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.

This survey exhibition will include 63 works produced by artist Emma Amos over the course of her career. Born in Atlanta, Georgia, Emma Amos (March 16, 1937 — May 20, 2020) was a distinguished painter and printmaker. She is best known for her bold and colorful mixed-media paintings that create visual tapestries in which she examines the intersection of race, class, gender and privilege in both the art world and society at large.

Ellen Lesperance is the recipient of the 2020 Frederick Hammersley Artist Residency at Tamarind. During her extended residency she will take part in a recorded conversation with art historian and author Julia Bryan-Wilson. The online release of this conversation will occur on October 29, 2020 along with a live question and answer session with Lesperance.

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

Join us for a conversation and virtual studio visits with the founder and artists of Black Women of Print (BWoP). BWoP was founded in 2018 by Tanekeya Word to promote Black women printmakers who have been underrepresented in the discipline of printmaking. Featuring: Tanekeya Word, Founder, Executive Director, Black Women of Print; Leslie Diuguid, artist; Delita Martin, artist; and introductions by Ann Marshall, Durham Press.

Tanekeya Word
BWoP founder, Tanekeya Word, is a Black woman, visual artist, art educator, scholar, and fine art printmaker based in Milwaukee, WI. She earned a BA in English and Afro-American Studies, 2006, from Howard University and an MA in Arts Management from American University and she is currently an Urban Education Ph.D. dissertator with a specialization in Critical Race Theory in Art Education.

Leslie Diuguid
Diuguid is the founder and master printer of Du-Good Press, a fine art printing platform founded in 2017. She works collaboratively for artists at Powerhouse Arts on large scale projects involving screenprinting fine art along with maintaining her own business. She earned a BFA from the Kansas City Art Institute in 2009.

Delita Martin
Martin received a BFA in Drawing from Texas State University and an MFA in Printmaking from Purdue University.

Leo Steinberg was the rare art historian who turned his inquisitive eye and captivating prose to both Renaissance and modern art. His astonishingly wide-ranging scholarship addresses such canonical artists as Michelangelo Buonarroti, Leonardo da Vinci, Peter Paul Rubens, Pablo Picasso, and Jasper Johns. While Steinberg’s significance to the field of art history is widely acknowledged, his activity as a print collector is less well-known. Beginning in the early 1960s with only the meager budget of a part-time art history professor, Steinberg amassed a collection that comprehensively illustrates the history of European printmaking. Akin to books on a shelf, Steinberg’s prints formed a visual library that shaped his scholarship in fundamental ways. Selections from his over 3500 prints will illuminate Steinberg’s insight that prints are the “circulating lifeblood of ideas,” disseminating compositions, motifs, and styles across geographic, material and temporal boundaries, while also presenting highlights of the European printmaking tradition.

This session presents diverse case studies to help us discern paper's design and communication roles across the period of its media dominance. Caroline Fowler (Clark Art Institute) explores early modern printed model books for woven textiles, differentiating the blank grids that appear in them from the earlier Albertian vela to which they bear some formal similarities. Erin Maynes (Los Angeles County Museum) analyzes works by Georg Grosz and Kurt Schwitters within the framework of paper's escalating use for disposable or Ersatz objects in Germany's years of inflation (1914-23). Joseph Monteyne (University of British Columbia) considers the information explosion of early nineteenth-century British print culture that made paper "overwhelming" and even "revolting." Jennifer Greenhill (Crystal Bridges Museum of American Art/ University of Arkansas College of Art) looks at Douglas Leigh's mid-twentieth-century designs using cut, torn and colored pages from magazines for large rooftop electrical spectacular signage. Veronica Peselmann (USC) will respond.

Please visit the 'External Link' below to register in advance for this symposium convening via Zoom.

Dear colleagues,

A friendly reminder that abstracts for the APS-sponsored panel "The Graphic Conscience" at CAA 2021 are due next week: September 16.

Please, submit a completed form (attached, inclusive of abstract), a CV (max. 2 pages), and, if applicable, documentation (max. 5 images) to me at ksenia.nouril@gmail.com by September 16, 2020.

The form, these directives, and additional guidelines are provided by CAA: https://caa.confex.com/caa/2021/webprogrampreliminary/meeting.html

Additional FAQs can be found here: https://www.collegeart.org/programs/conference/FAQ

Stay well and good luck,

Ksenia Nouril, PhD
Jensen Bryan Curator
The Print Center, Philadelphia
ksenia.nouril@gmail.com
@kaysenyah // @theprintcenter

----------

The Graphic Conscience
Affiliated Society or Committee Name: Association of Print Scholars
Ksenia Nouril, The Print Center
Email Address(s): ksenia.nouril@gmail.com

“The Graphic Conscience” calls for papers addressing transhistorical and transnational case studies of print as a tool for raising public consciousness. This session critically considers the ethics of print, inherent in the medium’s daily use-value beyond its function as a rarified fine-art object in a museum. Democratic in nature, print communicates through text and/or image as well as through its multiplicity. In considering the “graphic conscience” – or the social responsibility – of print, this session will celebrate the medium’s impacts on everyday life. The framework for this session responds to the thesis of the 2011 publication Philagrafika: The Graphic Unconscious, which reflected on the formal characteristics of print and argued for its assimilation within art at large. Papers can address a wide range of art historical as well as visual and material culture examples, including but not limited to Martin Luther’s Ninety-Five Theses of 1517; the seventeenth century etchings of Jacques Callot’s Les Grandes Misères de la guerre; the didactic agitprop of Taller de Gráfica Popular in late 1930s Mexico; and the commercially-produced postcards mailed to Americans by the Centers for Disease Control in response to the COVID-19 pandemic in 2020. Prints of all techniques – from Renaissance woodblocks to contemporary risograph zines – are eligible. Papers engaging post-colonial critique and/or topics from outside North America and Europe are strongly encouraged. Practice-based papers by artists, giving us a perspective from inside the studio or printshop, are particularly welcomed.