t’s most famous series including the French Set and the First and Second Venice Sets. Bringing together these works at USD’s Hoehn Family Galleries, Glorious Harmony explores Whistler’s innovative approach to printmaking, revealing the artist’s profound impact on the history of the medium.

recuperating during World War II were taught “lap crafts,” such as beading and embroidery, as part of their medical therapy. The arts have served as powerful medicine for both mind and body for centuries.

When planning for this exhibition considering the connection between art and healing began, the Covid-19 pandemic was dominating headlines around the globe. How do the arts help us process and/or recover from medical illness? How can they help us navigate the complex experience of what it is to be a medical patient facing serious illness in the 21st century? And how can art help us heal from other kinds of social and emotional trauma?

hief draftsperson and senior member of his studio, before she and her husband, Walter Burley Griffin, catapulted from Chicago to Australia after winning an international competition to design the new city of Canberra. This talk will trace the development of Marion’s artistic practice, from children’s book illustrations and architectural renderings to her “Forest Portraits”—an ambitious botanical series sparked by her fascination with the indigenous trees of Australia.

About the speaker
Debora Wood is a curator and writer specializing in modern and contemporary works on paper and is the current vice-president of the Print Council of America. This presentation stems from her ongoing research on the work of Marion Mahony Griffin, an interest that began with Wood’s seminal exhibition and catalog, Marion Mahony Griffin: Drawing the Form of Nature (Mary and Leigh Block Museum of Art, Northwestern University, 2005). Wood’s recent publications include “Studies in Perception I (Alpha Serendipity)” in Coded: Art Enters the Computer Age, 1952–1982 (LACMA 2023), “What is an Original Print? The Evolution of a Definition” in the scholarly, international journal Print Quarterly (September 2022), and entries for Renaissance Invention: Stradanus’s Nova Reperta (Newberry 2020) and Matisse: Paintings, Works on Paper, Sculptures, and Textiles at the Art Institute of Chicago (2019). Educated at Cornell University and the University of Wisconsin–Madison, she has held positions at the Art Institute of Chicago and the Mary and Leigh Block Museum of Art at Northwestern University.

e artistic currents and controversies that have shaped the development of etching from early modern Europe to the present day.

nes are typically recognized as pretty tokens of love and affection, prized for their intricate, decorative designs. The comic variant of the valentine, however, communicated very different sentiments indeed. Gaining popularity by the mid-1800s, and notable for their surprisingly malicious humor, comic valentines deployed strategies akin to 21st-century “trolling.” Rather than expressing fond regard, they were satirical, mocking, and rude, revealing the valentine’s subversive potential.

Dr. Alice Crossley is Senior Lecturer in English Literature at the University of Lincoln, a Fellow of the Royal Historical Society, and Secretary of the British Association for Victorian Studies. She has published on valentines and is currently working on a book examining them through the lenses of material and visual cultures, affect/emotion, and identity construction. Dr. Crossley is the Library Company 2023–24 William H. Helfand Fellow in American Visual Culture.


For more information and to register: https://support.librarycompany.org/event/love-me-love-me-not-emotion-and-identity-in-19th-century-valentines/e525416.

ting press, which democratised art by making images accessible and affordable for the first time. This ground-breaking invention paved the way for mass-produced images, transforming art from an exclusive luxury into a shared cultural experience.

A multifaceted selection of forty-five works on paper and print plates, woodblocks and other printing tools will lead audiences on a captivating journey through time, from 16th-century woodcuts to the cutting-edge creations of the 21st century.

Highlights include ‘Adam and Eve’ after the German master Albrecht Dürer (1504), one of the earliest surviving woodblocks by Jost Amman (1539-1591), William Hogarth’s 18th-century satirical engravings, 19th-century Japanese prints, works by Devon-born trailblazer Dorothea Wight (1944-2013), and much more.

llection. The prints and photographs in “The Art and Influence of John Dowell” spotlight Dowell's life as an artist and his 46-year teaching career.

“The Art and Influence of John Dowell” is on view now through Friday March 1, 2024 on two floors of Parkway Central Library.

For more info and related programs please visit
freelibrary.org/johndowell

scale works made of handmade paper, which deal with the beauty but also the destruction of nature. Recent drawings, artist books and editions show the diversity with which the artist approaches contemporary issues.

lio work. Beginning with her early, transformative years in Paris, through her move to New York—when she also became a mother in the 1940s—and back to Paris in the 1950s where she produced her most daring work in color, the prints of Helen Phillips in this exhibition showcase her constant affinity to three dimensions, her growth in the medium, and her experimentation in line and color.

'Form, Growth, and Variation' is the first solo exhibition of Helen Phillips’s work in the United States, and has been made possible by the Estate of Helen Phillips and the Dolan/Maxwell gallery in Philadelphia, PA.