terful, wildly imaginative, and influential graphic artist whose works on paper led contemporary viewers through expansive landscapes and into hellish worlds.

Lecture by Dr. Nadine Orenstein, Drue Heinz Curator in Charge of the Department of Drawings and Prints, The Metropolitan Museum of Art. Her exhibitions at the Metropolitan Museum include "Pieter Bruegel the Elder: Drawings and Prints" (2001); "Hendrick Goltzius (1558 – 1617): Prints, Drawings and Paintings" (2003); and "The Renaissance of Etching" (2019-2020).

Free with general museum admission. (Note: General museum admission is free for residents of Macomb, Oakland and Wayne counties.)

g figure in mail art, a movement and a medium that produced a unique international network of creative exchange in the 1970s and 1980s. Throughout his life he developed an important oeuvre that spanned performance, video art, and books.

This program invites Felipe Becerra (Department of Latin American and Iberian Cultures at Columbia University) Mónica de la Torre (Madelon Leventhal Rand endowed Chair in Literature, English, Brooklyn College), and Zanna Gilbert (senior research specialist, Getty Research Institute) to discuss Carrión’s work and legacy. The panel will be moderated by Aimé Iglesias Lukin (Director and Chief Curator of Visual Arts, Americas Society and Curator of Ulises Carrión: The Big Monster.)

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rful technique and content of his work, which embodies shared human beliefs and emotions. Producing well over 200 print compositions, his reputation as a printmaker was secured in his lifetime and has only been enhanced over time.

The seventeenth century in Holland and Western Europe was a time of rapid change in the spheres of class structure, economics, politics, and religion. Communication and trade across borders precipitated the spread of ideas that transformed societies, nurturing the earliest seeds of modernization. As an artist of that period, Rembrandt’s renown as a painter was heightened and spread by the prints he disseminated through impressions and etchings.

This exhibition of 42 etchings from the Museum’s collection will focus on images of people and places that convey the state of the seventeenth-century Dutch society as it evolved from a feudal, agrarian-based state to one informed by advances in commerce and technology.

Organized by the Montgomery Museum of Fine Arts, Montgomery, Alabama.

at how a print was made as well as what’s depicted. The variety of works—by artists like Albrecht Dürer, Kerry James Marshall, Helen Frankenthaler, and more—reveals a multitude of possibilities for negotiating the relationship between material and process.

they sought to reinvigorate the etching process by developing innovative techniques. Prints by artists such as Félix-Hilaire Buhot, Eugène Delacroix, and Félix Vallotton demonstrate the extensive experimentation that was central to printmaking during this era.

The twenty-five prints in Experimental Ink are drawn from a group of works that local collector Ethel K. Hockerman and her charitable trust donated to the Museum over thirty years. The Hockerman Collection is a testament to the appeal that these experimental prints still have today.

ustrate how the combination of artistic traditions, wide range, and immediate influence of Raphael’s art shaped the standard of aesthetic excellence for later artists, connoisseurs, and scholars. The exhibition features four drawings by Raphael: the sheet from which the design of his painting Saint George and the Dragon (c. 1506, National Gallery of Art) was transferred; the cartoon for the so-called Belle Jardinière (La Vierge à l'Enfant avec le petit saint Jean-Baptiste, 1507 or 1508, Louvre Museum, Paris); a detailed representation of the prophets Hosea and Jonah; and a well-known study for part of the frescoes in the church of Santa Maria della Pace in Rome. Nine drawings by his closest collaborators and followers—Giulio Romano, Polidoro da Caravaggio, and Perino del Vaga—are also on view.

The exhibition includes 10 engravings, as well as a chiaroscuro woodcut, by the earliest interpreters of Raphael’s designs: Marcantonio Raimondi and his followers Agostino Veneziano and Marco Dente da Ravenna as well as Ugo da Carpi. The Gallery’s five paintings by Raphael—the largest and most important group outside a few European collections—represent the central decade of his activity and will be on view on the main floor of the West Building to complement this exhibition.

and loss. Books and language lie at the heart of her practice, one informed by an abiding fascination with the personal and collective expression of memory. Bart is a self-described cultural storyteller who draws on historical events, literary sources, and other narratives to shape meaning and engender empathy for her subjects. Conceptually rich and aesthetically refined, her books and works on paper are highly original evocations of the human condition. This solo presentation of features more than 25 artist books, drawings, collages, editioned prints, and related objects selected from Mia’s permanent collection and the artist’s private holdings.

“Harriet Bart: Artist Books + Works on Paper” was organized by Mia associate curator Dennis Michael Jon in collaboration with the artist. It is presented in conjunction with the Weisman Art Museum’s concurrent retrospective exhibition “Harriet Bart: Abracadabra and Other Forms of Protection.”

a diverse array of imagery drawn from personal and popular references.

The checklist is multigenerational, including well established artists like Jaune Quick-to-See Smith, mid-career artists like Marie Watt and Dyani Whitehawk, and relative new comers like Sara Siestreem. Indelible Ink explores collaboration as a generative artmaking process and a way of life. The exhibition explores themes gathered from interviews with the exhibition’s artists, as well as the printmakers with whom they have collaborated. In their interviews, the artists discuss the benefits and challenges of working with collaborating printers in the studio, which is typically a solitary place. Conversely, the publishers and printers featured in Indelible Ink shed light on the unique technical challenges of their medium, as well as their philosophy of collaboration, the artist selection process, and the complexities of collaborative art-making relationships.

ignificant role in the creation and circulation of prints throughout Europe.

In this seminar, Nadine M. Orenstein of the Metropolitan Museum of Art will discuss print publishing through a selection of prints in the Harvard Art Museums collections. The seminar will take place in the Art Study Center, Level 4.

Free admission, but registration is required. Registration for this seminar will open on Friday, February 7, 2020, and participants will be admitted on a first-come, first-served basis. To register, please email am_register@harvard.edu.

Please arrive 15 minutes before the start of the program to allow sufficient time to sign in at the Art Study Center reception desk, and be prepared to present a photo ID.

es, 18th century English printmaker William Hogarth. Hück has also been chosen as the spring 2020 Myers residency artist. In addition to exhibiting his work, he will spend a week in February with students and during that time will produce a new print edition.