Jennifer Farrell, Associate Curator, The Metropolitan Museum of Art, concludes this four-part series on the history of collecting prints by interviewing collectors Leslie Garfield and Jordan Schnitzer. The series is sponsored by the IFPDA foundation and takes place on four consecutive Wednesdays during Print Month: October 7th, 14th, 21st, and 28th at 12pm.

Please visit the 'External Link' below to register.

Blair Asbury Brooks, Ph.D. Candidate, The Graduate Center, City University of New York, presents "Heinz Berggruen and the Postwar Print Market", the third in a series of four free lectures on the history of collecting prints co-organized by the Center for the History of Collecting and The Metropolitan Museum of Art’s Department of Drawings and Prints. The series is sponsored by the IFPDA foundation and takes place on four consecutive Wednesdays during Print Month: October 7th, 14th, 21st, and 28th at 12pm.

Please visit the 'External Link' below to register.

Karen Bowen, Independent Scholar, Antwerp, presents the second in a series of four free lectures on the history of collecting prints co-organized by the Center for the History of Collecting and The Metropolitan Museum of Art’s Department of Drawings and Prints. The series is sponsored by the IFPDA foundation and takes place on four consecutive Wednesdays during Print Month: October 7th, 14th, 21st, and 28th at 12pm.

Booksellers and the International Distribution of Prints from Antwerp in the Early Seventeenth Century
While individual prints reveal much about what was produced and collected in the past, it is far more difficult to trace the means by which prints from diverse, distant places reached local printsellers and their clients in the sixteenth and seventeenth centuries. In particular, it is unknown how orders for prints were placed, in what quantities and via which routes images they were distributed, and the price paid for them. Using the remarkably extensive business accounts of the internationally successful Plantin-Moretus Press of Antwerp, Karen will reveal how the press helped local print publishers complete their independent transactions, not least by selling thousands of prints to their own international network of clients who also wished to profit from the immense demand for renowned prints from Antwerp.

Please visit the 'External Link' below to register.

Antony Griffiths, Former Keeper, Department of Prints and Drawings, British Museum, presents the keynote in a series of four free lectures on the history of collecting prints co-organized by the Center for the History of Collecting and The Metropolitan Museum of Art’s Department of Drawings and Prints. The series is sponsored by the IFPDA foundation and takes place on four consecutive Wednesdays during Print Month: October 7th, 14th, 21st, and 28th at 12pm.

The Print Collector and the Printseller
In recent years much has been written about print collectors but very little about printsellers. Yet the two depend on each other. No dealer can operate without customers, and no-one can collect without someone to buy from. This talk will explore the relationship of the two over the past five centuries, and trace the development of the print trade during this period. It concludes with some personal reminiscences about the changes seen over the past half-century.

Please visit the 'External Link' below to register.

The annual IFPDA Book Award was founded in 2004 to honor books, articles, and catalogues on fine art prints which demonstrate excellence in research, scholarship, and the discussion of new ideas in the fields of printmaking, history and connoisseurship. One of the two grantees this year is:

The Renaissance of Etching by Catherine Jenkins, Nadine M. Orenstein, and Freyda Spira
Published by The Metropolitan Museum of Art and distributed by Yale University Press
An accompaniment to the highly acclaimed Met exhibition which took place from October 23, 2019–January 19, 2020, the book is the first comprehensive look at the origins and diffusion across Europe of the etched print during the late 15th and early 16th centuries. The etching of images on metal, originally used as a method for decorating armor, was first employed as a printmaking technique at the end of the 15th century. This in-depth study explores the origins of the etched print, its evolution from decorative technique to fine art, and its spread across Europe in the early Renaissance, leading to the professionalization of the field in the Netherlands in the 1550s. Beautifully illustrated, this book features the work of familiar Renaissance artists, including Albrecht Dürer, Jan Gossart, Pieter Breughel the Elder, and Parmigianino, as well as lesser known practitioners, such as Daniel Hopfer and Lucas van Leyden, whose pioneering work paved the way for later printmakers like Rembrandt and Goya.

Join us for a conversation with contributors Catherine Jenkins, Independent scholar; Nadine Orenstein, Drue Heinz Curator in Charge, Department of Drawings and Prints, The Metropolitan Museum of Art; and Freyda Spira, Associate Curator, Department of Drawings and Prints, The Metropolitan Museum of Art. Moderated by David Tunick, President, IFPDA. This event will be held via Zoom on Tuesday, October 20, 2020 at 12pm.

Please visit the 'External Link' below to register.

On behalf of the Department of Drawings and Prints at The Met and the IFPDA, APS Members are invited to the fifth annual Print Study Day on Friday, October 9, at 12pm EST.

PRINT STUDY DAY -- Prints and Politics

Speakers:
Maureen Warren, Krannert Art Museum, University of Illinois Urbana-Champaign, "Fake News: Dutch Broadsides as Attack Ads, Propaganda, and Lying Pictures in the Seventeenth Century"

Allison M. Stagg, Independent Scholar, "Campaigning for the Presidency: Political humor in Early American Caricature Prints"

E. Carmen Ramos and Claudia Zapata, Smithsonian American Art Museum, "Urgent Images: Chicanx Graphic Arts, 1965-Now"

This year’s symposium will be presented over Zoom. Please visit the 'External Link' below to view the event flyer and to register.

Residency programs offer artists the time and space to develop their work while boosting their career through workshops, artist talks, exhibitions, and community networking. In this five-session course, students will assess their goals for an artist residency, the desired outcomes for their artistic career, and how they can contribute to the mission of the residency program they are applying to. Discussion and examples will be given by Taro to help students develop the materials they need for their applications including artist statements, proposals, CVs, and portfolios. Students will also learn how to research and find programs that best fit their goals and needs.

$125 course fee. Enrollment limited to 10 students. All skill levels welcome.

About the Instructor
Taro Takizawa is an artist who focuses on printmaking, wall vinyl installations, drawings and 2D designs. Born in Japan, he has been making images connecting what he has experienced in Japan where he grew up and in the U.S. where he currently resides. Takizawa received his MFA in printmaking from Syracuse University in 2017. While working on his master’s degree, he participated in multiple short residencies and exhibitions such as Chautauqua Institution School of Art and its student exhibition at Fowler-Kellogg Art Center, PARADOX European Fine Art Forum and its exhibition at CK Zamek in Poznan, Poland, and ArtPrize 10 at Grand Rapids Public Museum. He recently participated in residencies at Syracuse University Turner Semester in LA, Los Angeles, CA, Saltonstall Foundation for the Arts in Ithaca, NY, Morgan Conservatory in Cleveland, OH, and has been accepted to GoggleWorks in 2021.

Please visit the 'External Link' below for more information and to register.

Geographically situated between France and Germany, Belgium was ravaged in the First World War. In the War’s aftermath, avant-garde artists, writers, and musicians developed new forms appropriate to an irrevocably altered world. Artistic activity flourished throughout the country with particular concentration in Brussels (Brussel; Bruxelles) and in Antwerp (Antwerpen; Anvers). In largely Francophone Brussels, the nation’s capital, avant-garde artists who gathered around galleries such as l’Époque and Le Centaur and journals such as Variétés (1928-1930) tended to orient themselves toward French culture and, in the late 1920s, toward Parisian Surrealism. Artists active in the predominantly Flemish/Dutch-speaking port city of Antwerp to the north, by contrast, were more inclined toward Holland and Germany and the abstract, constructivist tendencies emerging there. It is this lesser-known development of abstraction in Antwerp in the early 1920s that is the focus of this collection.

In Antwerp, the Kring Moderne Kunst (Modern Art Circle) was founded in 1918 with Jozef Peeters as Secretary. Peeters pioneered a striking form of abstraction in print, as exemplified by his portfolios and his so-called “constructive graphics,” in which abstract, geometric forms compete with the communicative function of language. In 1922, when Peeters joined the editorial board of the Flemish-language journal Het Overzicht (The Overview; Antwerp; 1921-1925) he transformed its appearance with his own dazzling covers and those of his colleagues. The poignantly-titled Ça Ira (It will be fine), was an Antwerp-based, French-language literary journal (1920-1923), but also a publishing house for contemporary prose and poetry and an organizing society for exhibitions, lectures, and performances. Its exhibitions featured leading members of Antwerp’s artistic avant-garde such as Jan Cockx, Paul Joostens, Peeters, and Victor Servranckx, together with international counterparts including Willi Baumeister, Sándor (Alexander) Bortnyik, Max Burchartz, Walter Dexel, Lajos Kassák, El Lissitzky, László Moholy-Nagy, Aleksandr Rodchenko, and Karl-Peter Röhl. Ça Ira’s concert program presented experimental music by modern composers such as Georges Auric, Darius Milhaud, Francis Poulenc, and Erik Satie, frequently performed by the avant-garde Belgian singer Evelyne Brélia.

If Antwerp’s artistic accomplishments of the early 1920s have attracted less attention than the subsequent achievements of Belgian Surrealist painters such as Paul Delvaux and René Magritte in the late 1920s, this may in part reflect the complexities of Belgian history. Many of the figures featured here promoted Flemish language and culture, but when nationalism became a polarizing force in the late 1920s, only some found common cause with Germany and followed the trajectory toward collaboration.

Note: Due to the COVID-19 crisis, this online exhibition was prepared without physical access to the works themselves or to reference libraries. Until updates are possible, uncertain or missing information appears here in [square brackets].

This exhibition will consist of a selection of German as well as Austrian graphic art drawn primarily from the permanent collection but also featuring several works from private Canadian collections.

The exhibition will also include several important recent acquisitions. The selection ranges from great early engravings by Van Meckenem and Schongauer to masterworks by Dürer and 16th-century printmakers, from Schnorr von Carolsfeld to Klinger and Makart, from Klimt (including studies of Adele Bloch-Bauer, his celebrated “Woman in Gold”) and Schiele to a wide range of German Expressionist and modern artists, including Nolde, Kirchner, Heckel, Dix, Beckmann, Pechstein, Schmidt-Rottluff, Moeller, Grosz, Kandinsky and Baselitz.