, where artists have deployed these techniques to illuminate economic, racial, and environmental issues. This talk will explore innovative works at the Harvard Art Museums and beyond, followed by a demonstration of how to make a collagraphic print at home using found materials.

This talk is part of a series investigating power dynamics in artworks across the collections. Considering intersections of art and power, our curatorial team discuss how artists engage with social and political crises, use art to upset systems of power, and imagine more equitable futures.

Led by:
Natalia Ángeles Vieyra, Maher Curatorial Fellow of American Art, Division of European and American Art
Joanna Sheers Seidenstein, Stanley H. Durwood Foundation Curatorial Fellow, Division of European and American Art
Francesca Bewer, Research Curator, Conservation and Technical Study Programs, Director of Summer Institute for Technical Studies in Art

This free talk will take place online via Zoom. Pre-registration is not required. Please visit the 'External Link' below to join.

Our Present Image: Mexico and the Graphic Arts 1929-1956. Curated by Hartup with the assistance Mary Weaver Chapin, Curator of Prints and Drawings at PAM, the exhibition aims to deepen and broaden the understanding and appreciation of the graphic art of post-revolutionary Mexico, a landmark in the history of twentieth-century printmaking and modern art.

Please visit the 'External Link' below to register for this free event.

n artists in Thomas Hart Benton’s New York studio. The group of talented, well-known artists were offered a flat artist fee of $200 to create original print stones and plates. From these the company produced limited edition etchings and lithographic prints. At the onset of AAA, these original impressions were available for five dollars each, and they were initially sold in department stores and later through mail order. Budding collectors sprung up across America and some of these collectors lived in and near Springfield, Ohio—resulting in this collection of limited series prints.

logy, Princeton University, will present "The Complete Piranesi" on Thursday, November 12 at 2pm (EST). This lecture is free and open to the UofSC community and public. RSVP to jbritton@mailbox.sc.edu to get the Zoom link.

Please visit the 'External Link' below to view the flyer for the full lecture series "Piranesi Turns 300".

ued under the leadership of first director John Palmer Leeper who had a great love of and appreciation for Mexican art, culture, and people. Leeper acquired a highly important group of prints produced at the collaborative print workshop, El Taller de Gráfica Popular. The collection, however, remained weak in the prints of the three greats of Mexican modernism: Diego Rivera, David Alfaro Siqueiros, and Jose Clemente Orozco. In 2000, the McNay acquired the Philadelphia Museum of Art’s duplicates of prints by these masters creating one of the richest collections of Mexican prints from the 1920s to the 1950s. This exhibition is a rare opportunity to see nearly all of the McNay’s prints by “los tres grandes.”

ores the transformative power of art in times of crises.

Featuring artists Mildred Beltré, Vanessa German, Mark Thomas Gibson, Elektra KB, Yashua Klos, Narsiso Martinez, Azikiwe Mohammed, Nontsikelelo Mutiti, Africanus Okokon, Karen J. Revis, Swoon, William Villalongo, and Dáreece J. Walker. Living in America presents a wide range of practices and spotlights the relevance and adaptability of print formats during political upheaval and resistance. Works include conventional printmaking, mixed media incorporating found printed matter, and those informed by reproduction and dissemination. New work is shown here for the first time by Elektra KB, Yashua Klos, Azikiwe Mohammed, and Africanus Okokon, as well as a site-specific stencil installation by Nontsikelelo Mutiti.

“These artists bear witness, through their work, to transformation—cultural, material, and aesthetic—and actively engage each other and their local communities as collaborators and subjects,” says Assembly Room. “As the public struggles to renew America, artists are paving the way and showing us how to channel our outrage, inspire love, live in hope, and act with care.”

Act I: Outrage presents artists channeling rage, pain, and despair into their work; Act II: Love explores love as a radical approach to building a more inclusive society; Act III: Hope illuminates forgotten histories and imagines new futures; and Act IV: Care considers artistic practices that center care as acts of self-preservation and political action. In IPCNY’s Chelsea exhibition space, Acts I and II will open to the public on September 30. After a brief “Intermission,” the gallery will open a new installation comprising Acts III and IV on November 11.

he major themes of the period. New forms of advertising for haute couture, jazz, dance, or for technological achievements, but also for government bonds and war bonds, project an illusory image of a better, more beautiful world.

The exhibition with more than 100 fascinating prints, some of them large-scale works, from the collection of the Hamburg Museum of Applied Art will take visitors on a journey to the glamorous Paris of 100 years ago.

In the 1920s, graphic design saw its heyday worldwide – Bauhaus in Germany, de Stijl in the Netherlands and Russian avant-garde. In France, graphic design was also in its prime. This development, initially drawing on the Art Nouveau movement of the turn of the century and finally being allocated its stylistic designation on the occasion of the Paris World Fair of Applied Art in 1925, was nothing short of a documentation of the life on the edge during the inter-war years.

In boldly designed visions of flamboyance, Paris presented itself as a colorful, progressive and exuberant place. Leading Paris print makers illustrated the attitude towards life during the ›années folles‹, the ›Roaring Twenties‹, with artistic experiments, innovative techniques and spectacular pictorial inventions.

The pochoir print is a characteristic feature of those times – an elaborate printing technique using stencils, often combined with lithography, line engraving and quite a lot of manual work. The naked eye often finds it difficult to distinguish these extensive prints from water colors. Pochoir came to epitomize the genre of elegant fashion illustrations in magazines and journals. A number of outstanding artists – above all Paul Iribe (1883–1935), George Barbier (1882–1932) and André Édouard Marty (1882–1974) – chose this technique as their medium.

Among the leading poster artists – posters were designed in oil or gouache in the studio and then printed as traditional lithographs – were A. M. Cassandre (1901–1968) and Paul Colin (1892–1985). Each had their individual, unmistakable style. While Cassandre was above all active in designing advertisements for luxury goods, Colin specialized in work for the theatres and cabarets in Paris and portrayed the famous singers and actors of that time.

One of the highlights of the exhibition is Colin’s portfolio of the Revue Nègre, Josephine Baker’s troupe of dancers, who had several performances in Paris and for whom Colin also designed the stage set and the costumes

n des artistes les plus célèbres de l’art occidental,
à l’occasion des 500 ans de sa mort le 6 avril 1520. Intitulée Raphaël et la gravure, cette exposition
s’articule autour de14 estampes de Marcantonio Raimondi, Agostino Veneziano, Marco Dente et Ugo
da Carpi, conservées au département des Estampes et de la photographie de la BnF. Gravées d’après
des compositions du maître, elles illustrent toute l’importance accordée par Raphaël à cet art pour
la diffusion de son œuvre.

Raphaël, maître de la Renaissance
Raphaël est sans nul doute l’un des artistes les plus connus de l’histoire de l’art occidental. Sa renommée
est due, d’une part, au nombre d’élèves qu’il a formés et qui ont favorisé la connaissance de sa manière
et, d’autre part, à l’estampe, qui a permis dès son vivant la diffusion de ses compositions.

Né le 6 avril 1483 à Urbino, petite cité des Marches et important foyer de la Renaissance italienne,
Raphaël fait ses premiers pas dans l’atelier de son père, Giovanni Santi, peintre et poète de la cour des
Montefeltro. Orphelin très jeune, il perfectionne son art dans sa ville natale, puis collabore avec le Pérugin,
le peintre le plus recherché de son temps. En 1504, il arrive à Florence, où il découvre les œuvres de
Léonard et Michel-Ange. Du premier, il tira les leçons du paysage et du portrait, et du second celle de la
mise en espace du corps humain. En 1508, à la demande du pape Jules II, il rejoint l’équipe de peintres qui
œuvraient à la décoration des « stanze » (chambres) du Vatican.

Il s’impose rapidement comme le chef du chantier papal. Le pontificat de Léon X lui permet ensuite de
s’affirmer comme l’artiste le plus important de la Rome de l’époque : il fut non seulement peintre, mais
également architecte, archéologue et antiquaire.

Dès son vivant, ses œuvres sont envoyées en France au roi François Ier. Ces tableaux constituent le
noyau de la collection royale, exposée depuis la Révolution au musée du Louvre. À sa mort, le 6 avril
1520, Raphaël était devenu l’artiste le plus aimé de son temps.


Raphaël invenit
Raphaël tient une place centrale dans l’histoire de la gravure et de son développement en Italie, à
tel point qu’il est traditionnellement présenté comme le premier artiste à avoir compris le potentiel
de ce médium pour favoriser la connaissance de son œuvre et la diffusion de sa renommée. Sa
collaboration avec le graveur Marcantonio Raimondi est célébrée depuis Les Vies de Vasari (1550,
1568), ce dernier devenant par la même occasion le tout premier graveur d’interprétation. Cependant,
l’association entre les deux artistes ne se limita pas à la reproduction par le graveur des tableaux du
peintre car Raphaël fournit aussi des dessins préparatoires, parfois inachevés, spécifiquement conçus
pour être transcrits en gravure, comme c’est le cas avec le célèbre Massacre des innocents.

Raphaël est également étroitement lié à la réalisation des tout premiers clairs-obscurs italiens, ces
gravures sur bois en camaïeu obtenues par l’impression d’autant de matrices que de couleurs souhaitées,
selon une technique née dans le monde germanique vers 1506-1510. Les premiers chiaroscuri italiens sont
ainsi l’œuvre du graveur Ugo da Carpi et portent l’invenit de Raphaël, comme La Mort d’Ananie, datée
de1518. Dans l’entourage de Raimondi, d’autres graveurs tels Agostino et Marco Dente reprirent les
compositions de Raphaël, travaillant à partir des dessins du maître ou des gravures de Raimondi.
La fortune gravée de Raphaël fut donc, dès son vivant, considérable et ne cessa pas avec sa mort.

g and discussing the pre-circulated reading, “Handwriting of the Self: Leonardo da Vinci” by David Rosand, through at perusall.com will be sent to those who register.

Join us whenever and as often as you like before October 29. We will be able to comment on and question the text and each other to ask ourselves how do thinking and drawing relate:
• For Leonardo, as Rosand presents him?
• For each of us, as thinkers, writers, doodlers, scribblers, calligraphers, and/or artists?
• For those of us who still take pen to hand regularly, and/or those of us who think/draw/write with smart apps/devices?

As we peruse Rosand’s text, together we might:
• Consider what Rosand says when a drawing includes both images and text—add your comments as to you think about the similarities/differences between writing and drawing
• See what Rosand says is Leonardo’s “favorite and most typical doodle” and comment on what your own habitual scribbling churns out.
• Find where others have already highlighted passages about lefthandedness: any lefties out there: tell us what you think!
• Highlight what Rosand says about drawing and memory, and in a comment agree or disagree from our own daily experiences …
• Pick out why Rosand calls a key section “Drawing and Knowing”—and comment as to how that relates to our theme of “thinking as drawing”…

On the Oct 29 synchronous event, our guest speakers, who are art/architectural historians and practicing artists, will address your comments as they speak informally about what drawing as thinking means to them in our roundtable conversation. Join our conversation now through our social reading group!

Part 2: Roundtable Conversation
Thursday, October 29, 12:30 - 2 pm (PDT)

Moderator:
Lisa Pon, University of Southern California

Panelists:
Leslie Geddes, Tulane University
Andrea Kantrowitz, SUNY New Paltz
Morgan Ng, University of Cambridge
Nick Sousanis, San Francisco State University

For more information please email: emsi@dornsife.usc.edu

Please visit the 'External Link' below to register via Zoom for the synchronous zoom meeting and/or the asynchronous reading group.