ills. By placing these photographs, including platinum, cyanotype, and albumen prints, as well as stereographs in dialogue with each other, the ways that artists have documented transformations to the landscape in the past is reconsidered in terms of the rapid pace of current environmental degradation. Questions of how photography was used to respond to, and express social, emotional, or political perceptions of land, and how these meanings have changed in the 21st-century from an increasing awareness about the human impact affecting climate change will be explored.

For more information and to register please visit the external link below.

ce of intersection, El Nopal has also worked with artists from Europe to further expand the boundaries of cross-cultural transfer and dialogue through print.

Featuring a virtual studio tour, as well as prepared slides of notable prints, editions, and artists with whom he has collaborated, Siqueiros will discuss his career, which includes his early work at Cirrus Editions, and the myriad of experiences and influences that led him to his present work at El Nopal.

For more information and to register for this virtual event please visit the external link below.

) devoted themselves to producing conceptual pieces indebted to printmaking and its labor-intensive processes. Even as they were committed to traditional methods, the NYGW often bent lithography, etching, and engraving away from their conventions, toward new questions, problems, and ideas. As Camnitzer stated in 1966: “We are printmakers conditioned but not destroyed by our techniques.”

In dialogue with curator and independent scholar Ursula Davila-Villa, Camnitzer and Porter will discuss artworks they produced while part of the NYGW. Examining both independent pieces and collaborations, Camnitzer, Davila-Villa, and Porter will draw viewers into the complex ideas these artists conveyed through print, and the ways they exploited the medium’s unique contingencies. The conversation will focus on the role printmaking played in the NYGW’s self-conception – particularly the crucial implications of “the multiple” which were foundational to the group’s interventions. Attendees will learn more about an influential and significant chapter in American and Latin American conceptual art, as well as the under-acknowledged contributions of print within these histories.

For more information and to register for this virtual event please visit the external link below.

Black women printmakers.

Curated by Milwaukee-based printmaker and book artist Tanekeya Word, and Huffman, Texas-based printmaker and Highpoint Editions artist Delita Martin, this marks the first national exhibition curated by Black women printmakers highlighting the experimental prints of Black women printmakers.

This exhibition will explore the narratives of 12 contemporary Black women printmakers who have shaped a place for themselves in the printmaking world. Utilizing their craft in an improvisational style, each printmaker shares matriarchal perspectives on Black interiority and narrative; bringing personal narratives into focus while paying homage to the foremothers who came before them.

This exhibition will feature recent work made by the following twelve American printmakers:

Delita Martin
LaToya M. Hobbs
Ann Johnson
Althea Murphy-Price
Tyanna J. Buie
Karen J. Revis
Lisa Hunt
Tanekeya Word
Stephanie M. Santana
Chloe Alexander
Sam Vernon
Paula Wilson

For more information please visit the external link below.

hundreds of items of production material. These works, inspired proof of Highpoint’s impact on printmaking, will be on display at Mia in a sweeping exhibition, “The Contemporary Print: 20 Years at Highpoint Editions.”

“The Contemporary Print” showcases 175 artworks in a broad range of printmaking techniques, styles, and subjects. You’ll also find preliminary drawings and working proofs, as well as demonstrations to better appreciate this expressive art form. Featured visiting artists include Carlos Amorales, Julie Buffalohead, Willie Cole, Sarah Crowner, Jim Hodges, Delita Martin, Julie Mehretu, Todd Norsten, Chloe Piene, David Rathman, Do Ho Suh, and Dyani White Hawk.

About Highpoint Editions
Highpoint Center for Printmaking was established in 2001 and is the only community-oriented facility of its kind in the Upper Midwest. Until Highpoint opened its doors, broad public access to the printmaking arts was virtually nonexistent in this part of the country. The publishing arm, Highpoint Editions, produces fine art prints made by invited professional artists in collaboration with master printer Cole Rogers and Highpoint Editions staff. Highpoint advances the work of artists by presenting their projects to a broad public through gallery shows, lectures, and symposia and by placing Highpoint prints in important public and private collections around the
world. Prints created at Highpoint Editions can be found in numerous public, corporate, and private collections, including the Museum of Modern Art, New York, the Museum of Fine Arts, Boston, the Whitney Museum of American Art, the Walker Art Center, the Los Angeles County Museum of Art, and the Centre Pompidou.

wax, Erika Piola, and Kinaya Hassane for Imperfect History and the Archive, a roundtable discussion, with special guest Dr. Shawn Michelle Smith, from the School of the Art Institute of Chicago. Smith and the curatorial team will discuss the thought processes behind and the visual materials informing the curators’ conception of the exhibition and overall project. Themes of close-looking at images and their historical context, and the cultural and racialized biases that create, read, and assemble collections of historical graphic materials will be examined.

For full information about the opening and to register please visit the external link below.

For more information about the Imperfect History project: https://librarycompany.org/imperfect-history/

modern Tokyo. Barred from foreign travel by the ruling shoguns, members of this group focused their attention on local amusements, frequenting the theater, visiting brothels, and adopting the most recent fads. This life of contemporary pleasure came to be known as ukiyo, or the "floating world," as though one might drift through life in a manner of a leaf floating downstream. Artists of the period turned increasingly toward the representation of this new subject matter. Specializing in genre scenes, portraits of actors and courtesans, and later, landscape, in a manner that reflected the most contemporary fashions and attitudes, their work became known as ukiyo-e, or "pictures of the floating world."

me special objects in the Davison Art Center.

The Davison Art Center is the home of Wesleyan’s art collection, which is focused primarily on graphic art and photography. The breadth of the collection is equaled by its outstanding quality; exceptionally fine impressions by Rembrandt van Rijn and Francisco de Goya, rare early engravings, and important contemporary artwork by artists including Kara Walker and Jasper Johns are only a few highlights. The Davison Art Center supports teaching, learning, and research in its study room, and presents public exhibitions in its gallery. We hope you can join us to learn more!

Event details
Thursday, September 23, 2021
12:00- 1:00 p.m.

Please register by Tuesday, September 21. Registrants will then receive a follow-up email on Wednesday, September 22 with details on how to join the program. This is a webinar-style Zoom gathering. If you are not able to join by video, you may dial-in.

For more information and to register please visit the external link below.

a Rosa Gutierrez, Jose Lopez, Angel Marti Denis, Eugenio Rodriquez, Rolando Santana, Israel Cordova, and Holbein Lopez.

These works of art were created between 1949 to 1968 (pre, during, and post Cuban Revolution) as a means to share cultural, political, social, spiritual, and artistic perspectives with the people (domestic & internationally). This exhibition examines various printmaking techniques by Founding Members and other AGC members.

Some works exhibited are also permanently exhibited at the Museo Nacional de Bellas Artes de Cuba (National Museum of Fine Arts of Cuba). Lastly, some works were produced at the Taller Experimental de Grafica located in La Habana (Havana), the oldest print workshop in Cuba founded in 1962, which still operates today.

The exhibition is loaned from the Armand-Paul Family Collection.

shika Hokusai (1760­–1849) and Utagawa Hiroshige (1797–1858). Their daring color schemes formed fantastic landscapes that fueled worldwide demand for Japanese prints.

Beginning with the widespread use of the chemical pigment Berlin blue in the 1830s, landscapes could be as vibrant as one’s imagination. Brilliant blue waterfalls, jade hills, chartreuse cliffs, and pink skies made up a new palette for the natural world as depicted in print. The popularity of series such as Hokusai’s Thirty-Six Views of Mount Fuji and Hiroshige’s One Hundred Views of Edo did more to spread these images at home, in Europe, and in America than ever before.

This exhibition of works drawn from the Art Institute’s collection showcases a spectacular moment of color in Japanese landscapes—one that would have a lasting impact on artists oceans away.