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.

This show was selected by: Grayson Cox (Artist, Professor), Jennifer Farrell (Associate Curator, Department of Drawings and Prints, The Metropolitan Museum of Art), Tom Freudenheim (Art Critic and Retired Museum Director), Evelyn Day Lasry, (Two Palms, NY), William Steiger (Artist), and Barbara Takenaga (Artist, Professor).

Beginning in the seventeenth century, artists increasingly depicted scenes of everyday life in their work. The doctor’s visit, generally showing a male doctor visiting a female patient in her home, became a popular subject in paintings and prints. As medical knowledge and scientific training progressed over the following centuries, artists presented a wider range of interactions between doctors and patients. Some artists featured doctors as caring, learned professionals, while others showed charlatans promoting dubious remedies. Images often included medical iconography used in symbolic or satirical ways to comment upon political events and social mores.

This exhibition explores the different ways that European artists both documented and interpreted health issues and medical practices of their time. While some works rely on long-established artistic conventions and outdated medical practices, others respond to trends and breakthroughs in treatment or focus on either lauding or lampooning the most famous physicians of the day. Works by the great French printmaker and sculptor Honoré Daumier and his contemporaries demonstrate the wide use of medical imagery to criticize King Louis-Philippe’s government (1830-1848), while works by Hermann-Paul and Charles Maurin consider the public and private aspects of the impact of illness on the average citizen. The exhibition is selected from the Zimmerli Art Museum’s rich collection of European prints from the Renaissance through the twentieth century.

This exhibition features 20 Surrealist-inspired linocut prints by Slovak artist Vincent Hložník (1919–1997) created in Czechoslovakia in 1962. They represent a turning point in the artist's career as his figurative motifs—always related to the exploration of the human condition—began to take on more symbolic and metaphorical meanings.

In the dystopic universe of the prints, detached human limbs, tangled corpses, monstrous figures assembled from eyes and teeth, the Angel of Death, and threatening flanks of silhouetted and stylized archaic warriors signal unspecified danger. Angles and voids activate the space and create an instability marking the very real threat of annihilation, whether from war or nuclear arms. Hložník's approach to art was profoundly affected by his time as a student in Prague during World War II where he witnessed Nazi atrocities. This experience led him to address themes of war, isolation and human suffering in his work.

Tamarind Institute announces New Editions 2015 opening in the Tamarind Gallery May 22 through August 21. The gallery is free and open to the public, Monday through Friday, 9 a.m. — 5 p.m.

This collection of new lithographs released by Tamarind Institute during the past twelve months, typifies the diverse imagery for which Tamarind is known. Among the artists are Garo Antreasian, Enrique Martínez Celaya, Osmeivy Ortega, Hayal Pozanti, Robert Pruitt, and David Row. In addition to recent editions, Tamarind is releasing a suite of fifteen lithographs made with artists of the Kalahari sandveld region in western Botswana, Africa, in 2006.

A one day symposium on Thursday 9 July will mark the opening of the exhibition RE: Print /RE:Present at the Ruskin Gallery, Cambridge School of Art, Anglia Ruskin University, co-curated by Dr Véronique Chance (MA Fine Art and MA Printmaking Course Leader) and Mark Graver (Director of Wharepuke Print Studio and Gallery, New Zealand).

This exhibition, along with an accompanying symposium, marks the launch of the RE:PRINT International Research Project with the aim of promoting International Networks in discussion, exhibition and exchange.

The project was initiated following discussions with national and international academics and artists whose concerns centre on inter-medial approaches to printed media and the nature of reproduction and reproducibility within current art practice.

A key aim of both exhibition and symposium is to examine, through practice and dialogue, the impact of continuing technological developments in reproductive media on trans-medial art practice and to RE-Present, challenge, question and connect to previously established relationships between media in unexpected, provocative and radical ways.

Witches' Sabbaths, bizarre monsters, and skeletons engaged in macabre practices – this kind of imagery seems at total odds with the familiar pictorial language of the Renaissance, which is characterized by emulation of the classical world's ideals of beauty, a turning away from otherworldly concerns, and a conception of life that places humans at the center of the universe. For the first time, the exhibition is illuminating this obscure corner of Renaissance art. It shows that these images were not simply hangovers of the medieval imagination, but that new developments in areas such as science and artist training inspired unusual imagery and that printmaking was the medium of choice for the creation and dissemination of such images.

APS is pleased to announce its inaugural lecture, supported in part by the International Fine Print Dealers Association:

"Why Study Prints Now?"
Peter Parshall, Former Curator of Old Master Prints at the National Gallery of Art, Washington, D.C.

Friday, September 25 at 4 PM
Martin Segal Theater at The Graduate Center City University of New York
365 Fifth Avenue, New York, NY

Please save the date and RSVP (recommended but not required) via the link below or at info@printscholars.org.

Sims Reed Gallery is delighted to present ‘Bruce Nauman Prints 1970 – 2006’ in collaboration with Galerie Ronny Van de Velde. The exhibition will include around 30 prints and will run from 24 June – 17 July 2015. Bruce Nauman is one of the most prominent and influential artists to emerge from America in the 1960s. His work has consistently been at the forefront of contemporary art and continues to challenge convention, even today.

Printmaking has been central and fundamental to Kiki Smith’s work for over 30 years and continues to be a source of discovery for her. Smith has been working primarily in print for the past year and has chosen to exhibit prints in Each Day at John Davis Gallery.

The works are made in a variety of different techniques, primarily etching, inspired by methods inspired by Kathan Brown’s book Magical Secrets about Aquatint and from making demo plates to teach printmaking at New York University and Columbia University. Also represented are color polymer, digital and relief printing techniques.

Smith has been privileged to work in some of the great printmaking studios across the United States. This exhibition includes prints published by Harlan & Weaver, LeRoy Neiman Center for Print Studies at Columbia University, Ribouli Digital, Savannah College of Art and Design, Universal Limited Art Editions, University of North Texas, and her own homemade efforts published under Thirteen Moons. Most of the images were inspired by the various living beings found in Catskill, New York.

Xu Bing’s first solo presentation in Los Angeles explores the artist’s two-decade-long career. One of the most active and influential Chinese artists living today, Xu Bing received his training in the Printmaking Department at the Central Academy of Fine Arts (CAFA) in Beijing. Book from the Sky, an installation of books and scrolls printed with more than 4,000 fake Chinese characters, captivated the burgeoning art community in China in the mid-1980s. Since then, Xu has been investigating the significance and meaning of language.

This exhibition highlights works such as the video The Character of Characters, the artist’s magnum opus and a personal account of the significance of Chinese language and characters through history, culminating with their significance to Chinese society today. The installation Square Word Calligraphy Classroom, composed of tracing books with Xu Bing’s invented calligraphy, was created to help English speakers understand the language and the art of Chinese calligraphy. The work is on view in the Boone Children's Gallery, where visitors are invited to take up a brush and practice his calligraphy.