Explore the natural and urban beauty, and the social worlds of the West Coast through woodcuts, linocuts and wood engravings by artists from Washington, Oregon and California. Among those featured are Oregon artists Berk Chappell, Dennis Cunningham, Erik Sandgren, Jonnel Covault, Manuel Izquierdo and Paul Gentry; Washington artist Yoshiko Yamamoto; and California artists Andrea Rich, Art Hazelwood, Daniel Gonzalez, Gordon Mortenson, Leonard Nuñez, Rik Olson and Tom Killion. The prints showcase not only the natural splendor of West Coast, but also address homelessness, migrant labor, emigration, Native fisheries, logging and environmental issues. All of the 60 works are drawn from the museum’s permanent collection.

Featured Artists:
Alexis Babayan
Berkley Chappell
Jonnel Covault
Dennis Cunningham
Chris Darr
Kristen Etmund
Paul Gentry
Leon Gilmour
Daniel González
Ronnie Goodman
Stirling Gorsuch
Art Hazelwood
Arthur Higgins
Manuel Izquierdo
Tom Killion
Álvaro D. Márquez
Gordon Mortenson
Elizabeth C. Neuman
Peter Nevins
Leonardo Nuñez
Rik Olson
Neil Peck
Roger Peet
Bill Reiswig
Andrea Rich
Erik Sandgren
Micah Schwaberow
Patrick Simon
Charlotte Van Zant-King
Monique Wales
Millie Whipplesmith Plank
Yoshiko Yamamoto
Reinaldo Gil Zambrano

Original eighteenth-century prints by German naturalist and artist Maria Sibylla Merian (1647-1717) as well as those by her followers—including Carolus Linnaeus, Christiaan Sepp, and others—are featured in this exhibition curated by Gettysburg College students Emily Roush ’21 and Shannon Zeltmann ’21 under the direction of Prof. Felicia Else and Prof. Kay Etheridge. These intricate, accurate, and compellingly beautiful compositions reflect the artists’ and scientists’ extensive travels, dedication to scientific inquiry, and a thorough, innovative understanding of ecological frameworks.

Schmucker Art Gallery is a lively art space that displays eight to ten exhibitions each year in its Main Gallery and Project Space. Exhibitions feature works by local, national, and international contemporary artists, historical art from public and private collections, as well as objects curated from Gettysburg College’s permanent collection.

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

Color woodcuts enjoyed a revival during the Arts and Crafts movement, whose leaders believed that one antidote to rampant mechanization was a return to handcraft. Artists in the early 20th century thus began carving, inking, and printing each impression by hand. Though demanding, this highly personal process revealed the direct interaction between artists and their materials.

This directness is one of the pleasures of the 90 or so color woodcuts in this exhibition. Most were recently acquired by Mia, and most come from the United States, Britain, and German-speaking countries. A remarkable number—nearly half—are by women. Many works also reveal an interest in the tenets of Japanese design. The delights include Margaret Patterson’s bouquets, Pedro de Lemos’s windblown trees, Frances Gearhart’s paeans to the California coast, Eliza Draper Gardiner’s childhood scenes, and Frank Morley Fletcher’s romantic landscapes.

For the first time in a Canadian fine arts museum, the Montreal Museum of Fine Arts (MMFA) is showcasing the prints of Alanis Obomsawin, distinguished filmmaker, renowned artist and cultural treasure to all. For nearly 50 years, working primarily with the National Film Board, the Waban-Aki artist has produced outstanding films focusing largely on the legends, experiences, memories and sufferings of her Nation, as well as other Indigenous communities, and their political conflicts with both provincial and federal governments. With a selection of over 40 of Obomsawin’s prints and four printing plates, the exhibition Alanis Obomsawin, Printmaker. An Artist and her Nation: The Waban-Aki Basketmakers of Odanak shows that Obomsawin’s talents extend far beyond movies and music.

Obomsawin has spent much of her life in the Waban-Aki community of Odanak, where she grew up. Her family was dependent upon the traditional practice of basketmaking for financial survival. The people of Odanak continue, with pride in their heritage, to create works with sweet grass and splints of ash trees, and the exhibition includes 12 basketwoven creations by members of the Odanak community.

Since the 1960s, and especially in the early 2000s, Obomsawin has also devoted herself assiduously to printmaking.The artist has an extraordinary sense for colour and its emotive potential, and makes evocative use of exquisite handmade papers.

Some of these prints record her personal dream images. Other works reflect the broader experiences of the Waban-Aki Nation. Of her multiple images of women and their children, she explains, “I did a series of mother and child engravings to honour women, who hold the highest power of all: to give life … In the old days, whether at work or at home, a mother and child were inseparable.”

The exhibition, taking its name from Leeto – a seTswana/Sesotho word which refers to undertaking a journey, explores Nhlengethwa’s ongoing artistic footsteps. Spanning renowned artist Sam Nhlengethwa's print oeuvre from 1978-2018, the underpinning theme of the exhibition is jazz, drawing links between the fluid nature of jazz improvisation and Nhlengethwa’s study of an ever-changing community.

Pablo Picasso’s prolonged engagement with paper is the subject of the groundbreaking exhibition Picasso and Paper, organized by the Cleveland Museum of Art and the Royal Academy of Arts, London, in collaboration with the Musée national Picasso-Paris.

Featuring nearly 300 works spanning the artist’s entire career, Picasso on Paper offers new insights into Picasso’s creative spirit and working methods. Nowhere is Picasso’s protean spirit more evident than in his relentless exploration of working on and with paper. He drew incessantly, using many different media—including watercolor, pastel, and gouache—on a broad range of papers. He assembled collages of cut-and-pasted papers; created sculptures from pieces of torn and burnt paper; produced both documentary photographs and manipulated photographs on paper; and spent decades investigating an array of printmaking techniques on paper supports.

Among the exhibition highlights are Femmes à leur toilette (1937–38, Musée national Picasso-Paris), an extraordinary collage (14 1/2 feet wide) of cut-and-pasted papers; outstanding Cubist papiers collés; sketchbooks from the artist’s early to late years, including studies for Les Demoiselles d’Avignon; and constructed paper guitars from the Cubist and Surrealist periods. Visitors will also discover collaborative photograms made with Dora Maar and André Villers, illustrated books, and drawings on a vast range of materials, including newspaper, envelopes, antique laid papers, and personal ephemera.

Presented in a series of chronologically unfolding themes, the works are displayed together with closely related paintings and sculptures to provide a deeper context for understanding their meaning and historical position in Picasso’s art. For example, Picasso’s preparatory studies for his Blue Period masterpiece, La Vie (Life) of 1903 (Cleveland Museum of Art), are presented together with the painting and other works exploring corresponding themes of poverty, despair, and social alienation. In the Cubist section, Picasso’s drawings for Head of a Woman (Fernande) of 1909 (Musée national Picasso-Paris) are joined by the associated bronze sculpture. Newly restored drawings made with colored, felt-tip pens on newsprint for the film Le Mystère Picasso are shown together with the film.

The exhibition is curated by William H. Robinson of the Cleveland Museum of Art; Ann Dumas of the Royal Academy of Arts, London; and Emilia Philippot of the Musée national Picasso-Paris.

Picasso and Paper is accompanied by a fully illustrated catalogue published by the Royal Academy of Arts. It features essays by distinguished Picasso scholars and leading authorities in various aspects of technical art history, including William H. Robinson of the Cleveland Museum of Art; Ann Dumas of the Royal Academy of Arts; Emilia Philippot of the Musée national Picasso-Paris; and Claustre Rafart Planas of the Museu Picasso, Barcelona. Specific aspects of Picasso’s engagement with paper are addressed by Christopher Lloyd, an expert on Picasso’s drawings; Stephen Coppel, curator of prints and drawings at the British Museum; Violette Andres, photography curator at the Musée national Picasso-Paris; Johan Popelard of the University of Paris; and Emmanuelle Hincelin, a paper conservator with scientific expertise in the types of paper Picasso used at key moments in his career.

Mystical Imprints: Marc Chagall, Ben-Zion, and Ben Shahn presents the print work of three prominent 20th century Jewish artists born in the Russian Empire. Among these seventy pieces are etchings and lithographs from Chagall’s Bible series, Ben-Zion’s full 1980 portfolio The 36 Unknown, Shahn’s iconic The Alphabet of Creation, and more. Organized in partnership with the Hill Museum & Manuscript Library (HMML) at Saint John’s University, the exhibition draws on HMML’s remarkable collection of works on paper. Most of the works in Mystical Imprintshave never been exhibited by HMML before.

The tradition of Jewish mysticism as an inspiration for these artists is at the center of the exhibition, from Ben-Zion’s suffering prophets, to Shahn’s Kabbalah influences, to Chagall’s dreamlike images. As well as tradition, a personal sense of mysticism is evident in each artist’s work. Chagall mixed his Russian childhood, Jewish history, and his own symbology to create works of dense metaphysical imagery. Ben-Zion, to use his own word, “adored” prophets and intimately explored their lives and emotional journeys in his work. Shahn found meaning in the great work of Jewish mysticism, the Kabbalah text the Sefer ha-zohar, and in his own joy in the power of letters and words.

The enduring power of Rembrandt’s art resonates especially strongly in Southern California, home to the third-largest collection of Rembrandt’s paintings in the United States, as well as substantial holdings of drawings and prints. On the occasion of the 350th anniversary of his death, in 1669, local curators will discuss Rembrandt’s versatility and impact in three different media: drawings, paintings, and prints. Getty curator Stephanie Schrader offers insight into Rembrandt’s drawings and his keen interest in the cosmopolitan world around him: from the local Dutch landscape to the splendid clothing, jewelry, and weapons of the Mughal emperors; Getty curator Anne Woollett probes the secrets and celebrity of the painting Rembrandt Laughing, the most recent addition to the regional collection; and Cynthia Burlingham, deputy director of curatorial affairs at the Hammer Museum, together with Jacob Samuel, contemporary master etcher and UCLA faculty, deliberate Rembrandt as an inspirational model for today’s printmakers.

This talk is co-presented with the Consulate General of the Netherlands, who will host a reception following the talk.

Free | Advance ticket required

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

This exhibition features unique prints of extraordinary complexity from this renowned American artist. Marking the artist’s first exhibition dedicated solely to her ambitious printmaking practice, more than 60 works on paper will be displayed across three galleries. Apfelbaum creates worlds of visual wonderment. The artist’s maximalist aesthetic posits a startling idea: Beauty, exuberance, and chromatic energy are conduits to social unity. Her works convey a welcoming space where juxtaposition of seemingly incongruous colors and patterns find shared equilibrium hinting at a society in peace.

The exhibition will highlight a wide-range of Apfelbaum’s printmaking processes with a collection of one-of-a-kind monoprints taking center stage. Her recent Atomic series arose from a process similar to that of her installation works, such as her “fallen paintings” consisting of many dyed fabric components that the artist arranges in situ on the floor. Relatedly, these staggeringly complex print works were created with the assistance of six printmakers who inked hundreds of woodblocks in assorted colors and patterns. The artist then spontaneously placed the blocks in printing jigs to explore different color combinations and compositions. Created quickly, each monoprint serves as a kind of printed sketch, revealing unexpected moments of variation and fluidity.

Apfelbaum has been active since the mid-1980s and is best known for her expansive polychromatic floor-based installations residing somewhere between painting and sculpture. The artist has deployed a wide variety of media—including fabric, paint, dyes, wallpaper, and ceramics—and her sensibility is informed by an encyclopedic knowledge of the applied arts, art history, and popular culture.

Artist Lecture | September 4, 4-5 pm, CUB Auditorium
Reception | September 4, 5-6 pm, Museum Gallery

Apollo 11 landed on the moon fifty years ago. However, neither Jules Verne’s Barbicane nor Hergé’s Tintin stepped out of the spacecraft but people of flesh and blood. What might have taken the magic out of it was in fact the beginning of new dreams and fantasies. The moon’s power to fascinate us has continued undiminished.

The exhibition features pictures of the moon from various epochs. Sometimes they present the moon as the source of light in a nocturnal landscape, sometimes it is allegorical in multiple ways, and sometimes it becomes a sort of anthropomorphic vehicle for conveying own states of mind. Contrary to the sun, the moon represents the night, darkness, things that can’t be explained by rational means, the horrifying, the miraculous, feminine and even healing powers. Among the artists whose works will be on show are Sebald Beham, Balthasar Anton Dunker, Franz Niklaus König, Ernst Kreidolf, Paul Klee, Nell Walden, Meret Oppenheim, Claude Sandoz to name just a few.