Giving VOICE: Native American Printmaking celebrates recent prints from Crow's Shadow Institute of Art, located on the Umatilla Reservation in northeastern Oregon. With its roots in collaborative practice and community, Crow’s Shadow was established in 1992 by James Lavadour (Walla Walla) and Phillip Cash (Cayuse and Nez Perce) to foster economic and cultural development for Native American artists. Since its founding the Institute has grown into an internationally acclaimed printmaking atelier that is widely recognized for its role in sustaining contemporary Indigenous visual art.

Featuring 38 works, the exhibition presents a diversity of voices and aesthetic approaches taken by nineteen artists in age and background to highlight printmaking’s expanding role within contemporary Native American art. Works range from Marie Watt’s recent woodcut designs that symbolically allude to the war protests and anti-hate content of the late 1960’s, to Raven Chacon’s lithographic series of musical notations dedicated to Indigenous women composers. Other artists such as Emily Arthur, James Lavadour, and Kay WalkingStick make the natural environment and the connection to the land their focus. Alternatively, Wendy Red Star’s and Jim Denomie’s incisive depictions address Native American history and identity to reclaim their Indigenous heritage and counter misunderstandings about Native peoples. Addressing issues related to political and social history, cultural heritage, community and belonging, these works illustrate an Indigenous worldview grounded in Native peoples’ deep sense of place and the historical role the land has played in shaping their personal and collective identity.

Drawing on work from the James and Virginia Moffett Collection of Kansas City, Missouri, "Power to the People: Mexican Prints from the Great War to the Cold War" explores the political and social conditions of early-20th-century Mexico and the dynamic, groundbreaking art that emerged from the Mexican Revolution (1910–1920) and greatly influenced the trajectory of modern art around the globe.

This period of war and dramatic civic upheaval witnessed a flowering of artistic production, particularly in printmaking and the graphic arts. Mexico’s long printmaking tradition dates to the late 1500s and was often geared to a popular audience.

Artists such as José Guadalupe Posada, Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros—icons of Mexican modernism—drew on popular traditions and everyday imagery to create new messages of social justice meant to appeal directly to the working classes in the Mexican provinces.

"Power to the People" is guest-curated by Cori Sherman North of the Birger Sandzén Memorial Gallery and Bill North of the Clara Hatton Center. The Wichita Art Museum extends special thanks to Teresa Molina, assistant professor of Spanish at Friends University, for advising and for translating "Power to the People" exhibition signage and labels for each work of art for Spanish-speaking visitors.

The exhibition consists of more than eighty works on paper, paintings, portfolios, and wood block matrices, and an exhibition catalogue will be available.

This Fall the Philadelphia Museum of Art will present a collection of images of thick, muscly he-men made by artists from two very different historical moments—the Netherlands around 1600 and the United States around 1930—in an exhibition that explores themes of masculinity, nationalism, labor, and homoeroticism. Despite the seeming disparity between these contexts, this exhibition shows how crises like the Great Depression in the United States and the Dutch Republic’s war with Spain led artists to create similar images of burly beefcakes, broadcasting messages of strength, security, and vigor. Artists from both periods depicted thickset and musclebound male bodies—often nude—as symbols of national and collective might; as personifications of civic, martial, and masculine virtues; and as demonstrations of their virtuosic command of art and anatomy.

Comprised of around fifty works on paper and structured as a series of comparisons between American and Dutch works, Macho Men highlights how artists from both contexts employed comparable imagery and compositional techniques, often to similar ends. The exhibition includes works by Netherlandish artists Hendrick Goltzius, Cornelis van Haarlem, Jan Muller, and Bartholomeus Spranger; and by American artists Paul Cadmus, Hugo Gellert, Charles Demuth, Michael Gallagher, and Arthur Murphy; among others.

These images—focused as they are on robust male physiques with muscles bulging and bodies intertwined—can be strikingly homoerotic. Yet rather than speculating on particular artists’ sexualities, this exhibition examines how artists from two disparate historical moments turned muscular male bodies into symbols loaded with ideological meaning, inviting queer readings without ascribing specific intention. Today, as paradigms of masculinity and sexuality are being reevaluated and overturned, these images present themselves to audiences to be seen and understood anew.

The exhibition is curated by Jun Nakamura, Suzanne Andree Curatorial Fellow in Prints, Drawings, and Photographs at the Philadelphia Museum of Art.

The Center for Contemporary Printmaking invites you to participate in MONOTHON 2022!

Each year the Center for Contemporary Printmaking hosts MONOTHON: a two-part celebration of monotype printmaking and CCP’s largest fundraising effort. Now in its twenty-third year, MONOTHON kicks off October 16, opening our schedule to artists booking 5 hour intensive monotype printing sessions through October 22. A selection of prints created during the printing sessions will then be included in our Silent Online Auction via GiveSmart scheduled for November 13-20.

Please visit the link below for more information.

Reception and free riso printing demo: Friday, September 16th, 6-8pm.

Digital duplicators were originally designed for cost efficient single color high-volume print jobs like flyers, diner menus, business cards, and religious pamphlets. As commercial print shops began to retire these 80's and 90's machines, artists and graphic designers adopted them as affordable means of producing multiples. They embraced the duplicators' quirks, imperfections and limited color palettes. Risograph is the most popular brand of duplicators. In the past decade, countless print studios, artists, and publishers have created incredible artwork using the Risograph. Zygote is happy to present an exhibition of contemporary artists and publishers using Risograph duplicators to produce fine art editions and artist books.

Artists: ANEMONE, Rachel Delmotte, Genderfail, Henry Gepfer, Issue Press, Sabrina Lau, Julia Schimautz, Secret Riso Club, Taxonomy Press, Travis Shaffer, Tiny Splendor Press

Organized by Anna Tararova

In 2012, Nicole Eisenman embarked on an intensive venture into printmaking. A prolific and highly influential painter and sculptor, the artist recasts art historical motifs in contemporary settings, often exploring experiences of community and isolation in today’s world. Over the past ten years, Eisenman has immersed themselves in the expansive possibilities offered by the graphic arts alongside their work in other media.

This exhibition presents more than 50 works made by Eisenman at three New York–based printshops: 10 Grand Press, Harlan & Weaver, and Jungle Press. In close collaboration with master printers there, the artist has experimented with a range of printmaking techniques—including monotype, etching, woodcut, and lithography—exploring the unique traits of each. Drawn from the collections of Eisenman and their collaborators, the works on view reveal how printmaking has emerged as a primary vehicle for this important contemporary artist to explore foundational themes and ideas central to their work, translating them inventively across media.