(Re)Print brings into dialogue the prints of five contemporary artists—Mark Bradford, Cecily Brown, Glenn Brown, Enrique Chagoya, and Lynette Yiadom-Boakye—and the printed source material they reference. These artists each use a distinct approach to processing and responding to familiar imagery. They quote art historical masters, deconstruct everyday visual material, and shake loose images of their conventional meanings. Appropriating, obscuring, recasting, inventing—all inspire new ways of thinking about how images shape our histories, cultures, and beliefs.

(Re)Print was originally developed for IPCNY’s exhibition space in New York, and has been reimagined in an online format that will continue to evolve. This digital exhibition includes dynamic visuals, didactic text, artist quotes, and audio recordings of commentary by Jennifer Farrell, Associate Curator, Department of Drawings and Prints at The Metropolitan Museum of Art. New content and educational resources will be added on an ongoing basis, and there are opportunities throughout the digital exhibition for you to send us questions, connections, and thoughts that we’ll share and respond to on social media.

(Re)Print was developed for the web by Jenn Bratovich.

Join artist Enrique Chagoya, currently on view in (Re)Print: Five Projects, and master printer Bud Shark of Shark’s Ink in a conversation about art, cultural dialogue, collaboration, and the current crisis. A Bay Area painter and printmaker and a professor of Art Practice at Stanford University, Chagoya uses complex political satire to question the nature of historical events, American history, and contemporary politics, expressing some of his most important ideas in print. Since 1997 he has collaborated with the Colorado-based Shark, whose workshop encourages artists to pursue a strong personal vision. Sarah Kirk Hanley, a Chagoya scholar and Executive Director of Manhattan Graphics Center, and Judy Hecker, Director of IPCNY, facilitate this discussion of Chagoya’s and Shark’s early and present-day work and concerns.

This program was originally recorded on May 14, 2020.

To celebrate the 350th anniversary of the oldest surviving print from Colonial America, we have assembled all five extent copies of the portrait of the Reverend Richard Mather (1596-1669) to compare them. Never exhibited together in a physical gallery, this virtual presentation will help to address the many unanswered questions surrounding the five woodcuts, such as why is his shoulder so uneven? When were they actually printed? And what was the purpose of the picture?

Princeton University is fortunate to own one of these rare impressions. With our sincere thanks, the other copies are shown courtesy of the American Antiquarian Society; Houghton Library, Harvard University; Massachusetts Historical Society, and the Tracy W. McGregor Library of American History, University of Virginia.

Please join us for a live zoom talk at 2:00 p.m. EDT on May 22, 2020, beginning with a presentation by Julie Mellby, Graphic Arts Curator, Princeton University Library, followed by a conversation with Caroline Duroselle-Melish, Andrew W. Mellon Curator of Early Modern Books and Prints and Associate Librarian for Collection Care and Development, Folger Shakespeare Library.

To request accommodations for this event, please contact pulcomm@princeton.edu at least 3 working days in advance.

Please visit the 'External Link' below to register. A zoom link will be provided after registration.

In the early 20th century, Mexican artists embraced printmaking as a means of reaching a broader audience, creating works that expressed the sociopolitical concerns central to the nation’s 1910–20 revolution and its aftermath. In this seminar, curator Mary Schneider Enriquez will explore the topic through a range of works—from José-Guadalupe Posada’s broadsheets and the iconic, post-revolution images by muralists David Alfaro Siqueiros, José Clemente Orozco, and Diego Rivera, to the politically charged works of Leopoldo Méndez and the print collective Taller de Gráfica Popular.

This free seminar will be presented live on Zoom. Please visit the 'External Link' below to register.

Bringing the event to you online means that we have had a chance to look at every print in the Fair – and what a spectacular range there is, much of it on show for the first time. Now you can see them all too, through our Exhibitors' online Viewing Rooms - and all from the comfort of your own home.

To give you inspiration, we have asked some collectors to pick their favourite prints, which you can see in the Collector’s Choice section, and have also created Spotlight Exhibitions focusing on particular themes. For those of you who are new to the Fair, it is important to remember that original prints are not reproductions. They are artworks, originally conceived by the artist to be prints. If you want to find out more about printmaking techniques you can find information in the About Prints section.

In more good news, LOPF will be announcing the shortlist for the Jerwood Printmaking Today Prize 2020 on this site at the end of May. The award is open to early career printmakers who have been working with the medium for up to ten years and who demonstrate a deep understanding of the medium or a fresh approach to printmaking. Nominations are still open.

We hope you enjoy exploring LOPF Online – we will be adding content throughout the month of May so please do keep popping back. A big thank you to our collectors, exhibitors and printmakers. I hope we will all be back together again in person next year.

--Helen Rosslyn, Director, London Original Print Fair

Please visit the 'External Link' below to visit LOPF Online.

The Velocity of a Page is a cross section of contemporary practices in book arts and publishing. The book as an object, as a practice, and as a place wields a specific gravity. The books and publications on display are experiments in art-making. They are tools to build and support communities. They are spaces held for individuals and documents of experience. This multifaceted world reveals a nuanced and complicated view of what it means to publish and what it means to distribute ideas and art via objects that are held, open, and explored by hand.

This cross-platform exhibition, curated by Christopher Kardambikis, pulls together books, zines, publications, and book-ish objects by contemporary artists and publishers from across the United States. Extending across both GRACE’s website and social media platforms, The Velocity of a Page seeks to engage with a kaleidoscopic view of the web as a way to focus on the various facets of each artist and/or publisher’s practice.

The exhibition website is organized in loose categories for ease of exploration. These categories do not have rigid boundaries as each artist or publisher can, and does, occupy multiple spaces simultaneously. Follow the links for more information and to see more books by all of our featured artists and publishers.

Furio Rinaldi, an expert on 15th- and 16th-century Italian drawings — particularly the schools of Leonardo da Vinci, Raphael, and Michelangelo — will start his tenure as Curator in the Achenbach Foundation for Graphic Arts on May 4, 2020. Using the Museums’ extensive prints and drawings collection, Rinaldi will plan exhibitions, organize installations, recommend acquisitions, conduct research, and share interpretation with audiences.

Most recently Rinaldi was Associate Vice President, Specialist, and Head of Sale in the Department of Old Master and 19th-Century Drawings at Christie’s, New York. Prior to Christie’s, his curatorial experience includes positions in the Department of Drawings and Prints at the Metropolitan Museum of Art, New York, and at the Pinacoteca di Brera, Milan. Rinaldi has organized and authored De Ludo Geometrico: la matematica e la geometria di Leonardo, Disegni di Leonardo dal Codice Atlantico (Biblioteca Ambrosiana, Milan), and co-organized and contributed to a number of exhibitions, including Michelangelo: Divine Draftsman and Designer (Metropolitan Museum of Art, New York); Leonardo e Michelangelo: capolavori della grafica e studi romani (Capitoline Museums, Rome); Leonardo da Vinci: The Design of the World (Palazzo Reale, Milan); Il Primato del Disegno (Pinacoteca di Brera, Milan); Raffaello e Urbino (Galleria nazionale delle Marche, Urbino); and El Greco (Grand Palais, Paris). His field of expertise also includes Italian 20th-century drawings and artists such as Giorgio Morandi, Umberto Boccioni, and Carlo Carrà.

With a Ph.D. in art history from the University of Rome, Rinaldi also holds an MA and BA in Art History from the University of Milan. His scholarly awards include a fellowship from the Fondazione Roberto Longhi, Florence (2010-–2011), an Andrew W. Mellon Pre-doctoral Fellowship (2012–2013) at the Metropolitan Museum of Art, and a grant from the Renaissance Society of America (2015), among other distinctions. He has published extensively, including articles in The Burlington Magazine, Master Drawings, and The Metropolitan Museum of Art Journal, and has co-edited After 1564: Michelangelo’s Legacy in Late Cinquecento Rome (2016). He is currently working on the catalogue raisonné of Perino del Vaga with Linda Wolk-Simon.

Please visit the 'External Link' below to read the full press release.

This exhibition highlights the power of printed material to communicate social and systemic injustices, and features work by French lithographer Honoré Daumier (1808-1879) and American photographer Danny Lyon (born 1942) from the Henry collection, as well as a selection of late twentieth-century prison newsletters.
Daumier and Lyon may have worked in different centuries and on different continents, but each was troubled by the injustices prevalent in his society. Daumier’s prints, which frequently lambasted any and all who were part of the judicial system, were published in weekly periodicals and hung in windows. Included as part of this exhibition is a series Daumier produced in the 1840s entitled ‘Les Gens de Justice’, in which he focused his merciless wit and sharp eye on the profession even more intently.

Paired with Daumier’s prints are photographs Lyon made in the late 1960s while visiting six penitentiaries in Texas where he immersed himself in his subject, becoming familiar with those he photographed, and the details of their lives and routines. The book that resulted, Conversations with the Dead, was published in 1971, and invited the viewer in to these closed worlds to experience for themselves, in some small way, the horror and despair that Lyon had seen. In their own way, each artist created powerful visuals in formats that would reach a broad audience, intending to galvanize dialogue, public consciousness, and solidarity against inequity.

In dialogue alongside these works by Daumier and Lyon are prison newsletters from the Washington Prison History Project that function similarly, as tools of communication to bring awareness to the dire circumstances faced by individuals incarcerated in institutions across the state, as well as their friends and families, and to provide a way for them to share information, create community, and gather support.

This exhibition is organized in complement to the exhibition Bambitchell: Bugs and Beasts Before the Law, which runs concurrently in an adjacent gallery.