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2021

Breaking Ground, Part 2: Pattern and Print with Joyce Kozloff and Judith Solodkin, SOLO Impression

October 29, 2021 · 12:00 PM ET · Online

Presented by International Print Center New York

Title frame from the recording of “Breaking Ground, Part 2: Pattern and Print with Joyce Kozloff and Judith Solodkin, SOLO Impression”

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Speakers

  • Judith Solodkin — SOLO Impression
  • Joyce Kozloff — Artist
  • Judy Hecker — Moderator — Director, IPCNY

Organized by International Print Center New York (IPCNY), this two-part series engages artists from IPCNY’s exhibition Present Tense: New Prints, 2000-2005 and explores their defiant embrace of forms traditionally regarded as craft, ornament, and the feminine.

  1. Title frame from the recording of “Themes and Variations: Topics from Print Council of America — Art and the Pull of Print; A Conversation”

    2021OnlineRecording

    Themes and Variations: Topics from Print Council of America — Art and the Pull of Print; A Conversation

    October 28, 2021 · 12:00 PM ET

    Jennifer L. Roberts, Glenn Adamson, Andrew Raftery and Shelley R. Langdale

    How might we more fully consider the physical operations of printmaking as contributing to the conceptual, metaphorical, and visceral implications of prints as works of art? Jennifer Roberts provides an overview of her recent A.W. Mellon lectures *Contact: Art and the Pull of Print*, and then discusses, with Raftery and Adamson, the ideas set forth in the lectures. What would it mean to consider contact rather than reproduction as the essence of print? To argue that printmaking drives, rather than derives from, innovation in other media? To imagine that the processes of printmaking, its nuanced way of facing up to the factual, encourage a way of seeing the world that is urgently needed today? **Jennifer L. Roberts** is the Elizabeth Cary Agassiz Professor of the Humanities at Harvard University. She is a scholar of American and British art from the 18th century to the present day. Her work approaches the history of art through its intersections with print history, material studies, the theory and practice of making, and the history and philosophy of science. **Glenn Adamson** is a curator and writer who works at the intersection of craft, design history and contemporary art. He has previously been Director of the Museum of Arts and Design; Head of Research at the V & A; and Curator at the Chipstone Foundation in Milwaukee. His most recent book is *Craft: An American History*, published by Bloomsbury in 2021. **Andrew Raftery** is an artist specializing in both fictional and autobiographical narrative scenes of contemporary American life. Known for his paintings, burin engravings and drawings, Raftery has developed a particular interest in prints for their ubiquitous role in our world: on wallpaper, clothing, and functional objects. His artistic practice is heavily research-based as a curator and collector, and it is both personal and objective, a constant self-reflection informed by historical research on the democratization of mediums.

  2. Title frame from the recording of “Sybil and Cyril: Cutting Through Time with Jenny Uglow”

    2021OnlineRecording

    Sybil and Cyril: Cutting Through Time with Jenny Uglow

    October 27, 2021 · 12:00 PM ET

    Jenny Uglow, Jennifer Farrell and Gordon Samuel

    Join us for a conversation with author Jenny Uglow as she sheds new light on the dynamic artistic partnership of Cyril Power and Sybil Andrews. In 1922, Cyril Power, a 54 year old architect, left his family to work with the 24 year old Sybil Andrews. They would be together for 20 years. Both became famous for their dynamic, modernist linocuts, streamlined, full of movement and colour, summing up the hectic interwar years. Yet at the same time they looked back, to medieval myths and early music, to country ways disappearing from sight. *Sybil & Cyril* traces their struggles and triumphs, following them from Suffolk to London, from the New Forest to Vancouver Island. This is a world of Futurists, Surrealists and pioneering abstraction, but also of the buzz of the new, of machines and speed, shops and sport and dance, shining against the threat of depression and looming shadows of war. **Jenny Uglow** is a critic and award-winning biographer. She is particularly interested in the relation of word and image, and her books include studies of writers, artists and engravers, including William Hogarth, Thomas Bewick and Walter Crane. Her most recent book, *Edward Lear: A Life of Art and Nonsense*, won the Hawthornden Prize for 2018.

  3. Title frame from the recording of “Printmaking in the Expanded Field with Susan Tallman”

    2021OnlineRecording

    Printmaking in the Expanded Field with Susan Tallman

    October 26, 2021 · 12:00 PM ET

    Susan Tallman

    In her famous, problematic 1979 essay “Sculpture in the Expanded Field”, Rosalind Krauss claimed that postmodern art could no longer be categorized by materials (bronze and stone for sculpture, for instance), and instead was now organized “through the universe of terms that are felt to be in opposition within a cultural situation.” The binary terms she chose to form the fence posts of sculpture’s “expanded field” were architecture and landscape. “The postmodern space of painting,” she argued, “would … turn on the opposition uniqueness/reproducibility.” The fact that she frames the relationship between uniqueness and reproducibility as a binary opposition and as a problem reveals a critical blind spot. And yet she is largely right. For the past 50 years, the critical discussion about uniqueness and reproducibility in art has itself played out in part, because of its unparalleled economic heft. Prints have been largely ignored as objects of critical inquiry for obvious reasons: there is nothing transgressive about the powerless taking on attributes of the powerful (think of women wearing trousers versus men wearing dresses). This talk looks at a range of printed art that may or may not be identified by its maker as “prints”. These works raise intriguing questions about what it is we actually want from art and why. They may also supply unexpected answers. **Susan Tallman** is a writer, critic and art historian. She has written extensively on contemporary art, the history of prints, and other aspects of art and culture. A regular contributor to the *New York Review of Books* among other publications, she has authored and co-authored many books, most recently *No Plan At All: How the Danish Printshop of Niels Borch Jensen Redefined Artists’ Prints for the Contemporary World*. In 2011 she co-founded the journal *Art in Print*, and served as its Editor-in-Chief until its closure in 2019.