Drawn from The Hyde’s permanent collection, the Museum showcases two treasures, Nuremberg Chronicle and Augsburg Chronicle. The Nuremberg Chronicle was created from 1493 to 1497 in Germany. Commissioned by Sebald Schreyer and Sebastian Kemmermeister, the 600-page book tells the history of the world as it was believed at that time. Illustrated with more than 1,800 woodcut images, the Nuremberg Chronicle was the most complex publication of its day, exploiting the new creation of the printing press to disseminate knowledge. Latin and German editions were printed. Relying heavily on the Bible, humanist physician Hartmann Schedel chronicles time from Creation through Last Judgment. The Hyde’s book, in Latin, is hand-tinted and has been described by scholars as one of the finest examples in the country. In the years following release of Nuremberg Chronicle, an Augsburg printer named Johann Schönsperger abridged the text, commissioned woodcuts largely copied from the earlier book, and released a smaller format, undercutting the price of the original. Augsburg Chronicle can be argued to be among the earliest examples of theft of intellectual property.

Graphic Revolution: American Prints 1960 to Now examines the transformational decade of the 1960s through the early 21st century, and the emergence of the creative synergies between the artists, publishers, printers, dealers, and collectors who have been critical to the development of American art during that time.

The explosion of printmaking activity that began in the United States in the 1960s stands out for the radical spirit of exploration and experimentation that amplified the possibilities of contemporary art. Often in collaboration with technically proficient and market-savvy printers and publishers, artists have long been reimagining what a print can be and using printmaking to push the boundaries of historical and popular imagery by engaging with contemporary issues and new technologies. The inventive options an artist has to choose from today range from the hand-made to the digital, from two-dimensional prints to books and multi-media objects.

Drawing from the Saint Louis Art Museum’s notable collection of post–World War II American prints and the holdings of private collections in St. Louis, the exhibition features more than 110 works by a diverse group of artists whose visual imagery helped define the spirit of their time. Notable highlights include works by Andy Warhol, Robert Rauschenberg, Louise Bourgeois, Bruce Conner, Barbara Kruger, Luis Jimenez, Edgar Heap of Birds, Julie Mehretu, and many more. Together, these individuals established a fertile setting for artists of diverse perspectives to make new work, examples of which are put into dialogue with each other throughout the exhibition.

Urbanization and industrialization during the nineteenth century greatly impacted popular notions of work, particularly the contrast between traditional rural labor and new types of work available in cities. In response, French artists increasingly turned to labor as a subject for their figural compositions, updating traditional aspects of labor subjects and realistically portraying contemporary workers. This exhibition of prints and drawings focuses on depictions of labor – both rural and urban, by men and women. Jean-François Millet’s works depicting sowers and harvesters inspired his contemporaries to explore such subjects, while other artists featured urban laborers including builders and laundresses as city life increased opportunities to observe varied types of work. Prints by Emile Bernard, Henri-Gabriel Ibels, Henri Rivière, and Théophile-Alexandre Steinlen demonstrate how these artists developed their labor subjects to advance their particular stylistic or social interests.

Fantasies and Fairy Tales explores the role of fantasy and the recurrence of popular fairy tales, myths, and legends in the graphic arts in the years around 1900, incorporating select earlier examples as well as more recent works. Artists pushed the limits of their imaginations for different purposes. Fantasy was used to examine individual emotional and mental states, to visualize spiritual transcendence, and as a springboard for aesthetic experimentation and abstraction. Fairy tales, a public and shared form of fantasy, offered artists familiar narratives and characters they could use to explore individual fears and desires or collective hopes and dreams. Some works in this exhibition evoke a sense of terror and dread, while others offer a romantic vision of an invented or idealized past or focus on the enchantment of the world around us. In all these works, artists present a particular way of seeing that exceeds naturalistic representation.

The Department of Architecture and Urban Planning at Ghent University and the Chair for the History and Theory of Architecture (gta, D-ARCH) at ETH Zürich co-organise a study day exploring notions of Belgium's nascent patrimony over the course of the long nineteenth century. Particular emphasis is on the architectural heritage and the ways in which different printed media - from travel reports and albums to city guides and newspapers - contributed to activating this patrimony in Belgium and beyond. 'Touring Belgium. A Nation's Patrimony in Print, ca. 1795-1914' thus explores the ways in which this printed mediation of a nascent architectural and artistic patrimony affect the way historical artefacts were preserved, transformed, collected, viewed and experienced by both 'Belgians' and their French, British and German neighbors.

Participants must register via the 'External Link' below.




PROGRAM

08:45 Coffee

09:15 Introduction by prof. Maarten Delbeke (ETH Zürich) and prof. Maarten Liefooghe (Ghent University)

Paper Session I, chaired by prof. Mari Hvattum (The Oslo School of Architecture and Design)

09:30 Ellen Van Impe: Printing and collecting architectural history in
Belgium (1830-1860)

10:00 David Peleman: The reproduction of 'La Belgique Industrielle (1852-1855)'. An imaginary tour through books, articles and drawings

10:30 Coffee

11:00 Josephine Hoegaerts: Patrimony through children’s eyes: School
excursions in Belgium in the second half of the nineteenth century

11:30 Stefan Huygebaert: Picture Perfect Postcards? Duality in Alexandre
Hannotiau’s Picture Postcard Series “Brugge/ Bruges”(1900)

12:00 Joint discussion: Responses from PriArc researchers Maude Bass-Krueger and Miranda Critchley

12:30 Lunch

14:00 Keynote lecture* by prof. Tom Verschaffel (KULeuven)

14:45 Coffee

Paper Session II, chaired by prof. Babara Penner (The Bartlett School of Architecture, UCL)

15:15 Henrik Karge: Karl Schnaase’s “Niederländische Briefe” (1834) - An art historical journey through Belgium in the year of Revolution (1830)

15:45 Juliet Simpson: Portable Belgium: Imaging/Writing the Nineteenth-Century Northern Art Tour – from Nation to Alterity

16:15 Willem Bekers: Michelin’s illustrated guide to the battlefields of the Yser and the Belgian coast (1920): Guidebook or field manual?

16:45 Refreshments

17:00 Joint discussion: Responses from PriArc researchers Eirik Arff Gulseth Bøhn, Nikolaos Magouliotis & Ben Vandenput

17:30 Concluding remarks

Chiaroscuro woodcut was a printmaking practice performed throughout Europe between 1510 and 1650. This exhibition shows how this technique was a true experimental field for working on light and shadow in a monochrome palette.

Chiaroscuro woodcuts—color prints made from the successive printing of multiple blocks—flourished in 16th-century Italy, interpreting designs by leading masters such as Raphael, Parmigianino, and Titian, while boasting extraordinary craft and their own, often striking palette. However, they remain among the least understood phenomena: exactly how were chiaroscuros created, in what sequence were they printed, and why? Based upon the most beautiful impressions in American and British collections, extensive new research, and far-reaching interpretations, this exhibition explains the chiaroscuro woodcut as an essential phenomenon, and one of the most beautiful, in the history of printmaking.

The exhibition is conceived and organized by Naoko Takahatake, curator of prints and drawings at the Los Angeles County Museum of Art. Her research began at the National Gallery of Art, Washington, as a graduate curatorial intern in 2006 and as Andrew W. Mellon Curatorial Fellow (2008–2010). The exhibition is coordinated in Washington by Jonathan Bober, Andrew W. Mellon Senior Curator of Prints and Drawings, National Gallery of Art.

Other venues: Los Angeles County Museum of Art, May 15–September 16, 2018

This event is hosted by The Shelley & Donald Rubin Foundation at The 8th Floor and is free and open to the public. Tea, light refreshments and good conversation will be provided.

Salamé will be in conversation with Jennie Hirsh, Professor of Modern and Contemporary Art at the Maryland Institute College of Art, about her work. This conversation will tackle printmaking as a platform for creative protest, looking at Salamé’s process and documentation of the 2016 Women’s March, as well as other topics outside of the United States.

About the Artist Perspectives program series:
This program is part of a collaborative series by ArtTable and the Pollock Krasner Foundation that aims to share insights, strategies, and practical advice in public dialogue. These programs feature female artists who have been funded by the foundation, giving them the opportunity to participate in a series of conversations with arts professionals on subjects that relate to building a successful career and practice in the art world. All content taken from this series will be recorded and launched as a podcast series in 2019.

About Soledad Salamé:
Soledad Salamé, American, born in Santiago, Chile in 1954, currently lives and works in Baltimore, Maryland.

Noteworthy projects and exhibitions: Women’s March, 2017 Artist Book, BMA, Print fair, Are you listening? 2016 Goya Contemporary, Dominican Republic, Baltimore, MD, ALMA 2014, Atacama Large Millimeter Array, in progress, Territories 2013, Goya Contemporary Gallery, Baltimore, MD,Barcodes Merging Identity and Technology 2012, Critics choice for Art Miami, Miami FL, Gulf Distortions I/XII 2011, Corridor Museum of the Americas, Washington DC, Where Do you Live? 3000 Miles of Maryland Coast, presented by The Contemporary, Baltimore MD, Aguas Vivas and the Labyrinth Of Solitude, Museum of Fine Arts, Santiago, Chile, Latin American Still Life, Reflections of Time and Place, Katonah Museum of Art, Westchester, NY, Latin American Women Artists, 1915-1995, (traveling exhibition) at the Milwaukee Museum of Art, Denver Museum of Art, Phoenix Museum of Art, Miami Art Museum, and National Museum of Women in The Arts, Washington, DC, Labyrinth Of Solitude, Museum Of Fine Arts, Stgo, Chile 2001

Soledad Salamé’s work is represented in private and public collections throughout the world, including those of the Deutsche Bank in New York, New York; National Gallery of Art, Washington DC., National Museum of Women in the Arts in Washington, DC; The Baltimore Museum of Art, in Baltimore, MD; and the University of Essex, UK. Her work is included inThe Contemporary Museum: 20 years, by Irene Hoffman (2011), The St. James Guide to Hispanic Artists, by Thomas Riggs (2002), Latin American Women Artists of the United States, by Robert Henkes (1999), and Latin American Art in the Twentieth Century, by Edward J. Sullivan (1996).

As founder and director of Sol Print Studios, she is an active member of the Baltimore Arts Community. SOL Print Studio has gotten the recognition of excellence from The Washington Baltimore Area, museum curators and other institutions.

PROGRAM

11/15/2018
Prof. Dr. Friedrich Weltzien (Hannover), "Victor Hugo als Zeichner"

11/22/2018
Prof. Dr. Irene Brückle (Stuttgart) und Rebecca Honold (Karlsruhe), "Der restauratorische Blick: Zeichentechniken französischer Meister sehen und verstehen"

11/29/2018
Prof. em. Dr. Werner Busch (Berlin), "Ingres, Géricault und Delacroix. Drei zeitgleiche Formen der Zeichnung"

12/13/2018
Prof. Dr. Oliver Jehle (Karlsruhe), "L’art des fous und die écriture automatique"

01/10/2019
Prof. Dr. Carolin Meister (Karlsruhe) und Dr. Astrid Reuter (Karlsruhe), "Pastell: Zeichnung oder Malerei?"

Drawings rank among the most fascinating works in the history of art. They are created using light and delicate materials, while the various drawing techniques offer a wealth of expression possibilities. As the most direct form of image production, they convey an artist’s style and imagination perfectly.

In France, drawing has been an academic discipline for mastering every art form since the 17th century. Alongside painting, it has blossomed into a genre in its own right, and its free forms of expression have been cherished by collectors and discussed in art theory. The 120 drawings presented together for the first time at the exhibition were selected from the rich collection of works by French artists from the 16th to the 20th century that belongs to the Staatliche Kunsthalle Karlsruhe. This ensemble includes extraordinary pieces by the great landscape painter Claude Lorrain (c. 1600–1682), exquisite illustrations brimming with dramatic vitality by Jean-Honoré Fragonard (1732–1806), and subtle depictions of Parisian life by Edgar Degas (1834–1917).

The works exhibited not only illustrate the various drawing techniques and materials, but also give pieces of information that serve as clues to various questions: How did the artist work? Why did he create the drawing? To whom did it belong?