Over the past 47 years the Brandywine Workshop and Archives has produced a diverse collection of over 1,400 original artworks, hosted over 500 multicultural artists from the US and around the world, and now have more than 800 prints displayed in satellite collections at 14 institutions across North America. In additional to our visiting artist programs, BWA sponsors high school and college internships in printmaking, digital media and collections management.

Artura.org is the nation’s first free online database of culturally diverse artwork and artists, and an open educational resource for researchers, curators, educators and students. A free, interactive digital archive of culturally diverse art and artists, Artura.org gives visitors access to a wide variety of voices, experiences, and histories not found in any other single open-educational resource. Our platform allows users to interact with art that represents contemporary cultures, histories, and traditions from around the globe.

Please visit the 'External Link' below to access the collections database and to browse featured exhibitions.

Continuing the Blanton's #MuseumFromHome experience, we present a conversation about the Blanton’s recent acquisitions of important works by four groundbreaking female artists. Deputy Director for Curatorial Affairs Carter Foster and Assistant Curator of Prints and Drawings Holly Borham present the works and then participate in an “Ask Me Anything”-style Q&A from our online audience. From a drawing by Elisabetta Sirani, who established a painting academy for woman artists in Bologna, Italy in the mid-seventeenth century, to prints by twentieth-century trailblazers Elizabeth Catlett, Helen Frankenthaler, and Barbara Jones-Hogu, our curators discuss the ways these recent additions to the collection expand the story the Blanton can tell about the history of art. This program was originally recorded on April 14, 2020.

Katherine Mintie, John R. and Barbara Robinson Family Curatorial Fellow in Photography at the Harvard Art Museums, examines a group of political posters made by artist Ben Shahn in the 1940s. This essay is part of Harvard Art Museums From Home, a series of online programs presented while the museums are closed that spotlights new stories about the collections.

Renowned and prize-winning art historian Michael Lobel, Professor, Art History at Hunter College, shares insights from his ground-breaking research exploring the influences from the period’s print popular culture on the thinking and art of Vincent Van Gogh, one of the most beloved and enigmatic artists of all time. While we’ve all seen the work of Van Gogh in innumerable printed formats—in posters, exhibition catalogues, and full-color reproductions of all sorts—many are less familiar with the artist’s keen interest in the print culture of his time. This lecture will survey some of Van Gogh’s most significant influences of that type, particularly from the 19th-century English illustrated press, and explore their profound impact on his thinking and his art. Event will conclude with live virtual Q&A.

Please visit the 'External Link' below to view the recording of this event.

After a short presentation on Mail Art in Argentina and Brazil in the 1960s and 1970s, Blanton Museum Curators Vanessa Davidson and Florencia Bazzano will discuss Mail Art in Latin America as an artistic survival strategy. A potent means of subversion that flew under the radar of government censorship, Mail Art enabled Latin American artists to establish relationships with like-minded artists around the globe during an era in which social distancing was strictly enforced by repressive military regimes. After dictatorship, in the 1980s and 1990s, Mail Art functioned as a life-line to international collaborators and friends all over the world who Latin American artists “met” by using the postal system as a ready-made medium to be subverted to artistic ends.

Please visit the 'External Link' below to view the recording of this event.

Join Met curators for a look at exemplary works from Selections from the Department of Drawings and Prints: Collectors' Collections, an installation devoted to several transformative gifts made by passionate collectors who focused their attention on specific artists, schools, or genres. This virtual event is captioned.

Presenters:
Nadine M. Orenstein, Drue Heinz Curator in Charge, Drawings and Prints, The Met
Allison Rudnick, Assistant Curator, Drawings and Prints, The Met

Please visit the 'External Link' below to attend.

It is with sincere regret that the IPH 2020 Planning Committee announces the postponement of the 35th IPH Congress in Washington DC originally planned for September 15-18, 2020. Although we all hope that the worst of the COVID-19 pandemic will be over by this fall, we cannot be certain that the outbreak will be resolved by that time. Travel within America and overseas travel from Europe to the US are both severely restricted for the foreseeable future. Potential conference speakers and attendees will wish to see how the situation resolves in their home state or country before they can commit to coming to Washington DC. It is a time when our mutual interest in paper history must yield to more pressing concerns.

Together with the IPH Council, the Planning Committee will announce a new date in 2021 for the Congress on its website. We have planned an enticing program with thirty-two outstanding speakers from around the world, and we wish to give them the opportunity to present their research to the largest possible audience. The new date for registration will be announced after the Congress dates have been determined. We thank you for your understanding and flexibility.

Please visit the 'External Link' below for more information.

“Pulse 2019” is a video contemplating the human condition. The intertwined evolution of humans in the environment, and the existence of communities both in the physical sense as well as in broader social and political sense. Throughout history, humans have also left their mark in their environment at times remarkable monuments and at times remnants reclaimed by natural elements.

In the words of the artist, “I would hope to encourage self-observation, in the context of broader surroundings and the environment. It takes a good measure of humbleness to fully comprehend one’s state and obligations, in light of corresponding relationships with others. It is pertinent, in my opinion, to exercise sufficient modesty and respect to the environment and society, our critical habitat”.

The video also focuses on the use of varied media combining drawing, woodcut, rubbing, carved wood panels and structures. Woodcuts are spoon printed on large custom-made sheets of paper. Panels of paper are hung adjacent to carved wood panels. A grid of warmer wooden matrices and cooler white prints and rubbing matching materials and their morphology as well as depicted content.

Pulse 2019, is inspired by the recent installation at the Wilfrid Israel Museum including three large works: Aurora, Laver and Doubt.

Produced by, Marjorie Shelley (Department of Paper Conservation), Ashley Dunn and Constance McPhee (Department of Drawings and Prints), Paul Lachenauer and Xue Chen (Imaging), and colleagues at the Metropolitan Museum of Art.

To celebrate the 100th birthday of Sacramento’s most renowned artist, the Crocker Art Museum presents Wayne Thiebaud 100: Paintings, Prints, and Drawings. Best known for his tantalizing paintings of cakes and pies, Thiebaud has long been affiliated with Pop art, though his body of work is far more expansive. This exhibition represents the artist’s achievements in all media, with pieces drawn from both the Crocker’s holdings and from the collection of the Thiebaud family—many of which, until now, have never been shown publicly. For the Crocker, the show also continues a tradition of hosting a Thiebaud exhibition each decade, beginning with the artist’s first solo show in 1951, Influences on a Young Painter. In 2020, we celebrate the life and career of an artist whose work is beloved not only in California, but internationally.