In the huge drawing "Les Pommiers ou Indécente Forêt", Didier Rittener has represented apple trees copied from 20 masterpieces about the Garden of Eden. Presented for the first time in a museum, it is accompanied by a fiction written by Federica Martini.

The Swiss Graphic Society (Schweizerische Graphische Gesellschaft/ Société Suisse de Gravure), founded in Zurich in September 1917, aims to promote printmaking by contemporary Swiss artists. Since 1918, it has published annually one or more works each year (prints, multiples or portfolios), which it distributes to its 125 members. From the 1930s, intensi ed since the 1990s, the Society commissioned increasingly international renowned artists such as Emil Nolde, Eduardo Chillida, Roni Horn, Rosemarie Trockel, Katharina Fritsch and Wade Guyton in parallel to her commitment to Swiss artists. Over the years prestigious institutions became af liates to the Society, while the Musée d’art et d’histoire is one of its founding members. On the occasion of the 100th anniversary of the Swiss Graphic Society, the Cabinet d’arts graphiques honours the wealth and diversity of the editions with an exhibition pre- senting some 140 works out of the 255 editions published. It offers an incomparable panorama of graphic production and artistic trends of the 20th and 21st centuries in Switzerland.

In the last decades, the far-reaching diffusion of electronic data processing instruments seems to have supplanted traditional methods of manual drawing and three-dimensional architectural model making. The capturing, planning and visualization of objects and buildings appears to be positively dominated by digital technologies and semi-automatic production methods, ranging from parametric and algorithmic modelling systems and digital recording tools to interactive animations and automatic 2D and 3D printing.

In view of these extensive and pervasive technological developments which appear to highlight an epochal and seemingly irreversible change, the question arises as to whether these new means of representation also reveal an inherent change in the forms of knowledge or, rather, if they do not simply adopt manual and conceptual conventions derived from the architectural drawing tradition. Notably, in the context of construction sites, the communication between the executing and the planning party continues to be linked to the graphical projection, following practices that have been essentially unchanged for centuries.

Program

Wednesday, 21.11.2018

15:00 Tristan Weddigen, Rom: Begrüßung

15:10 Vitale Zanchettin, Rom/Venedig: Introduzione

Moderation: Elisabeth Kieven, Rom/Osnabrück

15:30 Maria Malvina Borgherini, Venedig: Sull’instabilità del segno. Tangenze e scollamenti tra disegno analogico e disegno digitale

16:10 Andreas Nierhaus, Wien: Pencil Points und Pixel. Zur Geschichte und Theorie des (digitalen) Renderings

Pause

Moderation: Maria Bremer, Rom

17:20 Anja Neuefeind, Aachen: Smart Sketching

18:00 Krupali A. Uplekar Krusche, Notre Dame (IN): New drawings of the Vatican Belvedere -Reviving the Lost Art of Drawing in the Digital Age

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Vernissage
Krupali A. Uplekar Krusche: New drawings of the Vatican Belvedere

Thursday, 22.11.2018

Moderation: Tatjana Bartsch, Rom

9:30 Peter Schmid, Muenchen: Aufgabe Zeichenunterricht: Konzepte zum Architekturzeichnen, 1868-2018

10:10 Elisabeth Essaian, Paris-Belleville: Representation tools: replacement or hybridization? The making of the exhibition Lina Bo Bardi: Enseignement Partagés

Pause

Moderation: Tod Marder, Rom/New Jersey

11:20 Adrienne Costa, Toulouse: The Section as a Modality for Designing Architectural Space

12:00 Luca Di Lorenzo, Venedig: Axonometric Projection in the Age of Instant Communication: A Generational Theory

12:40 Samuel Stewart-Halevy, New York: A Provisional History of the Architectural Shortcut

Pause

Moderation: Anne Scheinhardt, Rom

14:40 Ole W. Fischer, Salt Lake City (UT): Analogue parametric design?
Notes on the performative drawing techniques of Eisenman and Cohen

15:20 Desley Luscombe, Sydney: The role of the body in architectural representation: Zaha Hadid‘s paintings 1983-2003

16:00 Sophie Elaine Wolf, Innsbruck: Drawing the Metaphysics of Architecture: L.O.M.O.

Pause

Moderation: Vitale Zanchettin

17:00 Robert Patz, Berlin: Körperdenken im Virtuellem Raum

17:40 Hana Gruendler, Florenz: The Handedness of Thinking

Friday, 23.11.2018

Moderation: Marco De Michelis, Mailand/Venedig

9:30 Round Table

Art at the Institute is delighted to present “Miscellanea,” a survey exhibition of color etchings by the Lviv-based Ukrainian artist Roman Romanyshyn. An opening reception for the artist will be held on Friday, November 16 from 6:00 to 8:00 PM, with the exhibition remaining on view through November 28. Curated by Walter Hoydysh, PhD, this exhibition marks Romanyshyn’s first solo showing with The Ukrainian Institute of America.

The city of Lviv, in western Ukraine, is synonymous with printmaking. Romanyshyn’s iconic and characteristic approach to narrative graphics, illustration and printing is practiced within the deep reaches of a centuries-old Leopolitan tradition that includes modern and contemporary peers the likes of Ihor Bilykovsky, Oleh Denysenko, Bohdana Fedorovych, Ivan Ostafiychuk, Volodymyr Pihinin, Ihor Podolchak, Bohdan Soroka, and Myron Yatsiv.

Romanyshyn draws much of his inspiration from literature, fables and folklore. As if from a youthful perspective, he rediscovers antiquated and familiar subjects — whether planetary and zodiacal, the story of Alice in Wonderland, or the Wives of Henry VIII — illuminating them with equal child-like abandon.

His meticulous and dimensional multi-plate intaglio process certainly demonstrates an artisanal way to draughtsmanship and illustration. It is intimate. It is authentic. It is alive. It contains something irreplaceable from the now ubiquitous digital sphere. The figures that dominate his work are elaborate character reveries and his cosmic and earthly landscapes are complex, all of which make the worlds Romanyshyn creates so enchanting and engaging.

Roman Romanyshyn is a graduate of the Lviv State Institute of Decorative and Applied Arts. Besides printmaking, he is also engaged in illustration, painting, and sculpture. His graphic works are widely exhibited and collected throughout Europe, and have won international awards for printmaking, among them, the 14th Mini Print International, Barcelona (Spain), 9th International Miniature Print Exhibition, Seoul (South Korea), 4th International Painting Biennial of the Carpathian Euroregion, Przemysl (Poland). He lives and works in Lviv.

Exhibition hours: Tuesday to Sunday from 12:00 – 6:00 PM or appointment.

For further information: Contact Olena Sidlovych, executive director, at (212) 288-8660.

For the final chapter of the series of exhibitions celebrating San Antonio’s rich printmaking tradition, Michael Menchaca will transform the McNay’s Lawson Print Gallery into an immersive environment of prints, paper installations, and video. A graduate of Texas State University and the Rhode Island School of Design, Menchaca has created a highly individualistic lexicon of signs and symbols that speak to the Mexican American experience, including immigration and the melding of cultures in South Texas.

This exhibition is organized by Lyle Williams, Curator of Prints and Drawings, for the McNay Art Museum. Lead funding is most generously provided by the Elizabeth Huth Coates Exhibition Endowment and the Arthur and Jane Stieren Fund for Exhibitions.

LECTURES

23.10.18
ALESSANDRO NOVA (Kunstgeschichtliches Institut in Florenz/Max-Planck-Institut):
Botanische Präzision und imaginierte Landschaften: . Zeichnung als Naturerfindung bei Leonardo

6.11.18
MARTIN SONNABEND (Städel Museum, Graphische Sammlung):
Verstehen und Kennerschaft. Zur Zuschreibung einiger Zeichnungen von Michelangelo

20.11.18
WOLFRAM PICHLER (Universität Wien):
Architektur entwerfen in der Frühen Neuzeit: n. Neuere theoretische Zugänge

4.12.18
SEBASTIAN FITZNER (Freie Universität Berlin):
Skizze, Vogelschau und Konvolut. Fürstliche Zeichenpraktiken an Hessischen Höfen in der Frühen Neuzeit

18.12.18
DANIELA BOHDE (Universität Stuttgart):
Jenseits des Disegno. Selbständige deutsche Zeichnungen des frühen 16. Jahrhunderts

15.1.19
SUSANNE MÜLLER-BECHTEL (Universität Würzburg):
Täglich, topisch, transnational. Akademisches Aktstudium in der Vormoderne

22.1.19
CATHERINE WHISTLER (Ashmolean Museum, Oxford):
Disegno and Drawing in Venice in the Age of Titian

5.2.19
FRANK FEHRENBACH (Universität Hamburg):
‚Componimento inculto‘. Leonardos zeichnerische Imagination

In recent years, a renewed interest in Early Modern rituals, festivals, and performances has prompted a reconsideration of ceremonious processions with a particular focus on their impact on social, cultural, artistic and political structures and practices. Simultaneously, scholars have increasingly acknowledged the mobility of Early Modern artists across geographical, religious and cultural borders. Although processions were witnessed by natives and visitors alike and were therefore prime instances of cross-cultural encounters, their depictions by artists both local and foreign remain a lesser-studied body of visual material. This symposium proposes to explore the visual representations of processions that took place within cross-cultural encounters both within and outside of Europe.

A procession was an act of movement that was particularly charged with meaning; an ambulatory mode of celebration, it had a global resonance in the Early Modern period. Processionals impressed foreign dignitaries, established modes of rule, communicated traditions and negotiated power balances and were highly sensory occasions – as such they lent themselves readily to visual representation and were enthusiastically recorded in literature. Pageantries, military processions and Joyous Entries (Blijde Inkomsten) were recorded in a variety of media, as exemplified by the festival books celebrating the ephemeral constructions orchestrated for Cardinal-Infante Ferdinand’s arrival in Antwerp (1635) or the eighteenth-century paintings depicting Venice’s dazzling boat parades in honour of foreign dignitaries. Furthermore, ceremonial processions conceived for births, weddings, circumcision feasts and funerals occasioned visual representations such as the colourful Mughal miniature Wedding Procession of Dara Shikoh in presence of Shah Jahan (1740). In addition, the notion of procession can be expanded to encompass various expressions of mobility that could be understood and were often depicted as a procession. Both Jan van Scorel’s frieze-like painting of the knightly brotherhood commemorating their Holy Land pilgrimage (c. 1530) and the depiction of ambassadors travelling with their retinue to foreign courts and cities can be perceived as a form of procession. Thus, the structure of a procession was increasingly adopted in the Early Modern period to depict moments of exchange and motion propelled by the quest for knowledge, as much as diplomatic concerns and religious piety. Well-known examples include The Voyage to Calicut tapestry series (1504) as well as the highly detailed printed frieze of a merchant endeavour by Hans Burgkmair (The King of Cochin, 1508).

Supported by the CHASE Doc

Prints and drawings have been an integral part of the British Museum's collection since its founding in 1753. To help navigate this extraordinary and vast collection, our latest exhibition highlights a selection of diverse works purchased, donated or bequeathed to the Museum over the last five years.

Spanning across Europe, the Americas and Australasia, and dating from the 1400s to the present day, New Acquisitions: Gozzoli to Kara Walker showcases around 150 prints and drawings from the Museum’s collection. The exhibition reflects the Museum’s focus on collecting works from the 20th and 21st centuries – displaying the works of iconic artists including Georg Baselitz, David Hockney, Jasper Johns, Pablo Picasso, Bridget Riley and a monumental three-part print by the acclaimed African American artist Kara Walker.

Tracing over half a millennia’s history of graphic arts, the works of contemporary artists can be seen alongside the great names of the past, such as Renaissance artists Raphael, Benozzo Gozzoli and John-Everett Millais.

From fine art to satirical and popular prints, explore the British Museum’s extensive and unique collection of prints and drawings in this exhibition.

From Friday, November 9, through Sunday, November 11, there will be an exhibition in the Memorial Room of Harvard's Memorial Church of color etchings by British artist James Alphege Brewer showing scenes from Belgium and Northern France—cathedrals, churches, and town buildings damaged or destroyed during World War I. In both the United States and Great Britain, these etchings were proudly hung on parlor walls in solidarity with the Allied cause and as a remembrance of the devastating cultural losses inflicted by the onslaught of war.

The exhibit can be viewed during the following times, coinciding with the events of the memorial weekend.

Friday, November 9: 9am-noon
Saturday, November 10: 8am-7:30pm
Sunday, November 11: 1-4pm

For more information about the events during the memorial weekend at Harvard's Memorial Church, visit the 'External Link' below.

Print Club of Rochester and Rochester Contemporary Art Center present "Under Pressure: Redefining the Multiple"
Opening reception Oct. 5, 6-9PM

Featuring prints by Kathryn Polk, Bob Erickson, Joseph Scheer and Pamela Drix

Under Pressure: Redefining the Multiple returns for the third year as a collaboration between Rochester Contemporary Art Center and The Print Club of Rochester. Under Pressure 2018 includes national, regional, and international artists and reflects a paradigm shift in how prints are considered; and the expansion of the definition of print media.

ABOUT THE ARTISTS
Pamela Drix (Buffalo, NY) received her B.A. in printmaking from Kalamazoo College and an M.A. in Art from SUNY Oswego, and an MFA from Lesley University College of Art and Design Her teaching experience also includes workshops held at Elmira College, SUNY Brockport, Hartwick College, Cornell University, and Cape Cod Community College. Drix is a founding member of The Ink Shop and served on its Board of Directors for over 10 years. She has exhibited her work internationally, including Germany, Ireland, and Japan. Her multi-media artwork addresses the social, cultural, and historical complexity of historic sites and places.

Bob Erickson (Piseco, NY) received his B.F.A. from The University of Wisconsin Oshkosh and an M.F.A. from the Illinois State University in Normal, IL. His work is included in the permanent collections of the Janet Turner Print Collection and Gallery, University of California-Chico, the Sheldon Memorial Art Gallery, the Mesa Contemporary Arts Museum, the Krannert Art Museum, and the Ballinglen Arts Foundation in Ireland. He has exhibited his artwork throughout the U.S. and internationally in China, South Korea, Ireland. His work explores his fascination with northern environments using both digital and traditional printmaking techniques to evoke fragile yet enduring moments.

Kathryn Polk (Tucson, AZ) studied at the Memphis Art Academy and The University of Memphis. Polk lives and works in Tucson, Arizona where she is the co-owner of L VIS Press, a lithography print studio. She teaches lithography workshops that promote non-toxic printmaking. She has exhibited widely and her work is included in many collections around the world including in China, New Zealand, Korea, Wales, France, and Argentina as well as museums throughout the United States. Polk works mainly in stone lithography and her prints depict personal narratives and often reference the past, the present and humorous visual memories through the eyes of the women in her family.

Joseph Scheer (Heidelberg, Germany) received an M.F.A from the University of New Mexico. He is a Professor of Print Media, and Co-Director/Founder of the Institute for Electronic Arts at the School of Art and Design, Alfred University, Alfred, NY. He has recently been elected Vice President of the International Academic Printmaking Alliance (IAPA) and has served as a panelist for the Fulbright Scholar Program for Mexico and Central America. His work is in numerous international collections and has been exhibited at The Brooklyn Museum of Art in Brooklyn, NY, the National Museum of China in Beijing, The National Museum of Sweden in Stockholm, The Field Museum in Chicago, IL, among many others. His current work, which spans print media, video, and web based projects, uses technology to re-examine nature.