church that hunted heretics, peasant superstitions, and the upper class’s brutal treatment of the poor. Goya is considered the first Modern artists, for his innovative painting techniques and social commentary.

hniques to exploit the potential of the printed line, from the thick velvety line of drypoint and the heavy cross-hatching of etching to delicate wood engraving and boldly coloured screenprints.

The use of colour will be explored in screenprints by Bridget Riley and Kenneth Martin, as well as Simon Patterson 's witty lithograph, which reworks the lines of the London tube map.

The show also features work by a number of celebrated artists, spanning the 20th century to the present day, including: Walter Sickert 's masterly cross-hatched etching The Old Middlesex (c1910), Ben Nicholson 's rich drypoint Halse Town 1949 (1949), a bold etching by Eduardo Chillida and David Hockney 's pared-down linear etchings.

All the prints in this exhibition are from the Arts Council Collection, which is the largest loan collection of modern and contemporary British art and includes fine examples of work by all of this country’s most prominent artists.

d domestic camcorders appeared. Ronald Reagan, a Republican, replaced Jimmy Carter, a Democrat, as President. The economic unrest of the 1970s had gradually shifted toward an era of extravagance. In the ’80s, many artists worked in large-scale. Painting was influenced by advertising and entertainment.

Crown Point Press in the ’80s includes etchings made at Crown Point in the ’80s and also woodcuts from the Japan and China programs. The artists are: Vito Acconci, Robert Bechtle, John Cage, Francesco Clemente, Tony Cragg, Elaine de Kooning, Richard Diebenkorn, Eric Fischl, Joel Fisher, Helen Frankenthaler, Hamish Fulton, April Gornik, Hans Haacke, Al Held, Robert Hudson, Bryan Hunt, Shoichi Ida, Joan Jonas, Anish Kapoor, Alex Katz, Joyce Kozloff, Robert Kushner, Sherrie Levine, Sol LeWitt, Tom Marioni, Robert Moskowitz, Judy Pfaff, Janis Provisor, Rammellzee, Ed Ruscha, David Salle, Italo Scanga, José Maria Sicilia, Richard Smith, Pat Steir, Wayne Thiebaud, David True, and William T. Wiley.

ical absence of black bodies in Western art.

Through her work, Martin aims to create a new iconography for African Americans based on African tradition, personal recollections, and physical materials. A recurring theme throughout Martin’s work is exploring interconnections between past and present generations. She conveys these connections through symbols such as circles, a shape representative of the moon and symbolic of the female, and birds, which represent the human spirit. Masks, inspired by the Sowei and Ife masks of West Africa, appear in many of Martin’s works, signifying transition between this world and the spirit world. Her use of color is also symbolic, particularly the color blue, which she associates with spirituality.

Additionally, Martin incorporates materials and imagery linked to her personal memory, and likens this process to quilting, a skill she learned from her grandmother. Expertly layering all of these elements, Martin visualizes the liminal space between the physical and spiritual worlds.

Delita Martin: Calling Down the Spirits showcases seven monumental works combining tradition with innovation. Through her rigorous and meticulously layered process, Martin creates striking images that bridge time and space between generations.

aspects of life, from clothing and speech to money and maps, and with the introduction of the Republican Calendar, to remake even time itself. In our contemporary political context, in which ‘Terror’ has taken on a variety of disturbing meanings, and in which the proliferation of images plays an increasingly significant role in how we comprehend acts of political violence, it is ever more important to examine this radical period in French history.

Tracing the tumultuous period from the trial and execution of Louis XVI to the fall of Robespierre, Witnessing Terror includes a variety of printed images representing key events and personae. From portraits of revolutionary martyrs to dramatic scenes of Parisian crowds, these prints give us insight into how people understood life during the Terror. As well as a number of caricatures, street scenes, and more overtly artistic prints, the exhibition displays everyday objects, such as paper money, well-worn passports, and playing cards. Drawing out the contemporary relevance of this revolutionary iconography, Witnessing Terror also shows work by the renowned conceptual artist, poet, and gardener Ian Hamilton Finlay (1925−2006) that engages with the long-term legacy of the Terror.

The Terror remains a vexed term that has for many become synonymous with the French Revolution, clouded by myths that emerged in the years that followed. A system of political institutions and practices, the Terror was accompanied by new rhetorical and cultural strategies. It did not happen overnight but developed as a tactical response to a series of military crises, rumours, and fears. Images played a crucial role in the operation of Terror, as well as in its subsequent representation. This exhibition considers what it means to witness Terror, then and now. In particular, it features extracts from the recently discovered letters of Catherine-Innocente de Rougé, duchesse d’Elbeuf (1707−94), who maintained a correspondence with an unknown friend throughout the Revolution. Living in her private residence, the Hôtel d’Elbeuf, which was located only metres from government offices during the Terror, the duchesse d’Elbeuf commented freely on the situation in Paris in a way that would have sent her to the guillotine, had her correspondence been found.

This exhibition is part of a programme of ongoing engagement with UCL Art Museum’s unique holdings of prints related to the French Revolution, acquired via the Cultural Gifts Scheme. It follows Revolution under a King: French Prints, 1789−92 (UCL Art Museum, 2016) and Rousseau 300: Nature, Self and State, an exhibition in collaboration with UCL Centre for Transnational History (UCL Art Museum, 2012).

Using innovative print techniques, such as cutting woodblocks and paper with an industrial-grade hand drill, he creates gripping portraits that humanize the victims of this violence.

Exhibition Opening
Thursday, January 16 from 5:30-7:30pm

Please visit the 'External Link' below for more information.

erra Foundation for American Art and The Hunterian, University of Glasgow. It will take place at The Hunterian at the Kelvin Hall on Saturday 1 February 2020.

The programme features a panel of speakers from the United States and Europe who will examine connections between the art history and visual culture of Scotland and North America (USA and Canada), past and present. The Study Day themes include transatlantic influences and networks, patronage and collecting, new research on individual artists, and art and education in Scotland and North America. The difficulties created by differences in transatlantic terminologies, research methods and access to resources will also be discussed.

The Study Day will be free to attend for SSAH/AAH members and the public. Admission will include refreshments and a catered lunch. At the time of booking, please inform us if you have any access or dietary requirements.

The Scottish Society for Art History has received generous support from the Terra Foundation for American Art, which is dedicated to fostering exploration, understanding, and enjoyment of the visual arts of the United States for national and international audiences. Recognizing the importance of experiencing original works of art, the foundation provides opportunities for interaction and study, beginning with the presentation and growth of its own art collection in Chicago. To further cross-cultural dialogue on American art, the foundation supports and collaborates on innovative exhibitions, research, and educational programs. Implicit in such activities is the belief that art has the potential both to distinguish cultures and to unite them.

The Study Day programme is posted at the 'External Link' below. Tickets can be booked via the same link.

r artistic practice and printmaking techniques.
Presented in conjunction with the exhibition The Renaissance of Etching.

Free with museum admission

ng today, such as Susan Allix, Hannah Brown, Gabrielle Fox, Michael Wilcox, and Robert Wu. Many of these bindings were especially commissioned by Neale Albert (Yale JD 1961), who is an active supporter of this often underappreciated aspect of the book arts. Albert was elected in 2014 as an honorary fellow of Designer Bookbinders, the principal society in Great Britain devoted to artistic bookbinding. All of the books included in the exhibition are a promised gift to the Center from Neale and Margaret Albert.

Contemporary De