hed in 1984 with the Academy of Fine Arts in Krakow, Poland. Produced largely during the 1970s and 1980s, the prints provide an opportunity to sample artistic production in Krakow during the Cold War, when Poland became a satellite state of the Soviet Union. The exhibition’s title, presented in both Polish and English, suggests how printmaking helped artists involved in the exchange transcend cultural and political barriers to find common ground.

ear, KAM has added more than 100 Dutch political prints from the late 16th to the early 18th centuries. They portray a broad range of themes and formats, and add a wide variety of printmakers to KAM’s already strong collection of works on paper. In addition to political propaganda and satire, the newly acquired prints include views of the daily lives of women that depict their relative autonomy and independence in Dutch society. Other prints show images of Dutch naval power, trade, war and crime.

Warren, a leading print curator and scholar of early modern Dutch art, is curating the exhibition, planned for fall 2021 and provisionally titled “Fake News and Lying Pictures: Political Prints in the Dutch Golden Age.” The museum received a grant from the Getty Foundation to support the exhibition and an accompanying publication through The Paper Project, a funding initiative focused on prints and drawings curatorship. The exhibition will look at how images were used to put a favorable spin on events and persuade people to believe a certain retelling of history.

Please visit the 'External Link' below to read the full, illustrated press release published by Warren's colleagues at KAM.

curiosity between two cultures, and his mission was to open Japan to trade after more than 200 years of restrictive policies under the Tokugawa shoguns. The terms of the trade treaty were not finalized until 1858, at which time five Japanese ports—including Yokohama, the most active—were opened to the member nations: the United States, France, England, Russia, and the Netherlands. Surrounded on all sides by water, the modest foreign settlement at Yokohama was designed to both contain and protect the newcomers.

Prints known as Yokohama-e, or “pictures of Yokohama,” soon capitalized on the novelty of the people and goods coming into the busy international port. The Japanese public had a great appetite for news about the arrivals, and publishers enjoyed a much-needed boost to their businesses when they mass-produced commercial images of this fresh subject matter. However, Yokohama-e were often misrepresented as realistic or factual. While a few of the images take genuine, observed scenes as their source, the prints were often based on engravings in foreign newspapers. Japanese artists created convincing or amusing scenes of Western customs, dress, technology, and transport, and even American cities, often fictionalizing them in the process. The resulting prints found an eager audience among visitors from Europe and the United States as well as domestically.

n comprises more than 200 posters representing comedies, musicals, Westerns, sci-fi thrillers, dramas, and others that date from the turn of the 20th century to the late 1980s. The exhibition provides a colorful and comprehensive overview of the history and allure of Hollywood – and movie poster art. Posters of iconic films, such as Casablanca, Singin’ in the Rain, and North by Northwest, as well as memorable cult classics including Barbarella and Attack of the 50 Foot Woman, will be featured in this exhibition. Coming Soon not only celebrates one collector’s passion, but also provides a rare survey of the history of film posters and their station in popular culture.

maker in America, and Isaac Eddy, who established a print shop in the tiny hamlet of Greenbush around 1810, the “Greenbush Group” also included Oliver Tarbell Eddy, Ebenezer Hutchinson, Moody Morse Peabody, Lewis Robinson, and George White. Together these artisan-entrepreneurs served a widespread and growing interest in rural New England for printed matter that spread scientific, religious, and cultural knowledge throughout the hinterlands during the development of the American Republic.

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 catalog.

is dedicated to the general topic of “Motion” and invites the international community of scholars to discuss fundamental aspects of art and architecture under this heading in a broad transcultural perspective, from earliest times to the present. The Congress is conceived as a strong collaboration between the two national CIHA committees, who are responsible for their respective venues and will also create formats for a dialogue between the two events such as joint sessions in each place. The venues focus on two major, though not mutually exclusive, aspects of Motion: Transformation in Florence and Migrations in São Paulo. The two committees are pleased to announce this intense collaboration, and are looking forward to an extraordinary transcontinental debate about the most challenging concerns of art history and related fields today.

The first part of the congress, organised by CIHA Italia in collaboration with the Kunsthistorisches Institut in Florenz-Max-Planck-Institut, will take place in Firenze Fiera(Firenze’s fair district) in the halls of Villa Vittoria able to accomodate almost one thousand expected participants and in some of the city’s most prestigious historical buildings including Palazzo Vecchio.

This event will be held thanks to the contribution of Fondazione Cassa di Risparmio di Firenze, with the support of the Los Angeles Getty Foundation and the Kunsthistorisches Institut in Florenz-Max-Planck-Institut. Furthermore, it’s been acknowledged by the MiBAC (Ministero per i Beni e le Attività Culturali - Ministry of Heritage and Cultural Activities), the City of Firenze, the Metropolitan City, University of Firenze, Firenze’s Chamber of Commerce and Regione Toscana.

The extensive program of the study sessions will include about one hundred and twenty speeches by experts from all over the world. There will be events open to the public and lectiones magistrales, such as the one held by the Indian art history historian Kavita Singh at Palazzo Vecchio as well as visits to major and minor museums and collections throughout Firenze. All itineraries will be linked to the congress, thanks to the special collaboration of the administrations of the various museums and organisations involved.

From a transcultural, interdisciplinary and innovative perspective, the congress to be held in Firenze starts with a reflection addressed to the role of the artist intended as “he who acts and does” because endowed with the divine ability to shape the material and to create new forms, as well as to the nature of the art object in turn endowed with “soul”.

Please visit the 'External Link' below for the conference description, list of sessions & chairs, and registration information.

ritable who’s who of printmakers for whom lithography became an important means of expression.

textured—and literally black—appearance. The artist has said that with this technique she aims to emphasize “the specificity of blackness, where an individual’s subjectivity, various realities, and experiences can be drawn into the diverse topography of the epidermis.”

In Birmingham, a suite of three prints representing the artist’s brother, Ojih Odutola creates a sense of shifting perspective relative to her subject, moving around him in space to capture the familiar contours of his face and to suggest the multidimensionality of his being. The prints are based on photographs the artist took in Birmingham, Alabama, and were produced through a method known as lithography, a water- resist process by which images are drawn onto stone or metal plates in oil-based crayon, then inked and transferred to paper. The addition of gold-leaf detailing elevates the subject’s ordinary white tank top, bringing a regal dignity to the portrayal.

Ojih Odutola created this work during her 2014 residency at the Tamarind Institute, a renowned printmaking workshop in Albuquerque, New Mexico, that offers one of the world’s only master training programs in lithography. The Museum purchased Birmingham from Tamarind in 2018 through the generosity of an acquisitions gift from the Seattle Art Fair, which was intended to support the Museum in expanding and diversifying its contemporary holdings.

Recent Acquisitions is a biannual series highlighting works that have been gifted to or purchased for the Frye Art Museum’s permanent collection.

n the artist as a draughtsman and etcher. Circa 100 objects will shown, including international loans and two paintings from the Gemäldegalerie Alte Meister.

“Rembrandt’s Mark“ celebrates Rembrandt as an artists’ artist – as teacher, paragon, source of inspiration, authority and challenge for others. Around 100 drawings and prints by Rembrandt (1606-1669) will be combined with 50 works by his contemporaries, students, and followers up to artists of our time.