1962-2022: A Celebration: 60 Prints for 60 Years, currently on view in the Crown Point Gallery, celebrates the sixtieth anniversary of Crown Point Press. Over the years, since 1962, the Press has been located in four cities in the San Francisco Bay Area: Berkeley, Richmond, Oakland, and San Francisco. It has published prints by 113 artists and Kathan Brown, the founding director, still comes to work regularly. 60 Prints for 60 Years is a testament to printmaking, to the artists who created the prints, and to the Crown Point staff who make their work possible.

Hear from Ericka Walker in conversation with Nikki Otten, associate curator of prints and drawings, about how Walker blended her 21st-century artistic practice with 19th-century print production methods to create a poster for the exhibition "Always New: The Posters of Jules Chéret."

An artist and printmaker based in Nova Scotia, Walker was invited to design a poster for the exhibition that brings a contemporary interpretation of Jules Chéret’s art to both the walls of the Museum and the streets of Milwaukee.

This event is free to attend; Museum admission is not required. Extend your visit to the galleries by reserving an admission ticket in advance.

This event is hosted in conjunction with the "Always New: The Posters of Jules Chéret exhibition."

The Expert Series welcomes renowned scholars and artists to the Museum for engaging, expansive conversations that dive deeper into an exhibition, artist, or theme.

Symposium
Tales of the City: Drawing in the Netherlands from Bosch to Bruegel

at the Cleveland Museum of Art November 3 and 4, 2022

In conjunction with the exhibition and catalogue Tales of the City: Drawings in the Netherlands from Bosch to Bruegel (October 9, 2022, through January 8, 2023), a collaboration with the Albertina Museum, Vienna

Thursday, November 3, 2022
Keynote
6:00 p.m.
Stijn Alsteens, International Head, Department of Old Master Drawings, Christie’s
Friday, November 4, 2022
Welcome and Introduction
10:00 a.m.
Heather Lemonedes Brown, Virginia N. and Randall J. Barbato Deputy Director and Chief Curator
Emily J. Peters, Curator of Prints and Drawings, the Cleveland Museum of Art
Session 1: Color and Practice
10:45 a.m.–12:05 p.m.
Chaired by Laura Ritter, Albertina Museum
• Sixteenth-Century Netherlandish Drawings on Colored Grounds
Olenka Horbatsch, British Museum
• New Terrains: Landscape Drawings on Colored Grounds in the Low Countries
Stephanie Porras, Tulane University
• Hendrick Goltzius and the Material of Blue Paper in Haarlem
Alexa McCarthy, University of St. Andrews
• Abraham Bloemaert and Karel van Mander: Drawing and Painting in Pink
Austėja Mackelaitė, the Morgan Library & Museum
Session 2: Practice and Audience
1:15–2:25 p.m.
Chaired by Annemarie Stefes, Independent Scholar, Bremen
• Stained Glass in the City: Drawing for a Booming Market in the Netherlands
Ellen Konowitz, State University of New York, New Paltz
• “Dropping a line:” Contemporary Inscriptions on Netherlandish Drawings
Saskia van Altena, Rijksmuseum
• Drafting Netherlandish Sculpture: The Spencer Album in the New York Public Library
Ethan Matt Kavaler, University of Toronto
• Jacques de Gheyn II Drawing Inventions nae ‘t leven en uyt den gheest
Susanne Bartels, University of Geneva, University of Amsterdam, and Rijksbureau voor Kunsthistorische Documentatie (RKD)
Session 3: Audience and Place
3:00–4:20 p.m.
Chaired by Emily Peters, the Cleveland Museum of Art
• Amateur Drawing, Music Book Production, and Sociality in Sixteenth-Century Urban Bruges
Huw Keene, University of Edinburgh
• Designs for a Pious City: Lambert Lombard and Catholic Monuments for Liège
Elizabeth Rice Mattison, Hood Museum of Art
• Reimagining the Post-Reformation Landscape through Drawing
Virginia Girard, Columbia University
• More than Drawing: Intermediality of Netherlandish Drawings around 1600
Iris Brahms, Free University Berlin
Closing Remarks
4:30–5:00 p.m.
Victoria Sancho Lobis, Benton Museum of Art, Pomona College
All sessions will be held in the John C. and Sally S. Morley Family Foundation Lecture Hall at the CMA.
Registration
Attendance is free and open to the public, but registration is required. Please follow this link to register: http://cma.org/TOTCsymposium.
Lodging information
There are two hotels within easy walking distance to the museum:
Courtyard by Marriott Cleveland University Circle
2021 Cornell Rd, Cleveland, OH 44106
P: +1 (216) 791-5678
https://www.marriott.com/en-us/hotels/clece-courtyard-cleveland-university-circle/overview/
Glidden House
1901 Ford Drive, Cleveland, Ohio, 44106
P: +1 (216) 231-8900
https://www.gliddenhouse.com/

Exhibition Information
https://www.clevelandart.org/exhibitions/tales-of-the-city
Contact
NetherlandishDrawings@clevelandart.org
Tales of the City: Drawings in the Netherlands from Bosch to Bruegel is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York.


Generous support is provided by the Robert Lehman Foundation. Additional support is provided by Randall J. and Virginia N. Barbato.

All exhibitions at the Cleveland Museum of Art are underwritten by the CMA Fund for Exhibitions. Principal annual support is provided by Michael Frank in memory of Patricia Snyder. Major annual support is provided by the Womens Council of the Cleveland Museum of Art. Generous annual support is provided by an anonymous supporter, Dick Blum (deceased) and Harriet War

Please join us on Friday, September 30 at 1PM for “Dahesh Prize Redux,” our first Virtual Salon of the 2022-2023 season. This series of online events is cosponsored by the Association of Historians of Nineteenth-Century Art and the Dahesh Museum of Art. “Dahesh Prize Redux” will feature the two recipients of the Mervat Zahid Cultural Foundation Prize at the nineteenth annual AHNCA/Dahesh Graduate Student Symposium in Nineteenth-Century Art that took place in March 2022. They will represent their papers and discuss their work and future plans. The event is free and open to the public but registration is required at https://tinyurl.com/daheshredux2022.

Thomas Busciglio-Ritter, University of Delaware, “From Brussels to Point Breeze:
Charlotte Bonaparte and the American Landscape, 1821-1825.”
Busciglio-Ritter examines the production of landscape images by Charlotte Bonaparte during her American residence, 1821-1824. Her involvement with networks of transatlantic lithographers and painters resulted in the publication of her portfolio of sketches: Picturesque Views of America, one of the first to widely circulate views of U.S. scenery in print to European audiences.
He is the Richard & Mary Holland Assistant Curator of American Western Art at Joslyn Art Museum in Omaha, as well as a doctoral candidate at the University of Delaware. A scholar from France, he previously received an MA from the École du Louvre. His research covers nineteenth-century landscape art, racial relations, environmental issues, and artistic circulations between Europe and the United States. He was awarded an Andrew W. Mellon Foundation Curatorial Fellowship at the University of Delaware and a 2021 Terra Foundation Research Travel Grant. His research has been published in Revue de l’Art, the Oxford Journal of the History of Collections, Panorama, and Early American Studies as well as in the exhibition catalog Rosa Bonheur at the Musée des beaux-arts in Bordeaux and at the Musée d’Orsay.
Moderator Patricia Mainardi, City University of New York, Program Director AHNCA

Carter Jackson, Boston University, “Turbulent Politics and a Stage for Democracy: Government and Governmentality in the Allegheny County Courthouse.”
Jackson explores the role of architecture during moments of political unrest by examining how Henry Hobson Richardson’s design for the Allegheny County Courthouse, completed in 1888, mediated a fraught relationship between citizens and their government in late nineteenth-century Pittsburgh.

Art Making as Life Making: Kinji Akagawa at Tamarind offers a behind-the-scenes glimpse of life in a 1960s print workshop. At the age of 25, Akagawa embarked on a fellowship to train as a printer at the Tamarind Lithography Workshop in Los Angeles. While there, Akagawa collaborated with more than a dozen leading artists, including Ruth Asawa, Herbert Bayer, and Jose Luis Cuevas, printing their lithographs and creating his own editions of prints. The communal environment at Tamarind had a profound impact on his philosophies of art, in which he embraced dialogue, collaboration, and co-creation as pillars of a democratic vision of art. The exhibition features more than 40 works from the Carter’s collection of more than 2,500 Tamarind Workshop prints.