Offered in conjunction with the exhibition “Van Dyck, Rembrandt, and the Portrait Print” (5 March – 7 August 2016), the colloquium will include a private viewing of the exhibition, short presentations by Stephanie Dickey (Queen’s University), Jesus Escobar (Northwestern University), Jessica Keating (Carleton College), Claudia Swan (Northwestern University), and Maureen Warren (Krannert Art Museum), as well as a keynote lecture by Antony Griffiths, former Keeper of Prints at the British Museum and the 2014-2015 Slade Professor at the University of Oxford. The program will take place from 9:00 am to 2:30 pm.

RSVP to Judith Broggi at 312-443-3756 or jbroggi@artic.edu.

Free Radicals: Remixing History Through the Power of Print, considers the power of associative thinking and historical mash-ups in the print medium. Graphic media inherently offers artists the potential to remix or reference history. The artists in this exhibition discuss revolution and employ metaphor in sampling and in the free combination of history and politics that might be more limiting in other disciplines. The pursuit of free association may not appear to be directly activist, but the use of artistic license to draw on the subconscious may be a tool for the deconstruction of assumed paradigms.

Thursday, February 25, 2016
Program | 7:00 pm with Jenny Schmid & Tonja Torgerson
Reception | 8:00 - 10:00pm

'Beneath the Covers: The Art of the Imperial Russian Book' presents a visual survey of publications that received official and elite sponsorship during the reigns of Peter the Great (r. 1696–1725) to Nicholas II (r. 1894-1917). Often printed for special occasions, these titles mirror the major cultural events and movements in tsarist Russia.

The majority of the books presented here date to the middle of the nineteenth century when the development of printing and illustration technologies — primarily chromolithography — allowed for oversized, illustrated volumes and large print runs. They were commissioned by the upper echelons of Russian society and lay the foundation for the Silver Age of Russian book arts (1890–1917). The exhibition continues through the transition to the artistic styles of the Mir Iskusstva, or World of Art, movement in the late 1890s and concludes with the development of the avant-garde, futurism, and constructivism movements in the early-twentieth century.

The categories for this exhibition emerge from the common themes featured in the selections, which are drawn mainly from art libraries in Washington, D.C. and the surrounding region. Subjects covered include the secularization of Russian society, travel and exploration of Russia and its empire, architecture, antiquities, royalty, and the military. They are not intended to be comprehensive, but to serve as jumping-off points for inspiration, research, and collaboration.

In the mid 19th century, French artists began depicting shadowy, often nocturnal or twilight scenes in which forms appear to emerge out of darkness. This quest for darkened realms led them to explore new subject matter, such as dream states and non-idealized representations of contemporary life.

The range and availability of black drawing materials exploded with the Industrial Revolution, along with improvements in working methods. This coincided with an interest in painterly techniques, not only in drawing but also in printmaking. It is impossible to say what influences came first, but what followed was a graphic exploration of darkness that constitutes an important moment in the history of Modernism.

This exhibition examines the inspiration that artists drew from their materials, and their expression of darkness in all its imaginative and narrative associations. Works are drawn from the Museum’s permanent collection and loans from private and public Los Angeles collections.

A look across Europe at three series of prints by major artists published in 1816, the year of the founding of the Fitzwilliam.

The period was known as ‘The year without a summer’ due to the after-effects of the 1815 volcano eruption in Indonesia. Global cooling, volcanic ash, darkness, crop failures, food riots and spectacular sunsets influenced artists and writers of the time. A variety of responses can be seen here with Goya’s Tauromaquia, books eleven and twelve of Turner’s Liber Studiorum, and Peter Cornelius’s large-scale Illustrations to Goethe’s Faust.

This annual event features vendors, publishers and artists from around Texas and offers workshops and demonstrations at Flatbed Press Gallery headquarters.

Presented in conjunction with PrintAustin, the third annual Flatbed Contemporary Print Fair showcases nine highly esteemed print publishers and artist self-publishers from across the United States.

New and established collectors are invited to peruse and purchase limited editions. Take advantage of Flatbed's intimate and relaxed setting to meet and talk with fine art print artists, printers, and publishers. Learn more about printmaking techniques during Saturday's on-going printmaking demos in Flatbed's printshop, and about contemporary art and publishing during Sunday's artist and publisher talks.

Cade Tompkins Projects is pleased to announce a printmaking exhibition by a group of artists whose work expands the boundaries of mokuhanga, the traditional Japanese woodcut process. Mokuhanga is achieved with use of water-based inks, hand-printing techniques and Japanese-style printing papers. The prints selected for this show present contemporary imagery and vernacular. Some works adhere strictly to the traditional process and others combine techniques such as etching and hand-stitching.

Highlights include Yoonmi Nam’s Oishii, a masterfully minimal image of cut flowers arranged in an everyday drink carton; Daniel Heyman’s hand-printed book, Sing with a Lovely Voice, which presents testimonies of former inmates at Abu Ghraib Prison in Iraq; David Curcio’s MS.45, a nun with a gun, red lips and red nails; Stella Ebner’s silhouetted The Hunters which achieves a deep space with expert layering; Allison Bianco’s The Old Jamestown Bridge picturing the 90s dynamite explosion of the rickety Rhode Island landmark; and Hiroki Morinoue’s Dragonfly Pond, a vibrant pseudo-landscape that exploits the grain of the woodblock to stunning success.

Reception
Saturday, February 13
6-8 pm

Cade Tompkins Projects
198 Hope Street
Providence, Rhode Island 02906
(Entrance on Fones Alley between Angell and Waterman)

Free and open to the public, the LA Art Book Fair is a unique event featuring artists’ books, art catalogs, monographs, periodicals and zines presented by over 250 international presses, booksellers, antiquarians, artists and independent publishers.

For over fifty years, Frank Stella has created a significant body of abstract art comprised of paintings, reliefs, sculptures, drawings, and prints. Frank Stella Prints: A Retrospective details the artist’s remarkable career as a printmaker. It presents, as evidence, 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: A Retrospective is the artist’s first major print retrospective since 1982. The exhibition is also the occasion for the publication of a revised and expanded second edition of The Prints of Frank Stella: A Catalogue Raisonné, 1967─1982 (New York: Hudson Hills Press, 1983).

Print Matters : Printing Matters
October 5-8
2016 MAPC Biennial Conference
Indiana University Southeast
University of Louisville

Featured Speaker: Carmon Colangelo

What does it mean to be a printmaker in an increasingly screen-based world? For centuries, prints on paper have been the primary and most accessible mode of sharing current events, ideologies, advertisements, and images. Through their work as artists, educators, publishers, and entrepreneurs, contemporary print artists articulate what prints are, and why they matter. Whether they engage centuries-old techniques or emerging technologies, printmakers remind us that we still live in a world surrounded by print media, and that we must be conscious of the ways images convey meaning and message. The handmade, multiple nature of prints remind us of the labor of creating art. While social and business relationships are increasingly managed online, printmaking studios create communities for emerging and professional artists to work together in real life. The do-it-yourself nature of many printmaking processes allows people to access prints in everyday places, beyond the walls of the gallery or artist’s studio. MAPC 2016 will feature panel discussions, demonstrations, and exhibitions that span both sides of the Ohio River, with Indiana University Southeast in New Albany, IN as the conference’s home base, and the University of Louisville as an anchor in the expanding art scene of Louisville, KY.