In conjunction with two upcoming exhibitions that explore images of women’s labor during the 19th
century—Degas and the Laundress: Women, Work, and Impressionism (Cleveland Museum of Art, October 8, 2023–January 14, 2024) and Mary Cassatt at Work (Philadelphia Museum of Art, May 18–September 8, 2024)—scholars present on an international range of topics related to the visual culture of working women.

Organized by Britany Salsbury, Cleveland Museum of Art; Laurel Garber, Philadelphia Museum of Art; Nicole Georgopulos, University of British Columbia; and Jillian Kruse, Case Western Reserve University

Noah Breuer, who is a contemporary printmaker and professor of print media at the University at Buffalo, NY is celebrating his first museum exhibition at the National Czech & Slovak Museum, a Smithsonian Affiliate, in Cedar Rapids, Iowa. Breuer's work recovers a small portion of the lost heritage of his family, who owned textile factories in Czechoslovakia and Austria in the early 20th Century. The factory was seized by the Nazis in the late 1930s and most of the family perished in the Holocaust, with the exception of his grandfather. In 2016, Breuer returned to the Czech Republic on a research grant and uncovered several boxes of textile samples from his family's factory at the Czech Textile Museum in Česká Skalice, as well as the company’s business records in state archives in Zámrsk and in Dvůr Králové nad Labem.

Based on this group of original materials, the artist has generated a large body of work in screen printing, paper pulp (at Dieu Donne), and glassmaking techniques, reinterpreting the source imagery for contemporary viewers. As noted in Hanley's essay, "Through digital manipulation of his source imagery, Breuer explores the full spectrum: from the playfulness of their original historical context to the complications that attend modern-day reception of these images."

Exhibiting Drawings for Prints: From the Paris Salons to a Symbiotic Art Market charts the early exhibition history of drawings related to prints in 18th-century France using a data-driven approach which traces the intertwined markets for the two media and spotlights two extraordinary instances in which they collided in the Paris Salons: architectural proposals for a municipal redesign, drawn directly on existing etchings; and preparatory drawings, originally made for hand-painted liturgical texts at Versailles, that were later circulated widely as prints. Together, the data and examples illustrate the strong symbiosis that has existed between these two markets dating back some 250 years.


Time Signatures: Expressionism Between Drawing and Print — As a young collective starting out in 1905, the German Expressionists known as "Die Brücke” (The Bridge) began two ventures around the same time—the touring of their prints throughout small institutions in Germany and the development of a life-drawing practice they called Viertelstundenakte, or “quarter-hour nudes.” In these works, Die Brücke sketched a model for the titular allotment before she would shift position and drawing began anew. Many of the quarter-hour nudes, only of which a few still survive today, were subsequently translated into prints. This talk aims to compare the temporalities of these two modes of image-production, particularly in their seriality. How did tempo, pace, and reiteration, the paper asks, map not only on to the Expressionist enterprise, but on to wider cultural concerns in an industrializing Germany more broadly?

J. Cabelle Ahn is an independent art historian, a PhD Candidate at Harvard University, and the Vice President of the Association of Print Scholars. Her research centers on exhibition histories in early modern Europe, the history of the art market, and the intersection between Old Masters and Contemporary Art.

Joseph Henry a PhD Candidate in the art history program at the CUNY Graduate Center and the Florence B. Selden Fellow in Prints and Drawings at the Yale University Art Gallery. His dissertation and scholarly work focus on questions of Expressionism, art and labor, works on paper, and primitivism and colonialism. He has held fellowships and positions at the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art and published contemporary art criticism across a number of venues.

Make it Pop celebrates Pop artists’ innovative approaches to the acts of transfer and replication through the materiality of print. Focusing on the dynamic growth of Pop Art during the 1960s and 1970s, this exhibition features prints by key figures in the movement working both in the United States, such as Roy Lichtenstein and Andy Warhol, as well as those creating art internationally, such as the Brazilian artist Claudio Tozzi and the British artist Joe Tilson. Through their groundbreaking approaches to the media, Pop artists both aided in the development of a thriving market for contemporary prints and propelled the media in dynamic new directions that continue to shape artistic practices to this day.

I am pleased to share my participation in the Armory Show, Represented Yossi Milo Gallery, NY.
"Yossi Milo is pleased to announce our participation in The Armory Show, taking place at the Javits Center from September 7 – 10, 2023.
Our booth will include work by Linus Borgo, Orit Hofshi, Asif Hoque, Jeremy Jaspers, Sarah Anne Johnson, Pierre Knop, Natia Lemay, Kathrin Linkersdorff, Anoushka Mirchandani, Meghann Riepenhoff, Ibrahim Said, Shikeith, and Cameron Welch, among others. Centering transformation as the engine of their practices, the presented artists share a dedication to the study and potential of change, whether of the body, the spirit, or within the realm of narrative and storytelling."

Curated by Megan N. Liberty and organized by Center for Book Arts, this exhibition reconnects artists’ books to craft by creating a meaningful link between conceptual art and craft, historically placed at odds.

Craft practices are rooted in a material-specific approach; the same is true for artists’ books, which are medium-specific artworks in book form. The critical issues of craft theory, such as the relationship between the vernacular and the contemporary and anti-establishment and grass roots activities are shared with the book arts, an established discipline of craft arts. Yet the legacy of artists’ books, a subset of book art (which also includes altered books and book sculpture) is often traced back to conceptual art—dominated by white male artists, the dematerialization of the art object, and ephemeral art practices, negating artist books’ earlier connection to the book arts and its place in craft history.

Traveling here from San Francisco Center for the Book, this exhibition will tie artists’ books back to craft, reshaping our understanding of craft history and its influence on conceptual art. The curatorial research methodology is archival, with the goal of a cross-disciplinary show that uses archival materials to present a revised timeline of book art, conceptual art, and craft, alongside artworks from various collections including Center for Book Arts, Harvard, Pace Prints Pace Gallery, San Francisco Museum of Modern Art Library, and MCBA. (The two pieces pictured here are from MCBA’s collection.)

Juana Estrada Hernández channels her experience growing up as an immigrant in the United States into drawing and print media that address political and social issues pertaining to communities of Latinx migrants. Mexican culture and folklore, pop culture, and her family’s migration stories inspire her artistic output. Her solo exhibition entitled Las semillas, el sol, y los que sacaron a delante / The seeds, the sun, and those that brought me forward is on display in the Roswell Museum’s Donald B. Anderson Gallery from September 23 to December 17, 2023.

Please visit the link below for more information.

Estelle L. Roberge on The Book of Covid: Unbound and The Book of Cranes:

"Like many of us, because of the pandemic, I spent much time alone, and because I became more cautious of my social associations, I intensely missed human interaction. As an artist, it became difficult to focus on painting and I experienced various states of panic. But because I practice book binding, I had an empty textblock in my studio and began to make collage entries, a visual diary that became an essential part of my artistic practice.

The process of making a collage involves cutting and recutting, measuring, tracing, drawing, coloring and pushing various colored and patterned papers on a surface. As I became more deeply involved in the collage process, a calming element emerged and I began to overcome that underlying sense of panic. I found myself entering states of quietude and tranquility, even though everything around had seemed to fall to pieces: jobs, schools, hospital care and most of all the enormous loss of life. Images in the collages began to reflect my experiences of isolation, of memory and melancholy, of hope, and of nature.

I worked for hours at my studio table, examining and re-examining compositional arrangements, yellow juxtaposed to red, orange juxtaposed to patterns of violet and green, areas of marbled paper, repeated patterns and textures. The content included my observations of wildlife at a nearby bird refuge which I frequented. I found myself drawing birds, photographing them, especially cranes and images of dancing cranes emerged. Slowly, I felt a renewed sense of well being. I traversed between inner voices and outer observations when frequenting the nearby refuge. When I returned home, I felt uplifted, like having visited a friend.

Along with observations and gestures of birds in flight, I read The Birds of Heaven, Crane Music, and watched numerous films of cranes. Thus, two artist books evolved: The Book of Covid: Unbound which led to The Book of Cranes through which I found balance and creativity during a very insecure time."

After the opening, this exhibition is open only by appointment. To schedule an appointment, please email jmcgee@meca.edu

The Turner is proud to announce a significant donation of Northern California prints from the collection of Reed Applegate (1943-2022), a dedicated and generous supporter of the arts at Chico State. Featuring over thirty works by groundbreaking artists, including Wayne Thiebaud, Nathan Oliveira, Robert Arneson, David Gilhooly and more, this exhibition offers a window into 20th century Northern Californian art, shaped by the unique lens of a collector’s eye.

On the occasion of the 27th Congress of the International Association of Hand Papermakers and Paper Artists (IAPMA e.V.), which is being organised this year by Fides Linien, President of the Association, and is taking place on the premises of the Dresden University of Fine Arts, the Museum of Decorative Arts / Design Campus, in cooperation with the IAPMA, is showing the special exhibition "PAPER ALIVE! - Paper Art International" in the Water Palace of Pillnitz Palace.

In the process, the material paper is brought to new life by 80 artists from all over the world. Paper fulfils a multitude of functions in our world: To the casual observer, paper can be a passive, disposable material – something that can be easily discarded after it has fulfilled its limited or temporary function. For the artist, the longevity of paper is crucial, as it determines the lifespan of an artwork. That is why this year at the IAPMA Congress and at Pillnitz Palace the motto is: PAPER ALIVE!

In this exhibition, artworks by 85 contemporary artists from 30 countries around the world show that paper is a living, responsive artistic medium. Thus, it defies expectations and transforms into complex two- or three-dimensional entities, artists' books, jewellery, textiles and fashion or installations, environment and performance – an experience for all the senses.

The contemporary artworks exhibited here are in dialogue with works from the collection of the Museum of Decorative Arts, thus revealing timeless connections and inspirations in relation to the medium of paper.