loring the inventive uses of print with artists Rirkrit Tiravanija and Elizabeth Peyton, and David Lasry of Two Palms Press. Offered in conjunction with Print Love: Celebrating The Print Center at 100. This lecture is supported by the Center for American Art at the Philadelphia Museum of Art and The Print Center.

use of archives, manuscripts, rare books, and other rare and unique holdings of the Department of Rare Books and Special Collections, including the Graphic Arts Collection of approximately 75,000 works of art; along with the rare books in Marquand Library of Art and Archaeology, and in the East Asian Library (Gest Collection). Special grants are awarded in several areas: the Program in Hellenic Studies supports a limited number of library fellowships in Hellenic studies, Graphic Arts, and the Cotsen Children’s Library supports research in its collection on aspects of children’s books. The Maxwell Fund supports research on materials dealing with Portuguese-speaking cultures. The Sid Lapidus '59 Research Fund for Studies of the Age of Revolution and the Enlightenment in the Atlantic World covers work using materials pertinent to this topic.

The deadline to apply is January 15, 2016.

3.5”
Dark grey 19.5” x 26” 3.5”
Light grey 19.25” x 26” x 3”
Grey 19” x 25.25” x 3”
Light grey 18” x24” x3”
Light grey 20” x26” x3.5”
Light grey 16” x20” x2.5”
Grey 11” x14” x2”

Contact Toby Michel
310 804 9253
toby_michel@mac.com
angelespress.com

from the United States. Critic Charles Olmsted observed that this was “the most complete and representative collection of prints that has yet been made in this country.”

The call for American artists’ participation included a notice published in American Art News, while organizers also sent special invitations to the nation’s eminent printmakers, requesting specific works. The response was extraordinary, with submissions coming from all corners of the country. A historical loan section was organized by the Department of Fine Arts, featuring prints from the 18th and 19th centuries. Together the displays of historic and contemporary prints charted the development of printmaking in the United States.

Prints at the Fair highlights the range of subjects and styles found in the Exposition’s American print galleries and features prints by many of the section’s award-winning artists. The selection of approximately 70 works is drawn primarily from the collections of the Achenbach Foundation for Graphic Arts, with additional key loans, including some impressions that were originally purchased at the Exposition itself.

sts, significantly augments the museum’s capacity to teach about Japanese graphic art from the late twentieth- and early twenty-first-centuries. The collection showcases contemporary Japanese artists not just as inheritors of the much-celebrated Edo-period (1615-1868) woodblock tradition, but as sophisticated international masters of various printmaking techniques. Curated by Anne Rose Kitagawa, JSMA Chief Curator of Asian Art and Akiko Walley, Maude I. Kerns Professor of Japanese Art, Department of the History of Art and Architecture, this special exhibition explores a range of contemporary print techniques – aquatint, etching, intaglio, lithography, mezzotint, silkscreen, stencils, and woodblock printing – as well as a great range of subject matter.

Coinciding with the preparation for this exhibition, Professor Walley offered two courses geared for undergraduate and graduate students. In fall 2014, with generous support from the Tom and Carol Williams Fund for Undergraduate Education, Professor Walley taught a class in collaboration with the JSMA and Charlene Liu, Associate Professor of Printmaking, and Mika Aono, Printmaking and Fibers Studio Technician, both members of the UO’s Department of Art. That course explored the history of contemporary Japanese prints with a focus on their techniques. Students learned about prints by carefully scrutinizing examples from the Wadsworth Collection, through lectures and readings, and by learning to make their own prints using the four major techniques of relief, intaglio, lithography, and screenprinting.

In winter 2015, Professor Walley and Chief Curator Anne Rose Kitagawa team-taught a museum-based course in which sixteen undergraduate and graduate students studied Japanese contemporary prints along with aspects of museum curatorship and exhibition planning, design, and installation. In addition to focusing on the Wadsworth prints in weekly research assignments and class discussions, students learned from museum professionals, print dealers, and collectors in a series of guest lectures and field trips. The fruits of the research that the students conducted in these two classes form the core of this exhibition. Indeed, the final installation reflects many of the ideas that they raised in discussions and assignments, and a number of the students contributed label copy and catalogue entries based on the original research they conducted for their final projects. With generous support from the WLS Spencer Foundation, a number of the students further deepened and refined their research in order to provide public tours of the exhibition.

edition of Walter Pater's 'The Child in the House'"

11:30-12:00
Sophie Aymes (University of Burgundy), "Woodcuts and some Words: Writing about autographic wood engraving in the early 20th century"

MSH, salle R03

ttel (www.virtuelles-kupferstichkabinett.de). A collaborative project of these two institutions, along with the University of Marburg - Bildarchiv Foto Marburg and the University of Göttingen, is currently linking the online publication of prints and drawings from the collections of Braunschweig and Wolfenbüttel with iconographic indexing and academic research into the early modern collecting of prints.
The conference will take as its starting point two key questions. How can research into the history of art collecting and digital indexing work together to form a mutually beneficial partnership? How can indexing adapt to the demands of the research community?
Papers on the following subjects and case studies will be welcome:
• The theory and practice of collecting in the early modern period
• Case studies: religious and secular orders, private individuals, artists and universities as collectors of graphic arts
• Networks and trade structures: art agents, dealers, advisers
• The indexing and publicising of graphic collections: from the ‘Recueil’ to the online database
• How can indexing and online publication adapt to the demands of the research community?
• The functionality and organisational systems of graphic collections
• The research and documentation of provenances
We invite proposals for 20-minute papers devoted to the subjects mentioned above.
Proposals (maximum of 500 words) with the title of the paper, institutional affiliation (if applicable), postal and email address and a short CV can be sent up to 30 November 2015 to:
vkk@hab.de. The conference programme will be published in early 2016 on the conference website:
//diglib.hab.de/?link=046

ctober 17; 11 - 6pm
@ Rogue Space Chelsea
508 West 26th (9th Floor) 9E-9F, NYC 10001

For more information, please visit: http://www.ipcny.org/exhibitions/printfest-october-16-17-2015/