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.

Camille Pissarro et Edgar Degas ont inventé l’estampe impressionniste. C’est à l’aube des années 1860 que Pissarro grave ses premières eaux fortes. En 1873, à l’initiative de Dr. Gachet, il renoue avec la gravure en compagnie de Guillaumin et de Cézanne. Puis à partir de 1879, Degas l’initie aux encrages en couleurs. Dès lors, par la multiplication des états d’un même motif, Pissarro va faire de la gravure un outil d’expérimentation. Cette possibilité constitue une découverte qui le prépare alors à ses célèbres séries urbaines et portuaires. Il nomme ses gravures des "Impressions gravées". Avec son oeuvre gravé, Pissarro prend place dans le cercle très fermé des plus grands peintres graveurs de tous les temps aux côtés de Rembrandt, Goya, Degas et Picasso.

Cette exposition bénéficie du prêt d’une quarantaine de gravures de la Bibliothèque Nationale et de précieux monotypes du Musée d’Art Moderne André Malraux du Havre et du Musée Faure d’Aix-les-Bains. Elle constitue la plus importante exposition dédiée à ce domaine de son oeuvre, réalisée en France depuis des décennies.

Par ailleurs, le Musée Camille Pissarro de Pontoise, réaménagé et agrandi par de nouvelles salles d’exposition, permettra au public de découvrir une exposition permanente consacrée à Camille Pissarro et aux paysagistes impressionnistes et postimpressionnistes du département.

Ainsi vous pourrez apprécier l’ensemble de ses collections enrichies d’oeuvres empruntées pour l’occasion, soit près de cent-trente peintures, gouaches ou œuvres graphiques de Camille Pissarro et de ses fils, Lucien Pissarro, Georges Manzana-Pissarro, Ludovic-Rodo Pissarro et Félix Pissarro, et de Paul Signac, Ludovic Piette, Louis Hayet, Gustave Caillebotte, Gustave Loiseau, Armand Guillaumin, Édouard Béliard, William Thornley, Octave Linet, Luis Jimenez, Émilio Sanchez-Perrier ou encore Émilio Boggio…

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.

Alexander Nagel, "The Tenses of Drawing"
Steffani Jemison, "Plant You Now, Dig You Later"
Katie Anania, "'Like a Glowing Worm': Carolee Schneemann, Leo Steinberg, and Pontormo"
Lorenzo Clayton and Timothy Corbett, "Preparations for the Divine: Sketching Practice as Moving Meditation"
Brett Littman, "How Does The Drawing Center Make History Present?"
Nova Benway (Panel Moderator)

How does looking at a drawing—an inherently portable art object—change the way we experience time and history? Which histories endure and which are lost? This theory-and-practice symposium will feature artists and art historians who are engaging with Old Master drawings and prints in innovative ways, using their portability as a model for re-thinking history. Speakers include Steffani Jemison, visual artist; Alexander Nagel, Director of Graduate Studies and Professor of Fine Arts, New York University; Lorenzo Clayton, professor emeritus of printmaking at The Cooper Union; Timothy Corbett, designer; Brett Littman, Executive Director of The Drawing Center; and Katie Anania, postdoctoral fellow, the Morgan Drawing Institute.

Following the presentations, Nova Benway, Assistant Curator at The Drawing Center, will moderate a panel discussion with the speakers.

Tickets: Free admission, online reservations requested

Five LABA-BA fellows together with the Argentinean faculty will travel for the first time to NYC to meet the NYC based LABA fellows. They will present two simultaneous exhibitions: one hosted by Repair The World Brooklyn, and the second one at the 14th St Y Gallery. LABA-BA will offer talks open to the public as to permit the artists - fellows to interact with the local scene, and collaborate with Repair the World, a non-profit organization that mobilizes people to volunteer and serve in their local community. LABA NY and LABA BA are laboratories for Jewish Culture that use classic Jewish texts to inspire the creation of art, dialogue and study.
Part of LABA is the House of Study, an artist fellowship program for which around 10 culture-makers, a mix of visual artists, writers, dancers, musicians, actors and others, are brought together to study classic Jewish texts in a non-religious, open-minded setting. The fellows use the study to inspire work which is featured in galleries and in series of LABAlive events and performances. Every year LABA focuses its study around a theme. Previous themes include Paradise, Eros, Blueprint, Eat, Mother, Time and Beauty. This year’s theme is OTHER.

LABA BA and LABA NY will study together in NY. Artists will offer guided tours during the exhibitions.

"Coveting Nature" explores the ways in which botanists and entomologists worked in tandem with artists and illustrators to record and disseminate knowledge in the early modern period (1500-1800). Natural history owes much to the tradition of assembling cabinets of curiosity in which natural specimens were collected alongside objects with geological, ethnographic, and artistic significance. In this period, the refinement of printed images revolutionized the observational sciences. Increasingly sophisticated woodcuts and eventually engravings, which could be augmented with hand coloring, largely superseded hand-drawn images, more crude woodcuts, and verbal descriptions in scientific publications, while also appealing to artists and art lovers. These refined images were made by professional printmakers as well as by author-illustrators that engraved the plates for their own publications. “Coveting Nature” will also explore the early and significant contributions of female artists and naturalists, such as Maria Sibylla Merian (1647–1717), Anna Ruysch (1666-1754), and Elizabeth Blackwell (1707-1758), and their enduring legacy.

Co-curated by Maureen Warren, KAM curator of European and American art
and Anna Chen, curator at the Rare Book & Manuscript Library, University of Illinois Urbana-Champaign

This exhibition marks the tenth anniversary of the biennial Map(ing) — Multiple Artists Printing (Indigenous and Native Geographies) — project and includes 28 prints created by Native American and Indigenous artists who work collaboratively with graduate students from Arizona State University’s School of Art printmaking program. Together the artists and students create limited-edition prints by using the uniqueness of the medium as a vehicle for visual communication, sharing their culture, place, language and identity. The artists come from traditional and non-traditional artmaking perspectives and work with a range of media including painting, sculpture, weaving, beadwork and ceramics. During the collaborative printmaking experience, conversation flourishes between the artists and the students.

All of the works are in ASU Art Museum’s collection. Map(ing) was founded by Mary Hood, project director and associate professor in the School of Art. Hood is an internationally known printmaker, and a selection of her etchings are included in this exhibition.

Map(ing) is part of ASU Art Museum’s Spotlight series, bringing attention to innovative projects in the arts and design by ASU Herberger Institute for Design and the Arts faculty and students.

Supported by an NEA ArtWorks grant, ASU School of Art, ASU Herberger Institute for Design and the Arts and the Evelyn Smith Exhibition Fund at ASU Art Museum.

If you would like to bring your class or group to see an exhibition or collection, and/or meet with a curator, please contact Andrea Feller, Curator of Education at andrea.feller@asu.edu.

ASU Art Museum Hours:
Open Tuesday–Saturday 11 a.m.–5 p.m.
Thursday 11 a.m.–8 p.m. during academic semesters
Closed Sunday, Monday and university holidays

The new issue of Celebrating Print magazine, Print and Space as One, explores printmaking as an art discipline that provides opportunities for intimate sensorial interplays as well as for orchestrated performances. Contributing art historians, curators and artists expand upon notions of print in relation to space by examining processual endeavors (Darko Glavan: Fortuity of Making and Print Tradition in Josip Butkovic’s Practice); investigating the kinetics of a crowd in flux (Katerina Kyselica: Jan Mericka’s Screen Printed Transcriptions of Human Motion); challenging the physical border that divides the front and back of a print (Mario Causic: Print and Space as an Enduring Challenge in Three Rooms); balancing precarious actions across the boundary between illusion and materiality (Eva Nikolova: 21 Fragments of Yesterday and Tomorrow); and discovering a parallel expression in printmaking techniques (Katerina Kyselica: For Dusan Kallay, Everything Relates to Everything Else).

Spotlight, a category showcasing an artist’s work from a private or public collection (Emily O’Leary: Vincent Hloznik’s Dreams), premiers in this edition. An essay that lays a claim to the artist’s book’s omnipresence in contemporary art is also included (Dorota Folga-Januszewska: A Subconscious Key to Ordering the World: The Artist’s Book in Poland).

Celebrating Print Volume 3 Number 1 can be purchased as an individual issue or via online subscription at www.celebratingprint.com.

If you would like to support our mission, please consider subscribing.

Celebrating Print is a full-color, biannual publication about fine art print and printmaking practice in Central and Eastern Europe. Curators, scholars and printmaking educators contribute articles, essays and interviews that profile modern and contemporary print across the region. Celebrating Print was founded as an information platform for collectors, scholars and print enthusiasts to navigate the culture of Central and Eastern European print as well as discover works by present-day creators that reflect the region’s rich tradition. Launched in 2015, the magazine is published in October and April in both print and digital format.