Pace Prints is pleased to present an exhibition of new editions and a sculptural work by Tara Donovan at its 32 East 57th Street gallery. The exhibition will run May 9—June 27, concurrent with Tara Donovan at Pace Gallery’s 57th Street location, with a joint opening reception for both exhibitions Friday, May 8, 6-8pm.

The exhibition unveils a new series of prints, created in tandem with the artist’s ongoing investigation of Slinkys® as a sculptural material. In an iteration of this exploration of form, the Slinkys® are deconstructed and refashioned to project two-dimensionally along the flat surface of a wall, forming meandering and layered patterns that expand or contract depending on the given spatial conditions.

Using the same method of construction, unique printmaking matrices of Slinkys® are produced and inked using an airbrush. An edition of large-scale, black and white relief prints are made from each matrix.

International Print Center New York presents New Prints 2015/Summer, on view at 508 West 26th St, 5th Floor, from June 11 – July 31, 2015. The exhibition consists of forty-six prints by thirty-nine artists, selected from over 2,000 submissions. Showing during IPCNY’s 15th Anniversary year, New Prints 2015/Summer is the fifty-first presentation of IPCNY’s New Prints Program, a series of juried exhibitions organized by IPCNY several times each year featuring prints made within the past twelve months. An illustrated brochure with a curatorial essay by Tom Freudenheim accompanies the exhibition.


Artists are: Golnar Adili, Mark Barry, Kristian Battell, Mildred Beltre, Anders Bergstrom, Nicholas Brown, Douglas Collins, Tobias Crone, Jeffrey Dell, DETEXT, Shabnam K. Ghazi, Lari R. Gibbons, Sadko Hadzihasanovic, Tenisha Artes Hicks, Traci Horgen, Travis Janssen, Louis Joseph, Jimin Lee, Julia Ludwig, Eimearjean McCormack, Jonathan D. Metzger, Jill Parisi, Ross Racine, Mark Rice, Elin Rødseth, Julia Samuels, Tatiana Simonova, Brian Spolans, Jelena Sredanović, Dan Steeves, Deborra Stewart-Pettengill, Valerie Syposz, Marjorie Tomchuk, Carol Wax, Andy Wentz, Jenifer Wightman, John Willis, Ken Wood, and Liz Zanis.

The Art Complex Museum (ACM) has a rich, comprehensive print collection. The collection formed by Carl and Edith Weyerhaeuser encompasses seventeenth century Dutch etchings and engravings, including Rembrandt's Descent from the Cross by Torchlight, as well as modern Japanese, American and European nineteenth and twentieth century etchings, engravings, woodcuts, wood engravings, lithographs, and drypoint; and contemporary prints in a variety of techniques purchased by the Boston Printmakers for the museum collection. The Boston Printmakers and Art Complex Museum have collaborated on dozens of projects since the 1970s. The initial relationship was through Ture Bengtz, who was a founder of The Boston Printmakers in 1947 and the first director of the Art Complex Museum.

We are delighted to work exclusively with ACM on this regenerative exhibition showcasing the astute talent, tradition and innovation among our members. For this collaborative exhibition, ACM’s contemporary curator Craig Bloodgood and collections manager Maureen Wengler have selected 42 works for response pieces to be created by members of The Boston Printmakers.

Under the longest reigning king in French history, Paris became the most important print producer in Europe, a position it maintained until the end of the 19th century. This extraordinary development was fueled by official policies that aimed to elevate the entire spectrum of the fine and decorative arts. Prints were at once a means of communication, a propaganda tool, and an art form in ever-increasing demand. Printmakers and print publishers produced hundreds of thousands of works on paper in a century that was as hungry for imagery as ours is today.

Propaganda was an essential characteristic of print production. But propaganda refers to more than images of the king’s likeness, victories, virtues, and royal festivals, which were most effectively disseminated through etchings and engravings. It also refers to a broader strategy promoted by the king himself: France would be a model for the rest of Europe. With the help of prints, allies and enemies alike would bear witness to the unmatched refinement of French technical skill, aesthetics, and taste. On the tercentenary of the death of Louis XIV, this exhibition demonstrates the significance of an art that attained unparalleled sophistication and influence.

This exhibition was organized by the Getty Research Institute in special collaboration with the Bibliothèque nationale de France.

Someday is Now: The Art of Corita Kent is the first full-scale exhibition to survey the entire career of pioneering artist and designer Corita Kent (1918–1986). For over three decades, Corita experimented in printmaking, producing a groundbreaking body of work that combines faith, activism, and teaching with messages of acceptance and hope. A Sister of the Immaculate Heart of Mary, Corita taught in the art department at Immaculate Heart College (IHC) in Los Angeles from 1947 through 1968. At IHC, she developed her vibrant, Pop-inspired prints from the 1960s, mining a variety of secular and religious sources and using the populist printmaking medium to pose philosophical questions about racism, war, poverty, and religion. Her work was widely recognized for its revolutionary impact and remains an iconic symbol of that period in American history. As a teacher, Corita inspired her students to discover new ways of experiencing the world by seeking out revelation in everyday events. Bringing together artwork from Corita’s entire career, this exhibition reveals the impassioned energy of this artist, educator, and activist.

From the international fight against fascism to protecting the proletariat, El Taller de Gráfica Popular (the Workshop for Popular Graphics, or TGP for short) worked diligently to keep pertinent issues before the populace of Mexico and the world. Covering the period from the TGP’s predecessor, the LEAR (the League of Revolutionary Writers and Artists), through the most active years of the workshop, the exhibition of approximately 250 works presents an extensive collection of large-scale posters (carteles), small flyers (volantes), books and pamphlets, powerful fine art portfolios and calavera newspapers that exemplifies TGP’s lasting contributions to the Mexican printmaking tradition. The TGP used art to inspire and inform in a country where literacy and communication technology were not widespread. Images of revolution, resistance and unity were often paired with anti-Nazi and anti-fascist messages and printed on the economical, easily distributed volantes and the larger, more visible carteles.

Remarkably prolific, the TGP produced works in a wide variety of media, specializing in linoleum prints and woodcuts. From Raúl Anguiano to Alfredo Zalce, workshop membership included many notable 20th-century Mexican printmakers. The workshop also instructed students from other countries in the techniques of printing and printmaking. During the New Deal era in the United States, some Works Progress Administration artists collaborated on projects with the TGP. Several years later, during the U.S. civil rights movement, Chicano and African American artists such as Elizabeth Catlett would produce work there as well. The proliferation of television and radio in Mexican homes, along with a more stable political environment, eventually made the use of carteles and volantes for disseminating information unnecessary, and the workshop’s productivity slowed. The TGP will always be remembered, however, as a distinct part of Mexican history, when art put social and political issues before the people and brought them to life. The accompanying catalogue, which will contain extensive scholarship and images, will be one of the very first authoritative texts in English on the workshop.

Already from the later 17th century it was documented that Rembrandt occasionaly printed his etching plates on oriental paper. In the 18th century his plates were re-printed on oriental paper, as well as contemporary artists printing their copies after Rembrandt or their own etchings in the style of Rembrandt on oriental paper. The actual paper of early states of Rembrandt prints on oriental paper has been researched only twice, by George Biörklund in 1968 and Jacobus van Breda in 1997. A Japanese team, cooperating with staff from the Rijksmuseum in Amsterdam, entered on an ambitious project researching the oriental papers in dozen of Rembrandt etchings from the collection of the Rijksmuseum in 2014. Their aim is to disclose the (Japanese) region(s) where Rembrandt's oriental paper was made. A final scientific report is expected in 2018. The present exhibition places this project in its larger historical context, giving an overview of the use of oriental (mainly Japanese) paper by European merchants, clergy and artists from the 1590s to c.1670, the emphasis being on Rembrandt's etchings, with further works by contemporaries on oriental paper. The exhibition includes a short history of the invention and dissemination of papermaking, basic information on present manual papermaking in Japan, and an introduction to the Japanese-Dutch research project.

This exhibition documents the contemporary representation of Versailles through an array of prints, books, maps, medals, and manuscripts. It highlights in particular those elements that today survive only on paper: ephemeral festivals; short-lived creatures (courtiers, animals, flowers); fragile groves and fountains too costly to maintain; and once celebrated masterpieces of art and architecture that were irrevocably destroyed or altered. The 'paper Versailles' is quite different from the one that millions of tourists visit every year and affords many unusual and surprising glimpses into a largely lost world.

A special sneak preview of the film A Little Chaos is being held in conjunction with the exhibition Versailles on Paper at Princeton University. June 17, 2015, at 7:00 p.m. Tickets are free but reservations are required.

More information about the Versailles on Paper exhibition can be found at the following website:
http://rbsc.princeton.edu/versailles/versailles-paper

The Brandywine Workshop is launching brandywine.art on their website (www.brandywineworkshop.com). This database will include a digital library of the Brandywine permanent print collection, created by over 350 contemporary, culturally diverse artists, artist videos, digital versions of catalogues, and other publications and an expanding list of research, art criticism, lesson plans, instructional resources, and learning tools.

Sign up to be a Charter User by clicking the icon brandywine.art at the lower left of the Brandywine home page. Those who pre-register before September 1, 2015 will receive Charter User status and a life-long 10% discount, should they decide to purchase any store merchandise. In addition, Charter Users will receive regular digital newsletters and sample material, exemplifying the content prior to the launch.