id-1980s, the Mixografia workshop produces and publishes handmade paper prints, multiples, and sculptures that expand the possibilities of editions by allowing artists to incorporate previously unheard of dimension and detail, creating three-dimensional prints, or relief sculpture in paper. The “prints,” each a single sheet of paper, can be as deep as three inches, allowing an entirely new level of trompe l’oeil. Since its inception, the workshop has helped artists realize their visions through processes and styles unique to each artist. At the same time, while they take countless forms, they are unmistakably Mixografia.

The exhibition also includes didactic displays demonstrating the Mixografia techniques and archival documents on important moments in the workshop’s history. Exhibition texts will be available in English and Spanish, and a major catalogue published by the museum will accompany the exhibition.

o Art in the organisation of IMPACT 10 in Spain 2018.

Over the last 16 years, IMPACT has evolved as Europe’s leading academic discourse on printmaking. Printmaking is now integral to the wider academic debate, through practice, theory, visual culture, and is studied across a range of programmes, from undergraduate to PhD.

Spain has a rich cultural printmaking heritage as well as a thriving contemporary printmaking culture. We therefore want to ensure IMPACT 10 will be a visual and dynamic event that includes exhibitions and plenty of opportunities for networking.

The aim of our next IMPACT is to establish better links with Spanish printmakers both in Europe and across South and North America. And in order to do this, we will be introducing bi-lingual presentations in Spanish and English.

The theme of the event will be ENCUENTRO (ENCOUNTER)

- An ENCUENTRO with Spanish printmaking, its history, iconography and identity

- An ENCUENTRO with the future of the printmaking, new directions, identity and diversity

- An ENCUENTRO of languages and cultures

- An ENCUENTRO of styles and techniques

- And… an ENCUENTRO with the city where Impact will take place

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technology. Invited artists use data, alternate processes, wearables, performance, and other technologies to produce multiples, performances, texts, and other sorts of editions.

FALSE DICHOTOMY: PRINTMAKING / HIGH TECHNOLOGY
June 24 – June 26, 2016
The Gowanus Studio Space 166 7th St, Brooklyn, New York 11215
Curated by Libby Clarke

Opening: June 24, 7-9pm
Artist’s panel discussion: June 25, 7-9pm

ARTISTS
Susan Allbert | Noah Breuer | Greg Climer | Jon Irving | Sarah Pike | Timo Rissanen

Critical Essay by Shelley Thorstensen
Additional writing by Noah Breuer and Julia Lillie
Curatorial Statement by Libby Clarke

9 a.m. — 5 p.m.

Color Coded features lithographs by Matt Magee, David X Levine, Susan York, and Jonathan Seliger: all artists who have explored the boundlessness of color and ink during their collaborations at Tamarind Institute. In addition to lithographs, the exhibition includes paintings and other works from the studios of Matt Magee and David X Levine.

Susan York is known less for her use of color, and more for her sculptural works of sensual, graphite blocks and her black and white drawings made from the same material. However, during her residency at Tamarind in 2015, York began to explore color, for the first time in decades, while creating the Achromatopsia series. York consulted with a friend with achromatopsia, a form of color-blindness where the person only sees shades of grey. The resulting Achromatopsia series of lithographs features three shade of grey on the fronts of the prints that corresponds with a color (red, orange, or yellow) printed on the back of the lithographs. The color creates a reflective glow around its corresponding “achromatopsia” grey. The result is a stunning triptych that pushes the boundaries of color and lithography.

David X Levine, known for his rich, dense, colored-pencil drawings (also on view in the exhibition), in which he engages in obsessive mark-making with hundreds of layers of colored pencil, did a residency at Tamarind at the end of 2015. The results of his residency yielded equally vibrant lithographs in which the artist gives the viewer a glimpse of his nostalgia for Mary Tyler more, bad art jokes, and shapes of color that take on their own personalities.

Matt Magee grew up observing a variety of cultural and visual languages as he accompanied his father, an archeologist, in the field. During his second residency at Tamarind in 2016, Magee continued to explore his fascination with symbols. Green Seven, an auspicious number and symbol in most cultures, was inspired by a sign on Albuquerque’s Route 66. Wishlist, Carthew and Proem 1, each seem to convey some sort of itemized message, like a page from an old book or a colorful, stone tablet. Along with his new editions, Magee expanded on the concept of one of his 2013 lithographs with Wall Grapheme I, a site-specific wall painting, created in the foyer of Tamarind's gallery. Wall Grapheme I is an expansion of Magee's first lithographs, the Grapheme series. Magee explains, that the definition of a grapheme is "the smallest unit of a writing system of any given language.” Wall Grapheme I is currently on view during regular gallery hours, M-F, 9-5.

Color Coded will be in the gallery through September 2, 2016.

Tamarind Institute is an internationally recognized fine art lithography workshop affiliated with the College of Fine Arts of the University of New Mexico. Tamarind is dedicated to the preservation and promotion of lithography through education, research, exhibitions, and artist residencies, and is credited with expanding the accessibility to and popularity of printmaking among contemporary artists around the world. Tamarind frequently sponsors programs with diverse populations, locally and internationally, benefitting University, Albuquerque, and New Mexico constituencies. For more information, call 505-277-3901, or email tamarind@unm.edu.

GSS houses a large industrial arts workshop as well as private studios and exhibition space. By providing training, workspace, tools and resources, GSS encourages cross-pollination between the art/design communities; supports new businesses and design projects; and is a vital arts resource for the surrounding community.

tes and on our FaceBook page.

n size. An announcement is posted at the link attached.

rs played a vital role in artistic, commercial and organisational aspects of printmaking is now widely accepted. Both art-historical and art-technical research on these matters have resulted in reference works and exhibition catalogues of high standard. In these studies, however, the position of the consumer has often been ignored or dealt with only briefly. In addition, print collections in the past have often failed to recognise the importance of contemporary adaptations, signs of usage and collecting conditions.

However, for a proper understanding of early modern culture, it is crucial to study the consumption of printed images and the socioeconomic and artistic processes behind it. Prints were a widespread and artistically diverse medium and the creative process of a print did not stop after printing. Researching the creative afterlife of prints is therefore an essential development in the study of early modern visual culture. Although the consumption and reception of early modern books has received increasing attention in the past decades, only some scholars such as Jan Van der Stock (Printing Images in Antwerp. The Introduction of Printmaking in a City: Fifteenth Century to 1585, 1998), Peter Schmidt (Gedruckte Bilder in handgeschriebenen Büchern. Zum Gebrauch von Druckgraphik im 15. Jahrhundert, 2003), Jan van der Waals (Prints in the Golden Age. From Art to Shelf Paper, 2006), Kathryn Rudy (Virtual Pilgrimages in the Convent. Imagining Jerusalem in the Late Middle Ages, 2011) and Suzanne Karr Schmidt (Altered and Adorned. Using Renaissance Prints in Daily Life, 2011) have integrated the consumer’s side of the print market and the concrete use of prints in their research.

In order to stimulate this promising evolution, the Rijksmuseum is organising an international conference on early modern prints, ranging from precious artistic prints that were carefully collected to cheap printed images that were used and discarded. Paragons and Paper Bags. Early Modern Prints from the Consumer’s Perspective will take place at the Rijksmuseum in Amsterdam on Thursday 9 June 2016. The aim of this symposium is to further develop this new approach in order to achieve new insights on target audiences, the application and usage of prints, and special collection practices.

ents, wars, and citizenry reflect the curiosity of Europeans about a world they perceived as new and strange. At the same time, American artists often turned to prints to present a vision of their youthful democracy.

Prints are well-suited for quickly conveying images of contemporary events to a wide audience, and thus have often been a forum for social commentary or criticism. The exhibition includes works from across the centuries that aim to raise awareness and inspire change. On view, for instance, is an engraving of the Boston Massacre by Paul Revere as well as a broadside from more than two hundred years later by the undercover feminist collective known as the Guerrilla Girls. The exhibition also features works by artists equally drawn to the aesthetic potential of printmaking. From James McNeill Whistler, Mary Cassatt, and others of the late nineteenth century to Jackson Pollock and Helen Frankenthaler in the twentieth, vanguard artists have explored printmaking’s unique artistic possibilities. In recent years, radical experiments by artists such as Robert Rauschenberg, Claes Oldenburg, and Richard Serra have pushed to the breaking point the very definition of the medium.

The more than 150 prints in this exhibition, mounted on the occasion of the National Gallery’s 75th anniversary, are drawn entirely from the Gallery’s collection, including promised gifts.

Organization: Organized by the National Gallery of Art, Washington

Sponsors: The exhibition is made possible by Altria Group in celebration of the 75th Anniversary of the National Gallery of Art.

The international tour of the exhibition is sponsored by the Terra Foundation for American Art.

Additional support is provided by The Exhibition Circle of the National Gallery of Art.

Passes: Admission is always free and passes are not required

Other Venues: National Gallery, Prague, October 4, 2016–January 5, 2017
Antiguo Colegio de San Ildefonso, Mexico City, February 7–April 30, 2017