Syracuse-based artist Mark Mulroney returns to Tamarind for his second artist residency this summer. His humorous and incisive cultural commentary plays out in obsessive and nostalgic drawing, traversing every possible American preoccupation.

Painter-printmaker Nancy Friese continues the plein-air landscape tradition. Friese began her tenure at Rhode Island School of Design (RISD) in 1990 as the head of printmaking. In addition to teaching, she spends her time between her home-base in Providence and a family farm in North Dakota, painting and drawing familiar forests, meadows, and river banks. Her fascination with landscape has taken her to Giverny to paint Monet's gardens, and to Japan to study formal gardens. At Tamarind, she will expand her landscape arsenal to include the high desert of New Mexico.

Los Angeles-based artist Aaron Noble returns to Tamarind this summer to collaborate in the workshop, having been on site earlier to create a temporary mural on Tamarind's Central Ave facade. As the cofounder of the Clarion Alley Mural Project in San Francisco, Noble is widely known as a mural painter, but he's also an accomplished printmaker. His references draw upon a broad swath of art history and comic books, ranging from William Blake to Marvel comics, bringing animated and futuristic imagery to his works on paper and wall murals.

Washington DC-based artist Linn Meyers returns to Tamarind for her third artist residency. Her work is rooted in drawing, and her large-scale wall murals and more intimate works on paper all explore the unique and imperfect quality of the hand-drawn line.

Given by Catherine Scallen, Andrew W. Mellon Associate Professor in the Humanities and Associate Professor of Art History at Case Western Reserve University, this lecture is part of the special programming planned in conjunction with the exhibition "Lines of Inquiry: Learning from Rembrandt's Etchings" at the Allen Memorial Art Museum in Oberlin, Ohio. Rembrandt was a printmaker and painter of the 17th century, but his choice of subjects and thematic presentation allied him more with earlier Renaissance art. Scallen examines this retrospective side of Rembrandt’s art and offers possible motivations—centering on his personal ambition as an artist. The program will be followed by a reception; galleries remain open until 7:30 p.m.

Join British Museum curators in this one-day study day discussing historical and modern ceramics that have political and other messages, which have been inspired by prints and printmaking.

Since the introduction of paper and woodblock printing in China around AD 600, through to the invention of woodcuts printed on paper and the printing press in Germany in the 15th century, the print medium has been used around the world to disseminate ideas and knowledge. Ceramic artists across time and cultures have adapted these graphic sources as painted or transfer-printed images applied onto glazed or unglazed surfaces to express issues including piety, propaganda, self-promotion, gender, national and regional identities.

This study day is open to all, and will draw on the over 500,000 records catalogued by the Prints and Drawing department, which can be searched on the British Museum’s collection online.

The genesis of Prince Eugene of Savoy’s outstanding collection of prints has hardly been researched so far. One of its most prized holdings, particularly coveted by the Prince, is an extensive Raphael oeuvre (today in the Albertina), consisting of seven large folio volumes that contain the prints after Raphael by contemporary and later engravers. Like the bulk of the collection, the Raphael oeuvre had been assembled and catalogued in 1717/18 by the Parisian bookseller, publisher and print dealer Jean Mariette in cooperation with his now more famous son Pierre-Jean Mariette. The lecture by Antoinette Friedenthal - who is currently preparing an annotated edition of the correspondence between Jean Mariette and Pierre-Jean Mariette, 1717-1719 - will explore this important chapter in the history of connoisseurship.

Final lecture in the Graduate Research Seminar Series: 'Art and the Senses' (Cambridge, January - March 2018)

History of Art Graduate Centre
4a Trumpington Street, CB2 1QA Cambridge (UK)
Refreshments provided, all welcome

The work of art is more than a visual object. It has surface, texture that can be touched, and emits or evokes sounds, smells and tastes. Recently, academic studies on the Senses have flourished, especially in the context of the material approach to visual studies; meanwhile, museums and art institutions have been considering new ways to augment visitor experience through the Senses, and better engage with visitors who have sensory impairments; and in contemporary art, performance, video and sound can incorporate more than one Sense at a time, and calls into question the primacy of the visual. This Graduate Seminar Series, 'Art and the Senses', seeks to appreciate the roles of the Senses in visual culture, explore the Senses’ problematic and pleasurable qualities, and ultimately offer participants the opportunity to engage with their own Senses.

Join Kemper Curator Meredith Fluke and Simon Grote, Assistant Professor of History at Wellesley College for a discussion of Martin Luther, the Reformation, and the books and prints that were both a result of and an agent for the historical changes of the 16th century.

Friday, October 27, 2017 at 5:30 PM
River Pavilion Program Space, Javits Center

Everything you need to know to move “beyond contemporary” and forge a connection with the expressive force of fine art created before our time.

Panelists include: Dr. Victoria Sancho Lobis, Print Trust Curator at the Art Institute of Chicago, collector David Baum and Armin Kunz, Owner, C.G. Boerner. Moderated by Dr. Rhoda Eitel-Porter, Editor, Print Quarterly. Complimentary wine and tour of Old Masters at the Fair immediately following. Organized with the Association of Print Scholars.