A new chronology of group exhibitions by members of Atelier 17. The list begins with the workshop's earliest years in Paris (1927/28-1939) and continues through its move to New York City (1940-1955) and return to Paris (1950-1988). It also incorporates independently coordinated museum and gallery exhibitions through the present.

Bringing together over 50 unique medieval manuscripts and early print editions from the 8th to 16th centuries, Discovering Literature: Medieval presents a new way to explore some of the earliest works and most influential figures of English literature. From the first complete translation of the Bible in the English language to the first work authored by a woman in English, the website showcases many rarities and ‘firsts’ in the history of English literature.

Featuring extracts of medieval drama, epic poetry, dream visions and riddles alongside over 20 articles exploring themes such as gender, faith and heroism written by poets, academics and writers including Simon Armitage, Hetta Howes and David Crystal, Discovering Literature: Medieval offers unprecedented access to the British Library’s collections and provides contemporary scholarly insight for young people and learners across the world.

Discovering Literature is a free website aimed at A-Level students, teachers and lifelong learners, which provides unprecedented access to the Library’s literary and historical treasures and has received over 7 million unique visitors since launching in 2014. The British Library has already published collections relating to Shakespeare and the Renaissance, the Romantic and Victorian periods, and 20th century literature and drama, and will continue to add to the site until it covers the whole rich and diverse backbone of English literature, from The Canterbury Tales to The Buddha of Suburbia.

The project has been generously supported by Dr Naim Dangoor CBE The Exilarch’s Foundation since its inception, along with the British Library Trust and the British Library Patrons. Further development of the project is being supported by the Garfield Weston Foundation, Mark Pigott KBE KStJ, Evalyn Lee, Luci Baines Johnson and Ian Turpin, The American Trust for the British Library, The John S Cohen Foundation, The Andor Trust, and Allan and Nesta Ferguson Charitable Trust.

In 1559 and 1561, the Antwerp print publisher Hieronymus Cock issued an unprecedented series of landscape prints known today simply as the Small Landscapes. The forty-four prints included in the series offer views of the local countryside surrounding Antwerp in simple, unembellished compositions. At a time when vast panoramic and allegorical landscapes dominated the art market, the Small Landscapes represent a striking innovation. This book offers the first comprehensive analysis of the significance of the Small Landscapes in early modern print culture. It charts a diachronic history of the series over the century it was in active circulation, from 1559 to the middle of the seventeenth century. Adopting the lifespan of the prints as the framework of the study, Alexandra Onuf analyzes the successive states of the plates and the changes to the series as a whole in order to reveal the shifting artistic and contextual valences of the images at their different moments and places of publication. This unique case study allows for a new perspective on the trajectory of print publishing over the course of the late sixteenth and early seventeenth centuries across multiple publishing houses, highlighting the seminal importance of print publishers in the creation and dissemination of visual imagery and cultural ideas. Looking at other visual materials and contemporary sources – including texts as diverse as humanist poetry and plays, agricultural manuals, polemical broadsheets, and peasant songs – Onuf situates the Small Landscapes within the larger cultural discourse on rural land and the meaning of the local in the turbulent early modern Netherlands. The study focuses new attention on the active and reciprocal intersections between printed pictures and broader cultural, economic and political phenomena.

This essay explores aspects of the biographies and oeuvres of Mattheus Greuter and Philippe Thomassin to undertake an inflected case study of Catholic Counter-Reformation cross-cultural sublimation of the violent physical suffering of actual martyrdom (also called red martyrdom, bloody martyrdom, or martyrdom unto blood) into nonviolent spiritual martyrdom (or white martyrdom, lifelong martyrdom, martyrdom by desire, or martyrdom in intention) by means of somato-sensorial practices of image-making and viewing. Nonviolent spiritual martyrdom was neither new nor exclusive to the Catholic Counter Reformation. Rather, white martyrdom was rooted in the Gospels, expounded in patristic writings, and boasted a robust late medieval heritage. In plotting the paradox of early modern martyrdom against the contemporaneous culture of the convert(ing) imprint, I attend to how the incised line of northern-trained engravers, prized in Italy by 1600 for technical virtuosity and curvilinear aesthetic qualities, acquired new symbolic meanings in discourse surrounding conversion and sensual suffering internal to Catholicism following the Council of Trent (1545–63).

Like caricature itself, this site has rather odd and complicated orgins. From 1972 to 1974, I was living in West Berlin, Germany and working on a dissertation on Jane Austen under the direction of Earl Wasserman at Johns Hopkins University. I had just sent him the first chapter of that dissertation, when I received a letter from the English department informing me that Professor Wasserman had passed away very suddenly and that my dissertation would now be supervised by Professor Ronald Paulson.

I had never taken a course from Professor Paulson while I was on campus at Hopkins, so I began to read some of his work to acquaint myself with his perspective. I found myself fascinated with his books on Hogarth and Rowlandson and with the whole new world of 18th century caricature that had now been opened up to me.

After finishing my dissertation, I returned to the notes I had made about Rowlandson and wrote my first article on caricature: "Distance and Humor: The Art of Thomas Rowlandson" which Professor Paulson was kind enough to regard as "necessary corrective" to his point of view.

As my knowledge and interest in caricature expanded beyond Rowlandson, however, I began to realize that caricature is not a simple or monolithic genre, and that the definition which used Rowlandson or Bunbury as its primary representatives would be very different from one that centered upon Ghezzi or Beerbohm. This led to my second essay called "Four Modes of Caricature: Reflections upon a Genre" which was published after a considerable delay due to New York City funding problems in the Bulletin for Research in the Humanities.

But, alas, it was a difficult time for academics like myself as well as for academic publications, and by the time my second article was published, I had been forced to leave academics to support my family. I became a technical writer and later a Supervisor in the AT&T Labs (formerly Bell Labs) Technical Publications group at AT&T. And it was there in 1992/93 that a member of my group introduced me to a beta version of Mosaic, the prototype for the first web browser. It was a Eureka moment. And it immediately re-set my career in the direction of online publication and web site design and development. Within a few of years, I was no longer managing writers, but coders, graphic artists, and multimedia experts, and my concern was no longer with rhetoric and organization but HTML, code efficiency, and cross-browser compatibility.

Now that I am retired from AT&T, I am returning to my interest in caricature, but using the skills and knowledge I acquired in my work life to reach what I hope will be a more general audience. So the site you see before you is solely designed, produced, and written by me. Its mistakes, limitations, and omissions are likewise my responsibility. But in the spirit of Bell Labs, I hope that it inspires and facilitates further research on an amazing and under-rated artist, James Gillray.

This anthology, the first of its kind, presents thirty-two texts on contemporary prints and printmaking written from the mid-1980s to the present by authors from across the world. The texts range from history and criticism to creative writing. More than a general survey, they provide a critical topography of artistic printmaking during the period. The book is directed at an audience of international stakeholders in the field of contemporary print, printmaking and printmedia, including art students, practising artists, museum curators, critics, educationalists, print publishers and print scholars. It expands debate in the field and will act as a starting point for further research.

Ruth Pelzer-Montada is an artist and Lecturer in Contemporary Art and Visual Culture at Edinburgh College of Art, The University of Edinburgh. (*Forthcoming June 2018)

An exhibition of California landscapes by Bay Area printmaker Karen Gallagher Iverson.

Hovering at the intersection of print and drawing these emotive landscapes play with visual perception, place, time and fictitious vantages.

Throughout history, visual artists have embraced the representational format - chief among them landscape - to illuminate the shifting contemporaneous viewpoints, philosophies, and discoveries of the time. The styles and visual perspectives of each period are examples of artists emboldening what may appear a simple depictive art form with the fresh thoughts of humanity. Gallagher Iverson approaches the California landscape in 'Impressions by Land' with a similar mission.

Pushing against the boundaries of printmaking and the act of drawing, the vast system of resists, screens and hidden reversals inherent in printmaking intersect with drawing materials and methods . A harmony between digital technologies, fabrication machinery, wax medium & traditional colored pastel is found in the creation of these visceral scenes.

On view at Manna Gallery in Oakland, California from January 5th through February 10th with an opening reception January 13th.

The French academic painter Henri Regnault’s life and legacy straddles two eras. He practiced his art during the liberal regime of the Second Empire, but died during the Franco-Prussian war, to have his history written during the Third Republic’s “moral order”. Written during the “law and order” climate of the Trump Administration, this review questions the effectiveness and relevance of the strategies used to write this account of Regnault’s life.

Dance and drawing are intimately linked to the gesture that performs them. The dancing body creates a figure in space and leaves an impact on site, while the action of the artist sets a point into motion and captures an ephemeral event, which is reproduced in graphic or visual form. Throughout the 20th century, the performing and visual arts thus converged on many occasions. While visual artists investigated the embodied and energetic value of form, dancers and choreographers experimented with the interfaces between sign and action, between notation and improvisation, between a spatial sense of self and an architectural configuration of movement. The hybridization of dance and drawing quickened from mid-century onward, as performance art introduced innovative practices and as borders between disciplines were worn thin, causing interdisciplinary forms to emerge. The body of the artist—whether a dancer or a visual artist—is thus shared by these practices and has become the instrument of their simultaneous realization. Drawing has indeed collided with dance in opening up to three-dimensional space, incorporating surfaces (floor, ceiling, walls) as well as volumes into its process.

This correspondence is the focus of this volume, a collection of original essays and interviews in which the accounts of theoreticians and practitioners echo each other. It aims to evaluate and discuss the specific interaction of the two media and how their practices have diversified since 1962, namely since the first public performance of the Judson Dance Theater in New York.

Authors and contributors include Cindy Van Acker, Gabriele Brandstetter, Sarah Burkhalter, Pauline Chevalier, Mark Franko, Katrin Gattinger, Julie Enckell Julliard, Anne Teresa De Keersmaeker, Magali Le Mens, Laetitia Legros, Anna Lovatt, Nolwenn Mégard, Robert Morris, OpenEndedGroup, Nadia Perucic, Catherine Quéloz, Yvonne Rainer, Robin Rhode, Susan Rosenberg, Laurence Schmidlin, Katia Schneller, Alexander Schwan, Alan Storey, and Catherine Wood.

The book is part of the Documents series, co-published with Les presses du réel and dedicated to critical writing.

Gift exchanges are among the most intimate ways that artists participate in print collecting. Personalized with the recipient’s name and other inscriptions, gifted pieces document friendships and professional camaraderie while providing insight into the social complexities of viewership. Three etchings presented by B. J. O. Nordfeldt (1878–1955) to fellow etcher Bertha E. Jaques (1863–1941), now part of the permanent collection of the Roswell Museum and Art Center in New Mexico, form an intriguing example. Embellished with notes and informal drawings, these impressions recall aesthetic trends associated with the Etching Revival while underscoring the often private nature of print consumption.