Prints and photographs share a basic quality: each form involves transferring an image to paper, whether through the impression of an inked plate or the projection of light through film. Japanese Prints and Photographs: Paths Through Modernity opens up the relationship between these media by presenting prints and photographs from Japan that span almost 100 years, from 1917 to the present.

Derfner Judaica Museum + The Art Collection at Hebrew Home at Riverdale, in conjunction with KADS New York, is pleased to announce its latest exhibition Etching Out Dreams: Contemporary Slovak Prints by Dušan Kállay, Kamila Štanclová, and Katarína Vavrová on view in the Elma and Milton A. Gilbert Pavilion Gallery. Three contemporary award-winning Slovak artists are featured, Dušan Kállay (b. 1948) and Kamila Štanclová (b. 1945)—both students of Slovak master Vincent Hložník (1919–1997)—and Katarína Vavrová (b. 1964), who studied with Hložník’s protégé Albín Brunovský (1935–1997).

The graphic arts have long played a pivotal role in the history of Slovak art, before, during and after the Communist era. Key characteristics of modern Slovak art include figuration, narrative, the influence of Surrealism and an underlying sense of fantasy alongside an incisive, subtle social critique. Kállay and Štanclová are both accomplished illustrators who have won multiple awards for book illustration, another tradition with a long, rich history in the Slovak graphic arts. Included in the exhibition are four etchings by Kállay, each rendered with meticulously fine lines and overlapping shapes that demonstrate his technical skill. Kállay often incorporates text into his prints, sometimes confusing the viewer as to which way is up and which down. The works contain an exquisite type of chaos, full of movement and shapes that suggest storylines, rather than depict a literal narrative.

Štanclová utilizes patterns and figurative motifs in her prints to explore evolving compositions and meanings. Rather than the traditional process of creating a drawing in advance of preparing an etching plate, Štanclová begins by drawing directly onto the plate, continuously developing and changing the image. She considers this process to be a diary that documents her artistic progress. Her etching Dances with the Wolves (2012), demonstrates her technique of repetition, trial, and error, as she uses the repeated shape of a paperclip to fill part of the space and to create complex layers.

Vavrová’s painterly etchings reflect her background as both a painter and printmaker. Her exquisitely delicate prints evoke a sense of quietude and human pathos, suggesting different emotional states and interpersonal relationships through the use of color and symbols. These dreamlike symbols appear in the background in the form of trees, birds, and other animals, highlighted with sparing dashes of color that contribute to the atmospheric mood of each work.

Kállay, Štanclová, and Vavrová all graduated from the Academy of Fine Arts in Bratislava where the graphic arts department was founded by Vincent Hložník in 1952. Known for his humanistic themes, strong imagery, and clever use of spatial relationships in his prints, he reflected on the human condition and war. Hložník left an indelible mark on the next generation of Slovak graphic artists, perhaps most notably Albín Brunovský, who succeeded Hložník at the Academy and received international acclaim for his work.

KADS New York is a fine art print dealership with consulting practice based in New York City specializing in modern and contemporary European fine art prints, offering collectors a wide range of prints created by renowned as well as emerging artists using traditional and non-traditional printmaking techniques.

As a member of the American Alliance of Museums, Hebrew Home at Riverdale by RiverSpring Health is committed to publicly exhibiting its art collection throughout its 32-acre campus including the Derfner Judaica Museum and a sculpture garden overlooking the Hudson River and Palisades. Museum hours: Sunday–Thursday, 10:30 a.m.–4:30 p.m. Art Collection and grounds open daily, 10:30 a.m.–4:30 p.m.

Tamarind Institute will host multi-media artist Rashaad Newsome. Known for his provocative work in collage, painting, performance, and video, his imagery borrows from equally eclectic sources, ranging from art history, hip-hop, dance, popular culture, and critical theory. As part of his residency, he will present a talk in the Tamarind gallery, expanding on ideas of race, capitalism, and gender that are intrinsic to his opulent and layered imagery.
*seating is limited, please plan to arrive early

Tamarind Institute and STC present artist/designer and paper engineer Matthew Shlian, who will speak about his inspiration, work, and process. Shlian is a guest lecturer and visiting research scholar at the University of Michigan’s Material Science Department, where he is currently working to translate paper structures to micro folds on a nano-scale. This is part of the STC 2016 Fall Seminar Series. The seminars are free and open to the the UNM community and the public, but registration is required. Lunch will be provided. This event will take place in the Auditorium of the UNM Science and Technology Park at 800 Bradbury Drive Southeast, Albuquerque, NM 87106. For directions, please contact STC at 505-272-7900.
*seating is limited, please plan to arrive early

This exhibition features the work of one of the radical originators and innovators of the European tradition of printmaking, Marcantonio Raimondi (c. 1480-c. 1534). Marcantonio was one of the leading printmakers of the Italian Renaissance and is best known for his groundbreaking collaboration with the Renaissance artist Raphael. This is the first Marcantonio Raimondi exhibition for thirty-five years and the first ever in the UK.

Marcantonio’s varied activities as a printmaker ranged from working with a circle of poets and scholars in his native Bologna, to being involved in one of the earliest intellectual property disputes (with his famous German contemporary, Albrecht Dürer), through to his close collaboration in Rome with Raphael that resulted in some of the most important and influential images in western art. Later, he was sent to prison for making prints after drawings by Giulio Romano’s series of erotic subjects known as I Modi (The Positions).

Showcasing the world-class collections of Marcantonio’s work at The University of Manchester, housed both at the Whitworth and The John Rylands Library, the exhibition will also feature loans of outstanding prints by Marcantonio and unique drawings by Raphael from major collections including The Royal Collection Trust, Windsor; British Museum; V&A; Fitzwilliam Museum, Cambridge; Ashmolean Museum, Oxford; Stanford University, USA; Leeds Art Gallery; and Liverpool Libraries.

Manchester University Press will be publishing an extensively illustrated catalogue to accompany the exhibition.

Dr. Edward Wouk, Lecturer in Art History and Visual Studies, University of Manchester and David Morris, Head of Collections at the Whitworth curated the exhibition.

In 1940, Stanley William Hayter transferred Atelier 17, his innovative printmaking workshop, from Paris to New York. For the next 15 years, the workshop led a revival of fine-art graphics, encouraging unorthodox techniques and experimentation. Many of the foremost modern artists, from European refugees during World War II to Americans like Pollock, Motherwell, de Kooning and Kline, made prints there. Among them were more than 90 women, including Louise Nevelson, Anne Ryan, Louise Bourgeois and Alice Trumbull Mason. This exhibition, organized by guest curator Christina Weyl, PhD, features experimental graphics by those artists, as well as Minna Citron, Worden Day, Dorothy Dehner and Sue Fuller, together with examples of their better-known work in other media. Lenders include the Metropolitan Museum of Art, the Museum of Modern Art, the Brooklyn Museum and the Whitney Museum of American Art. A fully illustrated e-catalog, with an essay by Dr. Weyl, will accompany the exhibition, which will travel to the Jane Voorhees Zimmerli Museum at Rutgers University in January 2017.

This exhibition examines the impact of Viennese Modernism on the revival of the color woodcut at the turn of the century. Curator Dr. Natter explores the creative and technical qualities of the medium, as well as the ties to the social reformist movement “Kunst für Alle” (Art for All), which the exhibition explains encouraged a discourse about authenticity and originality. The exhibition includes around 240 works by over 40 artists.

An exhibition of iPad drawings by David Hockney that were completed in 2010 and 2011. This series of prints depicts the dramatic landscape of Yosemite National Park, California and were created using the ‘Brushes’ app, Hockney enjoys the freedom of drawing ‘en plein air’ and the ability to go back to various ‘layers’ of his drawing process. The series consists of twenty-four images at 94 x 71 cm along with five very large prints mounted on Dibond at 235 x 178 cm.

For the first time ever, the Rijksmuseum is presenting 170 Japanese prints from the Elise Wessels Collection, picturing Japan’s rapid modernization during the opening decades of the twentieth century. Alongside prints, the exhibition features kimonos and lacquerware from the Jan Dees and René van der Star Collection and posters on loan from the National Museum of Modern Art in Tokyo.

In collaboration with The Hepworth Wakefield, Phillips presents a specially curated, non-selling exhibition of works by famed British sculptor Barbara Hepworth. "Late Hepworth" explores the final and most prolific decade of the artist's career, showcasing her experimentation with new media and materials including bronze, marble, slate and printmaking.

The exhibition offers a unique opportunity to see three of Hepworth’s major series of prints alongside the sculptures to which they relate, rarely lent from the gallery located in the birthplace of the world-famous sculptor. In 1969, Hepworth made her first major suite of prints, "Twelve Lithographs," which examined forms in her three dimensional work. She went on to make two further print suites "Opposing Forms" (1970) and "The Aegean Suite" (1971). All three will be shown here together.