enomena or landscapes at dusk. A great many of his drawings and prints inspired artists up to the 19th century.

Claude forged a specific way of looking at landscape, and was innovative in his treatment of nature, but also in his artistic practice: during his walks in the Roman countryside, he made a note of his observations, his studies of nature and his impressions of the ancient architecture.

ction, Press / Process: The Art of Prints will explore the history, materials, and methods of printmaking, treating the process as a “way of thinking” as well as a way of making.

er
Dr Yair Wallach, SOAS University of London

Anindita Ghosh is Professor of Modern Indian History at the University of Manchester, UK. She obtained her doctoral degree from Cambridge, and joined the History Department at the University of Manchester in 2001 as a lecturer, having served as a Simon Fellow between 1999 and 2000. Her work broadly addresses questions of power, culture, and resistance. Her publications have focussed on the social and cultural history of the book, the making of indigenous identity in colonial Bengal, women’s experience in colonial South Asia, as well as material cultures and social structures in the context of colonialism, technology, changing patterns of occupation, public spaces, and protest.

Yair Wallach is Pears Lecturer in Israeli Studies at the School of Oriental and African Studies, University of London. His research has explored the intersection between ideas and material culture in the everyday experience of modernity. His doctoral thesis looked at Arabic and Hebrew texts in the urban space of modern Jerusalem (1858–1948). Dr Wallach has also written extensively on social, political, and environmental issues in the contemporary Middle East.


About the Conference
Typewriters, duplicators, copiers, and a myriad other means of production and reproduction of textual/visual matter have been a vital part of print cultures across the world. The ‘agents of change’ in the global history of printing and publishing, across the twentieth century in particular, have been other processes, other mechanisms, other devices than the printing press. This conference focuses on the role of such alternative or additional means of knowledge production and dissemination – tools like stencils, mimeographs, duplicators, photocopiers, the processes of strike-on and rub-down lettering, cyclostyle, xerography, to name just a few – alongside parallels, intersections, and continuations like handwriting, orality, and other ways of circulating information. Despite their marginal location in print history such means and processes of production have had significant influence in wide-ranging contexts of political activism, countercultures, resistance and student movements, and indeed in confronting and challenging censorship. But they have also been indispensable in mundane office use, public spaces and discourses, and in the day-to-day personal consumption of, and access to, information.

We invite papers that examine the global history of small-scale technologies as well as the situational or selective deployment of alternative modes of production across the world, beyond or alongside the printing press. Topics of interest include, but are not limited to, practical and theoretical aspects, business histories, design and manufacture, the publications and publics of such endeavours, as well as practice-based enquiries and archival questions related to the longevity or ephemerality of their productions. The conference is particularly interested in investigations of Asian and African contexts where such alternatives may have had other functions or entirely different implications. Papers addressing oral histories, narratives of personal engagement, case studies of contextual adaptation and use are welcome, as are those that explore connections between geographical, socioeconomic, and linguistic contexts of printing through other means.

ings, which can be considered an unicum in Italy, is part of a larger collection which will be donated to the Prints and Drawings Room of the Musei di Strada Nuova. The exhibition includes fifty-four engraving and two etchings of the finest quality that reveal the artist's high technical virtuosity and the development of his very personal style through images of complex and fascinating symbolism.

the Vanderryn Collection presents work by artists such as Rodolphe Bresdin, Félix Hilaire Buhot, Odilon Redon, and Félix Vallotton, each of whom expanded the possibilities of the original print. Together, the works selected for the exhibition memorialize exchanges between visual artists and literary figures and present dynamic artistic reflections on a changing modern age. Whether focused on the changing conditions of urban life or constructing nostalgic views of the countryside—replete with atmospheric details—these artists approached their intaglio, relief, and planographic work with both technical acumen and imaginative zeal, creating multiples by which they distinguished themselves at home and abroad.

ntre, the Grand Western Canadian Screen Shop. The exhibition returns to the Canada of the sixties and seventies to contextualise the Screen Shop within a time characterised by personal and political consciousness-raising and dynamic change within the arts.

True to its history as a site of convergence, Winnipeg was a city of both conservative attitudes and liberal activism. It was here, from 1968-1987, that the Grand Western Canadian Screen Shop was founded by artist and provocateur William (Bill) Lobchuk (b.1942). He established what was to become a colourful hub of artistic engagement, education, experimentation and production in Winnipeg. Attracted to the neglected Exchange District over the hip Osborne Village neighbourhood, the Screen Shop was born at the beginning of the arrival of artist studios and galleries to the area. At its core were a youthful group of artists critical of modernism, Eurocentrism and American imperialism. More specifically, there existed a desire to create space for a contemporary art dialogue that was felt to be reflected in neither the local, institutional art establishment nor the national arts media.

A key aspect of the Screen Shop’s success was its function in facilitating the peer-to-peer exchange that energised its communities. Screenprinting was the primary mode of production; a natural choice for its economy and anti-elitist ethos. The exhibition will include prints by many Screen Shop cohorts, among them Don Proch, Winston Leathers, Judith Allsopp, E.J. Howorth, Tony Tascona, Gordon Bonnell, Christopher Finn, Louis Bako, Lenard Anthony and Gordon Lebredt. The exhibition will also feature work by Jackson Beardy, Daphne Odjig, Alex Janvier and Carl Ray, members of the burgeoning Professional Native Indian Artists Incorporation and frequent Screen Shop participants.

In addition to the establishment of artist-run centres, Canadian artist culture experienced a shift during this period. Highly-mobilised members of the arts community, including many associated with the Screen Shop, protested, campaigned and negotiated for the establishment of artists rights that are still in effect today. Canada’s expanse also gave rise to an appetite for a more comprehensive network of communication between arts communities. Responding to this need, the Screen Shop drew artists and attention from across Canada and beyond, affording it an expansive reach. The exhibition will explore these transcanadian networks, which included collaborators such as General Idea, Regina artists David Thauberger, Joe Fafard, Victor Cicansky and Russell Yuristy, and Sanavik Co-op in Baker Lake, relationships driven by a belief in community and co-operative practices.

What resulted was artwork which captures a sense of the innovation and diversity of Canadian cultural production from the 1960s-1980s, from playful psychedelia and the influence of Pop Art, to conceptual questioning, political reflection, regional discourses, Indigenous pride and feminist practice. Bringing together prints, sculpture, commercial work, photographs and other ephemera from in and around the Screen Shop, this exhibition celebrates the spirit of a rebellious, fertile and overlooked chapter in Canadian art history.

The exhibition is co-produced by MacKenzie Art Gallery and School of Art Gallery, University of Manitoba.

ht this traditional, laborious, and oftentimes tedious, art form. As printmedia moves into a new era, we look forward to highlighting future generations of printmakers using the medium to share their voice.

This juried exhibition features contemporary printmakers across the nation working in all printmaking mediums, including intaglio, lithographs, relief, screenprints, monoprints, letterpress, artist books, digital prints and print installations.

Opening Reception
Friday, March 29, 2019 5-8 pm

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

g boards, each named after a woman from the artist’s cultural and ancestral history. Cole has used irons and ironing as central motifs in his work for 30 years, evoking everything from African masks and slave-ship diagrams to the routines of domestic servitude. In this special installation, the gallery will be lined wall to wall with the Beauties. Standing silently—like sentinels, tombstones, shrouds, or windows—the prints will open a space for confronting the whole range of contradictory energies running through them: resistance and oppression, beauty and violence, labor and forebearance.

Cole will be joined in conversation by Cole Rogers, a master printer, and Jennifer Roberts, the Johnson-Kulukundis Family Faculty Director of the Arts at the Radcliffe Institute and the Elizabeth Cary Agassiz Professor of the Humanities in the Harvard Faculty of Arts and Sciences.

The event is free and open to the public. Reception to follow.

Please visit the 'External Link' below for more information and the registration form for this event.

printing house, a trading zone where scholars and artisans, authors and business people, men and women all worked together in a confined space and each learned from—and complained about—each other. Reception to follow.

A specialist in the history of early modern Europe, Professor Grafton's work focuses on such diverse topics as the cultural history of Renaissance Europe, the history of books and their readers, the history of scholarship and education, and the history of science. Professor Grafton has written ten books and served as co-author, editor, co-editor, or translator of nine more. He has received prestigious awards, including a Guggenheim Fellowship (1989) and the Mellon Foundation’s Distinguished Achievement Award (2003).

uality of the etched line, drawn directly on the plate in en plein air settings, made it particularly suited to landscape subjects, and especially water scenes.

This exhibition, curated by Ramey Mize, a doctoral candidate at the University of Pennsylvania, will showcase this theme as reflected in PAFA's significant repository of etchings, many of which were acquired through the John S. Phillips Fund.