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.

Our one-day symposium will present research on the impact of books and print on intellectual contact (broadly construed) within Europe as well as between European and non-European cultures.

The symposium is intended to encourage cross-disciplinary conversation, and is therefore defined by a conceptual framework rather than a strict thematic focus. Its title is an homage to Elizabeth Eisenstein’s seminal book, The Printing Press as an Agent of Change, which helped to establish the study of print culture as an area of study in its own right, one that has contributed to – and helped to transform – research in intellectual history, literary studies, the history of science and of visual culture, among others. While Eisenstein’s interest was in uncovering the “impact of print on western society and thought” (as she put it in the title of an early article), this symposium will explore the impact of forms of paper-based media on how western society and culture understood other cultures and societies, how western societies and cultures understood each other, and how non-western cultures and societies understood the west.

Participants will present work on how books and print mediated contact across ethnic, cultural and linguistic boundaries in the early modern period. They will explore how such boundaries were produced and reworked by the formal, material features of print and manuscript, by the structures of the production and circulation of books, texts and images – in other words, on how the materiality of textual and visual artifacts articulated connections, distance and difference between cultures, countries and communities.

In order to allow for a stimulating conversation across disciplines as well as for focused scholarly exchanges, the event will consist of a series of panels of 2-3 participants giving short (10-15 min) presentations based on their pre-circulated work, followed by extended discussion.

This traveling exhibition is juried by Ruth Lingen, a master printer and papermaker at Pace Editions in New York.