"Looking for the Longitude" was published as a sequence over 12 days to coincide with the anniversary of the Hogarth Act, culminating on 25 June. Looking for “the Longitude” takes us on an interactive exploration of the ‘Longitude Problem’, drawing in contributions from experts in the field as it grows. Locating a detail from the final plate of Hogarth’s A Rake’s Progress as its starting point, the article will unfold over subsequent weeks to include a range of connected images and objects, including a Twitter tour of associated places and sites.

Following an account of the historical and social contexts of Revolutionary
printmaking, the author analyses over 50 works, incorporating scenes such as
street singers and fairground performers, unsanctioned Revolutionary events,
and the representation of Revolutionary characters in hell. Through analysing
these depictions as an ensemble, focusing on style, vocabulary, and metaphor,
Claire Trévien shows how prints were a potent vehicle for capturing and
communicating partisan messages across the political spectrum. In spite of the
intervening centuries, these prints still retain the power to evoke the
Revolution like no other source material.

This study analyzes U.S. Latino graphic art as participatory practices that shaped collective identity formation. Using archival research, oral history, and visual analysis, I chart the heterogeneous use of collaborative silkscreen over a forty-year period. My project creates an alternative panorama of printmaking and its contributions to latinidad within the specific contexts of Austin, Philadelphia, and San Francisco through the discussion of three graphic objects: La Raza Silkscreen Center’s poster of political prisoner Lolita Lebrón: ¡Viva Puerto Rico Libre! (1975), Taller Puertorriqueño’s poster of Puerto Rico’s official anthem La Borinqueña (c. 1975), and Serie Project’s pro-immigrant print Coming of Age (Transformations) (2008). I argue that workshop production is central to the pan-ethnic formation of U.S. Latinos, and furthermore that artists constitute Latina/o identities from excluded subjectivities: the political prisoner, the colonial subject, and the undocumented. Through a focus on the social lives of printed objects, I explore print culture’s ability to generate counterpublics, alternative political communities, and subjectivities that resist exclusion.

This article and checklist present the contents of the Spencer Album of Marcantonio Raimondi prints, long considered to be lost. By examining its composition and tracing its provenance from the Spencer collection at Althorp House to the John Rylands Library, Manchester, we offer new insight into how attitudes toward Marcantonio Raimondi’s work evolved during the eighteenth and nineteenth centuries, particularly in Great Britain. Our article also explores Victorian collecting practices and the importance of the graphic arts for Mrs Rylands vision for the Library to be dedicated to her late husband’s memory.

This dissertation is the first book-length study to bridge American and Native American art histories and Native studies. To do so, it develops methods of image biography, or following a particular image through space and time. The image in question begins as Karl Bodmer’s watercolor portrait of a Numak'aki [Mandan] Benók Óhate [buffalo bull society] leader, later titled "Mandan Buffalo Dancer" (1834). Starting from its creation point in Indian Territory, the narrative subsequently tracks "Mandan Buffalo Dancer" in and out of various historical and cultural contexts, forms, and genres across the nineteenth and twentieth centuries, in both Native American and non-Native settings.
Tracing how this story’s various agents utilized print (broadly construed as processes of technological image reproduction), I argue that nineteenth-century systems of racial oppression, based on visual criteria of difference, emerged in part through the very mechanics by which print operates. These mechanics underwrote not only a system of racial notation—the very language of “stereotype,” “cliché,” and “racial typing” belie their sourcing in print technologies—but also a larger, wide-ranging system of knowledge reproduction and distribution that facilitated the containment of Native peoples under the logics of Manifest Destiny. Simultaneously, Native American communities employed print (or auratic cultural practices that reproduce social memory) to promote the continuation of Native societies. These two long histories of print fed the rise of Native political activism in the 1960s and 1970s, as Native communities and artists worked to transform the historical effects of Manifest Destiny’s print enterprise.
Writing these histories in parallel, this project produces an infrastructural study of print image production and valuation. It develops a critical, historical, and cross-cultural language for North American print studies. Finally, in assembling its archive of paintings, prints, drawings, photographs, diaries and letters, advertisements, archaeological artifacts, architecture, journalism, ethnological reports, political cartoons, museum displays, literature, and Native language, this study boldly re-imagines its methodological contact zone, whereby Native histories challenge long-standing paradigms of American art history, visual and material culture take a significant place in Native studies, and Native art history interprets its objects through local languages, histories, and cosmologies.

Printed artworks were often ephemeral, but in the early modern period, exchanges between print and other media were common, setting off chain reactions of images and objects that endured. Paintings, sculpture, decorative arts, musical or scientific instruments, and armor exerted their own influence on prints, while prints provided artists with paper veneers, templates, and sources of adaptable images. This interdisciplinary collection unites scholars from different fields of art history who elucidate the agency of prints on more traditionally valued media, and vice-versa. Contributors explore how, after translations across traditional geographic, temporal, and material boundaries, original 'meanings' may be lost, reconfigured, or subverted in surprising ways, whether a Netherlandish motif graces a cabinet in Italy or the print itself, colored or copied, is integrated into the calligraphic scheme of a Persian royal album. These intertwined relationships yield unexpected yet surprisingly prevalent modes of perception. Andrea Mantegna's 1470/1500 Battle of the Sea Gods, an engraving that emulates the properties of sculpted relief, was in fact reborn as relief sculpture, and fabrics based on print designs were reapplied to prints, returning color and tactility to the very objects from which the derived. Together, the essays in this volume witness a methodological shift in the study of print, from examining the printed image as an index of an absent invention in another medium - a painting, sculpture, or drawing - to considering its role as a generative, active agent driving modes of invention and perception far beyond the locus of its production.

Over the course of the twentieth century, numerous artists and theorists sought to challenge the historical bias toward vision in Western culture by reclaiming touch as a key perceptual modality. At the Bauhaus, a revived emphasis on haptic perception became a fundamental component of the school’s philosophy and curriculum. Of the artists and educators associated with the school, Josef and Anni Albers were among the most committed proponents of touch. In some of their works on paper, they exploited the inseparability of visual and haptic perception: Josef attempted to emulate kinaesthetic experience in a series of photo-collage portraits; he thematised touch in several cork and wood relief prints; he and Anni replaced visually perceptible forms with haptically perceptible designs in their inkless intaglio prints; and she attempted to simulate the haptic manipulation of knots through vision in a number of drawings and prints. This paper considers the interplay of vision and touch in these works in relation to both artists’ larger ambition – reflected in their teaching and theoretical writing – of sharpening what they saw to be a deteriorating sense of touch in modern society. The multi-faceted notion of haptic perception in cognitive psychology is defined and applied to these artworks, and the central role of touch in Josef’s teaching and Anni’s theoretical writing is examined in the context of their pioneering Bauhaus colleagues Johannes Itten, László Moholy-Nagy, and Otti Berger.