own hybrid printmaking workshop/gallery—The Contemporaries gallery. Project curators: Christina Weyl and Lauren Rosenblum

Los Angeles County Museum of Art (LACMA) - For an exhibition on two key episodes in 20th-century political printmaking: German Expressionism after World War I and Mexico City’s Taller de Gráfíca Popular. Project curators: Erin Sullivan Maynes and Rachel Kaplan

For more information and the full press release please visit the external link below.

Tamarind’s tours are back! Sign up to tour Tamarind’s workshop and learn more about fine art lithography. Tour includes information about current programs and the history of Tamarind, a video on the collaborative process, a printing demonstration, and walk-through of our facility. Tamarind is a division within the College of Fine Arts at The University of New Mexico. Reserve a spot at tamarind.unm.edu

Tamarind will offer three tours this fall on the following dates:
September 10 — 1:30 – 3:00 pm
October 1— 3:30 – 5:00 pm
November 5 — 3:30 – 5:00 pm

Tours are free; registration required.

Location— 2500 Central Avenue SE, Albuquerque, NM 87106
505.453.2159
Tamarind@unm.edu

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

The print archive of Stewart & Stewart, a printer and publisher of fine art prints since 1980, has been acquired by the Detroit Institute of Arts (DIA) for the museum’s permanent collection. The Stewart & Stewart Archive represents more than forty years of printmaking and publishing in Michigan. It brings 199 newly acquired prints together with seventeen prints previously in the DIA’s collection for a total of more than two hundred prints by thirty-four artists.

Established in Bloomfield Hills, Michigan in 1980 by Master Printer Norman Stewart and his partner and wife of 53 years Susan Stewart, Stewart & Stewart produces primarily screenprints and more recently archival pigment prints, in collaboration with artists of national and international renown. The artists include Jack Beal, Richard Bosman, Nancy Campbell, Susan Crile, Martha Diamond, Connor Everts, Janet Fish, Sondra Freckelton, Jane E. Goldman, Keiko Hara, John Himmelfarb, Sue Hirtzel, Yvonne Jacquette, Hugh Kepets, Catherine Kernan, Daniel Lang, Don Nice, Mary Prince, Jonathan Santlofer, Jeanette Pasin Sloan, Hunt Slonem, Steven Sorman, Richard Treaster, and Titus Welliver. Also represented are Detroit area artists Judy Bowman, John Glick, Dennis Guastella, Clinton Kuopus, Ann Mikolowski, Jim Nawara, Lucille Procter Nawara, Mel Rosas, Norman Stewart and Paul Stewart.

Over the decades, the prints by Stewart & Stewart have been featured at the DIA in two focus exhibitions and two commissioned print editions. Ellen Sharp, then Curator of Graphic Arts, curated the exhibition Collaboration in Print, Stewart & Stewart Prints: 1980-1990 (1991), celebrating the first ten years of publications. In 2005, Nancy Sojka, then Curator of Graphic Arts, organized The Art of Screenprint (2005) with the associated catalog, Collaboration in Print, Stewart & Stewart Screenprints 25th Anniversary. The DIA Graphic Arts Council (now Friends of Prints, Drawings and Photographs) commissioned Stewart & Stewart to create two limited editioned prints: Treille, 1996, by Janet Fish and Mirage, 1982, by Norman Stewart. In May 2021, the long relationship between the DIA and Stewart & Stewart culminated in the acquisition of the Stewart & Stewart Archive, making the museum a unique resource for the study of a significant chapter in the history of American printmaking.

"I am absolutely delighted to welcome the Stewart & Stewart Archive to the DIA,” says Clare Rogan, Curator of Prints and Drawings, “Norm and Susan have together created more than forty years of the most sophisticated printmaking. Starting in the 1980s, Norm expanded the technical range of screenprinting by using transparent inks to create an incredible range of precise color choices, as many as 4,000 distinct permutations. The precision and attention to color have appealed especially to Neo-Expressionist artists like Richard Bosman and Photo-Realist painters including Janet Fish, Sondra Freckelton, and Jane E. Goldman. The Stewart & Stewart Archive represents Norm and Susan’s more than forty-year contribution to the arts in both Michigan and the United States.”

The Stewart & Stewart Archive prints will be viewable online on the DIA website and by appointment in the Ina M. Clark Study Room at the DIA. This will preserve the Stewart & Stewart Print Archive as a cornerstone in American printmaking for posterity.

Introducing a new podcast called Platemark, a Podcast about Art and Ideas, with Ann Shafer and Ben Levy.

In season one over eight episodes, Ann and Ben and talk about issues facing the artworld with a focus on museums, curatorial work, critiques and studio visits, value (market and conceptual), redefining the art historical canon, and prints, printmaking, print fairs, and print publishing.

Our goal is to share our thoughts on the state of the sector including issues of decolonization and social justice, what it meant to us to be able to teach young artists in the print study room, why prints are the best, and how we did what we did. These conversations are meant to demystify the idea of the curator in the white tower and the museum as an imposing marble edifice.

To listen, please visit the external link below.

May 1-8, 2021

Across London there will be exhibitions and displays in galleries, printmaking studios and other premises, with a simple booking system to schedule visits. The majority of the shows are in Mayfair and St James’s: there are also participants in Hampstead, Bermondsey, Pimlico, Bloomsbury, Kings Cross, Kensington, Soho and Isleworth.

We are also pleased to include a viewing room for the British Museum, allowing them to show off their recent acquisitions, chosen by their curators. It is a fascinating insight into their work over the past year.

For more information, including lists of participants and booking information, please visit the external link below.

Gabinetti Disegni e Stampe is a new online resource that aims to gather together all the Italian Gabinetti Disegni e Stampe in order to promote and enhance the Italian heritage of prints and drawings. Each Gabinetto Disegni e Stampe is accompanied by an up-to-date description and by contacts and related links.

Visit the Instagram (@gabinettidisegniestampe) to view images of the gabinetti and the prints and drawings collections they preserve.