An exhibition of current prints by Native American artists living and working across North America. Over forty works by twelve artists will be included with techniques ranging from lithography, etching, silkscreen, linocut and monoprint, to three-dimensional multi-media constructions. Affiliations of the artists include Mohawk, Seneca, Navajo, Flathead/Salish, Chiricahua Apache, Cree, Plains Cultures, Colville Confederate Tribes and Wiyot.​​



International Print Center New York will open its 2015/16 Season with “Weaving Past into Present: Experiments in Contemporary Native American Printmaking”, an exhibition of current prints by Native American artists living and working across North America. Over forty works by twelve artists will be included with techniques ranging from lithography, etching, silkscreen, linocut and monoprint, to three-dimensional multi-media constructions. Affiliations of the artists include Mohawk, Seneca, Navajo, Flathead/Salish, Chiricahua Apache, Cree, Plains Cultures, Colville Confederate Tribes and Wiyot.

“Weaving Past into Present” has been organized in collaboration with Sarah Diver, Project Coordinator, who is contributing the curatorial essay for the exhibition. Ms. Diver writes: “This exhibition focuses on the work of current indigenous printmakers who utilize…history as a visual language…Grounding their work in the images, textures, and experiences of the colonial era, artists layer old and new, past and present to explore how the attitudes which shaped 19th-century policies and practices continue to resonate in popular culture today.”

Workshops represented are Crowís Shadow Press (OR); Hybrid Press (WI); LeRoy Nieman Center for Print Studies (NY); Sitka Center for Art and Ecology (OR); Tamarind Institute (NM); and Vermillion Editions Limited (TX).

In honor of the eightieth anniversary of James Watrous, a noted expert on prints and drawings, joining the Art History faculty at UW, our department is pleased to announce a symposium, "Paper: The Place of Discovery." Our speakers will investigate the importance of works on paper to art historical investigation, demonstrating how fifteenth-century silverpoint drawings reveal creative process, how the prints of a jewelry designer indulge the geographic imaginary, how letter writing was vital to the artistic process, and how surviving sheets reveal Rembrandt's failures. In keeping with Professor Watrous’s dedication to making art historical knowledge accessible, our keynote speaker will present his path-breaking development of software to promote techniques of art historical analysis.

Thursday, October 8, 6pm:
"Computer Vision as Art Historical Investigation"
L160 Elvehjem Building
John Resig, Developer, Khan Academy; Creator, jQuery Java Script Library

Friday, October 9, 10am-12:30pm
"Paper: The Place of Discovery"
Chazen Auditorium

Stephanie Buck, Curator of Drawings, The Courtauld Gallery, London
Thomas Rassieur, Curator of Prints and Drawings, The Minneapolis Institute of Art
Shira Brisman, Assistant Professor, Art History, University of Wisconsin-Madison
Madeleine Viljoen, Curator of Prints, The New York Public Library
Andrew Stevens (Moderator), Curator of Prints, Drawings, and Photographs, Chazen Museum of Art

Le Petit Palais invite le public à découvrir pour la première fois en France
la production d’un artiste hors du commun, Kuniyoshi (1797-1861). Grâce à
d’importants prêts japonais, complétés par ceux d’institutions françaises, les
250 œuvres présentées témoigneront de son génie dramatique et de sa
beauté expressive. L’exposition explicitera la fonction de cette imagerie
et son importance dans la culture japonaise, l’œuvre de Kuniyoshi, ayant
largement influencé depuis l’art du manga et du tatouage.

Le Petit Palais invite dans ses murs la Bibliothèque nationale de France pour cette grande première sur l’estampe fantastique. Plus de 170 oeuvres de Goya à Redon en passant par Delacroix et Gustave Doré introduiront le visiteur dans cet univers omniprésent dans la gravure et la lithographie du XIXe siècle. Du macabre au bestiaire fantastique, ou au paysage habité, jusqu’à la représentation du rêve ou du cauchemar : le triomphe du noir !

Exposition organisée par le Petit Palais et la Bibiothèque nationale de France

A global network is drawn between diverse artists and their printworks on an intimate scale. These artists operate on multiple levels in the print community, through exhibiting at international biennales, working in collaborative studios or independently, as mentors and teachers that elucidate and interpret print culture through their craft and concept. The quality of their vision is expressed through an attentive nature and handwork, while understanding the impact of ink and impression.

An annual exhibition showcasing contemporary printmaking in the East Anglian region.

The title of the 31st Biennial of Graphic Arts Over you / you is copied from a quick note in the corner of a drawing by Martin Kippenberger. It seems like an unsolved equation or supposition indicating the instability of the image that can be reproduced. The Biennial explores how the techniques of reproduction are used by visual artists as strategies for communication and circulation. At the same time it investigates the potential of what can be endlessly copied, focusing on the countless possible ways of understanding the concept of reproduction. The Biennial focuses on the artist who resists the completeness and uniqueness of the work of art with “antisingularity”. This is achieved by the contemporary practices that relate to the history of extreme dispersion. The moving image is fundamental to our contemporary information economy. Placing the image into motion as it collides with the fixed framework of the printed or marked surface establishes a delicate balance of forces between the artworks. This instability is reflected in the concept of the exhibition that seeks to resist linearity and conclusion, instead reflecting the creative process of the participating artists by emphasizing the non-logical and associative.

Curated by Nicola Lees
Associate Curators Stella Bottai and Laura Mclean-Ferris

The Thirty-first Biennial of Graphic Arts concists of:
the main exhibition Over you / you (on display at the International Centre of Graphic Arts, the Museum of Modern Art, Tivoli Park, Jakopič Promenade, National and University Library, Kresija Gallery), the traditional exhibition by the award-winner, María Elena González (on display in the Gallery of Cankarjev dom).

This multi-venue event marks the first comprehensive overview of printmaking in Taos Valley from the earliest known images of the region through contemporary prints. The exhibitions are spread across 15 museums, arts organizations and galleries and a symposium is scheduled for 17–18 October at Harwood Museum of Art.

September–December 2015

Comprised of 100 wide-ranging components, The Print Center's centennial celebration will include exhibitions in their 1614 Latimer Street galleries and at partnering institutions throughout Philadelphia, public art events, new commissions, lectures, publications, a gala and a street party, and a new website including an historical timeline and oral histories.

Books and Print between Cultures investigates the role that books (printed books and manuscripts, including maps, scrolls, etc.), prints, and their associated technologies played in mediating and instantiating cultural difference in the early modern period. It approaches these materials as intermediary (“between”), but also as “flows,” a term borrowed from social-cultural anthropologist Arjun Appadurai, to underscore the fluid and yet chaotic manner in which books and prints proliferated and were circulated, reconfigured, and reconstituted around the globe. Rather than considering books and prints through a strictly semiotic or iconographic lens—i.e., as assemblages of signs and symbols, texts and images—this symposium foregrounds the materiality of these objects qua objects. It asks, for example, in what ways the formal features and physical components of books shaped their reception abroad; how artisans, collectors, merchants, priests, and litterateurs made sense of alien alphabets, inks, type, and handwriting, among other book and print technologies; with what other media—including textiles, sculpture, architecture, and drawing—books, prints, and their makers were in conversation; and how book- and print-making, -collecting, and -viewing practices translated across space, from one locale to another. By framing the history of books and print as meandering and material, this interdisciplinary symposium aims to contribute new dialogues to the study of the global early modern.