It was in monumental painting that Italian art reached its apogee. Michelangelo’s Sistine Chapel ceiling and ‘Last Judgement’, the frescoes of Raphael, Pietro da Cortona and Tiepolo are among the most memorable creations of the human imagination. One of the earliest exponents of Italian monumental art was Andrea Mantegna, among whose major works is the ‘Triumph of Caesar’, made up of ten, large-scale panels which were originally mounted on one wall. Around 1500, Mantegna, ever the innovator, also produced a version of this work as a copper engraving. From then on, wall and ceiling paintings of all sorts were reproduced as prints. Out of an old art form a new one was born, one whose aim was to translate large and complex works into a format which was easy to comprehend and to handle. The printed sheets could be admired anywhere and they conveyed the concept of the artworks they represented in a way which was easier to grasp than the originals themselves. The exhibition presents around 120 works which are astonishing for their size and for their extraordinarily striking appeal as fully developed works of art.

The figures drawn by Christian Lhopital are ghosts in every sense of the word: distant ghosts, cynical kids, or captive spirits.Their farandole belongs to a long tradition of vanities, whose the dance of death is one among many of its demonstrations. The instability of their incarnations in constant metamorphosis offers to the public an inexhaustible and enjoyable playground.

When photography arrived in Japan in the mid-nineteenth century, traditional woodblock printmakers were forced to adapt their craft to keep pace with the new medium. In the decades that followed, major upheavals—a new system of government, a devastating earthquake, and the onset of world war—continued to influence Japanese prints. This exhibition explores Japanese artists’ reactions to the challenges of modernity from the late nineteenth to mid-twentieth century. It first examines the collapse of the traditional woodblock-printmaking industry in the face of the printing press and photography. Then, it traces the medium’s resurrection as an art form, through which printmakers recorded scenes of their changing country in striking new ways. Complemented by Japan Modern: Photography from the Gloria Katz and Willard Huyck Collection

The Salvador Dalí Research Center held its annual meeting in New York on November 8, 2018 to review the work done in the previous year, for the authentication of works by Dalí, especially concerning his prints. Many problems exist with Dalí’s later prints and the Center works with auction houses, private clients and museums to provide accurate information. An archive of papers belonging to Dr. Alex Rosenberg , a publisher of prints by Dalí, exists at the Center and provides additional reference material for the Center’s work. Dr. Paul Cardile is the Center’s President.


Salvador Dalí Research Center
4 West 43rd Street
New York, NY 10036
info@daliresearchcenter.com
daliresearchcenter.org
By appointment

Over the course of four decades, Betty and Hartmut Raguse-Stauffer, two Basel-based art enthusiasts who combine wide-ranging expertise with a keen eye for quality, have built an imposing collection. Since 2014, they have donated around three hundred works to the Kunstmuseum Basel’s Kupferstichkabinett (Department of Prints and Drawings). They are especially fond of the Expressionists, above all Emil Nolde, and contemporary artists who create figurative work such as A. R. Penck, Jonathan Borofsky, Marlene Dumas, and Rosemarie Trockel. The key themes in the collection reflect the Raguse-Stauffers’ personal passions and interests; many works probe existential experiences such as love, death, and spirituality. In honor of their generosity, we present a selection of around seventy drawings and watercolors from the ample ensemble donated to the museum.

At first glance the differences between the political drawing and the poetic (for our purposes, the landscape) might seem irreconcilable. Yet bringing them face to face throws up some unex- pected similarities. When they turn their attention to nature, even the most acerbic satirists treat their subject with respect, while the mildest- mannered landscape artist can rail against the established order. Nevertheless, our aim is not to find parallels where there are none: some artists only produce political drawings, others devote themselves entirely to landscapes.
In this encounter between political draw- ings and poetic landscapes, it is the unfore- seen and surprising that gives the exhibition its direction, as if the works themselves were creating their own dialogue. Invisible threads are woven and unravelled, as Goya addresses Siné, Tomi Ungerer responds to Camille Corot, Alberto Giacometti strikes up conversation with Otto Dix and Paul Klee confides in Martial Leiter. As we discover, the language of drawing knows no bounds.

Several exhibitions are organized under the theme "Une saison dessin". One of them is devoted to the French drawing collection of the Musée des Beaux-Arts de Rouen. Another exhibition presents the graphic work of the French architect Jean-Jacques Lequeu. Furthermore, Jérôme Zonder, Gilgian Gelzer and Sarkis have been invited to show works dealing with the line.

Jahres-Kolloquium des Vereins Gesamtkatalog Schweizer Plakatsammlungen (VGKSP) / Colloque annuel de l’Association pour le catalogue collectif suisse des affiches (ACCSA)

Die Künstler und das Plakat / Les artistes et l'affiche

2 – 2.15
Susanne Bieri, Leiterin Graphische Sammlung, Schweizerische Nationalbibliothek:
« Die Künstler und das Plakat – Les artistes et l’affiche »

2.15 – 2.30 pm
Katalin Deér, Künstlerin/Fotografin:
« 12-zwei, Reflexion Areal Transformation; Kunst am Bau 2015–2027 »

2.30 – 3 pm
Matthias Fischer, Kunsthistoriker und Politikwissenschaftler
« Hodlers Plakate und Plakatentwürfe. Zwischen Kunst und Werbung »

3 – 3.15 pm
Sylvie Costa Paillet, Conservatrice du département des peintures et arts graphiques, Musée Historique Lausanne
« Entre JEM et Werner Jeker, Lausanne au miroir de ses graphistes »

3.15 – 3.30 pm
Alexandra Schüssler, Freie Kuratorin
« Und der Zeitgeist macht Buh! »

3.30 – 3.45 pm
Kurt Würmli, Konservator Plakatsammlung Basel, Schule für Gestaltung Basel
« Roy and the Devil’s Motorcycle »

4.15 – 4.30 pm
Simon Roth, Bibliothécaire scientifique, Médiathèque Valais, Sion, et Marie Antoinette Gorret, artiste
« Artiste en image, Marie Antoinette Gorret colle ses états d’âme sur panneaux publicitaires »

4.30 – 4.50 pm
Laurence Schmidlin, Conservatrice, art moderne et contemporain, Musée cantonal des Beaux-Arts, Lausanne
« L'affiche, un imprimé comme les autres. Statut et fonctions dans l'art conceptuel américain »

4.50 – 5.20 pm
Jürgen Döring, Leiter der Grafischen Sammlung und der Plakatsammlung im Museum für Kunst und Gewerbe Hamburg
« Von der Qual der Wahl und der Pflicht zur Vielfalt – Überlegungen zum Grafiksammeln heute »

Drawn from the museum’s collection, this exhibition features work by contemporary artists who exploit printed and photographic media in ways that intentionally reveal the confusing line between art and information, fact and fiction. Many of the works purposely or playfully leverage the appropriation and manipulation of media to challenge perceptions of truth. Others use the anonymity of printed words to question “reliable” sources or to expose the role of mass media in perpetuating cultural and personal bias. By rejecting or modifying traditional fine print techniques, these works also challenge notions of high art and its historically authoritative stance.

Among the highlights of this exhibition are several recent acquisitions: Carl Pope Jr.’s The Bad Air Smelled of Roses, a monumental installation of letterpress posters, explores the ubiquitous presence and function of blackness in America; Lebanese artist Walid Raad’s Better Be Watching the Clouds tests the boundaries between fact and fiction by constructing mysterious intelligence documents related to the Lebanese Civil War (1975–91); and Mexican-American artist Enrique Chagoya’s Les Aventures des Cannibales Modernistes (The Adventures of the Modernist Cannibals) alters and combines imagery from pop culture and Mayan and European chronicles in order to question how history and culture are framed, and who does the framing.

William Morris devoted his life to creating beautiful and useful objects using the highest-quality materials under fair labor conditions. His richly varied patterns have been reproduced without interruption since his death in 1896, testifying to their timeless appeal. The Cleveland Museum of Art’s collection includes woven and block-printed textiles spanning each stage of Morris’s vibrant career; they are joined in this exhibition by a generous loan from the Cranbrook Art Museum of an embroidery by William Morris’s daughter, May.


Also showcased are magnificent volumes from the Cleveland Museum of Art’s nearly complete collection of books printed by Kelmscott Press. Morris’s meticulously designed books were his final labor of love; indeed, they exhibit the same delight in organic forms and time-tested craftsmanship visible in his textiles. The voices of May Morris, Kate Faulkner, Walter Crane, and Edward Burne-Jones also feature among the projects that Morris so passionately brought to fruition. With Morris & Co. wallpaper and carpet reproductions, the exhibition Designing an Earthly Paradise brings to life Morris’s striking, revolutionary designs.