In fin-de-siècle Paris, the Nabis turned to the medium of color lithography to explore new modes of expression. This practice, however, was technically complex and thus required the involvement and expertise of master printer Auguste Clot. This lecture examines Clot’s collaboration with the Nabis and the printer’s significant role in the production of their avant-garde prints.

Natalia Lauricella is a Postdoctoral Teaching Fellow in the Department of Art & Art History at Stanford University. Her research focuses on the history of print, modern art, process, and labor, particularly in nineteenth-century Europe. She received her PhD in Art History from the University of Southern California. Her current project traces the network of dealer-publishers, printers, and artists who produced and marketed limited edition original color lithographs as part of the development of modern art and the art market in 1890s France. Focusing on the technical and creative role of master printers, this work recasts the history of modern art through the lens of artisanal labor, artistic process, and collaboration. Research for this project has been supported by a Fulbright grant to France, the Borchard Foundation, the Visual Studies Research Institute at USC, and USC’s Department of Art History. Prior to pursuing her PhD, Natalia worked as a curatorial assistant of collections and exhibitions at the Solomon R. Guggenheim Museum in New York and contributed to a number of exhibitions including Italian Futurism, 1909–1944: Reconstructing the Universe (2014), Agnes Martin (2016), and Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897 (2017).

Using the exhibition States of Play: Prints from Rembrandt to Delsarte as a starting point, curator Elizabeth Rudy and conservator Christina Taylor will lead a dynamic conversation about printmaking with a group of Boston-area printmakers.

The speakers will discuss the role of revision, correction, and adjustment in the printmaking process. Each artist will present an example of how they’ve reworked one of their projects, and the group will explore how editing and change play a fundamental role in the creation of fine prints.

Spanning four centuries, the works in States of Play unveil the layers of creative revision behind finished prints. Central to this process is the concept of a “print state,” which traditionally refers to a version of a print that precedes the final product. By decoding creative choices that the artist pursued or abandoned in each successive step, the exhibition helps uncover the full breadth of experimentation and demystifies printmaking terminology and techniques.

Led by:
Elizabeth Rudy, Carl A. Weyerhaeuser Curator of Prints, Division of European and American Art
Christina Taylor, Assistant Paper Conservator, Straus Center for Conservation and Technical Studies

Printmakers:
Cicely Carew
Susan Denniston
Catherine Kernan
Debra Olin
Rebecca Leopoldina Torres
Christopher Wallace

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

Artists Stephanie Santana and Tanekeya Word discuss the work of Emma Amos with curator Laurel Garber. They will share how figures like Amos inform and inspire the collective Black Women of Print, of which they are both members and which Word founded. They will also present for the first time new works they created in homage to Amos.

This talk is offered in conjunction with the exhibition "Emma Amos: Color Odyssey," and is made possible with the support of a Collaboration Grant from the Association of Print Scholars.

This Fall a two-volume catalogue of all prints produced and published by the Liefrinck dynasty has appeared in The New Hollstein Dutch & Flemish series (Sound & Vision Publishers). Compiler Jeroen Luyckx (Illuminare - KU Leuven) and editor Huigen Leeflang (Rijksmuseum, Amsterdam) are delighted to invite you to the virtual book launch on Thursday 9 December 2021 at 17:00 CET.

The Liefrinck family was a Netherlandish dynasty of printmakers that consisted of three generations and was active for over a century. From c. 1500 until the turn of the seventeenth century various family members were involved in printmaking and publishing, producing a highly diverse output. This fully illustrated catalogue brings together almost 400 woodcuts, etchings and engravings, including dozens of undescribed prints, states and editions. To order the volumes, please visit www.hollstein.com.

Programme
17:00 Welcome by editor Huigen Leeflang (Rijksmuseum, Amsterdam)
17:10 Lecture on the Liefrinck dynasty by compiler Jeroen Luyckx (Illuminare - KU Leuven)
17:40 Questions
18:00 End

This online event is free of charge, but registration is required. You can register by providing your name and e-mail via the external link. If you do, you will receive an e-mail with all practical information in the week of the event.

Join us for the virtual opening lecture for the Memorial Art Gallery's newest exhibition, Renaissance Impressions: Sixteenth-Century Master Prints from the Kirk Edward Long Collection! Bernard Barryte, an expert on this collection and author of the catalog, will discuss printmaking techniques and how the prints were marketed and prized by collectors. He will also discuss Mannerism, the imaginative style of art that was dominant in Europe during the 1500s, as well as the ways that these images can be interpreted.

For questions about this program, please contact Chiyo Ueyama at cueyama@mag.rochester.edu. For general visitor information, visit mag.rochester.edu/about.

To register, please visit the external link below.

To explore photography’s chemical and material history, this talk examines the materiality and meaning of 19th-century iron and silver-based photographs that document and celebrate industrial growth in Pennsylvania, particularly railroads and steel mills. By placing these photographs, including platinum, cyanotype, and albumen prints, as well as stereographs in dialogue with each other, the ways that artists have documented transformations to the landscape in the past is reconsidered in terms of the rapid pace of current environmental degradation. Questions of how photography was used to respond to, and express social, emotional, or political perceptions of land, and how these meanings have changed in the 21st-century from an increasing awareness about the human impact affecting climate change will be explored.

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

El Nopal Press, founded by Francesco Siqueiros in 1990, is distinguished by its culturally diverse collaborations with international artists. Although initially focused on the U.S./Mexico border as a site of cultural exchange and Los Angeles as a place of intersection, El Nopal has also worked with artists from Europe to further expand the boundaries of cross-cultural transfer and dialogue through print.

Featuring a virtual studio tour, as well as prepared slides of notable prints, editions, and artists with whom he has collaborated, Siqueiros will discuss his career, which includes his early work at Cirrus Editions, and the myriad of experiences and influences that led him to his present work at El Nopal.

For more information and to register for this virtual event please visit the external link below.

This panel will consider the work and legacy of the New York Graphic Workshop (NYGW), a printmaking collective operative from 1964 to 1970. Together, printmakers Luis Camnitzer (b. 1937), José Guillermo Castillo (1938–99), and Liliana Porter (b. 1941) devoted themselves to producing conceptual pieces indebted to printmaking and its labor-intensive processes. Even as they were committed to traditional methods, the NYGW often bent lithography, etching, and engraving away from their conventions, toward new questions, problems, and ideas. As Camnitzer stated in 1966: “We are printmakers conditioned but not destroyed by our techniques.”

In dialogue with curator and independent scholar Ursula Davila-Villa, Camnitzer and Porter will discuss artworks they produced while part of the NYGW. Examining both independent pieces and collaborations, Camnitzer, Davila-Villa, and Porter will draw viewers into the complex ideas these artists conveyed through print, and the ways they exploited the medium’s unique contingencies. The conversation will focus on the role printmaking played in the NYGW’s self-conception – particularly the crucial implications of “the multiple” which were foundational to the group’s interventions. Attendees will learn more about an influential and significant chapter in American and Latin American conceptual art, as well as the under-acknowledged contributions of print within these histories.

For more information and to register for this virtual event please visit the external link below.

VIRTUAL EXHIBITION OPENING FOR IMPERFECT HISTORY: CURATING THE GRAPHIC ARTS COLLECTION AT BENJAMIN FRANKLIN'S PUBLIC LIBRARY WITH SPECIAL GUEST DR. SHAWN MICHELLE SMITH

Monday, September 20, 5:30 p.m. EDT

Join Curators Sarah Weatherwax, Erika Piola, and Kinaya Hassane for Imperfect History and the Archive, a roundtable discussion, with special guest Dr. Shawn Michelle Smith, from the School of the Art Institute of Chicago. Smith and the curatorial team will discuss the thought processes behind and the visual materials informing the curators’ conception of the exhibition and overall project. Themes of close-looking at images and their historical context, and the cultural and racialized biases that create, read, and assemble collections of historical graphic materials will be examined.

For full information about the opening and to register please visit the external link below.

For more information about the Imperfect History project: https://librarycompany.org/imperfect-history/

Join distinguished Art Historians Joe Siry, Professor of Art History; Larry Silver, Professor of Art History emeritus at the University of Pennslyvania; and Miya Tokumitsu, Curator of the Davison Art Center, for a virtual weseminar as they discuss some special objects in the Davison Art Center.

The Davison Art Center is the home of Wesleyan’s art collection, which is focused primarily on graphic art and photography. The breadth of the collection is equaled by its outstanding quality; exceptionally fine impressions by Rembrandt van Rijn and Francisco de Goya, rare early engravings, and important contemporary artwork by artists including Kara Walker and Jasper Johns are only a few highlights. The Davison Art Center supports teaching, learning, and research in its study room, and presents public exhibitions in its gallery. We hope you can join us to learn more!

Event details
Thursday, September 23, 2021
12:00- 1:00 p.m.

Please register by Tuesday, September 21. Registrants will then receive a follow-up email on Wednesday, September 22 with details on how to join the program. This is a webinar-style Zoom gathering. If you are not able to join by video, you may dial-in.

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