A selection of prints, drawings, manuscripts, and plates, from the final years of Swiss artist Martin Disler (1949-1996)'s production, as well as a selection of works from his own collection.

Katsushika Hokusai (1760–1849) is widely regarded as one of Japan’s most famous and influential artists. He produced works of astonishing quality right up until his death at the age of 90. This new exhibition will lead you on an artistic journey through the last 30 years of Hokusai’s life – a time when he produced some of his most memorable masterpieces.

Throughout the exhibition, outstanding examples of Hokusai’s work will show the artist’s creative breadth and depth. A selection of superb landscapes is introduced with the iconic Great Wave – itself part of a print series of views of Mt Fuji. Intimate domestic scenes capture fleeting moments in private lives. Exquisite depictions of flora and fauna display an innate skill in representing the natural world. The artist’s imagination is given full rein in the portrayal of supernatural creatures such as ghosts and deities. Through all of these works, explore Hokusai’s personal beliefs and gain a fascinating insight into the artist’s spiritual and artistic quest in his later years.

The exhibition will include prints, paintings and illustrated books, many of which are on loan from Japan, Europe and the USA. This is a once-in-a-lifetime opportunity to see these extraordinary works together.

The title of this study day alludes to a book published in 1983 by Éditions Autrement, Paris (Graphic production 73-83: 1000 dessins sauvages), an international overview of then recent art zines from the collection of French artist Bruno Richard. The conference is organized on the occasion of an exhibition presenting a selection from the Zentralinstitut’s collection of French figurative Graphzines and a thematically related installation by Stéphane Blanquet at the Museum Fürstenfeldbruck near Munich. Beyond the French graphic scene, speakers will deal with art zines in an international context, the typology of artist publications, as well as the practice of collecting, communicating, but also creating art zines.

Program

10:00 – 12:30 h
Off-site: Museum Fürstenfeldbruck
Visit of the exhibition Graphzines aus der Bibliothek des Zentralinstituts für Kunstgeschichte + Stéphane Blanquet: New Lung Seeded Inside
Welcome by the Museum Fürstenfeldbruck, guided tour of the exhibition and discussion with the artist Stéphane Blanquet

Lunch break in Fürstenfeldbruck

15:00 h
Zentralinstitut für Kunstgeschichte, Conference room (2nd floor)
Welcome

15:15 h
Toujours de sortie: Pascal Doury, Bruno Richard: artistes maudits?
Rüdiger Hoyer, Zentralinstitut für Kunstgeschichte

16:00 h
‘You had to pretend to be a moron’: Raymond Pettibon as Reader and Punk
Tilo Reifenstein, Manchester Metropolitan University


16:45 h Break

17:15 h
Papier meets Farbe meets Weltmodell: ein Regal mit Büchern füllen
Martin Schmidl, Akademie der bildenden Künste München


18:00 h
What’s Wrong With Us? Punk 101 – towards greater utilization of zines in an institutional collection of artists' publications

18:45 – 19:00 h Break

19:00 h
Keynote
Intégrer la culture alternative à l'histoire de l'art: l'exemple des fanzines punk
Eric de Chassey, Directeur général, Institut national d’histoire de l’art (INHA), Paris

Afterwards
Reception at the Zentralinstitut für Kunstgeschichte

Participation is free, but for organizational reasons we kindly ask for registration by e-mail for the museum tour (artzines@zikg.eu) until July 7, 2017. Entry to the museum is free for registered participants.Transport from Munich main station to Fürstenfeldbruck (25 km west of Munich) by train (S-Bahn S 4) takes ca. 30 minutes + 15 minutes walk (or 10 minutes by bus X900) to the museum.

Contact: artzines@zikg.eu

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.”

Beginning around 1850, the medium of etching gained widespread popularity among artists and collectors, a groundswell of enthusiasm and creativity that lasted nearly one hundred years. Instead of using the medium as a means to create slavish reproductions of paintings, artists exploited the unique properties of the copper plate and etching ground to create sensitive and poetic works that highlighted the artist’s hand and touch. American expatriate James Abbott McNeill Whistler stands as the leading pioneer of the international movement that would come to be known as the Etching Revival.

Drawn from the collection of the Portland Art Museum, Whistler and the Etching Revival takes a broad look at the movement and includes French, British, and American artists who found lyrical means of expression in this medium. Early French pioneers such as Charles Meryon and Félix Buhot are featured alongside masterworks made across the Channel by Whistler and his British brother-in-law Francis Seymour Haden, together with Americans John Taylor Arms and Joseph Pennell, among others.

Organized by the Portland Art Museum and curated by Mary Weaver Chapin, Ph.D. Curator of Prints and Drawings. This exhibition is supported in part by the Vivian and Gordon Gilkey Endowment for Graphic Arts and the Exhibition Series Sponsors.

This special installation features seasonal imagery in Japanese woodblock prints in celebration of the AMAM’s 2016–17 theme of “Time.” New for the spring semester are scenes of Winter and Spring by legendary masters of the Edo period (1603–1868), such as Hiroshige and Kuniyoshi, paired with 20th-century works by such artists as Kawase Hasui, Yoshida Hiroshi, and Kiyoshi Saitō.

"Picasso: Encounters" explores Pablo Picasso’s (1881–1973) interest in and experimentation with large-scale printmaking throughout his career, challenging the notion of Picasso as an artist alone with his craft. The exhibition includes important paintings on loan from the Musée national Picasso–Paris. The exhibition addresses his expansive formal vocabulary, the narrative preoccupations that drove his creative process, the often-neglected issue of the collaboration inherent in print production, and the muses that inspired him, including Fernande Olivier, Olga Khokhlova, Dora Maar, Françoise Gilot, and Jacqueline Roque.

The exhibition begins with Picasso’s seminal Self-Portrait (1901) from his Blue Period as a representation of the artist’s mythic isolation. The painting, on loan from the Musée national Picasso–Paris, is followed by thirty-five of the artist’s most important graphic achievements, ranging from the Clark’s rare impression of The Frugal Repast (1904)—Picasso’s first major statement in printmaking—to Ecce Homo, after Rembrandt (1970), executed three years before his death.

Picasso continuously mined his personal life for subject matter. The exhibition includes the captivating 1923 drypoint portrait of his first wife Olga, the playful image of his daughter Paloma (1952), and the heartrending aquatint of his embittered partner Françoise Gilot (1952).

The exhibition also explores the intertwined narrative threads of the Minotauromachia (1934), The Large Bullfight (1935), and Weeping Woman I (1937). Four Weeping Woman prints are accompanied by Portrait of Dora Maar (1937), the revered oil painting on loan from the Musée national Picasso–Paris. Maar was Picasso’s muse and served as his model for the paintings, drawings, and prints of weeping women produced in the 1930s. Picasso’s final years, during which he transformed the compositions of Old Masters from Rembrandt to Cranach to Manet, are represented by linocuts such as Portrait of a Young Girl, after Cranach the Younger, II (1958) and Luncheon on the Grass, after Manet (1968).

Picasso: Encounters is organized by the Clark Art Institute, with the exceptional support of the Musée national Picasso–Paris. Additional support for the exhibition is provided by Margaret and Richard Kronenberg and Marilyn and Ron Walter.

Organized by the Gabinete de la Sociedad de Amigos del Dibujo y la Estampa (Office of the Society of Friends of Prints and Drawings), next Friday, May 26, 2017, will be the first Open House hosted by university and museum collections of Prints and Drawings in Madrid.

For the first time lovers of the arts and any citizen can access these "chambers of wonders" to explore the rich heritage of drawings and prints which, out of concern for conservation, are not often on view to the general public.

You can admire works on paper by many of the great masters of art from the fifteenth to the twenty-first century in the study room of the collections where they are housed thanks to the meticulous and attentive work of their conservators and curators at the following participating collections:

Museo Nacional del Prado

Patrimonio Nacional

Museo Cerralbo

Museo del Romanticismo

Biblioteca Lázaro Galdiano

Museo Casa de la Moneda - FNMT

Calcografía Nacional

Museo Naval de Madrid

Museo de Arte Contemporáneo de Madrid

Museo de Historia de Madrid

Universidad Complutense Facultad de Bellas Artes de Madrid

Museo ABC de Dibujo e Ilustración

How to Register
In order to participate in the Open House, you must complete the online form available via the External Link below.

Simply select the Museum Collection that you want to visit and fill out the form before the deadline that ends on May 22nd. The telephone number and email are essential to confirm registration, because for security reasons most of the offices are located in areas restricted to the public. Attendance is limited and each collection will have to confirm your reservation in each session.

With each application all attendees will receive an invitation to GABINETE, a related art fair and conference that is being celebrated at the Royal Academy of Fine Arts of San Fernando in Madrid (May 25-28, 2017).

Please join me in welcoming our new team of APS Officers who will be acting as Subfield Content Editors. They will be an invaluable source for News, Opportunities and Scholarship from the US and abroad!

Anisha Gupta
Mellon Fellow, Paper Conservation, Fine Arts Museums of San Francisco, de Young/Legion of Honor

Olenka Horbatsch
Monument Trust Curator of Dutch, Flemish and German Prints and Drawings, Department of Prints and Drawings, The British Museum

Carlos Francisco Jackson
Visual Artist, Associate Professor & Chair of Chicana/o Studies, University of California, Davis

Kate McQuillen
Visual Artist, Chicago, IL

Laurence Schmidlin
Head of the Cabinet cantonal des estampes and Deputy Director of the Musée Jenisch Vevey, Switzerland

Yolande Trincere
Professor of Art, Molloy College, NY

James Wehn
PhD Candidate & Andrew W. Mellon Foundation Fellow, Case Western Reserve University & Cleveland Museum of Art

Die Neuen Wilden (The New Wild Ones) was an informal group of young Neo-Expressionist artists active in Germany from the mid-1970s to the early 1990s. Taking a cue from German Expressionist art of the early 20th century, Neo-Expressionism was bold, raw, brutish, spontaneous, messy, vital, emotional, sensual, antimodern, antiprogressive, and at times nihilistic, denying any meaning in life. Led by the radical German artist Georg Baselitz, Neo-Expressionists challenged Minimalism and conceptual art, which were popular at the time, rejecting the detached objectivity and intellectual pretensions of those movements.

Intentionally male-dominated, Neo-Expressionism promoted the idea of the artist as hero. It also marked a return to the human body as a subject of art and to historical and mythological imagery. Though international in scope, with centers of activity in Italy, France, and the United States, Neo-Expressionism flourished most notably in Germany.

Selected from Mia’s permanent collection, this exhibition highlights more than 30 works on paper by seven leading artists of Die Neuen Wilden.