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National Gallery of Australia, Canberra,
Canberra,
Australia.
11/19/2016 -
07/31/2017.
Exhibiting artist(s): Frank Stella, Kenneth Tyler.
The National Gallery of Australia is presenting an exhibition of works made by the major American abstract artist Frank Stella in collaboration with master printmaker Kenneth Tyler. Tracing their long history of groundbreaking prints, "Frank Stella: . . .
The Kenneth Tyler Print Collection" showcases works created by the duo, who contributed significantly to the major developments of twentieth-century printmaking.
Clark Art Museum ,
Williamstown,
MA, United States.
12/10/2016 -
04/02/2017.
"Japanese Impressions" is the first exhibition at the Clark to focus on the Institute’s permanent collection of Japanese prints. The exhibition spans more than a century of Japanese color woodblock printing as represented by three generations of arti. . .
sts who produced prints from the 1830s to the 1970s.
The exhibition features selections from a foundational gift made in 2014 of sixty-three woodblock prints from the Rodbell Family Collection in addition to loans from two private collections.
Sworders are to launch a Print department with two auctions a year, starting with a launch sale on May 24 entitled ‘500 Years of Printmaking’.
Curated by Shane Xu, who worked at Bloomsbury Auctions for a number of years, the sale will featu. . .
re works by some of the greatest names of British print-making, such as Eric Gill, Elisabeth Frink, John Piper, Patrick Caulfield and Henry Moore, as well as masters of the art from other countries, such as Picasso, Chagall, Miró, Matisse and Dalí.
University of Massachusetts Amherst, in partnership with the Andrew W. Mellon Fellowship for Scholars in Critical Bibliography at the Rare Book School
UMass Amherst
Amherst,
MA, United States
03/04/2017,
4pm
Recent scholarship in bibliography and the history of the book has attended to the ways in which bibliographic media resist, defy, and elude uniformity, even under the greatest technological pressures to
conform. Whether through variables in the . . .
production process or through the vagaries of transmission and consumption, each manuscript or printed book carries with it the traces of a unique history. Yet bibliographers and historians of the book have long neglected the role of the visual in these histories, perceiving the pictorial as supplemental to the book, an import from some other medium. At the same time, the book itself has never featured in art history’s triumvirate of media: painting, sculpture, and architecture. In the belief that the book itself is an important medium in the history of art, this symposium brings together scholars who explore how the visual and pictorial features of bibliographic media behave (and can be made to behave) in defiant ways.
Speakers
Radiclani Clytus, Columbia University
Michael Gaudio, University of Missouri
Aden Kumler, University of Chicago
Phillip Round, University of Iowa
Kathryn Rudy, University of St. Andrews, Scotland
Juliet Sperling, University of Pennsylvania
Anna Hendrick Karpatkin Benjamin, Lukas Birk, Audrey Danze Blood, Megan Foster, Valeria Rachel Herrera, Leekyung Kang, Anna McNeary, Kelly Taylor Mitchell, Vanessa Nieto Romero, Kate Sarrantonio, Stacy Lynn Smith,
Prints for Protest (2016),
portfolio,
22 x 15".
This election hit us hard. So many Americans—including the artists here at the Rhode Island School of Design—feel that their voices weren't heard. But, as printmakers, we have the tools and skills to disseminate our own messages of resistance to a wi. . .
de audience. So, we all hit the print shop to let the world know just what we think about the outcome of this election.
But we also know that political activism is not just about speaking out—it's also about following through with action. We are donating 100% of the profit from these prints to organizations that support our communities. We will only be reimbursing ourselves for the cost of paper and minimal packaging.
Each of us has created a print that responds to the election in our own way, in a limited-edition run of 50. These are just $25 each, and 100% of the profits will be donated to our organizations. Each print is 22" x 15". Together, they also make up an 11-print portfolio that we are offering at a discount.
Révoltes et évènements révolutionnaires ponctuent l’histoire européenne depuis la fin du Moyen Âge. On a longtemps cru que l’analphabétisme qui régnait parmi l’écrasante majorité de la population n’avait laissé aux insurgés que peu de moyens d’expres. . .
sion. Or la diffusion d’images lors des révoltes atteste d’une culture visuelle populaire qui préexiste à la Révolution française. On en décèle les traces les plus évidentes avec les Hussites en Bohême au XVe siècle, et lors de la Guerre des paysans qui ébranla le monde germanique en 1525.
Une iconographie de la révolte se forme et se transmet, sur des supports éphémères mal conservés, mais aussi dans le livre manuscrit, et bientôt grâce aux nouveaux médias. Dans l’estampe et l’imprimé, les rebelles expriment leur vision. En réaction, les pouvoirs contestés endiguent leur diffusion, et affichent, par d’autres images, la légitimité ou le rétablissement de leur autorité. Ces images suscitent bien des interrogations. Quelle part les révoltés ont-ils pris à leur production ? Comment les mutations techniques (l’imprimerie) ou spirituelles (la Réforme, l’iconoclasme...) ont-elles modifié leur diffusion mais aussi leurs formes et contenus ? Quel degré de confiance l’historien doit-il leur accorder ?
L’exposition présente un large panorama d’images, des rébellions des villes flamandes au XIVe siècle, des jacqueries, des troubles religieux des XVe et XVIe siècles, des soulèvements et révolutions qui marquent le milieu du XVIIe siècle (en France, à Naples, dans les îles britanniques, au Portugal), des contestations jansénistes du XVIIIe siècle... Elles constituent un patrimoine visuel aussi saisissant que méconnu, et un témoignage décisif sur les cultures politiques européennes.
Exposition organisée par la Bibliothèque Mazarine en partenariat avec le projet ANR Culture des révoltes et révolutions
9h50 : accueil
10h : Ouverture, par Yann Sordet, directeur de la Bibliothèque Mazarine
10h15 : « Toutes choses sont engendrées par la discorde » : éléments d’introduction
Tiphaine Gaumy (Bibliothèque Mazarine & projet CURR), commissaire de l’exposition Images & révoltes.
10h40 : La révolte médiévale en image
Vincent Challet (Université de Montpellier) & Jelle Haemers (Université de Louvain)
11h10 : Violence et révoltes au Moyen Âge
Christiane Raynaud (Aix-Marseille Université)
11h30 : Se révolter au nom de Dieu. Héroïsation, dérision, allégorie
David El Kenz (Université de Bourgogne)
11h50-12h30 : Synthèse et débat, animé par Philippe Hamon (Université Rennes 2)
12h30-14h : pause
14h00 : Iconographie populaire de l’antipapisme anglais (XVIe – XVIIe s.)
Stéphane Haffemayer (Université de Caen)
14h20 : La Fronde en Images
Jean-Marie Constant (Université du Maine)
14h40 : Synthèse et débat, animé par Malte Griesse (Université de Constance)
15h10 : L’illustration des mazarinades
Christophe Vellet (Bibliothèque Mazarine)
15h30 : Images et révoltes dans le monde méditerranéen (XIVe –XVIIIe s.)
Alain Hugon (Université de Caen)
15h50 : Synthèse et débat, animé par Michel Pastoureau (EPHE)
16h20 : pause
16h40 : Allégories
Pierre Wachenheim (Université de Lorraine)
17h00 : Héros et anti-héros, représentation des élites ou des peuples ?
Serge Bianchi (Université de Rennes 2 )
17h20 -18h20 : Synthèse et débat, animé par Véronique Meyer (Université de Poitiers)
18h30 : inauguration de l’exposition Images et révoltes dans le livre et l’estampe, Bibliothèque Mazarine, 14 décembre 2016 – 17 mars 2017
Entrée libre dans la limite des places disponibles.
El Anatsui,
El Anatsui & Factum Arte Create Large-scale Intaglio, Collages “Eclipse” series (2016),
Intaglio print with collage and chine-collé,
85 x 85 cm, Factum Arte, October Gallery .
El Anatsui returned to the Factum Arte studios in early November to create large-scale collages with Factum´s print-makers Michael Ward and Constanza Dessain.
The session with Anatsui was a very successful culmination of a year's work in th. . .
e intaglio studio, where a series of prints were made from high-resolution scans of Anatsui´s wooden workbenches, once used to create his vast sculptural bottle top works.
Many one off collages were made from printed material and several editioned suites were made from the plates - particularly impressive are the "Eclipse" series of 13 variations.
Some images can be viewed online - http://www.octobergallery.co.uk/artists/anatsui/
Bilbao Fine Arts Museum,
Bilbao,
Spain.
11/08/2016 -
02/06/2017.
The Bilbao Fine Arts Museum and the International Festival of Printmaking and Art on Paper (FIG Bilbao), present a selection of prints from the collection of the Fundación Vivanco based on the theme of the world of wine.
The exhibition bring. . .
s together 76 works from the 15th century to the present day by artists of the stature of Andrea Mantegna, Albrecht Dürer, Hendrick Goltzius, Giulio Bonasone, José de Ribera, Lucas van Leyden, Pablo Picasso, Joán Miró, Marc Chagall, Roy Lichtenstein, Antoni Tàpies, Andy Warhol, Paula Rego, Antonio Saura, Eduardo Chillida, Manolo Valdés, Eduardo Arroyo and Miquel Barceló, among others: all classic masters whose works are part of the holdings not normally on display at the Museo Vivanco de la Cultura del Vino.
The exhibition is organised as a comprehensive survey of the evolution of the print from the perspective of the culture of wine as perceived by each of the selected artists. As such, it constitutes a reflection on the importance of wine within the history of humanity and on a recurring iconographic motif in works of art of all periods.
KADS New York is pleased to announce the fall issue of Celebrating Print, a publication that covers fine art print and printmaking in Central and Eastern Europe.
In the freshly published issue, art historian Julia Meszaros offers a survey of. . .
modern Hungarian printmaking, which encompasses early forms of narrative works as well as the radical trends of 1980s and 1990s, when artists defied the medium’s traditions by experimenting with Xerox technology and other devices. Curator Barbora Kundracikova explores the aesthetic nature of prints in Sensing Beyond Seeing by applying theory to the works of Alena Kucerova, Marie Blabolilova and Romana Rotterova—three Czech printmakers who continuously translate their personal experiences into digestible pictorial content. The October issue also delves into the realm of fantasy art, a phenomenon typically associated with Central and Eastern European print. Art historian Eva Trojanova’s Carousels of Life focuses on the expansive oeuvre of Slovak artist Vladimir Gazovic and his “efforts to reveal the truth” by combining astute observations of reality with phantasmal motifs. Fluctuations between dreams and reality find a fixed state in the works of Kamila Stanclova, another Slovak artist interviewed by editor Katerina Kyselica. Croatian artist Ana Vivoda, whose project Traces is presented to shed light on the printmaking process, reflects on her interactions with the environment as she marks the matrix.
Celebrating Print can be purchased as an individual issue or via subscription at www.celebratingprint.com.
If you would like to support our mission, please consider subscribing.
Celebrating Print is a full-color magazine 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 biannual magazine is published in October and April by New York–based creative studio KADS New York in both print and digital format.
Galerie Colbert, Centre André Chastel (Salle Vasari, 1er étage)
Paris,
France
11/17/2016-11/18/2016,
10am-5:30pm
The aim of the conference is to study the place of writing, and its forms and functions in the European engraving in the sixteenth century, in addition to the production of matrices for the dissemination of images and its use by figures occupying dif. . .
ferent roles. This conference will bring together specialists in engraving of the printed book, culture and the arts in order to reflect on the typology of the letter, on its technical and artistic uses, the meaning of inscriptions and the role of writing in numerous categories of prints produced at that time. Long neglected by the specialists of engraving, the study of the letter appears today as an essential way of analyzing the printed images and reflection on the different literacy practices in European culture in the sixteenth century.
