This exhibition presents the Zimmerli Art Museum’s group of exquisite prints by James Tissot (1836-1902), a highly successful painter who pursued his career in both Paris and London. As a printmaker, Tissot translated his painted compositions into monochromatic etchings that emulated their effects of color and texture. The exhibition showcases Tissot’s remarkable etching technique in the service of his intensely observed subjects that frequently feature sophisticated men and women, and intricate landscape elements. Recent acquisitions of the artist’s five-print series The Parable of the Prodigal Son, as well as Ces Dames des Chars (These Chariot Ladies) from the series La Femme à Paris (The Parisian Woman), are presented for the first time.

The Politics of Rhetoric is a group exhibition that brings together a diverse selection of new and recent works from across media that address the inherent biases in everyday language. Delving into a variety of personal and public archives for source material, the artists Bethany Collins, Sharon Hayes, Sarah McEneaney, Keris Salmon, María Verónica San Martínand Didier William draw our attention to how those in power manipulate words and phrases, so that they become gendered, racist and/or classist. The exhibition’s title is inspired by rhetoric – the ancient art of discourse – which plays to the logos (logic), pathos(emotions) and ethos (morals) of the listener. The artists in this exhibition explore the uses and abuses of rhetoric in their works, which feature texts pulled from sources, including audiotapes, musical scores, newspapers and the records of southern American plantations. Their works in print, photography, painting, video and performance art, call us to think before we speak. This exhibition is curated by Ksenia Nouril, PhD, The Print Center’s Jensen Bryan Curator.

Please visit the 'External Link' below for more information, including full details about exhibition-related programming. All of The Print Center's Exhibitions and Programs are free and open to the public.

Highpoint Center for Printmaking presents Transference: Printmakers in Mni Sota Makoce, curated by Alexandra Buffalohead. Transference highlights emerging and internationally renowned printmakers, all with connections to Mni Sota Makoce. The Dakota to English translation, Mni Sota Makoce, describes the experience of seeing “land where the waters reflect the clouds” in reference to Minnesota. Featured artists are well known printmakers, painters, animators, and textile artists.

The public reception on Friday, October 4 is hosted in partnership with the Native American Art Studies Association (NAASA) on the occasion of their 22nd Biennial conference in Minneapolis, October 2-6, 2019. NAASA exists to encourage the ongoing study and exchange of ideas on Native American art north of the Rio Grande including the First Nations of Canada. Members include Native artists, scholars, museum professionals, writers, and others involved in the study of Native American art. More information on the Native American Art Studies Association can be found here.

Prints in this exhibition by Julie Buffalohead, Andrea Carlson, and Dyani White Hawk were exclusively made in collaboration with Highpoint Editions. Prints by Jim Denomie, George Morrison, Frank Big Bear, and Star Wallowing Bull are on loan from Bockley Gallery; and Angela Two Stars, and Maggie Thompson are personally loaning prints. Gordon Coons, Johnathan Thunder, and Tamara Aupaumut will be premiering new work in this exhibition.

Special thanks to Angela Two Stars in the creation and mentorship of the title of the exhibit, as well as to Alexandra Buffalohead, Bockley Gallery, and the participating artists.

ABOUT THE CURATOR
Alexandra Buffalohead is the Arts and Cultural Engagement Manager at the Native American Community Development Institute and All My Relations Arts gallery in Minneapolis, MN, as well as a contributor to the program council for the Northern Spark Festival. Buffalohead earned a BA from Augsburg University, an AS from the Art Institute International of Minnesota, and an MA from the University of Saint Thomas.

FEATURED ARTISTS
Tamara Aupaumut, Frank Big Bear, Julie Buffalohead, Andrea Carlson, Gordon Coons, Jim Denomie, George Morrison, Maggie Thompson, Jonathan Thunder, Angela Two Stars, Star Wallowing Bull, Dyani White Hawk

Leonardo Drew’s prints, at once powerfully large yet fragile, test the versatility of the medium, transforming cotton paper pulp and pigment into what suggests densely populated cities, a forest, or an urban wasteland. They sometimes look like maps of geographical landscapes viewed from above, while others are reminiscent of the night sky and distant galaxies. Evocative of fire, soil, sky, and water, there are strong perceptions in both microcosmic and macrocosmic scale.
Organic forms within the composition undulate with various textures and luminosities, pushing the boundaries of its materiality. Much like his sculptural installations in wood, Drew starts with a raw material, transforming and reconstructing its essence until it resembles debris. Through this process, the artist articulates diverse histories of chaos, and cycles of birth and death.

Several examples of the artist’s sculptures will also be on view. Using a variety of off-the-shelf materials (wood, cardboard, paint, paper, plastic, rope, and string) combined with natural materials such as branches or tree trunks, Drew subjects these elements to processes of oxidation, burning, and weathering. These labor-intense manipulations mimic natural processes and transforms these objects into sculptures that address both formal and social concerns, as well as the cyclical nature of existence.

Related Program:
November 7, Thursday / 6:00–7:00 p.m. / ARTISTS ON ARTISTS
Museum open until 8:00 P.M., in collaboration with Amherst Arts Night Plus EXHIBITION WALKTHROUGH led by artists Rie Hachiyanagi, Professor of Art, Mount Holyoke College, and Amanda Maciuba, Visiting Artist in Printmaking, Mount Holyoke College

The Gallery at Next Stage presents Drypoints from the Landscape by Brian D. Cohen, August 15th through November 15. The Gallery is open for viewing 30 minutes before each Next Stage event, as well as Saturdays from 10 am–1 pm, and by appointment with the artist.

Artist Statement:
This exhibit comprises a selection of drypoint prints made between 1993 and summer 2019. Drypoint is a technique for drawing directly on a metal (or Plexiglas) plate with a needle or sharp tool to create a burr (a raised ridge of metal) on the surface of the metal. In printing, the plate is covered in ink and carefully wiped so the ink is removed from the unmarked areas of the surface and left to stick to the drawn burr. A drypoint plate shows a great variety of character and intensity of marks owing to the varied pressure of the artist’s hand. I use a variety of other tools to texture the plate, as well as various means to lighten the plate through scraping, burnishing, and polishing.

Drypoint has the advantage of being quite portable, and the disadvantage of wearing down fairly quickly under the pressure of the press, as the burr is fairly fragile. As such, my editions are small. I sometimes develop the plates in the studio through subsequent states, occasionally incorporating techniques of acid etching to bring a more considered and sustained focus to these images.

An ultimately advantageous quality of drypoint is that it is essentially impossible to see what you’re doing while you’re working, as the marks do not contrast in color or value to the plate itself. Much depends on the roughness of the mark, a distinctly tactile, not visual quality. I find it liberating not to worry much about what a plate will look like — there’s no point in trying to judge what you can’t see.

My drypoints are begun on site in direct response to the landscape, and represent my regular practice of intimate and repetitive engagement with a place that I am especially drawn to. I often will work in drypoint, drawing, and watercolor from the same site, each respective medium guiding me to differing aspects of that view. Prints in this exhibit are from various trips I’ve taken to Italy, Bulgaria, Maine, and Cape Cod, as well as close to home in New Hampshire, and Vermont.

The cantonal prints collection, which has been housed at the Musée Jenisch Vevey since 1989, comprises a number of prestigious holdings totalling over 35,000 works from the Renaissance to the present day. This exhibition, which follows on from the 2016 display of masterpiece drawings from the collections, focuses on the techniques of printmaking, and serves up a choice selection of works by the most eminent practitioners of the form: Dürer, Goltzius, Callot, Rembrandt, Castiglione, van Ostade, Tiepolo, Canaletto, Goya, Corot, Bresdin, Bonnard, Vuillard, Picasso, Yersin, Sarto, Lichtenstein, Raetz and many more. While offering a subjective overview of the history of the print, it also positions the museum as a place for studying and appreciating works on paper.

International Print Center New York is pleased to announce its first two-person exhibition, Paper Borders, which brings into dialogue the works of Emma Nishimura (b. 1982, Toronto) and Tahir Carl Karmali (b. 1987, Nairobi), artists who share a commitment to unearthing historical and ongoing stories of migration, transgenerational memory, and xenophobia. Using the materiality of print and handmade paper, the two- and threedimensional works in this exhibition speak to cross-cultural and deeply embedded global struggles. Here, the precarity of paper becomes a metaphor for the precarity of place.

This exhibition is the first in-depth New York presentation of Nishimura’s work, which centers on the Japanese Canadian Internment during World War II. Through a practice rooted in her own family history, inherited narratives, and archival research, Nishimura uses etching, photo-transfer, hand-papermaking, and sculpture to literally and symbolically wrap stories, images, and memories of the internment into new forms. In her prominent work An Archive of Rememory (2016–ongoing) she shapes these stories into traditional Japanese bundles called furoshiki. Through an installation of hundreds of paper furoshiki, as well as a series of textbased etchings, this little-known piece of history is brought to light.

A cross-disciplinary artist, Karmali creates large-scale paper works and installations that engage materials and processes surrounding issues of colonization, nationality, and authenticity. Karmali’s handmade paper incorporates government-issued documents that trace family history—from his paternal family’s paperwork showing their change in citizenship after Kenya's 1963 independence from Britain, to his own application for a visa to relocate from Nairobi to New York. Dried on rusted metal plates, Karmali’s paper sheets absorb abstract rust marks and folds that reference the land. With the addition of photo-transfer and collaged elements, these works unfold a layered, material record of lived experience.

The exhibition title reflects the dualities within the words ‘paper’ and ‘borders.’ Paper acts as an apparatus for mark-making and sculptural experimentation, or as a pass validating identity and allowing movement from one territory to another; while borders can be hard lines between territories, or fragile and shifting.

PUBLICATION
The accompanying publication will feature an essay on the dialogue between the works of both artists by Kelly Baum, Cynthia Hazem Polsky and Leon Polsky Curator of Contemporary Art, The Metropolitan Museum of Art, along with artist biographies, a reading list, color illustrations, and studio photographs.

PUBLIC PROGRAMS
Print Week (October 20–27), Date and Time TBA: History as Matrix, a conversation with Emma Nishimura and Tahir Carl Karmali moderated by Regine Basha, Senior Program Associate, Civitella Ranieri Foundation.

Saturday, December 7, 1–4 PM: Drop-In Papermaking Workshop with Tahir Carl Karmali.

Please visit the 'External Link' for more information about the artists.

Over two days, A Meeting of Cultures: Japan and Australia Print Symposium provides a forum for the presentation and discussion of issues, ideas and research from the printmaking sphere by bringing together scholars, artists, and representatives from cultural institutions through keynote addresses, panel discussions and artist talks.

The Symposium coincides with the Kyoto Hanga International Print Exhibition: Japan and Australia 2019 at Caloundra Regional Gallery and is presented by USC Art Gallery and the Print Council of Australia through the support of Sunshine Coast Council, the Regional Arts Development Fund, the Australia-Japan Foundation, Kyoto Hanga Print Exhibition Executive Committee, Argon Law and the Consulate-General of Japan, Brisbane.

Keynote Speakers
Saturday, September 21
Akira Kurosaki: the evolution of ukiyo-e and woodcut prints
Professor Atsuhiko Musashi, Kyoto Seika University

Akira Kurosaki (1937-2019) is representative of a generation of Japanese artists who started their career and in the 1960s; he was open to international styles and techniques, participated in international exhibitions, and he lived and worked abroad. Despite these international influences, his practice was deeply informed by the traditional Ukiyo-e woodcut artists of his homeland.

In this keynote presentation, Professor Musashi will chart the history of Japanese woodcuts beginning with early 17th century Ukiyo-e through to its end during the middle of the 19th century. He will discuss the last Ukiyo-e painter, Yoshitoshi Tsukioka and also cover Shin Hanga (New Print), Sosaku Hanga (Creative Print) and the importance of the Tokyo International Print Biennial. This will frame his discussion of Akira Kurosaki’s woodcut art from 1965 to 2014.

Sunday, September 22
The poetics of flow: the enfolding of matter, memory and print
Dr Jan Hogan, University of Tasmania

The waters connecting Australia and Japan are a fluid space of cultural flow. The narrative of exchange encompasses matter, cultural sensibilities, geological formations and the geographical flows of trade. There is a nonlinear entanglement where ideas and matter are enfolded, cast adrift, and float to new sensibilities. Across oceans, the formal integrity of works are translated and transformed by new places and ‘points of view’.

In this keynote, Dr Hogan will reflect on the traces of thoughts, languages and materials that echo across time and place leading to new poetics and modes of thinking through the innovations of the Ukiyo-e print.

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

This one-day symposium will explore aspects of modern woodblock printmaking in East Asia, with a special focus on connections between China and Japan. From the role of the sōsaku hanga 'creative print' movement as one of the foundations of the New Woodcut Movement under Lu Xun, to the woodblock prints of Kitaoka Fumio, as well as contemporary printmaking practice.

SYMPOSIUM PROGRAM
Session Chair: Dr. Paul Bevan

13.45-14.15
Reinventions: Wartime Prints and the Art of New China
Mary Ginsberg, Independent researcher

14.15- 14.45
Kitaoka Fumio’s Repatriate
Dr. Clare Pollard, Ashmolean Museum

14.45 –14.55 Questions

COFFEE BREAK

15.15-15.45
Contemporary Responses to a Traditional Craft
Ralph Kiggell, Artist

15.45-16.15
Naoko Matsubara: A Life with Wood, Ink, and Paper
Lauren Moya Ford, Artist and Writer

16.15 – 16.45
The Dao of Making: Exploring Techniques of Contemporary Chinese Woodblock Printmaking, with Examples from the Collection of the Ashmolean Museum
Dr. Weimin He, Artist

16.45 – 17.00 Questions

Occasioned by a move into a newly constructed state-of-the-art museum building on the University of Nevada, Reno's main campus, this exhibition introduces viewers to an incredible collection of etchings, many of which have not been seen publicly for more than 30 years.
This exhibition will be the first one on campus to ever exhibit the entirety of the University's Piranesi holdings. Between the two collections, held by Special Collections and The Lilley, nearly the entire series of Roman "vedute," or views, will be available for study and review in the Museum's galleries. Foregrounding scholarly depth and scope, "Piranesi and the Eternal City" offers visitors to the museum a rare opportunity to study a representative sample of the artist's work, gain a deeper understanding of the technical and historical contexts of the work, and cultivate a deeper sense of wonder inspired by the mastery of the print work on view.