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2023

Indigenous Australian Printmaking

October 4, 2023 · 12:00 PM ET · Online

Presented by the Association of Print Scholars

Title frame from the recording of “Indigenous Australian Printmaking”

Watch the recording

Join us for a conversation with Jessyca Hutchens and Brett Nannup on the state of contemporary Indigenous Australian printmaking, moderated by Dr. Rachel Skokowski (Janet Turner Print Museum).

Jessyca Hutchens is an art historian, a Palyku woman, and upcoming fellow at the Kluge-Ruhe Aboriginal Art Collection. In 2022, she curated "Inhabiting the Trace," a selection of works by Indigenous printmakers at the Lawrence Wilson Art Gallery at the University of Western Australia.

Brett Nannup is a Noongar printmaker based in Perth, Australia. His work can be found in museum collections including the National Gallery of Australia, the New York Public Library, and the Harvard Art Museums.

  1. 2023Online

    The Circulating Lifeblood of Ideas; Leo Steinberg’s Library of Prints

    October 19, 2023 · 12:00 PM ET

    Join Holly Borham, Associate Curator of Prints, Drawings, and European Art at the Blanton Museum of Art, for an exploration of Leo Steinberg’s print collection and how it informed the scholarship of one of the twentieth century’s most influential art historians. Beginning in the early 1960s, with only the meager budget of a part-time art history professor, Leo Steinberg (1920–2011) amassed a collection of more than 3,500 prints that spans the medium’s five-hundred-year history in the West. Akin to books on a shelf, Steinberg’s prints formed a visual library that shaped his scholarship in fundamental ways. His collection, incorporating the work of artists both famous and obscure, illuminates his claim that in the era before photography, prints functioned as the “circulating lifeblood of ideas.” Through close observation of his own prints, Steinberg developed some of his most innovative arguments about the instructive richness of the copy and the expressive potential of body language, while also challenging reigning orthodoxies about modernism.

  2. Title frame from the recording of “Print Study Day Presented by The Metropolitan Museum of Art: Technical Innovation and Sociopolitical Impact in the 19th and 20th Centuries”

    2023OnlineRecording

    Print Study Day Presented by The Metropolitan Museum of Art: Technical Innovation and Sociopolitical Impact in the 19th and 20th Centuries

    October 18, 2023 · 12:00 PM ET

    Print Study Day is organized annually by the Department of Drawings and Prints at The Metropolitan Museum of Art, New York, in association with the IFPDA. This year’s speakers focus on specific technical developments in the history of printmaking, presenting new research on these innovations and the social contexts in which they emerged. Following the three talks, Nadine Orenstein, Drue Heinz Curator in Charge, Department of Drawings and Prints, The Metropolitan Museum of Art, will moderate a discussion and Q&A. Program: Dox Thrash, Carborundum Printmaking, and the Politics of Representation Allison Rudnick, Associate Curator, The Metropolitan Museum of Art, New York “Any manner of printing, whether industrial or artistic”: Behind the Technical Ambitions of Le Corbeau (1875) by Mallarmé and Manet Sarah Mirseyedi, Andrew W. Mellon Curatorial Fellow in Prints, Drawings, and Photographs, RISD Museum, Providence The Role of Reproductions in the Development of a Japonisme Aesthetic Rebecca Capua, Conservator, Sherman Fairchild Center for Works on Paper and Photograph Conservation, The Metropolitan Museum of Art, New York Q&A moderated by Nadine Orenstein, Drue Heinz Curator in Charge, Department of Drawings and Prints, The Metropolitan Museum of Art, New York Allison Rudnick is Associate Curator in the Department of Drawings and Prints at the Metropolitan Museum of Art, where she oversees the visual culture and ephemera collections. Her exhibitions include Art for the Millions: American Culture and Politics in the 1930s, on view at The Met through December 10th, 2023. Prior to joining The Met, she worked at the printshop and publisher Harlan & Weaver, and she has published and presented extensively on printmaking practices and visual culture. Sarah Mirseyedi is currently the Andrew W. Mellon Curatorial Fellow in Prints, Drawings, and Photographs at the RISD Museum in Providence, Rhode Island. She completed her doctorate at Harvard University in 2022, with a dissertation on Edouard Manet and his engagement with the mass image industry throughout his career. She holds an M.A. from the Williams College Graduate Program in the History of Art, and a B.A. in art history from Hollins University. Rebecca Capua is Conservator in the Sherman Fairchild Center for Works on Paper and Photograph Conservation at the Metropolitan Museum of Art, which she joined in 2009. She graduated from the NYU-IFA Conservation Center. Her research has focused on printmaking within the circles of Japonisme in the United States and Europe, as well as on philosophical and historical issues surrounding facsimile display in museums.

  3. Title frame from the recording of ““A Library of Decorative Arts”: Architecture and Ornament Prints from the Decloux Collection at Cooper Hewitt, Smithsonian Design Museum.”

    2023OnlineRecording

    “A Library of Decorative Arts”: Architecture and Ornament Prints from the Decloux Collection at Cooper Hewitt, Smithsonian Design Museum.

    October 17, 2023 · 12:00 PM ET

    Cooper Hewitt, Smithsonian Design Museum is home to one of the premier collections of European architecture and ornament prints in North America. Included in these holdings are a group of 332 rare bound albums containing more than 13,000 prints acquired in 1921 from the Parisian decorator Jean Léon Decloux (1840–1929). The Decloux collection’s primary strength is in prints executed in France during the long 18th century, when there was an extensive market for serial prints or pattern books translating innovations in architecture, decoration, and interior design into striking works of graphic art. Many of the most influential artists, printmakers and publishers of this period are represented in the collection, including Anne Allen, Jean Bérain, Jean-François Blondel, François Boucher, François de Cuvilliés, Jean-Charles Delafosse, Gabriel Huquier, Richard de Lalonde, Daniel Marot, Juste-Aurèle Meissonnier, Gilles-Marie Oppenord, Jean Le Pautre, Jean-Baptiste Pillement, and Jean Antoine Watteau among others. For 100 years, the Decloux collection remained a resource available to students and scholars only for in-person study and inspiration. Then, between 2021–23, researchers at Cooper Hewitt catalogued over 5,000 of the prints and published this work online alongside high-resolution images, making a large portion of the collection searchable for the first time. In this panel, Caitlin Condell will offer an introduction to the rich and unique collection, providing background on the history of the acquisition and highlighting some of the most significant etchings and engravings. Then, Rachel Jacobs and Elizabeth Saari Browne will each speak further about works that are newly discovered to have been printed and/or published by women whose names have remained on the periphery of the plate and of art history, their work overshadowed by more familiar designers and by familial patriarchs. The printers and publishers highlighted will include two women within the Chereau dynasty of 18th-century print publishers—Marguerite Caillou Chereau and Geneviève-Marguerite Chereau—and the engravers Marie Michelle Blondel and Marie F. Verard Lattré. Elizabeth Saari Browne is Assistant Professor of Art History at the University of Georgia. Her research focuses on eighteenth- and nineteenth-century European art and architecture, and she has published articles on terracotta, rocaille ornament, and sculptural connoisseurship in exhibition catalogues and journals including Art History, Burlington Magazine, the French Porcelain Society Journal, and the Journal of the American Ceramic Circle among others. She is currently preparing a book manuscript titled Modeling Sculpture: Clodion and the Aesthetics of Terracotta in the Eighteenth Century. She was previously Remote Senior Research Cataloguer for the Decloux Collection at Cooper Hewitt, Smithsonian Design Museum. Caitlin Condell is Associate Curator and Head of the Department of Drawings, Prints, and Graphic Design at Cooper Hewitt, Smithsonian Design Museum, where she oversees a collection of nearly 147,000 works on paper dating from the 14th century to the present. She has organized and contributed to numerous exhibitions and publications including Underground Modernist: E. McKnight Kauffer (2021-22), After Icebergs (2019-20), Nature—Cooper Hewitt Design Triennial (2019-20), Fragile Beasts (2016-17), and How Posters Work (2015) at Cooper Hewitt, and Making Room: The Space Between Two and Three Dimensions (2012-13) at the Massachusetts Museum of Contemporary Art (MASS MoCA). She worked previously at the Museum of Modern Art (MoMA) in the Department of Prints & Illustrated Books. Rachel Jacobs is an independent curator and part-time remote Curator of Books & Manuscripts at Waddesdon Manor (Rothschild Collections), National Trust, England. At Waddesdon Manor she has curated several exhibitions of illustrated books and prints including Glorious Years: French Calendars from Louis XIV to the Revolution (2017-18), Royal Spectacle: Ceremonial and Festivities at the Court of France (2014), and Playing, Learning, Flirting: Printed Board Games from 18th-Century France (2012). She was previously Remote Senior Research Cataloguer in the Department of Drawings, Prints, and Graphic Design at Cooper Hewitt, Smithsonian Design Museum. NB: Join Caitlin Condell, Associate Curator & Head of Drawings, Prints & Graphic Design Department on TUESDAY OCTOBER 24th at 3:00 PM for a private viewing of the Drue Heinz Study Center for Drawings and Prints. This is a companion program to the webinar “A Library of Decorative Arts”: Architecture and Ornament Prints from the Decloux Collection at Cooper Hewitt, Smithsonian Design Museum. Presented by Print Council of America.