The Wichita Art Museum proudly announces the establishment of the C. A. Seward Print Study Center, a museum focus on cultivating the premier collection of Prairie Print Makers and offering exhibition and education programs on this Wichita artist collective.

The Prairie Print Makers group was formed on December 28, 1930, when 11 of the best artists in Kansas gathered in the Lindsborg studio of artist Birger Sandzen. These Prairie Print Makers planned to offer affordable artwork that would appeal to collectors. The Print Makers created etchings, silkscreens, linoleum cuts, block prints, and lithographs. Within four years of its founding, the group boasted 47 active members and over 100 associate members. The collective continued until 1965--creating 34 gift prints between 1931 and that year.

Leading the formation of the group was artist C. A. Seward (pictured at left). Seward settled in Wichita in 1907 and soon after established one of the few fine printing services outside of New York City, wrote a foundational text on lithography, organized low-cost traveling exhibitions, and helped to establish the Prairie Print Makers. His efforts fostered a vital arts community in Wichita with a singular goal--to bring art into everyone's life.

PRINT FORUM ON AQUATINTS
This Forum is held in conjunction with WAM’s fall exhibition "Charles Capps: Prairie Print Maker" honoring one of the 10 founders of the Prairie Print Makers. Capps was born on September 14, and the C. A. Seward Dinner immediately following the Forum will include a toast on what would have been the artist’s 121st birthday.

The afternoon Print Forum is free and open to the public. Reservations are required for the C.A. Seward Dinner.

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

The Frick Collection is pleased to announce a promised gift of forty-two works on paper by James McNeill Whistler (1834–1903), from the collection of Gertrude Kosovsky. An exhibition highlighting fifteen prints and one pastel from the gift is now on view in the Cabinet Gallery. The collection was formed over five decades by Mrs. Kosovsky, with the support of her husband, Dr. Harry Kosovsky, and includes twenty-seven etchings, fourteen lithographs, and one pastel, which range from Whistler’s early etchings dating from the late 1850s to lithographs of the late 1890s. Most are impressions made during his lifetime, a number of them from his major published sets, while others were produced for periodicals, thus encompassing different aspects of the American expatriate’s prolific activity as a printmaker. Works printed posthumously are also included.

The Kosovsky promised gift comes a little over a century after Henry Clay Frick gave Whistler pride of place in his collection, having purchased more works (including paintings, etchings, and pastels) by the artist than by any other. Since Mr. Frick’s death in 1919, only one work by Whistler has been added to the collection, a lithograph after his portrait of Robert, the Count of Montesquiou. The gift significantly expands the institution’s Whistler holdings. In particular, it nearly triples the Frick’s works on paper by the artist — almost all from his Venice period — and places them in the context of his career as a whole, allowing many more aspects of the master’s virtuoso printmaking to be appreciated.

Eneida Sanches, Indigo Arts Alliance Artist-in-Residence, began her studies in arts at the Art School of Bahia at the age of six. She studied architecture from 1980 to 1990 and simultaneously along with the course of Fine Arts at the Fine Arts of the Federal University of Bahia, Brazil.

She has research on African and Afro-Brazilian aesthetics since 1990 and studies calcography (prints from etching) at the Museum of Modern Art workshops in Bahia from 1995 to 2000. She exhibits from 1992 to 2000 in Museums and Galleries in Brazil and the United States with tools of liturgical use of the Yoruba candomblé showing works related to the theme of the Transe and expands the language of the prints into objects and installations.

In 2007, she was awarded the XXIV Salon of the Bahia Museum of Modern Art MAM-Ba and took part in the Frie Academie, Den Haag, The Netherlands.

As of 2011, she brings together printing and video-installation through the series Transe – Displacement of Dimensions in a collaborative work with photographer and video maker Tracy Collins (NY).

In 2013 she has his work published in the Magazine of Contemporary Art N / Paradoxa (Bisi Silva) and exhibits installation Transe (video installation) at the Festival Video Brasil 2013 – SP. In 2014 she was selected for a 3-month art residency at NAFASI Artspace in Dar Es Salaam, Tanzania. She was also nominated to the most important prize in the country, PIPA Prize. In 2016 she presents his work at Itau Cultural SP in the collective Diálogos Ausentes curated by Rosana Paulino and Diane Lima.

In 2017 she moved his studio to Sao Paulo where she works and lives. She participates in the Gaia Biennial in Portugal. In 2018, she is part of the PretAtitudes collective exhibition at SESC Ribeirao Preto, curated by Claudinei Silva. She presents her first solo show at Galeria Andrea Rehder, Sao Paulo and has her artwork published in the Contemporary And (C&) Berlin-based magazine.

This lecture is organized by Maine College of Art's Master of Fine Arts in Studio Art program, which brings together a national and international roster of visiting artists, curators, and scholars to participate in the MFA Summer Intensive in Portland, Maine. In addition to critiques and studio visits with graduate candidates, visiting artists deliver a talk that is free and open to the public.

Visiting Artist lectures are held in Osher Hall and begin at 5:30pm

Just as modern streaming services give us unprecedented freedom to watch television series in our own order, time, and place, print series allowed viewers in the Renaissance Netherlands to enjoy the same sets of images as their peers in more personalized and accessible ways. The Print Series in Bruegel’s Netherlands: Dutch and Flemish Works from the Permanent Collection places sixteenth- and seventeenth-century Netherlandish prints in their original context of series to explore the practices of looking at a succession of images. Many of these series illustrate cosmological, religious, and social ideas, challenging Pieter Bruegel the Elder and other print designers to represent these themes in a manner that appealed to both personalized and general tastes. This exhibition also allows the visitor to consider the ways in which abstract ideas were illustrated in more recognizable contexts.

The Works Progress Administration (renamed the Works Projects Administration in 1939) was an American New Deal agency created to provide jobs for the unemployed, to build infrastructure, to document American history and to create new works of art. This exhibition complements “Celebrating Heroes: American Mural Studies of the 1930s and 1940s from the Steven and Susan Hirsch Collection,” organized by the Frances Lehman Loeb Art Center at Vassar College, and focuses specifically on the contributions of women to WPA art, including works by Lucienne Bloch, Marie Bleck, Marguerite Redman Dorgeloh, Helen Lundeberg, Minnetta Good, Jennie Lewis, Ann Nooney, Elizabeth Olds and others. Thanks to Lamar Dodd and museum founder Alfred Heber Holbrook, the Georgia Museum of Art’s collection has been historically strong in WPA-era artists, and we continue actively to collect both works of this time period and works by woman artists.

The Getty Research Institute (GRI) announced the appointment of Naoko Takahatake as Curator of Prints and Drawings on May 29, 2019. Please visit the 'External Link' below to read the full press release.

From 1500-1700, printmakers in the Low Countries were, as a group, the most skilled and prolific in all of Europe, and prints, often combined with text, played an important role in Netherlandish religious culture during this period. Printmakers utilized allegory in their work to address the most fundamental issues binding the human and the divine: love, virtue, vice, sin, death, and salvation.

"Through a Glass, Darkly”: Allegory and Faith in Netherlandish Prints from Lucas van Leyden to Rembrandt will be the first major exhibition to systematically consider the form, function, and meaning of allegorical prints produced in the Low Countries between the 16th and 18th centuries, and will serve as the basis for an illustrated catalogue produced by curators Walter S. Melion, Asa Candler Griggs Professor of Art History and director of the Bill and Carol Fox Center for Humanistic Inquiry at Emory University, and James Clifton, director of the Sarah Campbell Blaffer Foundation and curator of Renaissance and Baroque painting at the Museum of Fine Arts, Houston.

Etching is a printmaking process rooted in line and tone that allows for seemingly endless variations of these two elements to create a wide range of visual effects and poetic moods. Consisting of works from the Lunder Collection, Intersecting Lines examines three artists—Rembrandt van Rijn, James McNeill Whistler, and Pablo Picasso—who were dedicated to exploring the full creative potential of etching as a form of artistic expression. Rembrandt was one of the earliest artists to use etching as a means of artistic expression and certainly the most innovative. He popularized a loose and free style—akin to sketching—but his etchings were also meticulously constructed and often reworked over time. He utilized patterns of crisscrossing lines and experimented with various inking strategies to achieve rich atmospheric effects that allowed for softer, more diffuse gradations of light. Rembrandt’s work also revealed insights into nature and humanity that, coupled with his technical achievements, established etching not only as a means to reproduce an image but also as a fine art in its own right. Etchers in Rembrandt’s wake have studied him and have sought to expand the foundations he established. Intersecting Lines looks at how Whistler and Picasso each made their mark in etching by following and building upon Rembrandt’s example.

Alphonse Mucha, born in Bohemia, came to Paris in 1887. Over the next 8 years, he emerged from obscurity to become the most celebrated graphic designer of the Art Nouveau movement. His intricate designs and gorgeous subjects were so popular that he produced pattern books for fellow designers and students, and his publishers repurposed his advertisements for hundreds of other products.

But his style and status all started when he met the legendary Sarah Bernhardt, the most famous actress of her day. Mucha’s first poster for her not only launched his graphic design career, but elevated her fame, as the public buzz for the image was completely unprecedented.

From that moment on, Mucha used alluring, strong women to advertise everything from cookies to bicycles, alcohol to rolling papers. These women were part of a budding 20th-Century world wherein they had newfound independence and social agency. Through them, Mucha changed the world of advertising and brought Art Nouveau to the streets.

Born in East Berlin, Detlaf Fiedler and Daniela Haufe started the commercial graphic design agency Cyan soon after the fall of the Berlin Wall in 1989. They would go on to become some of the first poster artists to utilize early desktop publishing tools like Photoshop and QuarkXPress into their work, while also looking back and drawing from the intellectual history of the famous Bauhaus art academy.

Cyan expands upon Germany’s rich history as a leader in the printmaking world, their posters bursting with saturated colors, perfectly-executed text, and a precision of alignment few could replicate. They turn the tenets of “good design” on their head, proving that advertising does not necessarily need to be immediately interpretable to be successful. This Jewel Box show presents their early posters for the first time in New York City.