The Print Center and the International Print Center New York have come together to aggregate resources related to print and print culture supporting Black Lives Matter and other social justice causes. This list was born out of the 2020 protests. It is a work in progress. Resources include exhibitions, publications, free/low-cost printing, events, organizations, fundraisers, reading lists, and other initiatives. Please share resources for potential inclusion by emailing info@printcenter.org.

Please visit the 'External Link' below to access this list.

Historic Sharswood was an African American hub of arts, theater, and activism that thrived from strong economic activity situated along the main corridors of Ridge and Columbia Avenue (now Cecil B. Moore Ave). This activity was supported by the influx of new residents settling in the area from Southern states during the Great Migration. Printmaker Dox Thrash and painter Henry Owassa Tanner settled in the community to live and work. Pearl Bailey, Duke Ellington, and the Nichols Brothers were among the many entertainers that played the Pearl Theater and socialized among themselves at the private Pyramid Club, founded by Thrash and others in the 1930s. During the 1950’s African American social justice movements, activists such as Malcolm X, Martin Luther King Jr., Cecil B Moore, and Leon Sullivan organized, marched, lived, delivered speeches, and led rallies in the fight for local injustices such as the desegregation of private school Girard College. The Sharswood neighborhood is still heavily characterized by these recent historic influences and is dotted with murals, long-term residents, and historic resources that memorialize this period.

Now, in 2020 The Thrash home is among many vacant storefronts along the commericial corridor of the historically black neighborhood. Dox Thrash, whose work honored everyday moments in African American life through printmaking became part of well-known institutional collections, like the Philadelphia Museum of Art and the African American Museum. This history is tied to this house in a tangible way and its development creates a new space where the community can continue his legacy.

His home is poised to become artistic and economic anchor for the Cecil B. Moore/ Ridge Ave business corridor. The project is paired with visionary, community activists and artists that support local entrepreneurship. The Dox Thrash House futures project is poised to become a public cultural amenity that invigorates the block with new activity and sets a standard for future equitable development in Sharswood.

Please visit the 'External Link' below for more information.

It is with sincere regret that the IPH 2020 Planning Committee announces the postponement of the 35th IPH Congress in Washington DC originally planned for September 15-18, 2020. Although we all hope that the worst of the COVID-19 pandemic will be over by this fall, we cannot be certain that the outbreak will be resolved by that time. Travel within America and overseas travel from Europe to the US are both severely restricted for the foreseeable future. Potential conference speakers and attendees will wish to see how the situation resolves in their home state or country before they can commit to coming to Washington DC. It is a time when our mutual interest in paper history must yield to more pressing concerns.

Together with the IPH Council, the Planning Committee will announce a new date in 2021 for the Congress on its website. We have planned an enticing program with thirty-two outstanding speakers from around the world, and we wish to give them the opportunity to present their research to the largest possible audience. The new date for registration will be announced after the Congress dates have been determined. We thank you for your understanding and flexibility.

Please visit the 'External Link' below for more information.

Produced by, Marjorie Shelley (Department of Paper Conservation), Ashley Dunn and Constance McPhee (Department of Drawings and Prints), Paul Lachenauer and Xue Chen (Imaging), and colleagues at the Metropolitan Museum of Art.

From APS Member Julie Mellby:

Stuck at home? Like 19th c French prints? I have posted a crowdsourcing project involving our French chromolithography. Good for individuals or a class assignment.

Thank you, stay well,
Julie Mellby
jmellby@princeton.edu

From January 2021 until January 2022, the BMA’s Prints, Drawings & Photographs Department will enact an external loan moratorium and the Samuel H. Kress Study Room will be closed in anticipation of an inventory and collection move. If colleagues require object loans for exhibitions during this period, initial requests must be made in writing to the PDP department (pdp@artbma.org) by June 30, 2020.

Founded in 1963 by Jean Adhémar and published by the Comité national de l’estampe, the journal Nouvelles de l'estampe is intended to present current events in the field of printmaking and engraving. It deals with the printed image both as an art form and as a technology capable of multiplying images, with all the cultural and historical consequences that this has had.

All the issues published since 2010 are available full-text with the original illustrations in PDF format.

From now on the journal will be published only in electronic version. Under the aegis of the Comité national de l’estampe, it will publish, after approbation of the editorial board, articles written in French, English and Italian. Proposals should be sent to remi.mathis@bnf.fr

For the editorial rules, see: http://nouvellesdelestampe.fr/nouvelles-de-lestampe/soumettre-un-article/

Tamarind will hold its biennial art lottery on Saturday, September 14. Individuals may participate in person or by proxy. 100 tickets will be sold, and ticket-holders will be assigned a random number that evening, allowing them to select one piece from the 100+ available lots. Prints by Clinton Adams, Garo Antreasian, Will Barnet, Willie Cole, Jim Dine, Alison Saar, James Siena, Kiki Smith, June Wayne and many more included. All artwork has been generously donated by Tamarind artists, printers, and friends, to support Tamarind programs, artist residencies, and student scholarships. All lots available to view online.

I want to share with you our new site on the Met's website devoted to the materials and techniques of drawings and prints that went live last week.
I think it looks terrific, if I do say so myself: https://www.metmuseum.org/about-the-met/curatorial-departments/drawings-and-prints/materials-and-techniques

When you click through each of the printmaking techniques – woodcut, engraving, etching, silkscreen, and lithography, you will find fun GIFS that lead you through the processes of how each type of print is created.

The prints were produced over the summer by our department’s own Liz Zanis (those are her hands in the pix) at the Leroy Neiman Center for Printmaking at Columbia University and photographed by Paul Lachenauer. Freyda Spira managed the project and all the print curators in our department wrote the texts. Michael Cirigliano in Digital brilliantly managed the production. It was a team effort and we are delighted by how it turned out. It will be of use to teachers, students, and works on paper enthusiasts.

Only the print section is up at this point. We are looking forward to starting work on the drawing section now. Please feel free to share it with friends, colleagues, students, and any works on paper enthusiasts you might know!

This month, the Foundation will launch the Frankenthaler Prints Initiative for university museums, comprising gifts of selected prints by the artist to ten museums. Each will receive ten prints and five to ten related trial proofs, drawn from the Foundation’s extensive collection of prints by the artist. The gifts—spanning etching, lithography, monotype or monoprint, pochoir, screenprint, woodcut, and other techniques, sometimes in combination—will reflect the variety of media Frankenthaler used.

Each museum will also receive a one-time grant of USD 25,000 to develop a project or program for the study, presentation, and interpretation of the works within a three-year timeframe.

Ruth Fine, former Curator of Special Projects in Modern Art at the National Gallery of Art in Washington, D.C., and a leading authority on Frankenthaler’s prints, has selected the prints and is working with the Foundation as an advisor on the multi-year initiative.

The museums have been selected for their dedicated commitment to prints as a significant collecting area and teaching tool, while having few or no examples of Frankenthaler’s prints in their collections. These are:

Blanton Museum of Art at The University of Texas at Austin
Bowdoin College Museum of Art
University of South Florida Contemporary Art Museum
Grunwald Center for the Graphic Arts/Hammer Museum, UCLA
The Nasher Museum of Art at Duke University
Pennsylvania Academy of the Fine Arts
Princeton University Art Museum
RISD Museum, Rhode Island School of Design
SCAD Museum of Art, Savannah College of Art and Design
Spencer Museum of Art, University of Kansas, Lawrence

The second group of museums for the prints initiative will be announced in 2019.

Helen Frankenthaler (1928–2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century, widely credited for her pivotal role in the transition from Abstract Expressionism to Color Field painting. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Her work is represented in the collections of major museums worldwide and has been the subject of numerous national and international exhibitions and substantial publications.

The Helen Frankenthaler Foundation was established and endowed by the artist during her lifetime and became active in 2013, on the closing of the artist’s estate. The Foundation supports the artist’s legacy through a variety of initiatives, including encouraging and facilitating significant exhibitions of Frankenthaler’s work, grant-making, and the publishing of a catalogue raisonne. Its holdings include an extensive selection of Frankenthaler’s work in a variety of mediums, her collection of works by other artists, and original papers and materials pertaining to her life and work.