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.

About 1474 something never seen in print before rolled off the press: the English language. William Caxton, an English merchant and diplomat, had recently learned of the new technology of print invented by Johann Gutenberg twenty years before, and Caxton capitalized on the commercial opportunity offered by this revolutionary invention. William Caxton and the Birth of English Printing celebrates this foundational moment in the history of English literature and language. Caxton published key works of English literature, such as Chaucer and Malory, as well as short religious and didactic texts, many of which he translated from French or Latin. Through his publishing activity, Caxton also helped to stabilize the English language by promoting a single dialect, and through print this dialect became more prevalent and helped to form the basis of our modern language.

As artifacts of nationalistic importance, Caxton imprints have been choice prizes for collectors since the 18th century. Pierpont Morgan favored Caxton over Gutenberg as a founder of printing and strove to acquire a premiere collection of his work. The Morgan has the third largest collection of Caxtons in the world, preserved for their literary, linguistic, and historical significance.

Janice Oresman will give a tour and talk of "True Monotypes," which she guest curated for the IPCNY. The exhibition is on view until May 30.

International Print Center New York
508 West 26th Street, 5th Floor
New York, NY 10001
​212-989-5090

The University of Louisville is proud to announce, The Beauty of a Block: Women Printmakers of the WPA Era, an exhibition highlighting 19 women artists who were employed in the Works Progress Administration’s Federal Art Project during the 1930s and 1940s. The selected prints are drawn from the Hite Art Institute’s expansive print and drawing collection, which holds over 4000 prints from artists around the world. Since the 1930s over 100 exhibitions have been curated from this collection, but this exhibit will be the first to focus solely on a group of women artists.

Curated by students Megan Bogard-Gettelfinger, Whitney Mashburn, Jessica Oberdick, Elizabeth Smith and Leanna Smith in the Critical and Curatorial Practice Seminar, this exhibition grew from expansive research into these selected artists, which revealed strong professional and personal networks -- an aspect accentuated in the exhibition through the display of personal artifacts and letters. The selected prints have been chosen to encompass a wide variety of mediums and subject matter, and emphasis was placed on imagery focused on workers, families, landscapes, and the industrial growth of America during the 30s and 40s. The resulting display includes artists’ working in a variety of print media including woodcuts, lithography, and serigraphy, and imagery depicting race, gender, and societal roles.

The Beauty of a Block will be installed in the Schneider Hall Galleries on the University of Louisville’s Belknap Campus from May 29-July 17, 2015, with an opening reception on May 29 from 5-7 p.m.