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.

For centuries printmakers have experimented with a wide variety of techniques to create tonal effects in prints. Aquatint, an etching technique developed in the late 18th century, introduces a porous ground to the printing plate through the application of resin that is fused to the plate before it is etched in the acid bath. The inked porous ground produces an effect akin to wash or watercolor, which artists have exploited to dramatic, evocative ends. The show features a range of works, from innovative early examples of the technique by Francisco Goya and Jean-Baptiste Le Prince to haunting, spectacular images from the 20th century by Otto Dix and Pablo Picasso.

Although we live in the digital age, print continues to have urgency and ubiquity in contemporary art and society. In honor of The Print Center’s 100th anniversary, Sarah Suzuki, from the Museum of Modern Art, will lead a discussion exploring the inventive uses of print with artists Rirkrit Tiravanija and Elizabeth Peyton, and David Lasry, founder and director 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.

Culled from the collection of the Cabinet d’arts graphiques of the Musée d’art et d’histoire, about 100 prints from the 15th to the 20th century reveal artistic interpretations of prophetic visions, from the Original Sin to the Last Judgment. A hallucinatory journey around three major series of prints—Albrecht Dürer's Apocalypsis cum figuris, John Martin's Paradise Lost, and Odilon Redon's Apocalypse de Saint Jean.