ueu. Furthermore, Jérôme Zonder, Gilgian Gelzer and Sarkis have been invited to show works dealing with the line.

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 »

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.

r 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.

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.

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.

urned 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.

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.

e 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