tion curator William Breazeale will be joined by the artist’s son, Hosea Baskin, a noted rare-book collector and dealer to discuss Baskin – who collaborated with writers such as Ted Hughes and James Baldwin – and the intersection of art and literature.

About the Exhibition: A Passionate Muse: The Art of Leonard Baskin
Sculptor, printmaker, and illustrator, Leonard Baskin (1922-2000) was well known for his spirited visual fantasy and storytelling. He also cast his eye on the modern world, with sometimes-biting commentary on the ills of society, woven into religious or mythological scenes. This exhibition focuses on his independent prints, many of them monumental, that examine his often cynical, often hopeful view of human nature.

rints and a series of public programs that examine the issue of money bail, the condition of the state and federal court system by which those arrested, but unable to afford bail, remain incarcerated even though they have been neither tried nor convicted.

Drawing inspiration and source material from lawsuits filed by the Civil Rights Corps (CRC) on behalf of people incarcerated because of an inability to pay court fines and fees, The Redaction features poetry by Betts in combination with Kaphar’s etched portraits of incarcerated individuals. Betts utilizes the legal strategy of redaction to craft verse out of legal documents, capturing the complicated and pervasive effects of time spent incarcerated. These poems have been screenprinted by Kaphar onto handmade paper using the Redaction font, a new open-source typeface created for the project. Together, Betts’s poems and Kaphar’s printed portraits blend the voices of poet and artist with those of the plaintiffs and prosecutors, reclaiming these lost narratives and drawing attention to some of the many individuals whose lives have been impacted by mass incarceration.

Taking place at MoMA PS1 throughout the month of April, the exhibition marks the first-ever public installation of The Redaction, and seeks to create a platform for a multiplicity of conversations—about art, poetry, and practical legal questions—that can influence outcomes and reflect current conversations around the issue of criminal justice reform.

As part of The Redaction project, Titus Kaphar and Reginald Dwayne Betts collaborated with designers Jeremy Mickel and Forest Young to create a new open-source typeface. The Redaction font features throughout the artist's collaborative print portfolio and is also available to download as part of the project, in hopes that individuals looking to communicate within the U.S. legal system have recourse to communicate not just through their own distinct language and voice, but also through design as a form of protest.

ations of the pleasure he took in inventing. The exhibition examines Picasso's innovative use of relief, intaglio and planographic printing methods from his early Paris years to his late period.

The Städel Museum’s Department of Prints and Drawings devotes an exhibition titled “Picasso. Printmaking as Experiment” specifically to Pablo Picassos (1881–1973) graphic oeuvre. Featuring more than sixty etchings, lithographs and linoleum cuts, the exhibition presents a selection from the holdings of the Städel Museum’s Department of Prints and Drawings, enhanced by a small number of loans from the Museum Ludwig in Cologne and a private collection. The selection vividly illustrates the full range and development of Picasso’s graphic oeuvre from the early years in Paris to his late work.

Whether etching, drypoint, lithography, or linocut, with never-dwindling curiosity and virtuosity, Picasso gained expertise in a wide variety of printmaking techniques, always questioning what he had found in new and experimental ways. The exhibition is structured according to the various printing techniques, which are always closely linked to the artist’s biography. The print series “Suite Vollard”, which Picasso created between 1930 and 1937 and with which he made full artistic use of the diversity of intaglio printing techniques, has its own section within the exhibition.

ntensity, design, line definition, and condition among prints of the same design can provide valuable insight into a given print’s origin, authenticity, and quality. Often, assessing a print requires comparing it to another example of the same work to identify fading, repairs, or additional elements not present in other versions.

This exhibition brings together works by Hokusai, Utamaro, Sharaku, and other ukiyo-e printmakers to explore questions of connoisseurship, asking the viewer to closely compare multiple editions of the same design and observe the differences between them. Although The Great Wave was traditionally printed with a bright pink sky, surviving prints most often feature a sky of pale beige, the result of fading from light exposure. All three of the Art Institute’s Great Wave prints—one of which retains its pink color—are presented together in this exhibition. Each was made after the first state of the design, a fact evidenced in distinct ways, such as the broken lines of the title cartouche in the upper left corner, the most obvious sign that these prints were not made when the blocks were new and unworn.

While the earliest state of a print is considered to be the closest approximation of the artist’s original intent, later states, many of which were produced by a publisher rather than the artist, are not necessarily less aesthetically appealing or less valid. From time to time, blocks were recut to insert a different detail, modify text, or even add or remove a feature of nature, such as a cloud or a tree. The different shapes of light blue on the waves of one of the Great Wave prints, for example, are the result of a new block that was added later on. In other instances, a print may have deteriorated from fading, paper loss, and other ravages of time before being carefully repaired in ways only detectable when the work is compared to a print in pristine condition.

By identifying and closely examining differences in works of the same design, viewers can gain insight into the intricacies of the dating, authentication, repair, and commercial production of Japanese woodblock prints—and learn to draw their own informed conclusions.

an seen before. His vivid, dynamic imagery served as inspiration for modern-day manga and anime.

Tsukioka Yoshitoshi came of age as an artist as Japan opened to the West after two hundred years of isolation. Navigating both cultural traditions and the upheavals of the modern world, he tackled a wide range of themes: the heroism of samurai warriors, poetic images of figures in nature, female beauty, historic accounts, ghost stories, and the horrors of the battlefield.

This exhibition showcases some seventy works from the Museum’s extraordinary collection of Yoshitoshi prints, the largest repository of his work outside Japan.

the strokes of the pen. Dialogues, legends, and titles on banderoles bring images to life and help the beholder make sense of them. Verbose captions take up a great deal of room. These elements appear in portraits and depictions of biblical scenes, but also in illustrations of historic events. In chronicles, cityscapes, and world maps, writing is the central organizing device. This exhibition showcases selected eminent works from the Kupferstichkabinett to shed light on the multifaceted interplay between writing and image.

The subject matter of Pissarro’s prints may be straightforward, but the works truly show just how inventive he was. He experimented with materials and techniques to create various–clearly different–versions of each composition. Pissarro used materials such as wire brushes, sandpaper and copper daguerreotype plates.

The Van Gogh Museum has acquired an impressive 91 prints by Camille Pissarro thanks to the support of the Vincent Van Gogh Foundation, the BankGiro Loterij and members of The Yellow House. From March 1, 2019 an additional selection of Pissarro's unique, experimental prints will be on display on the upper floor of the Exhibition Wing.

ks in the largest show of his prints in the UK for 45 years.

The emotional intensity of The Scream has reverberated through history, speaking to generations. The fact that it needs no explanation is arguably one of its strengths. Yet perhaps it is also the reason that, beyond his name, so little is known about its creator – The Scream speaks for itself. Although it has become a universal symbol of human anxiety, it is a deeply personal response to Munch’s upbringing and experiences as a young artist.

Looking at the cities of pre-war Oslo, Berlin and Paris, the exhibition shows how new ideas about personal and political independence gave rise to an important voice. Visceral, rebellious and hungry for new experiences, Munch rejected his strict Lutheran upbringing to pursue an unconventional lifestyle. He travelled across Europe, drawing artistic inspiration from the bohemian circles he encountered and his passionate love affairs. Munch’s work articulated his experiences of life in a rapidly changing Europe, that was to be shattered by the first global industrialised conflict.

In this collaborative exhibition with the Munch Museum in Oslo, discover how he mastered the art of printmaking and explore his remarkable body of work. Munch’s innovative techniques, bold use of colour and dark subject matter resonated with shifting attitudes – and mark him out as one of the first truly ‘modern’ artists.

e College of Wooster Art Museum's permanent collection, ranging from Albrecht Dürer to Andy Warhol. The exhibition surveys print technologies to illuminate the artistic and social circumstances in which these images were crafted, circulated, and consumed.

The College of Wooster Art Museum routinely undertakes collaborative exhibition projects with faculty and students that synthesize course work with research of objects selected from the CWAM’s permanent collection. This year’s collaborative exhibition project is part of the seminar History of Prints, taught by Tracy Cosgriff, Assistant Professor of Art History. The course description below outlines some of what students studied while developing the exhibition:

"Ours is the age of exponential image-making. This upper-division seminar critically examines the original graphic revolution: the invention of prints and the emergence of duplicable media in the West, whose cultural currency and aesthetic criteria differ considerably from those of painting, sculpture, and architecture. From the woodblock to the silkscreen, we will survey the technologies of printmaking to illuminate the social and artistic circumstances in which these images were crafted, circulated, and consumed. Major themes include: imitation and invention, authorship and audience, original and copy. Together, we will explore how print media shaped cultural definitions of canon, creativity, and industry, and by interrogating real objects, we will critically reconsider their role as agents of historical meaning."

Opening Reception
Thursday, April 18, 6:30-8:00pm
Gallery Talks by Students, 7pm

Please visit the 'External Link' below for more information about the exhibition and its programming.

s conversation will explore how printmakers continue their practice after leaving their school's facilities, how to establish a printshop, and other avenues for working in the field.

This event is part of the public programming for IPCNY's spring exhibition Pulled In Brooklyn, taking place at Pratt Institute Library, 3rd floor, Alumni Reading Room, 200 Willoughby Avenue, Brooklyn, NY.

This event is free, open to the public, and wheelchair accessible.

Please visit the 'External Link' below for more information and to RSVP on Eventbrite.