Opening Conversation with Kenneth Tyler
50 McCosh Hall
Thursday, September 19, 5:30 pm
Master printmaker Kenneth Tyler, whose collaborations with Helen Frankenthaler created milestones in the history of prints, and renowned curator Ruth Fine, who organized the 1993 retrospective of the artist's prints, kick off this two-day academic symposium with a public conversation. A reception and exhibition viewing will follow.


Friday, September 20, 9 am–12:30 pm
Expanding Abstraction: Experiments in Materials and Methods—9:00 am
Art Museum, McCormick Hall
In the latter half of the 20th century, artists championed abstraction for its potential to expand the possibilities of expression; scholars consider a few of the innovative practices that emerged.

Suzanne Perling Hudson, Graduate Class of 2006; Associate Professor, University of Southern California
Lucy Partman, doctoral candidate, Princeton University
Hannah Yohalem, doctoral candidate, Princeton University


Abstraction Today: A Conversation among Artists—11 am
Art Museum, McCormick Hall
Abstraction remains a vital practice in contemporary art; three practicing artists discuss why it continues to provide such fertile ground.

Allyson Strafella, artist
Marina Ancona, artist and founder 10 Grand Press
Nathlie Provosty, artist

Events are free and open to the public.

The National Gallery of Art recently announced two new prints and drawing curators among other recent additions to the curatorial staff: Shelley Langdale and Brooks Rich. Langdale began her Gallery tenure in May as curator and head of the department of modern prints and drawings. Rich also joined the Gallery in May as associate curator of old master prints.

Shelley Langdale, Curator and Head of Modern Prints and Drawings
Langdale refined her curatorial expertise while working with some of the nation's foremost collections of works on paper: first the Museum of Fine Arts, Boston, then the Cleveland Museum of Art, and, for the past 17 years, the Philadelphia Museum of Art. While her primary focus has been modern and contemporary works on paper, Langdale has organized or collaborated on an unusual range of projects, from an exemplary study and exhibition of Pollaiuolo's 15th-century engravings in Cleveland to an exhibition of Yoshitoshi's magnificent color woodcuts in Philadelphia. Widely admired for her professional activity and generosity, she successfully mentored a long line of curatorial fellows and interns at the Philadelphia Museum of Art and was deeply involved with the city's artists and art organizations. She is also the current president of the Print Council of America, the national professional organization of curators of works on paper.

As the head of modern prints and drawings at the Gallery, Langdale oversees approximately 60,000 prints, watercolors, drawings, and multimedia works on paper. Her initial projects at the gallery include participation in an upcoming set of installations celebrating women artists and donors for the 100th anniversary of the ratification of the 19th Amendment; addressing the storage and documentation needs of the Gallery's growing collections of workshop and artist archives (Gemini G.E.L., Crown Point Press, and the prints of Jasper Johns, among others); and an exhibition drawn from the Gallery's collection of modern works on paper. Langdale holds an MA from Williams College and a BA from Bowdoin College.

Brooks Rich, Associate Curator of Old Master Prints
Rich recently completed his PhD in early 16th-century Netherlandish engraving at the University of Pennsylvania, where he wrote his dissertation "The Mystery of the Monogram AC at the Margins of Early European Printmaking." Rich has an impressive range of curatorial experience in the departments of prints, drawings, and photographs at several leading institutions, including curatorial fellowships at the Rijksmuseum and the Philadelphia Museum of Art, where he organized the exhibition Rockwell Kent–Voyager: An Artist's Journey in Prints, Drawings, and Illustrated Books (2012). Rich has also worked at the Clark Art Institute, Williamstown, MA, and the Museum of Fine Arts, Boston.

In his new role at the Gallery, Rich will balance the demands of cataloging, researching, caring for, and organizing exhibitions about the Gallery's collection of prints and illustrated books dated before 1900. In addition to his PhD, Rich holds an MA from Williams College and a BA from Bowdoin College.

The Staatliche Graphische Sammlung München is home to one of the most internationally significant collections of 15th German broadsheets and popular prints. The earliest European woodcuts emerged around 1400. While the process for printing on fabric was already known, it was during this time that pictures were first printed onto a new kind of support: paper. This allowed for compositions to be inexpensively reproduced in large editions. It was only through this that broader circles of the population had access to and could afford their own depictions. Religious subjects, which were used for private devotion, were most in demand. These early sheets are significant not only as historical documents. They are in fact superlative masterworks of linear expressiveness: the straight lines seek to convey an immediate statement, leading to bold, striking works. No collection in the world is able to demonstrate the early years of the woodcut as brilliantly as Munich’s Graphische Sammlung. The cradle of the European printmaking tradition is proudly safeguarded here. Thanks to the generous financial support of the Edith-Haberland-Wagner-Stiftung, all works have been comprehensively conserved, providing occasion for a select display of impressive sheets. The Ernst von Siemens Art Foundation generously sponsored the inventory catalogue.

At the time of its publication, McKenney and Hall’s History of the Indian Tribes of North America (1836-1844) was the most elaborately illustrated book ever printed in the United States. With a total run of 120,000 plates, the book’s production was crucial to the development of Philadelphia’s graphic printing industry. Originating as a portrait collection of Native leaders assembled by the U. S. War Department in the midst of efforts toward indigenous removal, History signaled an emerging relationship between the state-sanctioned and commercial production of images in the antebellum United States. Tracing the social, political and material histories of the McKenney and Hall portraits from treaty signings that took place in Anishinaabe and Dakota lands in the 1820s, to being printed in Philadelphia lithography studios, and then distributed into the hands of subscribers, this talk draws attention to connections between an expanding republic of print production and circulation and the expansion of the United States’ continental empire.

About the Speaker
Julia Grummitt is a Ph.D. Candidate in the History Department at Princeton University, where her dissertation research examines visual aspects of early 19th-century U.S. statecraft, tracking an evolving relationship between print production and U.S. territorial expansion. With broad interests in print history, histories of the book and visual and material culture, Julia has previously written about post-industrial American cities and 19th-century Canadian national parks, receiving her M.A. from Trent University (Ontario, Canada) in 2013 and her B.A. (Honors) from the University of King’s College and Dalhousie Universities (Nova Scotia, Canada) in 2009. Her current research has been supported by fellowships from the American Antiquarian Society, the American Philosophical Society, and the Library Company of Philadelphia where she was the 2018-2019 recipient of the William Helfand Fellowship in American Visual Culture.

This exhibition celebrates the history of Japanese mezzotint prints. Mezzotint is Italian for “half-tone,” a reference to this intaglio technique’s capacity to produce a broad tonal range of deep blacks through bright whites. Also known as manière noire (the “black method”), mezzotint relies on the force of repetitive motion, rather than the corrosive effect of acid, to create an image on the metal plate. When first developed in Europe in the seventeenth century, the tonal richness the technique made possible caused a sensation and was used to create nuanced reproductions of famous paintings. After the invention of photography, however, this purpose was eclipsed, and the technique nearly died out.

Its twentieth-century revival can be credited in large part to two Japanese masters who exploited the medium’s expressive, rather than reproductive, possibilities: HASEGAWA Kiyoshi (1891-1980) and HAMAGUCHI Yôzô (1909-2000). This exhibition includes one recently acquired print by Hamaguchi, plus a selection by the next two generations of Japanese mezzotint artists, including SAITŌ Kaoru (born 1931), SAKAMOTO Koichi (born 1932), SAKAZUME Atsuo (born 1941), HIROSHIMA Seiichi (born 1950), and especially HAMANISHI Katsunori (born 1949), about whom the museum is publishing a monograph. It will also feature examples of other Japanese arts that will be the focus for upcoming UO classes – including paintings, prints, ceramics, lacquer, textiles, armor, and assorted decorative objects. The exhibition is co-curated by History of Art and Architecture Associate Professor Akiko Walley and JSMA chief curator Anne Rose Kitagawa.

Drawn from the Janet Turner Print Museum's collection of fine art prints, this exhibition focuses on the graphic delivery that also forms the core of the Foundations Area in the curriculum in the CSU, Chico Department of Art & Art History. Guest curators, faculty artists Trevor Lalaguna, J. Pouwels and Sheri Simons selected prints that best expanded their use of drawing in creating their work and expressed their teaching philosophy as artists/educators. Museum Curator and Head of Archive Catherine Sullivan collaborated in selection and research.

The C.R. Ettinger Studio is pleased to present in the gallery, Laura Post: Familial Patterns. Join us September 20th from 6:30 -8:00 for the opening reception.This exhibition will coincide with Manifest(o): Paper revolutions conference which explores paper's endurance as a material, subject, and object in contemporary art.

In this new series of work, Laura Post created engravings which she uses as building blocks for sculpture and then juxtaposes the printed portraits with paper life casts of her extended family. The portraits reveal the forces that life inscribe onto each face and the relationships between the generations.

Laura Post is a Lecturer at Indiana University, Bloomington. She earned a BA from Swarthmore College in Studio Art and Asian Studies, and an MFA from Rhode Island School of Design in Printmaking. She has a keen interest in traditional tools and working methods as a means to convey contemporary subject matter. Her work has been featured in numerous exhibitions; including, Laura Post: About Face at the List Gallery, Swarthmore College, Umbra: New Prints for a Dark Age selected by Alison Saar at the International Print Center New York; Shanghai International Paper Art Biennale; and Go Figure at the Dorrance H. Hamilton Gallery of Salve Regina University, Newport. You can find out more about her latest projects at LauraRPost.com

The C.R. Ettinger Studio Gallery, located at 2215 South Street, Philadelphia, PA 19146, features exhibitions of prints and printmaking related works. The gallery has irregular hours (usual open from noon till 6PM Monday - Friday), but always best to contact before visiting or take your changes. Also open by appointment 7 days a week.

Belger Arts is pleased to announce The Lawrence Lithography Workshop: 40 Years in Prints. This exhibition will feature highlights of many national and local artists in collaboration with master printmaker, Michael Sims.

Michael Sims established The Lawrence Lithography Workshop in 1979 in Lawrence, Kansas as a contract printing and teaching facility for local and regional artists. At the time, it was one of the very few independent presses in the Midwest providing a place where artists with little or no printmaking experience could collaborate with a master printer to produce hand-pulled lithographs. Over time, the workshop evolved with an increased emphasis on publishing regional and national artists. Today, most projects are done on an invitational basis with TLLW acting as the primary publisher or co-publisher, though contract printing remains a significant part of the business.

Sims received his M.F.A. in printmaking in 1971 from Ohio University and began teaching lithography at the University of Kansas, Lawrence. He has also taught at Western Michigan University, Centro de Eñsenafiza Graficas (Center for the Study of Graphic Arts) in Caracas, Venezuela and Western New Mexico University. In 1978, he left KU to work as an assistant at Landfall Press in Chicago. In 1997 Sims closed the shop in Lawrence and moved the facility to Sunland Park, New Mexico; one more move in 2001 relocated the shop to its current location in Kansas City, MO. This facility boasts a large press room with 2 electric flatbed litho presses and an etching press, as well as an exhibition gallery.

To date, The Lawrence Lithography Workshop has collaborated with over 100 artists from across the United States. Among them are: Ron Adams, Anthony Baab, Nick Bubash, Paul Brach, Susan Davidoff, Archie Scott Gobber, Julie Green, Robert Green, Edward Henderson, Peregrine Honig, Tom Huck, Benito Huerta, Gesine Janzen, Luis Jiménez, Elizabeth “Grandma” Layton, Mike Lyon, Alden Mason, Marcie Miller Gross, John Newman, Ed Paschke, Zigmunds Priede, Warren Rosser, Miriam Schapiro, Roger Shimomura, Jaune Quick-To-See Smith, Robert Stackhouse, Robert Sudlow, Akio Takamori, Theodore Waddell, Patti Warashina, William Wiley, and Andrzej Zielinski.

Hear about the history of Landfall Press and the stories behind some of the workshop’s most significant prints, from Thomas Cvikota, guest curator and author of Landfall Press: Five Decades.

About the Exhibition
Landfall Press: Five Decades of Printmaking celebrates the history and innovation behind one of America’s most renowned printers-publishers on the occasion of its fiftieth anniversary year. Founded in 1970 by Jack Lemon, in Chicago, Landfall Press has cultivated a uniquely collaborative environment and produced work for many artists at different points in their career. The press has operated out of Santa Fe, New Mexico, since 2004.

The exhibition features approximately 100 editioned prints and printmaking materials from the Museum’s Landfall Press Archive, established in 1992, and reveals the various and often complex processes that go into printmaking at Landfall.

Upcoming Talks:

Gallery Talks
Tues., 1:30 p.m.
Oct. 8, Nov. 12, Dec. 10, Jan. 21
With Nikki Otten, Associate Curator of Prints and Drawings

Panel Discussion
Thurs., Nov. 21, 6:15 p.m.
Welcome Jack Lemon, founder of Landfall Press, Thomas Cvikota, guest curator and author of Landfall Press: Five Decades, and artists Lesley Dill, James Drake, and Peregrine Honig, as they discuss the collaborative nature of printmaking.

All programs free with Museum admission, free for Members

“New Edition: Print from the past, present, and future at Pratt” is an exhibition featuring works generated by P.I.E. (Pratt Institute Editions, est. 2017) alongside works from the archive of Pratt Graphics Center (1953-1986). PIE is the publisher of Pratt Fine Arts Department’s edition multiples. PIE invites artists to campus to produce an edition with our master printer, Caitlin Riordan, and printmaking students. PIE’s mission is to produce professional fine art multiples that connect our student community to a broader cultural context. PIE is committed to fostering new and innovative collaborative relationships across generations and communities.

Pratt Graphics Center, a world-renowned center for printmaking, was established in 1953 and ran until 1986. Located in Manhattan, the Center held print classes, printed and published Limited Edition prints by leading artists of the time and produced print-based magazines and periodicals. The center was a major draw for artists all over the world including David Hockney, Lee Krasner, Ray Johnson, and Takesada Matsutani. In addition to its publishing and teaching program, Pratt Graphic Center curated print shows that traveled across the US and around the Globe.

Artists included: Trudy Benson, Geoff Chadsey, Angela Dufresne , Ray Johnson, Lee Krasner, Krystin McKinney, Lisa Sanditz