In conjunction with the exhibition Louise Bourgeois: An Unfolding Portrait at the Museum of Modern Art, join us for a conversation between psychoanalyst Juliet Mitchell, renowned author of Psychoanalysis and Feminism, and Siri Hustvedt, a celebrated novelist and essayist whose most recent work is A Woman Looking at Men Looking at Women. Both Mitchell and Hustvedt have written on Bourgeois and bring new insights to interpreting her work. Topics will include Bourgeois’s intense engagement with psychoanalysis; the way art functioned for her; the connection between her moods, her body, and her imagery; literary dimensions of her provocative writings; and issues relating to feminism. Exhibition curator Deborah Wye, a longtime friend of the artist's and a scholar of her work, moderates.

Tickets for this program will be available beginning October 7. Tickets ($15; $10 members and Corporate members; $5 students, seniors, and staff of other museums) can be purchased online, at the information desk, or at the Education and Research Building reception desk on the day of the program.

Reception to follow

This program is made possible by the Anna Marie and Robert F. Shapiro Seminar and Lecture Endowment Fund, established by Jeanne and Bob Savitt, Kristen and A. Andrew Shapiro, and Robert F. Shapiro, Jr.

In this free lecture at the Albany Institute History & Art, Picasso | Encounters curator Jay A. Clarke investigates how Pablo Picasso’s creative collaborations fueled and strengthened his art, challenging the notion of Picasso as an artist alone with his craft. Clarke explores some of the many printers with whom Picasso worked, as well as the muses who inspired him.

Sonnenzimmer is the graphic arts studio of Nick Butcher and Nadine Nakanishi. Their collaborative practice stretches across genres such as art, design, music and performance, encompassing commissioned projects and exhibitions of their work. Through it all, their practice has remained rooted in print, yet their sights are set deeper than a mere impression. With a 10+ year investigation of the "hows" of print, they've turned their focus to the "why". In this lecture, Sonnenzimmer will discuss the Graphic Arts Future—the place where print meets digital, digital meets animal, and cognition is the ultimate substrate. “We would love for you to attend the presentation in the hopes of all of us finding a new relationship to the graphic arts.”

In the early nineteenth century, Catholic emancipation was prominent in visual, material, literary and pamphlet cultures on both sides of the Irish Channel. Never before within living memory had debates about toleration and the relationship between temporal and spiritual authority taken place on such a wide-reaching scale. By 13 April 1829 an Act of Parliament to grant Roman Catholics civil liberty was given Royal Assent, revoking centuries-old laws that had prevented non-Anglicans from holding public office following the Glorious Revolution (1688). This paper will analyse a hitherto overlooked corpus of satirical prints on the topic of Catholic relief published in Dublin in 1828-9 by the prolific Holbrooke and Son (based at 15 Anglesea Street). In the prints, the Catholic Association (which Daniel O’Connell had co-founded in Ireland in 1823 with Richard Lalor Sheil (1791-1851) to campaign for Catholic relief) is constructed negatively as an alternative government in Ireland, exerting unprecedented influence over the large number of its peasant followers in the wake of O’Connell’s by-election victory at County Clare in July 1828 which had meant he, a Roman Catholic, had been elected as a Member of Parliament. Other prints depict the resultant fears of civil war in Ireland if O’Connell was denied his Parliamentary seat. This paper will establish that the prints under consideration were published in Dublin for an audience in the city and beyond, and were informed by news at home in the metropolis, from the provinces, and in London as a result of parliamentary and extra-parliamentary activity, and that the same metropolitan elite were producing and purchasing prints in Dublin as they were in London.

In a free, public lecture William Villalongo A'99, assistant professor in the School of Art, and Mark Thomas Gibson A'02 will discuss Black Pulp!, a traveling exhibition they co-curated that examines the evolving perspectives of Black identity in American culture and history from 1912 to 1990 through rare historical printed media and contemporary art. The exhibition includes works by artists, graphic designers, and publishers in formats ranging from little known comic books to covers for historic books and magazines, to etchings, digital prints, drawings, and media-based works by some of today’s leading artists.

This event is part of "Drawing Lines: The Black American Experience," a three-part series of events at The Cooper Union.

Honoring the collection bequest from the estate of Ann Kirk Warren ’50, this program brings together George Abrams, internationally recognized collector of Old Master Dutch drawings, with Susan Schulman, specialist in museum quality old master European and American prints up to 1945, and Elizabeth Wyckoff, curator of prints, drawings, and photographs at the Saint Louis Art Museum, with Claire Whitner, assistant director of curatorial affairs and senior curator of collections at the Davis, in conversation about the pleasures, passions, and pitfalls of collecting Old Master prints and drawings.

Hercules Segers and Rembrandt, the Eccentric and the Traditionalist

Wednesday, April 26, 2017
6:00 PM in the Lecture Hall
The Institute of Fine Arts, New York University
1 East 78th Street

Please note that seating in the Lecture Hall is on a first-come, first-served basis with RSVP. There will be a simulcast in an adjacent room to accommodate overflow. Latecomers are not guaranteed a seat.

Hercules Segers and Rembrandt van Rijn were arguably the two most experimental printmakers of the early modern period. Active in The United Provinces, the center of the European print trade during the first half of the seventeenth century, both artists brought a painterly freedom to the medium, taking their work far beyond the approaches that had prevailed from the fifteenth century on. Their unbridled experimentation pushed traditional techniques to ever more expressive ends. Scholars have long been fascinated by the idea that Segers’s work must have inspired the great technical experimentation that Rembrandt brought to printmaking during the late part of his career, yet there is reason to question how much Rembrandt might have actually learned from Segers. This lecture will examine the relationship between these two kindred spirits, Segers the eccentric painter/printmaker and Rembrandt the traditionalist steeped in the history of the medium.

The Walter W.S. Cook Alumni Lecture Series was inaugurated in 1959 on the occasion of the dedication of the James B. Duke mansion, the current home of the Institute of Fine Arts. The series, which invites prominent alumni to speak in honor of Dr. Cook, is organized by the Institute's Alumni Association.

Professor of History of Art Julie Nelson Davis, University of Pennsylvania, presents a lecture on ukiyo-e (“images of the floating world”) prints, considering their subject matter, networks of production, and the historical context in which they were created.

The Parasole family included painters and printmakers who, working at the margins of fame, adapted their skills and made professional connections that engaged them in almost every new major printmaking enterprise involving illustrations in Counter-Reformation Rome, from handwriting manuals, to exegetical texts, and music printing. This talk aims to characterize the variety of their projects with a focus on the family's strong personal and professional networks, through which they participated fully in the continually changing opportunities of Roman printing and publishing.

Dr. Evelyn Lincoln is Professor of History of Art and Architecture and Professor of Italian Studies at Brown University. Her scholarship focuses on the early modern printed image and its role in the creation of artistic, literary, scientific, and religious networks. She has written widely on prints and illustrated books with a particular focus on Italy; her most recent book is »Brilliant Discourse: Pictures and Readers in Early Modern Rome« (Yale University Press, 2014).

Tamarind Institute will host multi-media artist Rashaad Newsome. Known for his provocative work in collage, painting, performance, and video, his imagery borrows from equally eclectic sources, ranging from art history, hip-hop, dance, popular culture, and critical theory. As part of his residency, he will present a talk in the Tamarind gallery, expanding on ideas of race, capitalism, and gender that are intrinsic to his opulent and layered imagery.
*seating is limited, please plan to arrive early