of abstracted character forms.

Pozanti made her first lithographs during her first residency at Tamarind in 2014. She returned in 2018, creating an exquisite set of monotypes as well as a limited edition for Tamarind’s Collectors Club. Since receiving her MFA in Painting/Printmaking from Yale University in 2011, Pozanti has had solo exhibitions around the world. Her work is in the permanent collections of the Broad Art Museum in Los Angeles, the Los Angeles County Museum of Art (LACMA), the San Jose Museum of Art and JP Morgan. 

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nd bold compositions reflect her pioneering interest in modern art and design. Gearhart, a Californian, was an important member of the Prairie Print Makers, the Wichita-based print society founded in 1930 by some of Kansas’ best artists. Organized by the Wichita Art Museum and guest curated by Roger Genser.

st of his long career and life, Picasso (1881–1973) engaged in printmaking with a gusto and freedom of expression that is thrilling to experience. No print medium intimidated him, and his prodigious facility in intaglio (etching, drypoint and aquatint), lithography and linocut inspired him to deconstruct and reinvent customary practices. Unseen Picasso examines a select group of iconic and lesser-known prints of enduring subjects from the artist’s repertoire, including his muses and the nude. The exhibition looks at the singular characteristics that make these prints rare or unique and therefore infrequently seen in exhibition or publication. Further, it invites visitors to look closely at the characteristics in each impression that distinguish the Norton Simon print from others produced in the edition.

Though prints are usually produced in multiples, one-of-a-kind impressions are sometimes pulled in the course of a print run. They may be proofs or undescribed states in an edition (a state is any stage in the development of a print at which impressions are pulled). A telling case is the 1946 lithograph Two Nude Women, a consuming subject for Picasso that compelled him to transform a recognizable subject into a minimalist abstraction. The Museum’s unique impression of the eighth state—Picasso created 21 states exploring this composition—is also noteworthy as the sole print from this campaign to be printed in color. Picasso’s ambitious four-color lithograph Woman with a Hairnet illustrates another critical classification in printmaking. Here, the artist’s inscription “Bon à tirer” (ready to print) authorizes the printer to “pull” an edition. Picasso’s signature identifies this trial proof as the model of perfection that the small edition would have to match.

At work in the printer’s studio, Picasso used whatever papers were on hand to evaluate his progress. For one proof representing his lover, Dora Maar, the artist used japan paper. Though it is unknown whether he chose this support for aesthetic reasons, the proof occupies a singular status on account of it. Japan paper has long been prized among printmakers for its thickness, slight sheen and ecru coloring, and for Dora Maar (1939), it provides a suitable foil to the Prussian blue ink adopted for this aquatint (an intaglio technique that produces effects similar to a wash drawing). By annotating this print “epreuve d’état” (artist’s proof), Picasso indicated that it was to be reserved for his own use.

In 1958, Picasso dove headlong into producing linocuts, a type of relief printing that uses a linoleum block. The pliant nature of linoleum offered little resistance to cutting, and it served as a good vehicle for Picasso’s impulse to create compositions in which color and line were nearly inseparable. Over time, pigments can change, lighten or darken, affecting the artist’s original intent for the linocut. This is the case with certain blues. Bacchanal with Goats and Spectator (1959) is a standout in this context on account of the stability and vigor of its palette. The royal blue—seen in the mountain lake and the sky that peeks through the decorative pattern of clouds—remains vibrant. This vitality is important in an animated composition in which color forms communicate a sense of spatial depth.

to assertive aesthetic statements that announced a new political and cultural consciousness among people of Mexican descent in the United States. ¡Printing the Revolution! explores the rise of Chicano graphics within these early social movements and the ways in which Chicanx artists since then have advanced innovative printmaking practices attuned to social justice.

More than reflecting the need for social change, the works in this exhibition project and revise notions of Chicanx identity, spur political activism and school viewers in new understandings of U.S. and international history. By employing diverse visual and artistic modes from satire, to portraiture, appropriation, conceptualism, and politicized pop, the artists in this exhibition build an enduring and inventive graphic tradition that has yet to be fully integrated into the history of U.S. printmaking.

This exhibition will be the first to unite historic civil rights era prints alongside works by contemporary printmakers, including several that embrace expanded graphics that exist beyond the paper substrate. While the dominant mode of printmaking among Chicanx artists remains screen-printing, this exhibition will feature works in a wide range of techniques and presentation strategies, from installation art, to public interventions, augmented reality and shareable graphics that circulate in the digital realm. The exhibition will also be the first to consider how Chicanx mentors, print centers and networks nurtured other artists, including several who drew inspiration from the example of Chicanx printmaking.

Artists and collectives featured in the exhibition include Rupert García, Malaquias Montoya, Ester Hernández, the Royal Chicano Air Force, David Avalos, Elizabeth Sisco, Louis Hock, Sandra Fernández, Juan de Dios Mora, the Dominican York Proyecto GRAFICA, Enrique Chagoya, René Castro, Juan Fuentes, and Linda Lucero, among others.

¡Printing the Revolution! features more than 120 works drawn from SAAM’s pioneering collection of Latinx art. The museum’s Chicanx graphics holdings rose significantly with an important gift in 1995 from the renowned scholar Tomás Ybarra-Frausto. Since then, other major donations and an ambitious acquisition program has built one of the largest museum collections of Chicanx graphics on the East Coast.

This exhibition is organized by E. Carmen Ramos, curator of Latinx art at the Smithsonian American Art Museum, with Claudia Zapata, curatorial assistant. The museum will publish a major catalogue with essays by Ramos and Zapata, as well as contributions by Terezita Romo and Tatiana Reinoza, leading scholars of Chicanx and Latinx graphics.

Please note: The exhibition was previously set to open on September 11, 2020. Following an announcement from SAAM on the new, late 2020 opening date, this post will be updated -- please check back soon!

trays. Well known for paintings that capture the dynamism and prosaic aspects of urban environments with dark palettes and painterly modeling of form, he achieved similar compositional effects in his vast body of work in lithography. In 1916 he installed a lithography press in his studio, and from then until his untimely death in 1925, he created just under 200 lithographs. Bellows understood that the monochromatic nature of the medium—its striking contrasts of light and shadow—made it an effective means through which to explore the strenuous activities and pastimes so prized by the artist. The strenuous activities of Bellows’s bodies in motion are enhanced by the unique aesthetic of lithography that shows the results of the artist’s hand at work.

nish viewers with the beauty and complexity of his paintings, drawings, sculpture, and prints. Today, he is considered one of the 20th century’s greatest American artists.

In celebration of the artist’s 90th birthday, An Art of Changes surveys six decades of Johns’s practice in printmaking, highlighting his experiments with familiar, abstract, and personal imagery that play with memory and visual perception in endlessly original ways. The exhibition features some 90 works in intaglio, lithography, woodcut, linoleum cut, screenprinting, and lead relief—all drawn from the Walker’s comprehensive collection of the artist’s prints.

Organized in four thematic sections, the exhibition follows Johns through the years as he revises and recycles key motifs over time, including the American flag, numerals, and the English alphabet, which he describes as “things the mind already knows.” Some works explore artists’ tools, materials, and techniques. Others explore signature aspects of the artist’s distinctive mark-making, including flagstones and hatch marks, while later pieces teem with autobiographical imagery. To underscore Johns’s fascination with the changes that occur when an image is reworked in another medium, the prints will be augmented by a small selection of paintings and sculptures.

About the Podcast
The Print Cast is a podcast about the expanding world of printmaking today. Host Nick Naughton talks with some of the best contemporary printmakers working today, including designers, illustrators, collaborative print artists, commercial printers, letterpress, foil stampers, and even book binders. Nick and his guests talk shop sharing anecdotes, business ideas, and technical tips with listeners everywhere. It’s about the print shops, the artists, the process, and why we make all the prints that we make. Naughton is an artist who has devoted two decades to various roles as a printmaker, and he brings his depth of experience to his role as host. He’s been a professor, non-profit shop manager, studio owner, and has practiced every technique from screen print and letterpress to relief, intaglio, installation and everything in between. The show drops a new episode every two weeks featuring some of the best minds working in multiples today.

970s to the present and includes drawings, altered books, postcard assemblages, collages, and more.

A master at tearing paper, Spector brings a constructive energy to that otherwise destructive act. Sometimes he alters found books by methodically tearing their pages. At other times, he creates his own blocks of printed texts or images that he also transforms by tearing. Through this refashioning of existing printed materials, he poses questions about authorship, the history of art, and the written word. His works are at once deeply literate and slyly humorous.

Spector is internationally recognized for his contributions to the field of contemporary art. He taught painting, sculpture, and two-dimensional design at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis for a decade before retiring in 2019. This is the first presentation of the artist’s work at a St. Louis museum.

d at his death he bequeathed a veritable treasure trove of paintings, drawings and prints. His most important gift, however, is the fund that bears his name: a resource that enables the Rijksmuseum to purchase hundreds of prints each year. An exhibition of the most exceptional of these acquisitions from the last ten years in two galleries on the ground floor of the museum’s Phillips Wing.

This exhibition includes highlights from early printmaking includes Madonna with Child (c. 1470) by Master I.A.M. of Zwolle and Crucifixion with Four Angels (c. 1485) by Martin Schongauer – Waller allocated much of his wealth to the acquisition of prints from this period. Italian, Dutch, German, and French masterpieces from the 16th to the 19th century will also be on display. They include two drawings: a 1599 design sketch by Karel van Mander and a landscape by Claes van Beresteyn, from 1670. Both drawings were part of the Van Regteren Altena collection, and they were purchased with the support of the Rembrandt Association and the F.G. Waller Fund.

Waller specified that his fund could be used ‘in exceptional cases’ for the acquisition of drawings. The exhibition also includes modern works, such as the results of experiments with a variety of printing techniques conducted in 1870 by Ludovic-Napoléon Lepic, mentor to Edgar Degas, and a 1924 print by Hendrik Werkman.

Since 1938 the F.G. Waller Fund has annually disbursed a sum that is used to further enhance and complement the collections of the Rijksmuseum’s Print Room. Thus far, the Rijksmuseum has Wallers’ generosity to thank for the addition of 55,000 works to its collection.

Jacquette, Per Kirkeby and Pat Steir. This exhibition focuses on each artist’s interpretation of the natural features of the earth’s surface: mountains, plateaus, valleys, plains, deserts, and rivers.

In 1964 Wayne Thiebaud was the first artist I invited to work at Crown Point Press with the intention of
publishing his work. At the time, Richard Diebenkorn was already engaged with Crown Point’s weekly
“Live Model Group,” a workshop in which artists drew from a model on copper plates. The press was in
the basement of my home in Berkeley; we worked with my young son (now in his fifties) underfoot.
Crown Point’s first publication (after my own art) was Diebenkorn’s 41 Etchings Drypoints in 1965.
Diebenkorn lived in Berkeley. Thiebaud would drive from Sacramento (where he still lives) to work with
me in the studio. In 1965, I printed and published his Delights, seventeen etchings presented in both
book and portfolio forms. Since then, Wayne Thiebaud has created in the Crown Point studio more than
112 different images, including (in 2019) the six new ones now being released. He will be one hundred
years old before the end of this year. -Kathan Brown, founder of Crown Point Press