The history of childhood has become an important field of study in recent
years. One of its exciting characteristics is that it attracts researchers
from a rich variety of disciplines, including the humanities, the social
sciences and the human sciences. Consequently, the history of childhood
emotion, puberty, selfhood, health and agency has become more visible, both
inside and outside the academy. Yet, with the rising popularity of childhood
history comes a growing concern about the kinds of evidence that can be used
to reconstruct the lives of children. This concern is increasingly intimated
by scholars who research the material and visual foundations of childhood.
They point out that many histories of pre-twentieth-century childhood often
fail to engage directly with evidence that was made or (conclusively) used by
girls and boys, either in specialised settings or on a daily basis.

This workshop seeks to develop and extend the material and visual history of
childhood by focusing on the kinds of graphic evidence that was made or used
by children during the 18th and 19th centuries. The notion of ‘graphic’ will
be interpreted widely to mean the instruments, skills or materials used to
manually represent knowledge on paper (or similar forms of media) through
writing or drawing. The papers will discuss how graphic artefacts can be used
as childhood evidence and/or to what extent graphic materials and techniques
can be used to historicise how children experienced the world through the act
of making or using an object. To keep the discussion focused, each speaker is
invited to concentrate on a specific graphic genre of her choosing, and to
consider how the genre can be used to analyse the legitimacy and efficacy of
current methods used to reconstruct the history of childhood.

SPEAKERS

Dr Matthew Daniel Eddy
Department of Philosophy
Durham University
https://www.dur.ac.uk/philosophy/staff/?id=1715

Prof Kathryn Gleadle
Faculty of History
Oxford University
http://www.history.ox.ac.uk/faculty/staff/profile/gleadle.html

Prof Matthew Grenby
School of Literature, Language & Linguistics
Newcastle University
http://www.ncl.ac.uk/elll/staff/profile/matthew.grenby

Dr Barbara Gribling
Department of History
Durham University
https://www.dur.ac.uk/history/staff/profiles/?id=12996

Dr Siân Pooley
Faculty of History
Oxford University
http://www.magd.ox.ac.uk/member-of-staff/sian-pooley/

Prof Barbara Wittmann
Professorin für Kunst- und Bildgeschichte
Humbolt University, Berlin
http://www.kunstgeschichte.hu-berlin.de/personen/professorinnen/barbara-wittmann/


SPONSORS
This event is sponsored by Durham University’s Institute of Advanced Study,
the Centre for Nineteenth-Century Studies, the Centre for Visual Arts and
Culture, and the Department of Philosophy.

WORKSHOP ATTENDANCE
This workshop is being organised by Dr Matthew Daniel Eddy
(m.d.eddy@durham.ac.uk). The venue in Durham is
currently being finalised. There will most likely be a small attendance fee
(around L15). Registration details will be circulated in early January.

Gravure sur bois et modernité : le catalogue de la 14e exposition de la Sécession viennoise (1902) Don de la Société des amis de la bibliothèque d’art et d’archéologie

La quatorzième exposition de la Sécession viennoise, fondée en 1897, est certainement l’une des plus marquantes du groupe. Présentée d’avril à juin 1902 dans le célèbre bâtiment construit par Joseph-Maria Olbrich, elle avait été conçue autour d’un double hommage à Beethoven, célébré à la fois par le monument de Max Klinger et par la fresque de Gustav Klimt. Le catalogue édité à cette occasion constitue un petit chef-d’œuvre de l’âge d’or du graphisme viennois. Soumises aux lois de la bidimensionnalité, inscrites dans une rigoureuse mise en page d’une stricte orthogonalité, ses illustrations véhiculent non seulement, au même titre que le lettrage, une esthétique spécifique, mais, constituent aussi un précieux témoignage de l’intérêt des cercles avant-gardistes au tournant des XIXe et XXe siècles pour la technique de la gravure sur bois, à laquelle Jacques Doucet s’était montré particulièrement sensible.

The second annual survey of contemporary fine art prints—the 2015 Celebrating Print Exhibition. The presentation includes a juried exhibition and the CPC2015 Challenge: Homage to Kveta Pacovska.

Exhibition opening: Tuesday, December 8, 6:30 - 8:30 pm.
Guided tour of the exhibition: Thursday, January 7, 6:00 - 7:00 pm. RSVP: info@kadsny.com.

Selected by a New York-based artist, printmaker and Associate Professor at University of Vermont Mildred Beltre, the 2015 Celebrating Print Exhibition introduces thirty-three projects by twenty-two artists of Central and Eastern European backgrounds from Bulgaria, Brazil, Canada, Croatia, Czech Republic, Germany, Hungary, Lithuania, Poland, Slovakia, Slovenia, Sweden and the USA. The selection represents a variety of printmaking techniques, including intaglio, relief, lithography, screen print, lenticular print and monotype.

"In choosing the twenty-two projects featured in the exhibition I let myself be guided by visual pleasures, lingering over the imagery, and at times lack thereof, in the works. I sought to select pieces that can show viewers a wide spectrum of what contemporary printmaking can do, choosing projects that represent diversity of techniques and visual language. Especially interesting to me is seeing traditional printmaking used in surprising and innovative ways, resulting in works that demonstrate printmaking’s increasingly active and viable position in contemporary art-making.

It was a joy to look through the submissions—works steeped in traditional printmaking techniques with a definite contemporary twist, rich with masterful line work, color, fantastical narrative and whimsy. Consequently, I chose works that I feel fall more or less into four categories: Narrative, Graphic Line, Non-idealized Figuration, and Evocative Texture and Color.” ——Mildred Beltre, CPC2015 Juror

The 2015 Celebrating Print Challenge is dedicated to the oeuvre of the renowned Czech visual artist and illustrator Kveta Pacovska, and features paper objects by seven artists who include printmaking in their artistic practice.

The 2015 Celebrating Print Challenge Artists are:
Mildred Beltre, Douglas Collins, Jay Judge, Alena Laufrova, Katerina Kyselica, Franco Marinai and Yasuyo Tanaka.

For the second time, Bohemian Benevolent & Literary Association (BBLA), a non-for-profit immigrant organization sponsors a cash award for the best print in the show. The 2015 BBLA Cash Award will be announced at the opening on December 8.

Celebrating Print Competition (CPC) is an annual survey of contemporary fine art prints, focusing on recent works by artists of Central and Eastern European backgrounds. CPC is organized by KADS New York with the mission to raise awareness of the tradition of the region’s printmaking and encourage explorations in contemporary original prints. The first Celebrating Print Exhibition entitled Masters of Czech and Slovak Printmaking took place at BBLA Gallery in December 2013, presenting over sixty fine art prints—etchings, lithographs, woodcuts and mixed media prints from twenty-seven renowned Czech and Slovak artists.

RASC/a is an innovative, multidisciplinary graduate program offering M.A. and Ph.D. degrees in art history that prepares students for academic and museum careers in several areas of specialization in Europe and the Americas. RASC/a ("Rhetorics of Art, Space, and Culture") encompasses historical and new media, spatial practices, and critical theories of culture, race, and gender. In addition to close mentorship from award-winning faculty, students enjoy:

• Ph.D. fellowship packages of up to five years of tuition and health benefits plus a stipend of up to $25,000 per year; and M.A. support including two years' tuition scholarships and assistantships for top applicants. Many students receive internships at outstanding local institutions including the Dallas Museum of Art, the Kimbell Museum, the Amon Carter Museum , the Nasher Sculpture Center, and the Modern Art Museum of Fort Worth.

• Site-specific graduate seminars that take students off-campus for a week to ten days to sites
such as Venice, Madrid, and Rio de Janeiro, and co-taught "RASC/a double" seminars that allow thematic explorations beyond a single art historical geography or time period.

• Substantial campus resources including the Hamon Library, a dedicated art and art history library; the Meadows Museum, with one of the most comprehensive collections of Iber i an art outside Spain; Bridwell Library, an internationally recognized collection of manuscripts, incunabula, and early print media; DeGolyer Library, whose collections include a wealth of materials on early voyages and travels, Western Americana, and the history of science and technology.

For more information about RASC/a and graduate study in Art History at SMU in Dallas, go to http://www.smu.edu/Meadows/AreasOfStudy/ArtHistory/GraduateStudies
To apply, go to https://www.applyweb.com/smum/

Highpoint is honored to present an exhibition of prints from Highpoint Editions’ collaboration with visiting artist Jay Heikes. During the course of Heikes’ project with Highpoint, he explored the idea of the exquisite corpse– a surrealist parlor game–through cyanotype, lithography, and screenprinting. His explorations in printmaking led him from lithography to screenprinting and working by hand with asphaltum, a medium typically applied as a protective coating on etching plates. The resulting prints typify Heikes’ interest in pushing the physical and evocative properties of materials, using them in new and visually powerful ways.

The exhibition will feature nine monoprints, a lithographic print portfolio, a series of drawings, and work in other media by the artist as well.

"At various moments throughout his career, Heikes has celebrated both the physical and mystical properties of his materials in an exploration of what might be considered alchemical processes more akin to the natural world than the art world. He has talked about finding a space in his work that is “just beyond corrosion, one of complete alienation between human and material where there are things to be discovered but also the possibility of destruction.” At Highpoint, his elemental investigations led him to asphaltum, a tar-like substance commonly applied to etching plates to protect them from unwanted scratches on the printing surface. Heikes proposed using this non-archival, decidedly untidy, and slightly noxious material in an unorthodox way – as ink -resulting in prints of extraordinary inventiveness and visceral power." – Betsy Carpenter, Independent Curator

About Jay Heikes:
Born in Princeton, New Jersey, Heikes lives and works in Minneapolis, MN. He holds a BFA from University of Michigan (Ann Arbor), and an MFA from Yale University, and his work has been exhibited at Walker Art Center, The Whitney Museum of American Art, and the Institute of Contemporary Art (Boston), among others.

Seven Masters focuses on seven artists who played a significant role in the development of early 20th-century shin hanga, the new print, and are noteworthy representatives of this movement. Drawing from the collection of Ellen and Fred Wells at the Minneapolis Institute of Art, it features the spectacular beauty portraits of Hashiguchi Goyō (1880–1921), Itō Shinsui (1898–1972), Yamakawa Shūhō (1898–1944), and Torii Kotondo (1900–1976), the striking actors of Yamamura Toyonari/Kōka (1886–1942) and Natori Shunsen (1886–1960), as well as the evocative landscapes of Kawase Hasui (1883–1957). It is accompanied by a richly illustrated book with more than 300 images.

The theme of this iteration of the Triennial is displacement—formal and conceptual—and the eruption of the graphic image into three-dimensional space.

Woodblock printmaking...keeps me in tune with a world where work is still of the essence and where the easiest way is not always the most desirable." - Gustave Baumann

Gustave Baumann (1881–1971) was the most devoted American color woodblock printmaker of the 20th century. By combining the craftsmanship of a woodcarver and the sensitivity of a painter, he created an unparalleled body of color woodblock prints over the course of his 65-year career.

Aside from printmaking and painting, Baumann also made furniture, fabricated toys and marionettes, designed interiors, illustrated books, and sculpted. To each of these endeavors, as attested by his personal mark, this uncommonly industrious and original artist gave both his hand and his heart.

This exhibition features prints, sketches, watercolors, marionettes, toys and gourd sculptures that Baumann created during the course of his long career. Interpretive tools, including videos and photos of the artist, interactive iPads, a touch table, and more help visitors to learn about the artist's life, his influences and artistic processes.

This is the first juried competition and exhibition at the Manhattan Graphics Center devoted to small prints (no larger than 9 square inches or 58 square centimeters).

This landmark exhibition features examples of Matisse's livres d'artiste and illustrated books and to explores the decisive role book production played in his career.

World renowned for his paintings, sculptures, drawings, and cut-outs, Henri Matisse (1869–1954) also embraced the printed book as a means of artistic expression. Between 1912 and his death in 1954, he was engaged in nearly fifty book illustration projects, many produced with his direct involvement in page layout, typography, lettering, ornament, and cover design. He planned these publications with his characteristic vigilance and zeal, seeking a perfect fusion of image and text. Some thirty of these modern masterpieces will be on view for the first time together in this landmark exhibition exploring the decisive role book production played in Matisse’s career.