Drawn principally from the Getty Research Institute's collection of prints, artists' books, journals, and manuscripts documenting the international concrete poetry movement, this exhibition focuses on the visual, verbal, and sonic experiments of the 1950s, '60s, and '70s. Featuring works by foundational figures Augusto de Campos and Ian Hamilton Finlay, Concrete Poetry explores how these artists invented new forms such as cube poems and standing poems and continuously re-created their projects across media. Poetry by contemporaries including Henri Chopin, Ernst Jandl, Mary Ellen Solt, and Emmett Williams also plays a prominent role.

This exhibition introduces viewers to an ancient printing method – xylography, and shows woodcuts and wood engravings from representatives of the national schools of Latvia, Germany, the Netherlands, France, the Czech Republic and the USA, and their diverse artistic searches and styles. The most striking works from the NLL Konrāds Ubāns Art Reading Room Printing Collection will be on show at the exhibition. Free admission.

The exposition includes masterpieces form Western Europe's Gothic, Renaissance and baroque era, as well as xylography from the time of the 19th century Industrial Revolution. It also features Dutch and German Art Nouveau and Expressionist sheets, providing an opportunity for viewing examples of book illustrations, graphic art and bookplates. Xylography from the 21st century is represented by young Latvian authors – Reinis Gailītis, and Vivianna Maria Staņislavska who received the Jānis Baltvilks "Jaunaudze" Award for her illustrations for Ieva Samauskas's book "Skaļā klase" ("The Noisy Class") in 2016. The exhibition also includes Oļģerts Ābelīte's 1966 woodcut "Ziedi" ("Flowers"), which was purchased in 1968 by specialists at what was then the NLL's Small Prints, Cartographic and Graphic Documents Department's Graphic Documents Branch, and was the first work, which eventually led to the development of the collection.

The Konrads Ubāns Art Reading Room Collection is one of the largest and most important collections of prints in Latvia. It consists of about 10,000 items – works by artists and printers from different centuries hailing from Latvia, Germany, the Netherlands, Italy, France, England, Russia and the USA. Significantly, xylography is only a small part of the reading room’s graphic art collection – it also includes etchings, lithographs, screen prints and works which have been created in other graphic techniques. The most significant components of the collection are American collector, bibliophile and graphic design researcher, James Howard Fraser’s graphics collection, which was added to the NLL's collection in 2012, and German art historian and collector Peter Böttger's voluminous collection of prints and drawings, which the reading room received as a bequest in 2016.

The exhibition Woodcuts from the Age of Titan showcases around 30 exquisite prints by 16th-century Venetian artists, with an emphasis on works emulating the premier painter of his day, Titian. Masters including Domenico Campagnola and Giuseppe Scolari are also represented with important works. These woodcuts of international stature, in some cases rarities, come from the collection of the Hamburger Kunsthalle’s own Department of Prints and Drawings and are being exhibited here for the first time on this scale. The iconography of the often large-format woodcuts includes Christian themes and landscape scenes. Other motifs are the female nude, portraits and anatomical depictions.

The works of graphic art on display demonstrate the Venetians’ pronounced interest in printmaking and thus an explicit engagement with reduced colouration. The selected artworks thus expand our knowledge of the versatile practice of Venetian artists during this period, as the lagoon city, in contrast to Florence, is generally seen as a centre of European painting in which colour took precedence over line.

This exhibition brings together works published and awarded in recent years as part of the Arts Libris-Fundación Banco Sabadell Prize, in addition to other artist books belonging to the Colección de Arte Banco Sabadell and ArtsLibris Collection. The exhibition presents exemplary works representing the history of the artist's book alongside contemporary examples.

Some established artists featured include Andy Warhol, Jannis Kounellis, Lawrence Weiner, Sonia Delaunay, Equipo Crónica, Jaume Plensa, José Pedro Croft and Pablo Palazuelo. These artists are shown in dialogue with newere artists including Cristina de Middel, Sandra Gamarra and Simona Rota.

The exhibition is organized into five thematic sections: historical reference book, the artist's book, contemporary bibliophilia, the poetics of the book as object and the photo book.

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.

Perhaps one of the most recognizable artistic styles, Mannerism is a movement that emerged in European art around 1510–20 and lasted until about 1600. It manifested itself differently in Italian and in Netherlandish art but is generally characterized by a focus on densely packed compositions and the human form, in images that are deliberately challenging in both design and technique. Alluring Artifice features prints by the highly skilled and politically savvy Italian female engraver Diana Mantuana (ca. 1547–1612); the Dutch artist Hendrick Goltzius (1558–1617), who was renowned for his extraordinary virtuoso style; and numerous others, who explored what, at the time, was a unique and dynamic new style.

Glorious Years is a celebration of the power of the printed image before photography. An exhibition of rare calendars, published in Paris in the 17th and 18th centuries, from their golden period under Louis XIV, through to the Revolution, when time itself was re-invented, with new ways of illustrating and naming the days and years.

Despite their popularity, these calendars (originally named ‘almanacs’) have not survived in great numbers. They were replaced annually and were easily damaged due to their large sizes. Depicting major events, from royal weddings, and births to victorious battles and peace treaties. Designed to inform and delight the public, while glorifying the king and his image.

These rare prints can be enjoyed as works of art and as important historical documents, revealing much about the social, political and artistic world of the Old Regime.

A number of bound pocketbook almanacs are also included in the exhibition. These small volumes were extremely popular towards the end of the 18th century. They vary hugely in content but all contain a calendar within.

Some are official directories, listing members of the royal households, schedules for the post and carriage travel; others are for amusement, containing songs, poems, illustrations and even erasable paper for recording gambling gains and losses. These small pocketbooks are not dissimilar to our modern-day smart phones, perfectly suited to distract, amuse and inform.

In a time before photography, the printed image was the most effective communicator. Images were everywhere and consumed by all. The exhibition will explore the context in which these almanacs were made. And look at how these everyday prints and books were used to educate, delight, impress and express the official print programme of the court and the later revolutionary government.

Baron Ferdinand de Rothschild (1839-1898) was as fascinated by social history and printed ephemera, such as trade cards and lottery tickets, as he was by the finest English and French art of the 18th century. His collection of over 70 almanacs is unique in the UK and it is the first time some 30 of these prints will be on public display.

All the prints in the exhibition have been conservation cleaned, remounted and digitised and will be available to browse and research on the website alongside our other collections of printed ephemera, including trade cards, board games and prints from the French Revolution.

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.

Between 1905 and 1908, the German-Bohemian artists Walther Klemm and Carl Thiemann created an extensive and ambitious work in the then revived medium of color woodcut, which was attained by the German expressionists only a few years later. With unprecedentedly strong coloring and bold color combinations, with unusual perspectives and a planned overall program, Klemm and Thiemann sought to assert themselves as a modern and successful artist duo in the center of Europe. They preferably showed city views, landscapes and animals.

In contrast to works by other artists from Prague, the exhibition will also show the Prague context for the first time in Germany. In addition, she locates the rapid early work of Klemm and Thiemann in a broader context of art history. These include the great Japanese and European predecessors as well as the work of his colleagues in Vienna.

The Kunstforum Ostdeutsche Galerie Regensburg is the first stop of the exhibition, which goes back to an idea of ​​the National Gallery in Prague and was conceived jointly with it. At the same time, the Kunstmuseum Spendhaus in Reutlingen shows the show "Inspired by Japan. Martha Cunz and the Farbholzschnitt um 1900 "(1 April to 18 June 2017), which is dedicated to the Kunstzentrum München and was conceived in cooperation with the Historisches und Völkerkundemuseum St. Gallen.

For over fifty years, Frank Stella (Phillips Academy Class of 1954) has created a significant body of abstract art comprised of paintings, reliefs, sculptures, drawings, and prints. Frank Stella Prints details the artist’s remarkable career as a printmaker. It presents over 100 prints that make apparent how his highly experimental endeavors have redefined the traditional print. The exhibition also offers a clear view of Stella’s stylistic evolution—a series of reinventions from the minimalist geometric abstraction of the early years to the baroque exuberance of the later gestural work. Frank Stella Prints is the artist’s first major print retrospective since 1982.

Frank Stella Prints is organized by the Madison Museum of Contemporary Art and curated by Richard H. Axsom. Support for the exhibition and related educational and outreach programs has been made possible by a grant from the Jordan Schnitzer Family Foundation.