igns, and in return, the artist created advertisements for companies that financed it. Drawn from Susee and James Wiechmann’s promised gift of nearly six hundred Chéret works, the posters featured explore this reciprocal relationship, which proved mutually beneficial.

c Mediation

Session Chair:
Jun Nakamura, University of Michigan

Session Abstract:
Printing matrices often have storied pasts. Rembrandt’s plates were reprinted, reworked, otherwise altered, and sent under the roller until little of the artist’s hand remained. One eighteenth-century printer etched over a Rembrandt plate in the name of restoration before cutting it down into smaller plates; another printed Rembrandt’s plates with masks, plate tone, and in combination with other plates in order to create new compositions; and Rembrandt himself repurposed a plate by Hercules Segers. Beyond Rembrandt, Gauguin’s woodblocks were printed in editions by himself, by printer Louis Roy, and posthumously by Pola Gauguin. The resulting editions vary widely in inking, coloring, and support. Contemporary artists’ prints produced by publishers like Gemini G.E.L or Crown Point Press are often as much a product of collaboration with the printers as of the artist’s singular hand. While the Blocks, Plates, and Stones conference held at the Courtauld in 2017 did much to shed light on the matrix itself, examining the contributions of printers and publishers adds complexity to notions of authorship and illuminates processes particular to the medium; and looking at the afterlife and reuse of matrices provides evidence of artistic encounters, exchanges, and processes. This session seeks papers that address the printing matrix as site of mediation, across time and geography.

Papers topics might include:
- Reuse, restoration, or defacement of printing matrices
- The contributions of printers in printing other artists’ matrices
- Creative processes manifest in the printing of matrices, rather than in their making
- Collaboration via the matrix

A formal Call for Papers will be circulated with CAA's larger CFP with all sessions soliciting papers later this summer. Stay tuned!

featured in this exhibition explore a wide and often gendered range of responses to those narratives’ emotionally charged moral and ethical dilemmas.

Alfred Fowler (1889–1959) established the Woodcut Society with the sole aim of increasing “interest in
fine woodcuts as a medium of artistic expression.” He planned to commission and publish two new
woodcut prints each year, proposing a subscription-based organization limited to 200 members who, for
$10 in dues per year, would receive the woodcuts mounted in a presentation folder printed by the Torch
Press of Cedar Rapids. As the Woodcut Society was primarily geared toward print collectors, and
“intended to be savored in the intimate setting of one’s private library,” the folders each opened to the
print facing a page essay by a noted print authority or penned by the artist.

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he exploring cut. Be it a cross section or a longitudinal section, the most important thing is that it runs right through the middle. The world opened up in this way is presented as images, models or at the object of curiosity itself.

The exhibition shows how the cross section functions as a visual principle of insight. It is presented as a versatile and effective method of visual communication, be it in medicine, architecture, biology or geology. The works in the exhibition tell an exemplary story of the symbiotic relationship between art and science. While scientific researchers adopt many of the established methods, techniques and compositional strategies of art in order to visualize their findings, artists, in turn, appropriate the specific visual syntax of the sciences in a way that at times seems to verge on expropriation.

The method of obtaining certainty about invisible inner worlds by cutting clearly through it, not only connects art and science, but also very different epochs. The exhibition shows cross-sections from the 15th century to the present. Not all of them come from the Graphische Sammlung: important loans from a total of eight different ETH collections and archives enter into a dialogue with them.

88 letter from Van Gogh to his brother Theo, the artist wrote, “all my work is based to some extent on Japanese art.” This focused exhibition will explore the influence of Japanese art on Van Gogh’s oeuvre by comparing reproductions of the artist’s paintings to authentic Japanese prints from the internationally renowned Raymond A. Bidwell Collection at the D’Amour Museum of Fine Arts.

KEYNOTE SPEAKER:
Professor Brian Maidment
'To drive away the heavy thought of care' - the early history of the trade in scraps, 1820-1840

SPEAKERS:
-Diana Patterson, Parliamentary rubbish
-Judith Davies, A week is a long time in politics: how a short, sharp poster campaign in 1857 helped to overturn centuries of aristocratic domination in Dudley
-Helen S. Williams, Printing in procession: printers’ participation in nineteenth-century public events
-David Osbaldestin, Yesterday’s tomorrows: a throwaway history of ephemera studies
-Jim Mussell, Ephemera belongs to the dead: affect, print, and memory
-Sue May, Trading on fear of purgatory: a mass printed ticket to Tudor popularity
-Annemarie McAllister, ‘My friend, do me the favour of reading this’: trash or tract?
-Karel van der Waarde, Medicines information leaflets: are we just printing waste or are we really supporting patients?
-David Atkinson, Bellman’s sheets: between street literature and ephemera
-Iain Beavan, Chapbook woodcuts: ‘unfit for purpose’?
-Francesca Tancini, Virtually indestructible: the ephemeral life of Victorian picture-books for children
-Elaine Jackson, ‘I’d rather be good bad than bad good’
-Berta Ruck writing ‘bad’ romance for women’s magazines
-Tony Quinn, Fifty years too early: George Newnes and The Million, a penny colour magazine for the masses
-Karen Attar, From dross to gold: Augustus De Morgan’s sale catalogues
-Annette Hagan, The chapbook collection of Sir Walter Scott
-Marine Furet, The archaeology of her desk: reading the ephemera in Angela Carter’s archives

th.

More than 60 superb prints by artist Utagawa Kuniyoshi (1797–1861) and his contemporaries from the noted collection of the Museum of Fine Arts, Boston, explore the interplay between ink on paper and ink on skin. Kuniyoshi’s influential print series "One Hundred and Eight Heroes of the Popular Water Margin" (1827–1830), illustrating hero-bandits from a 14th-century Chinese martial-arts novel, probably both inspired and reflected a real-life tattoo trend — art into life and life into art.

Many of the characters in Kuniyoshi’s "Water Margin" prints sport elaborate tattoos. Other artists, seeing the popularity of these works, made their own prints of tattooed Water Margin heroes and went on to depict historical figures and Kabuki actors with prominent inked embellishment. The iconography of the tattoos in these prints, also found on the bodies of real-life Japanese urban men, included lions, eagles, peonies, dragons, giant snakes and the fierce Buddhist deity Fudo Myoo. These motifs — still popular today — evoked bravery, valor and strength.

The vogue for tattoos in Japan lasted until the early Meiji period (1868–1912), when the Japanese government prohibited them as part of its effort to modernize the country. Woodblock prints are some of the best documentation we have of real-life tattoos of 19th-century Japan, and they continue to provide models for worldwide tattoo artists today.

l of modulation and repetition of biomorphic forms, as well as his engagement with typewritten and letterpress text as image. Siena made the works during artist-residencies at Flying Horse Editions at the University of Central Florida, Orlando; Dolphin Press & Print at the Maryland Institute College of Art, Baltimore; and the MFA Book Arts + Printmaking Program at The University of the Arts, Philadelphia.

"[The prints made at Flying Horse Editions] are also somehow about the physical representation of sound, in which circuits resonate from one to the other, and iterative waves cross the image . . . . This project is deeply fruitful for my practice in which printmaking holds an equal place with painting or drawing, and methods generate new approaches to developing a body of work that doesn’t privilege one mode over another." --James Siena

The Printer’s Perspective: Gail Deery and Alex Kirillov on James Siena
Wednesday, April 24, 6pm
Gail Deery, Professor of Printmaking, Papermaking and Book Arts and Co-Director of Dolphin Press & Print at MICA, and Alex Kirillov, Senior Lecturer, MFA Book Arts + Printmaking and Studio Art at The University of the Arts, both worked with Siena when he printed at their respective institutions. Deery and Kirillov will give a tour of the exhibition James Siena: Resonance Under Pressure from the printer’s perspective, walking through the various processes used by Siena and their students during his artist-residencies in 2018.

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typewriter should be recognized as prints, in light of the mechanism and process of their production.

Early examples of typewriter prints date to the late 1800s, when the typewriter became commercially produced and publicly accessible. Typewriter prints flourished in avant-garde sound experiments at the turn of the 20th century as well as in global movements in concrete poetry, mail art and conceptual art after World War II. In the United States at mid-century, the typewriter was a staple of daily life, used in offices and homes alike. Artists today are turning to the typewriter as a tool and an inspiration.

"I use the typewriter against itself. It was built to draft first chapters of novels and resignation letters; I use it to draw my son’s eyelashes and knitted socks . . . . I really enjoy that this process allows me to focus on those very simple forms and moments that are, perhaps, usually overlooked." --Lenka Clayton

"I began writing with a typewriter, a tool that could keep up with my thoughts. However, I employed no rules of the written language: no capitalization, no punctuation, no paragraphs. The writing slowly transformed – the words left the page and what remained has become my language." --Allyson Strafella

Curator’s Talk
Thursday, May 2, 6pm
Ksenia Nouril will give a talk on the history of typewriter prints, highlighting key moments and artists that were influential to the thinking around the exhibition New Typographics: Typewriter Art as Print.

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