Organized by the Hallie Ford Museum of Art in partnership with the Crow’s Shadow Institute of the Arts (CSIA), the exhibition chronicles the history of Crow’s Shadow over the past 25 years as it has emerged as an important printmaking atelier located on the Confederated Tribes of the Umatilla Indian Reservation near Pendleton, Oregon.

The exhibition features 74 prints drawn from the Crow’s Shadow Print Archive and focuses on themes of landscape, abstraction, portraiture, word and images, and media and process. Included in the exhibition are works by 50 Native and non-Native artists who have worked at CSIA, including Rick Bartow, Pat Boas, Joe Feddersen, Edgar Heap of Birds, James Lavadour, Truman Lowe, Lillian Pitt, Wendy Red Star, Storm Tharp, and Marie Watt, among others.

The CSIA was founded by Oregon painter and printmaker James Lavadour (Walla Walla), who envisioned a traditional arts studio focused on printmaking.

Art historian Prudence Roberts says of Lavadour, "He wanted to contribute to the Tribes’ new sense of direction and self-sufficiency, and also to give emerging artists opportunities and a sense of community that had eluded him as he taught himself his craft."

Today, CSIA is perhaps the only professional printmaking studio located on a reservation community in the United States. Since opening in 1992, it has emerged as one of the most important printmaking studio in the country, bringing together Native and non-Native artists from around the world to make prints under the guidance and direction of master printmaker Frank Janzen. Prints produced at Crow's Shadow can be found in some of the foremost public and private collections in the United States and have been included in exhibitions around the world.

In addition to the prints on display, a full-color hard cover book accompanies the exhibition with essays by Prudence Roberts on the history of Crow’s Shadow and heather ahtone and Rebecca Dobkins on the history of indigenous printmaking in North America. The book retails for $34.95.

Once the exhibition closes in Salem, it will travel to the Whatcom Museum in Bellingham, Washington during the summer of 2018 and the Jordan Schnitzer Museum of Art at Washington State University in Pullman that fall.

Taught in both academic institutions and community education centers, printmaking has long held a prominent place in South African modern and contemporary art. Life on Paper: Contemporary Prints from South Africa investigates the existential questions raised by diverse artists in drypoints, lithographs, screenprints, woodcuts, and more. The exhibition honors recent gifts to the collection by the Artist Proof Studio (Johannesburg) and Dr. Pamela Allara, Brandeis University Associate Professor Emerita of Contemporary Art. Curated by Amanda Gilvin, Assistant Curator, and presented with generous support from the Constance Rhind Robey ‘81 Fund for Museum Exhibitions.

**Also on view "Martin Luther: Protest in Print" (September 19 - December 17, 2017).

Please join us to examine and discuss large-scale prints

Discussants:
Nancy Bialler, Independent Scholar
Jamie Gabbarelli, Postdoctoral Curatorial Fellow, National Gallery of Art
Rena M. Hoisington, Senior Curator, The Baltimore Museum of Art
Rachel Mustalish, Conservator, The Metropolitan Museum of Art
Freyda Spira, Associate Curator, The Metropolitan Museum of Art
Naoko Takahatake, Associate Curator, Los Angeles County Museum of Art

RSVP by October 18, 2017 via email to jillian.pfifferling@metmuseum.org

The conference Visual Design: The Periodical Page as a Designed Surface is concerned with the visual design of the Journal, taken to mean the whole spectrum of periodical print publications, including amongst others newspapers and magazines. Interest is thus focused on the periodical page (or double-page spread) as a visible printed surface on which words and images appear in a designed context. The premise is that the written and pictorial content of the periodical are not realized in abstraction (as disembodied and placeless), but remain tied to the materiality of the periodical, which provides for a two-dimensional and sequential arrangement of diverse visual elements.

Thursday, Nov 23

Panel 1: Technik- und Layoutgeschichte | History of technology and layout

Panel 2: Rezeptionskulturen: Journalgestaltung und Publika | Cultures of reception: design and audiences


Friday | Friday, Nov 24

Panel 3: Typographische Strategien | Typographic strategies

Panel 4: Medienformatwechsel: zwischen Buch und Journal | Change of media formats: between book and journal

Panel 5: Stofflichkeit, Räumlichkeit, Handhabung der Seite | Materiality of the page


Saturday, Nov 25

Panel 6: Ideologische Formatierungen | Ideological implications of formatting

Until the modern era, printmaking was largely considered a male-dominated pursuit, due in part to the technological requirements of making prints and the social restrictions placed on women. By the 20th century, however, significant numbers of women had established themselves professionally in the medium. As part of celebrations for the AMAM’s centennial, this exhibition presents prints made by women artists during the museum’s first 100 years. Prints by major artists working in a variety of techniques and styles—including Expressionism, Surrealism, Abstract Expressionism, and Minimalism—address issues of history, identity, social justice, and creativity.

The exhibition was curated by Andaleeb Badiee Banta, curator of European and American art, with the assistance of Claire Rasmussen (OC ’19) and Kylie Fisher, summer 2017 IFPDA Foundation curatorial intern.

International Print Center New York (IPCNY) is pleased to present Russian Revolution: A Contested Legacy. Commemorating the centennial of the 1917 Russian Revolution, this scholarly exhibition looks beyond the canon of the Russian avant-garde to focus on three avenues of individual freedoms sought by the fledgling socialist society: the equality and emancipation of women; internationalism, including racial equality and the rights of ethnic minorities in Russia, especially Jews; and sexual and gay liberation. By placing a selection of historical printed works by key Russian avant-garde artists of the 1920s and 1930s in dialogue with contemporary works by Russian-born, New York-based artists Yevgeniy Fiks and Anton Ginzburg, the exhibition evaluates these often-obscured goals of the Revolution and addresses their continued urgency today – in Russia, the United States, and elsewhere. The contemporary works on view prioritize the agency of Russian-born people to speak about Soviet history as personal history, and to address the Revolution’s legacy in all its complexity.

The exhibition will be accompanied by an extensive brochure designed by Anton Ginzburg and published by IPCNY, featuring an essay by curator Masha Chlenova, as well as an illustrated chronology by Chlenova and Yevgeniy Fiks and a bibliography providing further historical context for the material on view.

In-depth public programming will coincide with New York Print Week and continue throughout the fall season. These will include workshops and performances by Yevgeniy Fiks, and an academic conference bringing together scholars of Soviet modernism to discuss the three themes detailed above.

Regal courtiers, lively townspeople, tragic heroines, and virtuous deities, are presented in exquisite form in this exhibition featuring figures in Japanese art. Styled with Poise: Figures in Japanese Paintings and Prints displays art from the Edo period (1603–1868), when a wide range of painting styles and significant developments in woodblock printmaking made visual art accessible to many in Japan. Figures in hanging scrolls and screens helped adorn residences, especially in the larger metropolitan areas such as in Kyoto, Osaka, and Edo (current-day Tokyo), during a time when interior decorations were still sparse. While religious scrolls with important Buddhist figures for worship such as Amida Buddha and other bodhisattva, hung in temple halls, depictions of people engaged in daily activities, and other popular subjects were enjoyed in the homes of wealthier townsmen. Historical figures were often heralded as upholding the ideals of the past and even ghosts – or figures who met unfortunate or untimely deaths – came to be depicted in painted form.

Woodblock print production reached its zenith by around 1900 in terms of both artistry and production. Prints delighted the commoners since they could acquire a memento of their travels, a portrait of a favorite kabuki actor, or perhaps a portrait of a beautiful woman. Just as we gaze at celebrities in magazines and posters, the residents of Edo could do the same with their woodblock prints of kabuki actors. Woodblock prints were produced by a collaborative process between a publisher, artist, woodcutter, and printer during the Edo period and into the Meiji era (1868-1912). They were discovered in the West as early as the late nineteenth century in France, when they were found as packing materials for tea from China and Japan. They continue to be popular items for collectors today.

This exhibition draws together a variety of paintings and printed works to explore these many types of figures and figural representation in Japanese art, and will feature unique works from the Minneapolis Institute of Art, and from private collections in Boston and Dallas.

Styled with Poise: Figures in Japanese Paintings and Prints will be on view from July 8, 2017-January 7, 2018 in Gallery I.

Near the Cultural Center of “Santa Maria della Pietà” of Cremona, Italy, from September 24th to October 29th 2017, will be held the 9th International Engraving Exhibition – Cremona 2017. The Biennial, exclusively to invitation, curated by Vladimiro Elvieri, assisted by an International Scientific Committee, is organized by the INCISIONE SENZA CONFINI Association with the collaboration, the patronage, and the financial support of the Municipality of Cremona, with the patronage of the Ministry of Culture, the patronage and collaboration of the Prism Print International London, AIE (Italian Ex libris Association), Liceo Musicale “R. Malipiero” of Varese, Michelle Champetier Gallery, Cannes, and the contribution of private sponsor.

Exhibitions:
1 -MASTERS OF THE TWENTIETH CENTURY: Pablo Picasso, Marc Chagall, Joan Miró, Stanley William Hayter, Zoran Music, Antoni Clavé, Antoni Tàpies
A historical section that presents forty works by some of the greatest exponents of the art history of the ‘900, coming from important private collections of Cannes (Michelle Champetier Gallery) and Paris (Denise Frélaut, director of the famous Atelier Lacourière-Frélaut in Montmartre).

2 -THE SECRET GESTURE
Reserved to the most important Italian and foreign contemporary artists who are distinguished for the quality of their art graphics research. Forty prints of medium and large format, in which the engraved sign becomes a communicative gesture.

Artists (22): Alberto Balletti (Italy) – Derek M. Besant (Canada) – Alicia Candiani (Argentina) – Shu-Lin Chen (Taiwan) – Agnieszka Cieslinska-Kowecka (Poland) – Manfred Egger (Austria) – Egide (France) – Philipp Hennevogl (Germany) – Kamil Kocurek (Poland) – Silvana Martignoni (Italy) – Barbara Martini (Italy) – Rob Mazurek (USA) – Jim Monson (USA) – Herman Noordermeer (Netherlands) – Endi Poskovic (USA) – Anna Romanello (Italy) – Hector Saunier (France/Argentina) – Mario Scarpati (Italy) – Yun Jung Seo (S. Korea) – Alan Sundberg (USA/Germany) + Armando Martini (Italy) – Marco Trentin (Italy) – Minjie Zhang (Cina).

3 -PRISM 8 “Connections”
Seventy works created with various graphic techniques by 36 artists members of the Prism Print International of London, coming from seven countries (United Kingdom, Japan, Italy, Poland, Netherlands, China, S. Korea,). Itinerary show in Europe and Asia.

Prism artists (36): Pauline Aitken – Susan Aldworth - Marcin Bialas – Ian Brown – Trevor Banthorpe – Claudia De Grandi – Dolores De Sade – Vladimiro Elvieri – Yolanda Eveleens – Jin Hirosawa – Toshihiko Ikeda – Rebecca Jewell – Stanley Jones – Yuichi Kashima – Masahiro Kawara – Shizuko Kiyohara – Hideki Kondo – Tomasz M. Kukawski –Masataka Kuroyanagi – Sophie Layton – Nao Masuda – Norman McBeath – Tsutomu Morita – Hisaharu Motoda – Tetsuya Noda – Nigel Oxley – Ritsuko Ozeki – Jae Young Park – Sumi Perera – Joanna Piech – Jurjen Ravenhorst – John Read – Arianna Tagliabue – Ryoko Tanaka – Maria Chiara Toni – Jian Zhou.

4 –EX-LIBRIS CLAUDIO MONTEVERDI
A significant collection of ex-libris and small graphic of Italian and foreign authors, dedicated to the figure and work of the great composer and musician from Cremona, in the 450th anniversary of the birth (1567). Exhibition in collaboration with AIE-Associazione Italiana Ex-Libris and Liceo Musicale “R. Malipiero” of Varese.

Edgar Degas’s famous painting In a Café (L’Absinthe, 1875-6), features a dissolute bearded man whom Degas modelled on his characterful friend and fellow artist Marcellin Desboutin (1832-1902). Both men shared a passion for printmaking and this exhibition explores the Museum’s rare collection of Desboutin’s sensitively executed prints in drypoint. Depicting friends and associates, many of whom frequented the Parisian cafés and salons, Desboutin’s portraits – some drawn from life, others from photographs – capture the likenesses of influential artists, writers, critics, musicians and socialites as well as children, his own family and the bohemian figure of the artist himself.

This exhibition is showing in conjunction with the major exhibition Degas: a passion for perfection (03 October 2017 - 14 January 2018) and the accompanying show Degas, Caricature and Modernity: Daumier, Gavarni, Keene (12 September 2017 - 4 Jan 2018).

Crawford Alexander Mann III has joined the curatorial staff at the Smithsonian American Art Museum as the curator of prints and drawings. He began work April 3. Mann joins 12 curators currently on staff for contemporary art, photography, sculpture, contemporary craft, folk and self-taught art, Latino art, 19th-century painting, a chief curator who specializes in 20th-century art and a curator of contemporary interpretation.

Mann’s responsibilities include research, exhibitions and acquisitions related to the museum’s collection of prints, drawings and watercolors dating from the 18th century to the present. His research interests include Italian American artistic exchange on the Grand Tour, artists of the American South, the impact of East Asian watercolor and printmaking traditions on American art and the evolving visual constructions of masculinity, femininity and gender.

“Alex brings a global approach to American graphic arts,” said chief curator Virginia Mecklenburg. “His expertise in the relationship between American and international artistic currents, as well as the reciprocal influences among graphic arts, painting and sculpture will enrich the museum’s presentation of exceptional prints and drawings. We are delighted to welcome him.”

Before joining the museum staff, Mann was the Joan and Macon Brock Curator of American Art at the Chrysler Museum of Art in Norfolk, Va., from 2011 to 2017. While there he curated exhibitions about Abraham Lincoln, Georgia O’Keeffe and the civil rights movement, as well as oversaw a full reinstallation of the museum’s American art galleries, which reopened in 2014.

Mann earned a bachelor’s degree in art history and religious studies from the University of North Carolina at Chapel Hill in 2002. He received a master’s degree in art history in 2003 and a master’s degree in philosophy from Yale University in 2005. He was a Terra Foundation Predoctoral Fellow in American Art at SAAM in 2008. Currently, he is a doctoral candidate at Yale University where he is completing his dissertation titled “When in Rome: Italian Travel and the Pursuit of the Ideal Male Body in Antebellum American Art.”