Japanese woodblock prints were met with an enthusiastic audience abroad in the late-19th and early-20th centuries. In Europe and the United States, tens of thousands of prints were bought and sold, exhibitions and record-breaking auctions staged, and a new passion kindled for private collectors. Most of what we know about early American print collecting has been focused on the East Coast—donations that were the basis for the world-class museum collections in Boston, New York, and Chicago. Lesser-known but just as significant was the donation of the Mary Andrews Ladd collection of Japanese prints to the Portland Art Museum in 1932. Drawing on the Museum’s archives, period records, and the collection itself, this lecture will explore this transformational gift of nearly 750 Edo-period (1603–1868) woodblock prints, and expand the story of early Japanese print collecting in the United States.

The Forum offers an afternoon of illustrated talks on the history, process, and expressive qualities of aquatints. The talks expand upon WAM's exhibition "Charles Capps: Prairie Print Maker". Capps was devoted to aquatint as a print medium and celebrated for his mastery of the technique. The Print Forum speakers will explore the special abilities and contributions of Charles Capps and the Prairie Print Makers.

1:30 pm: Director's Welcome
1:40 pm: Sarah Bane, PhD candidate, University of California, dissertation on the Prairie Print Makers
2:40 pm: Reuben Saunders, print dealer and owner, Reuben Saunders Gallery, Wichita
3:30 pm: Barbara Thompson, independent art historian and granddaughter of C.A. Seward
4:30 pm: Forum Q & A discussion with audience and speakers
5 pm: Print Forum Reception, Dr. S. Jim and Darla Farha Great Hall
5:45 pm: C.A. Seward Dinner and Birthday Salute to Charles "Chili" Capps, The Muse Cafe

The afternoon Print Forum is free and open to the public. Galleries close at 5 pm.

About the Prairie Print Makers Group
The Prairie Print Makers group was formed on December 28, 1930, when 11 of the best artists in Kansas gathered in the Lindsborg studio of artist Birger Sandzén. Planning to offer affordable artwork that would appeal to collectors, the Prairie Print Makers created etchings, silkscreens, linoleum cuts, block prints, and lithographs. The group boasted 47 active members and over 100 associate members. The collective continued until 1965--creating 34 gift prints between 1931 and that year.

Leading the formation of the group was artist C.A. Seward (pictured at left). Seward settled in Wichita in 1907 and soon after established one of the few fine printing services outside of New York City, wrote a foundational text on lithography, organized low-cost traveling exhibitions, and helped to establish the Prairie Print Makers. His efforts fostered a vital arts community in Wichita with a singular goal--to bring art into everyone's life.

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

This lecture by prominent art historian and chief curator of the Fukuoka Asian Art Museum, Kuroda Raiji, draws on new research and findings from his latest exhibition Woodcut Movements in Asia 1930s–2010s to deepen the discussion on the medium across Asia.

ABOUT THE SPEAKER
Kuroda Raiji received his MA in Art History from the University of Tokyo. The exhibitions he curated at Fukuoka Art Museum (1985-99) and Fukuoka Asian Art Museum (1999- present) include Group Kyūshū-ha (1988), Neo Dada (1993), and Collective Kumo (1997); solo exhibitions of Rasheed Araeen (1993), Han Thi Pham (1997), Lee Bul (2001), Lionel Wendt (2002), and Long Chinsan [Lang Jingshan] (2011); and most recently Blaze Carved in Darkness: Woodcut Movements in Asia 1930s-2010s (2018). He was the lead curator of The Fukuoka Asian Art Triennale in 1999-2014. He is the author of Behind the Globalism: Sketches on Asian Contemporary Art 2009-2014 [Owarinaki kindai: Ajia bijutsu wo aruku 2009-2014] (Tokyo: grambooks, 2014).

ABOUT THE SYMPOSIUM
What is the strength in numbers? How does personal inquiry culminate in a gathering of energy, voices and ideas? This symposium charts the evolution of artistic collectivism in Asia and its impact on the course of art and cultural history. Prominent historians, curators and art practitioners examine how unique modes of collaboration have facilitated the exchange and archival of knowledge and catalyzed social change in the region and beyond.

This event is held in conjunction with the exhibition Awakenings: Art in Society in Asia 1960s-1990s. This exhibition investigates how experimental artists acted as catalysts for change during some of Asia’s most turbulent decades. It spotlights artistic responses to major global events such as the Cold War, and explores how artists challenged political, social and artistic conventions.

The enduring power of Rembrandt’s art resonates especially strongly in Southern California, home to the third-largest collection of Rembrandt’s paintings in the United States, as well as substantial holdings of drawings and prints. On the occasion of the 350th anniversary of his death, in 1669, local curators will discuss Rembrandt’s versatility and impact in three different media: drawings, paintings, and prints. Getty curator Stephanie Schrader offers insight into Rembrandt’s drawings and his keen interest in the cosmopolitan world around him: from the local Dutch landscape to the splendid clothing, jewelry, and weapons of the Mughal emperors; Getty curator Anne Woollett probes the secrets and celebrity of the painting Rembrandt Laughing, the most recent addition to the regional collection; and Cynthia Burlingham, deputy director of curatorial affairs at the Hammer Museum, together with Jacob Samuel, contemporary master etcher and UCLA faculty, deliberate Rembrandt as an inspirational model for today’s printmakers.

This talk is co-presented with the Consulate General of the Netherlands, who will host a reception following the talk.

Free | Advance ticket required

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

Artist printmaker Carlos Barberena will discuss his development as a self-taught artist as well as his involvement with a number of artist collectives and studio workshops, including Instituto Gráfico de Chicago. Barberena's print, Mater Dolorosa, is featured in MOLAA’s current exhibition, Gráfica América and depicts the mother Álvaro Conrado, a student killed at a protest against Nicaragua’s repressive government. A printmaking demonstration and opportunity to create a print with the artist will follow the presentation.

Barberena is a Nicaraguan-American printmaker currently based out of Chicago, Illinois. He is founder of Bandolero Press, La Calaca Press, and co-founder and member of Instituto Gráfico de Chicago. His works examine the effects of historic and contemporary political events throughout the Americas, particularly on his homeland of Nicaragua.

Members free; non-members free with paid museum admission

Eneida Sanches, Indigo Arts Alliance Artist-in-Residence, began her studies in arts at the Art School of Bahia at the age of six. She studied architecture from 1980 to 1990 and simultaneously along with the course of Fine Arts at the Fine Arts of the Federal University of Bahia, Brazil.

She has research on African and Afro-Brazilian aesthetics since 1990 and studies calcography (prints from etching) at the Museum of Modern Art workshops in Bahia from 1995 to 2000. She exhibits from 1992 to 2000 in Museums and Galleries in Brazil and the United States with tools of liturgical use of the Yoruba candomblé showing works related to the theme of the Transe and expands the language of the prints into objects and installations.

In 2007, she was awarded the XXIV Salon of the Bahia Museum of Modern Art MAM-Ba and took part in the Frie Academie, Den Haag, The Netherlands.

As of 2011, she brings together printing and video-installation through the series Transe – Displacement of Dimensions in a collaborative work with photographer and video maker Tracy Collins (NY).

In 2013 she has his work published in the Magazine of Contemporary Art N / Paradoxa (Bisi Silva) and exhibits installation Transe (video installation) at the Festival Video Brasil 2013 – SP. In 2014 she was selected for a 3-month art residency at NAFASI Artspace in Dar Es Salaam, Tanzania. She was also nominated to the most important prize in the country, PIPA Prize. In 2016 she presents his work at Itau Cultural SP in the collective Diálogos Ausentes curated by Rosana Paulino and Diane Lima.

In 2017 she moved his studio to Sao Paulo where she works and lives. She participates in the Gaia Biennial in Portugal. In 2018, she is part of the PretAtitudes collective exhibition at SESC Ribeirao Preto, curated by Claudinei Silva. She presents her first solo show at Galeria Andrea Rehder, Sao Paulo and has her artwork published in the Contemporary And (C&) Berlin-based magazine.

This lecture is organized by Maine College of Art's Master of Fine Arts in Studio Art program, which brings together a national and international roster of visiting artists, curators, and scholars to participate in the MFA Summer Intensive in Portland, Maine. In addition to critiques and studio visits with graduate candidates, visiting artists deliver a talk that is free and open to the public.

Visiting Artist lectures are held in Osher Hall and begin at 5:30pm

Artist Henri de Toulouse-Lautrec and performer Aristide Bruant were among the best image-makers in Paris in the 1890s. Bruant’s clever self-fashioning and Lautrec’s brilliant artistic abilities were perfectly suited to the medium of the color poster, together producing some of the most revolutionary and iconic images of the time. Mary Weaver Chapin explores the role of the poster in the nascent celebrity culture, focusing on the remarkable partnership between Lautrec and Bruant while also considering the broader climate of entertainment and promotion in fin-de-siècle Paris.

Join us for this special public program in conjunction with our Paper Vault exhibition "Copies, Fakes, and Reproductions: Printmaking in the Renaissance." Andrew Raftery will discuss the ways in which copying a print reveals an enormous amount of specific information, albeit often hidden to plain sight.

Printmaker, engraver, sculptor, and publisher, Leonard Baskin (1922 – 2000) imbued his work with his love of literature, mythology, and notions of human mortality. In connection with the exhibition A Passionate Muse: The Art of Leonard Baskin, exhibition curator William Breazeale will be joined by the artist’s son, Hosea Baskin, a noted rare-book collector and dealer to discuss Baskin – who collaborated with writers such as Ted Hughes and James Baldwin – and the intersection of art and literature.

About the Exhibition: A Passionate Muse: The Art of Leonard Baskin
Sculptor, printmaker, and illustrator, Leonard Baskin (1922-2000) was well known for his spirited visual fantasy and storytelling. He also cast his eye on the modern world, with sometimes-biting commentary on the ills of society, woven into religious or mythological scenes. This exhibition focuses on his independent prints, many of them monumental, that examine his often cynical, often hopeful view of human nature.

A panel with Leslie Diuguid of Du-Good Press, Erik Hougen of Lower East Side Printshop, and Anna Hoberman of Afternoon Editions. Moderated by artist, Adjunct Associate Professor of Fine Arts, and organizer of Pratt Institute Editions Grayson Cox, this conversation will explore how printmakers continue their practice after leaving their school's facilities, how to establish a printshop, and other avenues for working in the field.

This event is part of the public programming for IPCNY's spring exhibition Pulled In Brooklyn, taking place at Pratt Institute Library, 3rd floor, Alumni Reading Room, 200 Willoughby Avenue, Brooklyn, NY.

This event is free, open to the public, and wheelchair accessible.

Please visit the 'External Link' below for more information and to RSVP on Eventbrite.