Artist Analia Saban joins Naoko Takahatake, director and chief curator of the Grunwald Center of the Graphic Arts, Case Hudson, master printer at Gemini G.E.L., Shaye Remba, director of Mixografia, and Francesco Siqueiros, founder of El Nopal Press, in a conversation exploring the place of printmaking in Saban’s creative practice and her many innovative collaborations with renowned Los Angeles print shops.
This program is made possible with support from Getty through The Paper Project initiative.

Learn about Black Women of Print and the two portfolios published by the collective of printmakers in the Museum’s collection from founder Tanekeya Word. After the talk, join a behind-the-scenes viewing of the portfolios in the Herzfeld Photography, Print, and Drawing Study Center.

Event Lineup
5:30–6:15 p.m. | Reception with light refreshments in Baumgartner Galleria
6:15–6:45 p.m. | Artist Talk with Tanekeya Word in Lubar Auditorium
6:45–7:45 p.m. | Viewing of Black Women of Print portfolios Continuum and Lore: What We Were Told | What We Saw | What We Tell Ourselves. Space is limited for the viewing; reserve your spot by emailing community@mam.org by September 19.

About the Artist
Tanekeya Word creates multimedia visual art on paper—drawings, paintings, narrative forms, and fine art prints—that centers the everyday fantastical lives of Black women and girls. Presented in quotidian object scale, no larger than the human body, her works are serialized with focus on Black geographies, literature, material culture, and nature in harmony with the Black body.

Word is the founder of Black Women of Print, a homeplace for Black women printmakers. She holds a BA in English/Afro American Studies from Howard University and a MA in Arts Management from American University. Word is a doctoral student in Urban Education at the University of Wisconsin-Milwaukee. Word’s dissertation (2024) is entitled: Black Womanhood + Black Aesthetics in Art Education.

Tanekeya Word has participated in national exhibitions and her work is held in private and public collections such as Milwaukee Art Museum, The Smithsonian National Museum of African American History and Culture, The Metropolitan Museum of Art, the Getty Research Institute, etc.

Edition 13 of L.A. Print explores innovative printmaking processes inspired by the artistic legacy of Ed Ruscha, highlighting artists and printmakers who specialize in non-toxic or non-traditional materials. Join us for a captivating panel discussion lead by Erin Sullivan Maynes and featuring Tava Tedesco, Kiyomi Fukui, Amanda Burr, and Carmen Argote, who will explore the intersection of contemporary printmaking and eco-conscious practices.

Rembrandt was one of the most creative printmakers of his day, at work in Amsterdam, a bustling city that had become the center of the European print trade.

This talk by Nadine Orenstein, Drue Heinz Curator in Charge of the Department of Drawings and Prints at the Metropolitan Museum of Art, will look at the wonderful world of printmaking in Holland in the seventeenth century where some prints could be rare works of art while many more were part of the everyday material culture.

Join us for a reception in the Milwaukee Art Museum's Schroeder Galleria following the lecture.

Lecture Sponsor:
Milwaukee Art Museum’s Print Forum

Reception Sponsor:
Milwaukee Art Museum’s Fine Arts Society

Marion Mahony Griffin (1871–1961), one of the first female architects to practice in the United States, created drawings, prints, and other works featuring magnificent depictions of the natural world. For fourteen years she was Frank Lloyd Wright’s chief draftsperson and senior member of his studio, before she and her husband, Walter Burley Griffin, catapulted from Chicago to Australia after winning an international competition to design the new city of Canberra. This talk will trace the development of Marion’s artistic practice, from children’s book illustrations and architectural renderings to her “Forest Portraits”—an ambitious botanical series sparked by her fascination with the indigenous trees of Australia.

About the speaker
Debora Wood is a curator and writer specializing in modern and contemporary works on paper and is the current vice-president of the Print Council of America. This presentation stems from her ongoing research on the work of Marion Mahony Griffin, an interest that began with Wood’s seminal exhibition and catalog, Marion Mahony Griffin: Drawing the Form of Nature (Mary and Leigh Block Museum of Art, Northwestern University, 2005). Wood’s recent publications include “Studies in Perception I (Alpha Serendipity)” in Coded: Art Enters the Computer Age, 1952–1982 (LACMA 2023), “What is an Original Print? The Evolution of a Definition” in the scholarly, international journal Print Quarterly (September 2022), and entries for Renaissance Invention: Stradanus’s Nova Reperta (Newberry 2020) and Matisse: Paintings, Works on Paper, Sculptures, and Textiles at the Art Institute of Chicago (2019). Educated at Cornell University and the University of Wisconsin–Madison, she has held positions at the Art Institute of Chicago and the Mary and Leigh Block Museum of Art at Northwestern University.

Love Me, Love Me Not: Emotion and Identity in 19th-Century Valentines
Talk by Dr. Alice Crossley

February 7, 2024
1:30pm ET
Virtual Event | Free

Sponsored by the Visual Culture Program

Nineteenth-century valentines are typically recognized as pretty tokens of love and affection, prized for their intricate, decorative designs. The comic variant of the valentine, however, communicated very different sentiments indeed. Gaining popularity by the mid-1800s, and notable for their surprisingly malicious humor, comic valentines deployed strategies akin to 21st-century “trolling.” Rather than expressing fond regard, they were satirical, mocking, and rude, revealing the valentine’s subversive potential.

Dr. Alice Crossley is Senior Lecturer in English Literature at the University of Lincoln, a Fellow of the Royal Historical Society, and Secretary of the British Association for Victorian Studies. She has published on valentines and is currently working on a book examining them through the lenses of material and visual cultures, affect/emotion, and identity construction. Dr. Crossley is the Library Company 2023–24 William H. Helfand Fellow in American Visual Culture.


For more information and to register: https://support.librarycompany.org/event/love-me-love-me-not-emotion-and-identity-in-19th-century-valentines/e525416.

Exhibiting Drawings for Prints: From the Paris Salons to a Symbiotic Art Market charts the early exhibition history of drawings related to prints in 18th-century France using a data-driven approach which traces the intertwined markets for the two media and spotlights two extraordinary instances in which they collided in the Paris Salons: architectural proposals for a municipal redesign, drawn directly on existing etchings; and preparatory drawings, originally made for hand-painted liturgical texts at Versailles, that were later circulated widely as prints. Together, the data and examples illustrate the strong symbiosis that has existed between these two markets dating back some 250 years.


Time Signatures: Expressionism Between Drawing and Print — As a young collective starting out in 1905, the German Expressionists known as "Die Brücke” (The Bridge) began two ventures around the same time—the touring of their prints throughout small institutions in Germany and the development of a life-drawing practice they called Viertelstundenakte, or “quarter-hour nudes.” In these works, Die Brücke sketched a model for the titular allotment before she would shift position and drawing began anew. Many of the quarter-hour nudes, only of which a few still survive today, were subsequently translated into prints. This talk aims to compare the temporalities of these two modes of image-production, particularly in their seriality. How did tempo, pace, and reiteration, the paper asks, map not only on to the Expressionist enterprise, but on to wider cultural concerns in an industrializing Germany more broadly?

J. Cabelle Ahn is an independent art historian, a PhD Candidate at Harvard University, and the Vice President of the Association of Print Scholars. Her research centers on exhibition histories in early modern Europe, the history of the art market, and the intersection between Old Masters and Contemporary Art.

Joseph Henry a PhD Candidate in the art history program at the CUNY Graduate Center and the Florence B. Selden Fellow in Prints and Drawings at the Yale University Art Gallery. His dissertation and scholarly work focus on questions of Expressionism, art and labor, works on paper, and primitivism and colonialism. He has held fellowships and positions at the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art and published contemporary art criticism across a number of venues.

You're invited to attend an online Q&A event dedicated to applying to pre- and post-doctoral fellowships on Tuesday, August 8, from 3:00-4:30 pm EST. Please scroll down for more information, and visit the link below to register.
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Panelists Joanna Gohmann (Provenance Researcher & Object Historian, Freer Sackler Gallery, the Smithsonian’s National Museum of Asian Art), Kailani Polzak (Assistant Professor of History of Art and Visual Culture, University of California, Santa Cruz), Kimia Shahi (Assistant Professor of Art History, University of Southern California) will provide tips and answer questions on applying for fellowships.

Whether you are considering pre-doctoral fellowships, post-doctoral positions, or other research grants, this event will equip you with some of the knowledge and tools necessary to strengthen your applications. Learn about crafting research proposals, building strong CVs for fellowships, and navigating the application process. Engage in discussions and connect with other scholars going through the process, and hone your understanding of fellowship opportunities!

This event is free to attend for everyone – not just HECAA members – so please share this announcement widely! Note however that advance registration is required, using the link provided below.

Please message hecaamembers@gmail.com with any questions or for access to the google doc to anonymously propose questions or topics they would like the panel to address.

We hope to see you on August 8!

Before Chelsea, before Soho, the commercial art gallery district was primarily on and just off Fifth Avenue in midtown Manhattan. Although most of the original buildings have disappeared, this Jane's walk will trace the steps of collectors “doing the galleries” in the first decades of the 20th century. We will uncover the location of Robert Henri’s 1901 [not a typo] show of American Modernists, see where the first solo exhibitions of Man Ray, Marguerite Zorach, and Florine Stettheimer were held, and note the various galleries opened by frustrated assistants of Alfred Stieglitz, as well as shops catering to the etching revival and American crafts movement.

Beginning in the 1960s, artists engaged in printmaking shifted away from autographic mark making and craftwork, toward critiquing methods of representation, communication, commerce, and society itself. They embraced a diverse range of unorthodox processes, many of which came about by placing concept before technique, breaking down boundaries between mediums. Six decades later in a media-saturated and digitally-interconnected present, many artists are returning to traditional print processes and hand-crafted matrices to create biting and beautiful commentary. Presenting a wide range of contemporary artists and their ideas, this talk surveys the recent trajectory and prolific use of printed art.