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DTSTART;TZID=America/New_York:20260204T173000
DTEND;TZID=America/New_York:20260204T190000
DTSTAMP:20260521T005900
CREATED:20251211T152614Z
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SUMMARY:DRAWINGS WEEK 2026 - Drawings in the Round: Perspectives on French and Belgian Drawings
DESCRIPTION:This panel brings together distinct perspectives on recent or upcoming projects considering French and Belgian drawing and drawing materials. Participants will reflect on how and where such projects originate\, and how the different players involved collaborate and complement each other’s work on and with the objects themselves. Each speaker gives a brief presentation of their project\, each of which offers a major intervention into some aspect of the field of French or Belgian drawings. These presentations are followed by a lively conversation. \nPanelists:\nShana Cooperstein\, Assistant Professor of Art History\, IE University\, Spain\nLaurel Garber\, Park Family Associate Curator of Prints and Drawings and the Philadelphia Art Museum\nHarriet Stratis\, Paper Conservator and Scholar \nModerator:\nEmmelyn Butterfield-Rosen\, Associate Professor at the Institute of Fine Arts\, New York University \n__ \nPanelist Bios: \nShana Cooperstein is Assistant Professor of Art History\, IE University\, Spain\, where she has taught sine 2023. A specialist of art of the long 19th century\, Cooperstein has a particular interest in the material practices of artistic production\, representational theory\, and the history of scientific imaging. Her book Drawing Pedagogy in Modern France: Habit’s Demise (Routledge\, 2025) examines schematization\, the education of the eye\, and other problems central to the history of art instruction in the modern era. \nLaurel Garber is the Park Family Associate Curator of Prints and Drawings and the Philadelphia Art Museum. Her recent exhibition projects in Philadelphia include Wanda Gág: Art for Life’s Sake\, Mary Cassatt at Work\, and Emma Amos: Color Odyssey. She received her PhD from Northwestern University and previously held curatorial fellowships and roles at the Art Institute of Chicago\,  J. Paul Getty Museum\, and the Clark Art Institute. She is working on the exhibition Léon Spilliaert: Lit from Within that will open at The Menil Collection in 2027 and at the Philadelphia Museum of Art in 2028. \nHarriet Stratis is a paper conservator and scholar with special expertise in the study and treatment of pastels. She served as Conservator of Prints and Drawings and Head of Paper Conservation at the Art Institute of Chicago from 1995 to 2013. She then assumed the role of Senior Research Conservator before retiring in 2017 and establishing her private consulting practice\, Stratis Fine Art Conservation LLC. Stratis has published and presented talks on the materials and techniques employed by numerous artists\, including Edgar Degas\, Mary Cassatt\, Paul Gauguin\, Odilon Redon\, and James McNeill Whistler. She has a BA in Art History and Visual Arts from Barnard College\, Columbia University\, and an MA in Art History and a Certificate in Conservation from the Institute of Fine Arts at New York University. \nModerator bio: \nEmmelyn Butterfield-Rosen is a specialist in nineteenth-century European art\, and Associate Professor at the Institute of Fine Arts. She is the author of Modern Art & the Remaking of Human Disposition (University of Chicago Press\, 2021)\, a study of gesture and body language in turn-of-the-century modern art. \n__ \nThis DRAWINGS WEEK 2026 event was organized by The Drawing Foundation in partnership with the Conservation Center of the Institute of Fine Arts\, New York University and in association with Master Drawings New York 2026.  \n                                \nImage: Nineteenth-century drawing materials including chalks and charcoals. Private Collection.
URL:https://thedrawingfoundation.org/event/drawings-week-2026-drawings-in-the-round-french/
LOCATION:Institute of Fine Arts\, New York University\, 1 East 78th Street\, New York\, NY\, 10075\, United States
CATEGORIES:Events,Recordings
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2025/12/Art-Materials-Chalks-and-Charcoals-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251106T173000
DTEND;TZID=America/New_York:20251106T193000
DTSTAMP:20260521T005900
CREATED:20250930T053818Z
LAST-MODIFIED:20260312T163127Z
UID:10000130-1762450200-1762457400@thedrawingfoundation.org
SUMMARY:ON DRAWINGS 2025 - Beyond Boundaries: Mapmaking
DESCRIPTION:Beyond Boundaries: Mapmaking\nPanel Discussion \nEven in the age of satellite images\, GPS\, and Google Maps\, mapping remains a drawn act—raising questions of orientation\, imagination\, and belonging. This program explores maps – their making\, their functions\, and their repurposing – focusing on mapmaking as a hand-drawn delineation of place and boundaries\, and how artists and scholars expand on mapmaking traditions to suggest new ways of seeing and placing ourselves. From early hand-drawn maps to the tools and techniques that render mapmaking possible\, from the juxtaposition of distinct histories of movement to the creation of new worlds\, this panel brings together speakers with vastly different perspectives to reflect on the history of drawing maps and consider how mapping—past and present—shapes our understanding of place and invites us to draw it anew. \nSpeaker Bios \nEmily Bowe is the Assistant Director of the Leventhal Map & Education Center\, where she oversees the Center’s public outreach and operations. Recently\, she served as co-curator of the Center’s 2024-25 exhibition Processing Place: How Computers and Cartographers Redrew our World\, which explored the early history of computer cartography in Massachusetts. She brings a background as a designer\, cartographer\, and researcher with interests in maps\, urban infrastructure\, and community data practices to her work. Her academic training was at the Parsons School of Design at The New School and the University of North Carolina at Chapel Hill as a Morehead-Cain Scholar. \nJosh Dorman is an artist who recontextualizes antique images–including published maps\, engravings\, and diagrams–within fantastical drawn and painted worlds. Dorman’s work explores mythical landscapes\, notions of collapsed time\, and ideas of altered boundaries and states through multi-layered imagery. He probes unfamiliar\, obsolete\, and cryptic systems. Born in 1966 in Baltimore\, Dorman graduated from Skidmore College in 1988 and received his MFA from Queens College in 1992. He lives and works in New York City\, where he teaches drawing at The Spence School. His work is represented by Ryan Lee Gallery in New York and Billis Williams in Los Angeles\, and is in the permanent collections of the Addison Gallery of American Art at Phillips Academy\, MA; Butler Institute of American Art\, OH; International Collage Center\, PA; Memorial Sloan Kettering Cancer Center\, NY; Memory Bridge Foundation\, IL; Minneapolis Institute of Art\, MN; Naples Museum\, FL; Springfield Art Museum\, MO; Tang Teaching Museum and Art Gallery at Skidmore College\, NY.  \nNoah Goldrach is a specialist in the Books and Manuscripts department at Sotheby’s\, New York. With over a decade of experience cataloging and researching rare and antiquarian books\, he has dealt extensively with both printed and manuscript maps. He was previously an appraiser in the Rare Books department at Doyle Auctions\, and before that worked for Daniel Crouch Rare Books\, one of the world’s leading specialist dealers in antiquarian maps and atlases. Throughout his career\, Noah has worked with many significant hand-drawn maps\, ranging from the archive of a New York City surveyor’s firm\, comprising hundreds of 18th- and 19th-century maps and plans\, to an important 1531 portolan chart of the world by Vesconte Maggiolo. \nT.K. McClintock is the founding Director of Studio TKM and remains Consulting Conservator to Studio TKM Associates\, a facility for the conservation of fine art and historic works on paper that serves institutions\, government and non-profit agencies and private individuals in North America\, Europe and Asia. He has lectured and published on several areas of focus including cartographic and architectural records\, historic wallcoverings\, and the intersection of Asian and Western conservation practice. He was trained at the Cooperstown Graduate Program in Conservation and is a Fellow of the American Institute for Conservation\, the International Institute for Conservation\, and the American Academy in Rome. \nOrganized & moderated by Lisa Conte\, Assistant Professor of Paper Conservation and Co-Chair\, Conservation Center\, Institute of Fine Arts\, New York University\, & Daniella Berman\, Ph.D.\, Director of Programs and Partnerships\, The Drawing Foundation \n___ \nThis event was organized by The Drawing Foundation in partnership with Conservation Center\, NYU IFA as part of On Drawings 2025. \n  \n           \nImage: Detail of Urbano Monte’s Manuscript Wall Map of the World (Composite map of Tavola 1-60)\, 1587\, 40 x 51 cm. David Rumsey Historical Map Collection\, 10130.087
URL:https://thedrawingfoundation.org/event/on-drawings-2025-program-ifa-cc-beyond-boundaries/
LOCATION:Institute of Fine Arts\, New York University\, 1 East 78th Street\, New York\, NY\, 10075\, United States
CATEGORIES:Events,Recordings
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2025/09/Screenshot-2025-09-29-at-5.50.14-PM-scaled.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250203T133000
DTEND;TZID=America/New_York:20250203T150000
DTSTAMP:20260521T005900
CREATED:20241218T062309Z
LAST-MODIFIED:20250302T045737Z
UID:10000072-1738589400-1738594800@thedrawingfoundation.org
SUMMARY:Drawings in the Round: Perspectives on Italian Drawings
DESCRIPTION:  \nWhat goes into preparing for a major exhibition or publication on a singular collection of drawings? This panel brings together three distinct perspectives – those of a scholar\, a curator\, and a conservator – on three recent or upcoming projects considering Italian drawing collections. Participants will reflect on how and where such projects originate\, and how the different players involved collaborate and complement each other’s work on and with the objects themselves. Each speaker will offer a 10-15 minute presentation of their project\, each of which offers a major intervention into some aspect of the field of Italian drawings. The presentations will be followed by a lively conversation. \n\n\n\nPanelists:\nAshleigh Brown\, Paper and Photographic Conservator at the Royal Collection Trust\, Windsor\nPresenting on the conservation and preparation for Drawing the Italian Renaissance\, The King’s Gallery\, Buckingham Palace\, October 31\, 2024-March 8\, 2025. \nClaire Van Cleave\, Independent Scholar\nPresenting on her recent publication\, The Farnese Drawings Collection \nFreyda Spira\, Robert L. Solley Curator of Prints and Drawings\, Yale University Art Gallery\nPresenting on an upcoming exhibition tentatively titled Mythmaking in Italian 19th century Drawings that will open in the Fall of 2027. \nModerated by:\nMargaret Holben Ellis\, Eugene Thaw Professor Emerita of Paper Conservation\, NYU \n__ \nAshleigh Brown is a Paper and Photographic Conservator at the Royal Collection Trust\, Windsor. Prior to joining the Royal Collection\, she was self-employed for more than five years\, and co-founded The Conservators Ltd. based in London. Ashleigh is originally from Washington DC\, and attributes her passion for Renaissance art to her early exposure to museums in the DC area. \nClaire Van Cleave is an expert on Renaissance art with a specialization in Italian drawings. After graduating from Georgetown University\, she completed her M.A. at the Courtauld Institute of Art in London and a D.Phil at Christ Church\, Oxford\, where the topic of her dissertation was the drawings of Luca Signorelli. Major publications include Master Drawings of the Renaissance for the British Museum and the Reunion des Musées Nationaux\, and\, as co-author\, Italian Master Drawings from the Princeton University Art Museum. She also curated the drawings galleries for the Luca Signorelli exhibition in Perugia in 2012. Claire is a native Chicagoan\, but has lived in the United Kingdom for nearly forty years. Although she is often found in Naples or Rome\, her home is in the English county of Lincolnshire. \nFreyda Spira was appointed the Robert L. Solley Curator of Prints and Drawings at the Yale University Art Gallery in 2021. In this role\, she oversees a collection of over 40\,000 prints and drawings created around the globe between the 15th and 21st centuries. Before going to Yale\, she held various roles at the Metropolitan Museum of Art over the course of eighteen years. Freyda’s final position at the Met was as the Associate Curator of Northern Renaissance and Baroque prints\, drawings\, and illustrated books. Freyda holds a B.A. from Barnard College\, an M.A. from Columbia University\, and a Ph.D. from the University of Pennsylvania. \nMargaret Holben Ellis has taught the conservation treatment of prints and drawings\, as well as technical connoisseurship for art historians. She has published and lectured on artists ranging from Raphael\, Dürer\, and Leonardo to Pollock\, Samaras\, Lichtenstein\, and Dubuffet. Her research on artists’ materials and techniques is similarly wide-ranging and encompasses Day-Glo colors\, Magic Markers\, and Crayola crayons. At present\, she serves as Exhibition Paper Conservator for Willem de Kooning: Drawing for the Art Institute of Chicago. \n__ \n\n\nThis event is organized by The Drawing Foundation in partnership with the Conservation Center of the Institute of Fine Arts\, New York University\, and in association with Master Drawings New York 2025. \n  \n.       \n  \nImage: Luigi Sabatelli (Italian\, 1772–1850)\, Orestes and the Furies\, n.d. Pen and brown ink and graphite. Yale University Art Gallery\, partial gift of Roberta J. M. Olson and Alexander B. V. Johnson and purchased with the Everett V. Meeks\, B.A. 1901\, Fund (2023.38.138).
URL:https://thedrawingfoundation.org/event/drawings-in-the-round-perspectives-on-italian-drawings/
LOCATION:Institute of Fine Arts\, New York University\, 1 East 78th Street\, New York\, NY\, 10075\, United States
CATEGORIES:Events,Recordings
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2024/12/Sabatelli-Orestes-Yale-Art-Gallery-scaled-e1734502849201.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241029T150000
DTEND;TZID=America/New_York:20241029T163000
DTSTAMP:20260521T005900
CREATED:20241114T195609Z
LAST-MODIFIED:20241114T195609Z
UID:10000064-1730214000-1730219400@thedrawingfoundation.org
SUMMARY:Beyond Boundaries: Approaches to Contemporary Drawings
DESCRIPTION:  \nThis event was part of On Drawings 2024 programming \nRachel Federman\, art historian\, writer\, and curator; Lindsey Tyne\, Conservation Librarian at New York University Libraries\, Barbara Goldsmith Preservation and Conservation Department; and Annabel Daou\, artist and adjunct association in the art history department\, Barnard College. With a discussion moderated by Lisa Conte\, Assistant Professor of Paper Conservation and Co-Chair of the Conservation Center of the Institute of Fine Arts. \nBeyond Boundaries will offer three perspectives on the question “what IS a drawing?”. Curator Rachel Federman\, conservator Lindsey Tyne\, and artist and professor Annabel Daou will offer perspectives on the myriad types of objects and practices that fall under the category of “drawings.” Moving beyond traditional approaches like ink on paper\, this discussion will focus on drawing as experimentation in the broadest sense; we will consider works that  incorporate unconventional  mediums such as natural elements (e.g.\, ash or tar)\,  bodily fluids\, and familiar materials used in novel ways. We will examine the attendant conservation challenges posed by these materials\, while reframing drawing not just as a preparatory process\, but also as both a performance and an autonomous object of value. \nRachel Federman is an art historian\, writer\, and curator. She has curated solo exhibitions of Bruce Conner\, Maurice Sendak\, Bridget Riley\, and the previously unknown Beat-era draftsman Rick Barton. Her current curatorial project is “Helène Aylon: Undercurrent\,” at Princeton University. It is the first solo museum exhibition of the American ecofeminist artist in almost fifty years. Federman has published essays on Bruce Conner\, Jean Conner\, Jay DeFeo\, Richard Diebenkorn\, Paul McCarthy\, Allen Ruppersberg\, and Betye Saar\, among others. She is currently writing a biography of the pioneering American artist and art dealer Betty Parsons. Federman holds a PhD from the Institute of Fine Arts at New York University. \nLindsey Tyne is the Conservation Librarian at New York University Libraries where she leads the Special Collections Conservation Unit in the Barbara Goldsmith Preservation and Conservation Department. Lindsey holds an M.A. in Art History and an Advanced Certificate in Conservation from the Conservation Center\, Institute of Fine Arts\, New York University\, where she is currently an adjunct faculty member. She holds a B.F.A. from Pratt Institute. Prior to her current position\, Lindsey was the Associate Paper Conservator in the Thaw Conservation Center at The Morgan Library & Museum (2010-2022) and held roles in conservation departments at The Metropolitan Museum of Art and The Whitney Museum of American Art. Her research focuses on the materials and techniques of modern and contemporary artists and the close examination of works on paper. She has published on Roy Lichtenstein\, Jim Dine\, Lucas Samaras\, Jean Dubuffet\, and Al Taylor\, as well as developed lectures and seminars on techniques used to examine works on paper. Lindsey is a Professional Associate of the American Institute for Conservation. \nAnnabel Daou’s work takes form in paper-based constructions\, sound\, performance\, and video. Daou suspends\, carves out or records the language of daily life: from the ordinary or mundane to the intimately personal and urgently political. In her performance work she explores questions of trust\, intimacy\, cross-cultural exchange\, and the operations of power. Her work frequently evokes moments of rupture and chaos but with the tenuous possibility for repair. Daou was born and raised in Beirut and lives in New York. Her work has been shown nationally and internationally including at The National Museum of Beirut; The Park Avenue Armory\, New York; KW\, Berlin; The Drawing Room\, London; and The Irish Museum of Modern Art\, Dublin. Public collections include The Morgan Library; The Baltimore Museum of Art; The Brooklyn Museum of Art; The Vehbi Koç Foundation\, Istanbul; the Ulrich Museum of Art\, Wichita; and The Yale University Art Gallery\, New Haven. Recent solo exhibitions include what is left of us at signs and symbols\, New York\, War Games at Galerie Tanja Wagner\, DECLARATION at Ulrich Museum of Art\, Global Spotlight: Annabel Daou at Museum of Contemporary Art Arlington. Recent residencies include the Pollock-Krasner award at ISCP in New York and Haus Des Papiers in Berlin. A monograph of her work will be published by Distanz Publishing Berlin in 2024. Daou was co-founder of collaborative groups dBfoundation\, S2A\, and The Lobby\, temporary public exhibitions in Brooklyn building lobbies. FORTUNE\, her ongoing silent fortune-telling project\, has taken place in numerous institutional and non-institutional contexts including PS1 MoMA\, White Box\, and the Global Art Forum\, Dubai. \nLisa Conte is Assistant Professor of Paper Conservation and Co-Chair of the Conservation Center of the Institute of Fine Arts at New York University. \nPresented in partnership with the Conservation Center of the Institute of Fine Arts\, New York University \n \nImage: Helène Aylon (1931-2020)\, Melting Bricks 9 (detail)\, 2014\, Mixed media on paper\, 18-15/16 x 26-1/16 inches (sheet). Courtesy of the Estate of Helène Aylon and Leslie Tonkonow Artworks + Projects.
URL:https://thedrawingfoundation.org/event/ccifa-beyond-boundaries-contemporary-drawings/
LOCATION:Institute of Fine Arts\, New York University\, 1 East 78th Street\, New York\, NY\, 10075\, United States
CATEGORIES:Events,Recordings
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2024/09/Aylon-.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241028T173000
DTEND;TZID=America/New_York:20241028T190000
DTSTAMP:20260521T005900
CREATED:20241114T170336Z
LAST-MODIFIED:20241114T194034Z
UID:10000061-1730136600-1730142000@thedrawingfoundation.org
SUMMARY:The Salon du Dessin's Contributions: A History of the Market for Drawings in France
DESCRIPTION:  \nThis event was part of On Drawings 2024 programming \nLecture by Hervé Aaron\, president of Didier Aaron and honorary (former) president of the Salon du Dessin\, and Louis de Bayser\, president of the Salon du Dessin and FAB Paris \nSince its first iteration in 1991\, the Salon du Dessin made an important intervention into the French art world and contributed to an increasingly energetic interest in drawings in particular. The international fair now brings collectors\, specialists\, curators\, scholars and connoisseurs from all over the world. This lecture will offer an overview of the history art market in France for old master and modern drawings and insights into the contributions of the Salon du Dessin among other trends. \nBorn in Paris in 1972\, Louis de Bayser hails from a dynasty of world-renowned art dealers. Shortly after completing his business studies\, he set off to become an Old Master Drawing expert following the footsteps of his ancestors. In 1998\, together with three of his brothers (he is one of eleven children)\, he took over the prestigious Galerie de Bayser which had been run by his parents\, Bruno & Thérèse de Bayser since the 1960s. The Parisian gallery was originally created in 1936 by Louis’ grandparents\, Patrick and Rose-Anne de Bayser. \nAppointed President of the Salon du Dessin in 2014\, Louis de Bayser was instrumental in the creation of Fine Arts Paris in 2017 and became the fair’s president the same year. Over the past years\, he has played a major role in ensuring the rapid growth of these two Paris fairs and expanding their international reputation. Following the fusion of Fine Arts Paris with La Biennale in February 2022\, he was chosen as President of the new fair\, Fine Arts Paris & La Biennale\, renamed FAB Paris in 2023. \nHervé Aaron is the New York-based president of the Didier Aaron gallery\, founded in 1923 and specializing in the sale of paintings\, drawings and sculptures from the 17th to the 19th centuries\, with offices in Paris and New York. He represents the third generation of this family of art dealers. Involved in promoting France abroad with the Comité Colbert and the French art market\, he was one of the founding members of the Salon du Dessin in 1991\, which he chaired for 17 years\, and was president of the Syndicat National des Antiquaires from 2008 to 2010\, in charge of organizing the Biennale des Antiquaires’. \nThis event was presented in partnership with and sponsored by the Salon du Dessin. \n \n  \nImage: Salon du Dessin 2024\, Exterior view of the Palais Brongniart\, Place de la Bourse\, Paris. Photo © Tanguy de Montesson
URL:https://thedrawingfoundation.org/event/salon-du-dessin-drawing-market-france/
LOCATION:Institute of Fine Arts\, New York University\, 1 East 78th Street\, New York\, NY\, 10075\, United States
CATEGORIES:Events,Recordings
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2024/09/FOR-LECTURE-Salon-du-Dessin-2024-Ens-14-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240131T170000
DTEND;TZID=America/New_York:20240131T180000
DTSTAMP:20260521T005900
CREATED:20231210T003936Z
LAST-MODIFIED:20240315T182729Z
UID:10000021-1706720400-1706724000@thedrawingfoundation.org
SUMMARY:Panel Discussion: Drawn to Teaching / Teaching through Drawings: University Art Museum Collections
DESCRIPTION:Since 1832\, university art museums in the United States have offered an important opportunity to engage with original artworks. Collections of drawings frequently form the core of such teaching institutions\, allowing faculty and students from across the university – far beyond just the art and art history departments – to encounter historic objects. With learning as a central tenet\, drawings collections at university art museums are uniquely situated to develop museum audiences and practitioners\, and to respond to challenges and concerns in creative or experimental ways. This panel brings together curators from university art collections to discuss their approaches to and responsibilities in collecting\, exhibiting\, and teaching with drawings. \n\n \nModerated by:\nEdouard Kopp\, John R. Eckel\, Jr. Foundation Chief Curator at Menil Drawing Institute\, The Menil Collection \nPanelists:\nElisa Germán\, Lunder Curator of Works on Paper and Whistler Studies\, Colby College Museum of Art \nLaura M. Giles\, Heather and Paul G. Haaga Jr.\, Class of 1970\, Curator of Prints and Drawings\, Princeton University Art Museum \nJoachim Homann\, Maida and George Abrams Curator of Drawings\, Harvard University Art Museums \nVictoria Sancho Lobis\, Sarah Rempel and Herbert S. Rempel ’23 Director\, Benton Museum of Art Pomona College \nThis event is organized by The Drawing Foundation in association with Master Drawings New York 2024. \n\nRegistration required. Please note admittance to this event is on a first-come\, first-served basis with registration. \n  \nImage: Samuel Palmer (British\, 1805 – 1881)\, A Cornfield with Windmill and Spire seen under a Crescent Moon (detail)\, c. 1826 – 27. Brown ink and brown wash on cream card\, 6.8 x 10.6 cm. Harvard Art Museums/Fogg Museum\, Gift of George and Patti White.
URL:https://thedrawingfoundation.org/event/panel-discussion-drawn-to-teaching-teaching-through-drawings-university-art-museum-collections/
LOCATION:Institute of Fine Arts\, New York University\, 1 East 78th Street\, New York\, NY\, 10075\, United States
CATEGORIES:Events,Recordings
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2023/12/Palmer-Harvard-e1701995769552.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240130T133000
DTEND;TZID=America/New_York:20240130T150000
DTSTAMP:20260521T005900
CREATED:20231113T233839Z
LAST-MODIFIED:20241218T054635Z
UID:10000020-1706621400-1706626800@thedrawingfoundation.org
SUMMARY:Panel Discussion: Drawn to Blue Paper
DESCRIPTION:A panel discussion focusing on the collaborative research between art historians and conservators examined in the newly released Getty publication Drawing on Blue: European Drawings on Blue Paper\, 1400s–1700s\, and associated exhibition\, Drawing on Blue (January 30 – April 28\, 2024). The participating panelists include an art historian\, conservator\, and papermaker who dive deeply into the historic process of how blue paper was made and used in early modern Europe. The conversation will be followed by a tour of two participating Master Drawings New York galleries to view examples of drawings on blue paper that illustrate the concepts and research discussed by the panelists. \nThe publication Drawing on Blue: European Drawings on Blue Paper\, 1400s–1700s will be available for purchase at the event. \n\n \nModerated by:\nMargaret Holben Ellis\, Eugene Thaw Professor Emerita of Paper Conservation\, NYU\nMargaret Holben Ellis has taught the conservation treatment of prints and drawings\, as well as technical connoisseurship for art historians. She has published and lectured on artists ranging from Raphael\, Dürer\, and Leonardo to Pollock\, Samaras\, Lichtenstein\, and Dubuffet. Her research on artists’ materials and techniques is similarly wide-ranging and encompasses Day-Glo colors\, Magic Markers\, and Crayola crayons. At present\, she serves as Exhibition Paper Conservator for Willem de Kooning: Drawing for the Art Institute of Chicago. \nPanelists:\nEdina Adam\, Assistant Curator\, J. Paul Getty Museum\nEdina Adam earned her PhD from the Institute of Fine Arts\, New York\, where she wrote her dissertation on Jacopo Ligozzi and migrant artists in Florence ca. 1600. At the Getty\, her projects have included Artists on the Move\, Michelangelo: Mind of a Master\, and William Blake: Visionary. \nLeila Sauvage\, Conservator\, Rijksmuseum and lecturer\, University of Amsterdam\nLeila Sauvage is paper conservator at the Rijksmuseum and lecturer in book and paper conservation at the University of Amsterdam. Graduated from the Sorbonne University conservation program\, she has focused on the conservation and materiality of pastel paintings. As part of the Blue Paper Research Consortium\, she investigates the materials\, manufacture and degradation of historical blue papers. \nDonald Farnsworth\, Artist\, Papermaker\, Magnolia Editions\nDonald Farnsworth\, the founder of Magnolia Editions\, is an artist and publisher known for his groundbreaking work in Jacquard tapestry\, ceramic tile\, and papermaking. He has collaborated with renowned artists like Kiki Smith\, Hung Liu\, Chuck Close\, and Enrique Chagoya\, pushing the boundaries of traditional printmaking techniques. Farnsworth has been a prominent figure in the art world since the 1970s\, contributing articles and teaching at various institutions. His current emphasis is on recreating Renaissance paper and crafting portraits that incorporate ancient textures\, showcasing his ongoing exploration of the intersection between art and science. \n__ \nAdditional resources related to the study of paper making and blue paper: \nBlue Paper Research.org – Organizer of blue paper making workshops. Hosted and organized by panelist and conservator Leila Sauvage with paper makers\, book binders and master dyers. \nMagnolia Paper – pdf publications on papermaking by Magnolia Editions\, available for download. \nBackground: European Papermaking Techniques 1300-1800 \nThe International Association of Paper Historians: index of all the terms referencing papermaking tools and techniques. \nBook to purchase: European Hand Papermaking Traditions: Tools and Techniques \n\n__ \n\nThis event is organized by The Drawing Foundation in partnership with the Conservation Center of the Institute of Fine Arts\, New York University in association with Master Drawings New York 2024. \n  \n \n  \nImage: Claude Lorrain (Claude Gellée) (French\, 1604/1605? – 1682)\, Figures in a Landscape before a Harbor\, late 1630s. Pen and brown ink\, reddish brown wash\, and white gouache heightening\, on blue paper\, 23.8 x 33.8 cm (9 3/8 x 13 5/16 in.). The J. Paul Getty Museum\, Los Angeles\, 82.GA.80
URL:https://thedrawingfoundation.org/event/drawn-to-blue-paper-2024/
LOCATION:Institute of Fine Arts\, New York University\, 1 East 78th Street\, New York\, NY\, 10075\, United States
CATEGORIES:Events,Recordings
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