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DTSTART;TZID=America/New_York:20251114T130000
DTEND;TZID=America/New_York:20251114T140000
DTSTAMP:20260511T131733
CREATED:20251113T163330Z
LAST-MODIFIED:20251208T031754Z
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SUMMARY:APS Distinguished Scholar Lecture 2025
DESCRIPTION:Launching from Print\nJennifer L. Roberts\, X.D. and Nancy Yang Professor of Arts and Sciences\, Drew Gilpin Faust Professor of the Humanities\, Harvard University\nAssociation of Print Scholars Tenth Annual Distinguished Scholar Lecture\n \n \nJennifer L. Roberts will deliver a talk that examines how the study of print and printmaking can open unexpected lines of inquiry across disciplines—from circuit design to space studies. Drawing on recent and forthcoming projects\, and reviewing questions raised in Contact: Art and the Pull of Print\, Roberts will outline avenues of research for future scholars. \nRoberts is an art historian and professor at Harvard University whose scholarship focuses on the interface between the arts and the natural sciences\, the history and theory of craft and materiality\, and the history of print. In her scholarship and curating\, Roberts was the co-founder of Harvard’s Minding Making Project (now on hiatus)\, which hosted a series of workshops exploring artisanal knowledge. In 2012\, she curated the exhibition Jasper Johns/In Press: The Crosshatch Works and the Logic of Print at the Harvard Art Museums. She is the author of Mirror-Travels: Robert Smithson and History (2004)\, Transporting Visions: The Movement of Images in Early America (2014)\, and Contact: Art and the Pull of Print (2024\, based on her Mellon Lectures at the National Gallery of Art in 2021). Her forthcoming co-authored publication with the artist Dario Robleto\, The Heartbeat at the Edge of the Solar System: Science\, Emotion\, and the Golden Record (2026)\, will examine the cultural and cosmic implications of the EEG and EKG signatures on the Voyager Golden Record\, in relation to the history of graphic inscriptions from the interior of the body. \nThis event is organized by the Association of Print Scholars (APS) and hosted on Zoom by The Drawing Foundation.  \n \nPhoto: Jennifer L. Roberts
URL:https://thedrawingfoundation.org/event/aps-distinguished-scholar-lecture-2025/
LOCATION:Online (Zoom Webinar)
CATEGORIES:Events
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2025/11/Roberts-APS-photo-1536x2048-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241112
DTEND;VALUE=DATE:20241114
DTSTAMP:20260511T131733
CREATED:20241026T030803Z
LAST-MODIFIED:20241114T171004Z
UID:10000060-1731369600-1731542399@thedrawingfoundation.org
SUMMARY:Drawn to Blue: A Digital Symposium
DESCRIPTION:This two-day online symposium\, co-organized by the J. Paul Getty Museum and the University of Amsterdam\, brings together art historians and paper and textile conservators to share their new research on the history of early modern blue paper. \nMade from discarded blue rags\, early modern blue paper was a humble material. However\, producing it required expert knowledge\, and its impact on European draftsmanship was transformative. The rich history of blue paper\, from the fifteenth to the mid-eighteenth centuries\, illuminates themes of transcultural interchange\, international trade\, and global reach. \nInspired by the recent Getty exhibition Drawing on Blue: European Drawings on Blue Paper\, 1400s–1700s and coinciding with the current exhibition Drawn to Blue: Artists’ Use of Blue Paper at the Courtauld\, this two-day online symposium brings together art historians and paper and textile conservators to share their new research on the history of early modern blue paper. \nThis symposium will take place online.  \n___ \nSchedule\n  \nTuesday\, November 12\, 2024\n  \n9:00 am PT / 6:00 pm CET \nOpening remarks by organizers\, Edina Adam\, Leila Sauvage\, and Michelle Sullivan \n  \n9:10–10:00 am PT / 6:10–7:00 pm CET \nArtistic and Non-artistic Use of Blue Paper \n“Presence of the blue paper inside French paintings of the 18th century” – Lorenzo Giammattei and Selene Secondo\, La Sapienza Università di Roma\n“Seeds of Blue: Archival Evidence of the Use of Blue Paper as Seed Packets” – Maria Zytaruk\, University of Calgary \nBreak (15 minutes) \n  \n10:15–11:05 am PT / 7:15–8:05 pm CET \nRaw Materials\, Trade\, Economics \n“Blue Paper: Its Life\, Origin\, History and Artistic Exploration” – Judith Noorman\, University of Amsterdam\n“Paper\, Pastels\, and Patriotism: Artistic Innovation and the American Revolution” – Megan Baker\, University of Delaware\nBreak (15 minutes) \n  \n11:20 am–12:30 pm PT / 8:20–9:30 pm CET \nWorks in Progress: Study\, Examination\, Collection Surveys on Blue Paper \n“Surveying The Morgan’s blue paper collection” – Elizabeth Gralton\, Reba Fishman Snyder\, and Rebecca Pollak\, The Morgan Library & Museum \n“The Blue Paper Project at the Art Gallery of Ontario: Developing an Architecture for Close Looking of Drawing Supports” – Maia C. Donnelly\, Joan Weir\, and Tessa Thomas\, Art Gallery of Ontario \n“The blue papers of Allan Ramsay at the National Galleries Scotland” – Charlotte Park\, Clara de la Pena McTigue\, and Charlotte Topsfield\, National Gallery of Scotland \n__ \nWednesday\, November 13\, 2024\n9:00–10:15 am PT / 6:00–7:15 pm CET \nTechnical Case Studies \n“On Blue – the Portrait Drawings of Ottavio Leoni” – Georg Dietz et al.\, Kupferstichkabinett\, Staatliche Museen zu Berlin \n“Out of the blue? Tracing object biographies\, early conservation treatments and the original appearance of Italian old master drawings on blue paper at the Kunstmuseum” – Annegret Seger\, Rebecca Honold\, and Max Ehrengruber\, Kunstmuseum Basel \n“Blue Paper in Late-Nineteenth Century Paris: Mary Cassatt Pastel Supports” – Tom Primeau\, Philadelphia Museum of Art \n  \nBreak (15 minutes) \n10:30–11:40 am PT / 7:30–8:40 pm CET \nPrinting on Blue Paper \n“From Aldus to Zanetti\, Parenzo to Proops\, Venice to Volhynia: Three Centuries of Hebrew Printing on Blue Paper in Southern\, Western\, Central and Eastern Europe” – Brad Sabin Hill\, George Washington University \n“Blueprint(s)” – Armin Kunz\, C.B. Boerner Gallery \n“Etched in blue: a unique set of prints by the Abbé de Saint-Non” – Rachel Hapoienu\, Courtauld Gallery of Art \nBreak (15 minutes) \n11:55 am–12:30 pm PT / 8:55–9:30 pm CET \nRoundtable \nModerated by Ketty Gottardo\, Courtauld Gallery of Art \nProgram participants reflect on new insights\, questions raised\, and future avenues of research \n___ \nFor those interested in learning more about Blue Paper we invite you to watch the recording of the 2024 panel discussion Drawn to Blue Paper\, organized by The Drawing Foundation and the NYU Conservation Center during Master Drawings New York 2024.
URL:https://thedrawingfoundation.org/event/drawn-to-blue-a-digital-symposium/
LOCATION:Online (Zoom Webinar)
CATEGORIES:Events
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2024/10/Blue-Paper.png
ORGANIZER;CN="Getty Museum Drawings Dept":MAILTO:1200 Getty Center Drive, Los Angeles, CA 90049
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240731
DTEND;VALUE=DATE:20240801
DTSTAMP:20260511T131733
CREATED:20240627T035630Z
LAST-MODIFIED:20240907T024942Z
UID:10000045-1722384000-1722470399@thedrawingfoundation.org
SUMMARY:Call for Papers: Drawn to Blue
DESCRIPTION:Made from discarded blue rags\, early modern blue paper was a humble material. Despite that\, its manufacture required expert knowledge and its impact on European draftsmanship was transformative. \nThis call seeks proposals for 20-minute papers that address the history of European blue paper from the fourteenth century until 1800. Open to art historians\, curators\, conservators\, conservation scientists\, paper historians\, papermakers\, and dyers\, successful proposals will demonstrate original archival research and/or object-based approach to their discussion of works on blue paper. While all topics will be considered\, organizers encourage papers related to the following subjects: \n\nblue paper production outside the Italian peninsula and the Netherlands;\ncolor shift in blue paper and its implications;\ntechnical and/or scientific examination of blue paper;\nartistic uses of blue paper;\nnon-artistic uses of blue paper;\nblue paper as means of transcultural exchange;\nintersection between blue paper production and textile trade and technological developments.\n\nCo-organized by the J. Paul Getty Museum and the University of Amsterdam\, this interdisciplinary online symposium will take place November 12–13\, 2024\, over two morning sessions Pacific Standard Time. \nProposals should include: Author’s name\, title\, and an abstract not to exceed 500 words. Submissions should be sent to drawings@getty.edu by July 31\, 2024. Please put “Drawn to Blue” in the subject. Accepted speakers will be notified by mid-August. \nDrawn to Blue Call for Papers PDF
URL:https://thedrawingfoundation.org/event/call-for-papers-drawn-to-blue/
LOCATION:Online (Zoom Webinar)
CATEGORIES:Events
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2024/06/Drawn-to-Blue-Call-for-Papers-e1719460566313.png
ORGANIZER;CN="Getty Museum Drawings Dept":MAILTO:1200 Getty Center Drive, Los Angeles, CA 90049
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240308T130000
DTEND;TZID=America/New_York:20240308T140000
DTSTAMP:20260511T131733
CREATED:20240307T212826Z
LAST-MODIFIED:20240315T213156Z
UID:10000037-1709902800-1709906400@thedrawingfoundation.org
SUMMARY:APS Distinguished Scholar Lecture 2024
DESCRIPTION:Breaking Ground in Ground Breaking Printmaking\nJuane Quick-to-See Smith and Neal Ambrose Smith \nAssociation of Print Scholars Ninth Annual Distinguished Scholar Lecture\n\nBorn January 15\, 1940\, Jaune Quick-to-See Smith is an enrolled Salish member of the Confederated Salish and Kootenai Nation\, Montana. Smith received an Associate of Arts Degree at Olympic College in Bremerton\, WA\, BA in Art Education from Framingham State College\, MA\, and MA in Visual Arts from the University of New Mexico. Since the 1970s\, Smith has been creating complex abstract paintings and prints. She has received numerous awards\, including the Academy of Arts and Letters Purchase Award\, New York\, l987; the Joan Mitchell Foundation Painters Grant\, 1996; the Women’s Caucus for the Arts Lifetime Achievement\, 1997; the College Art Association Women’s Award\, 2002; New Mexico Governor’s Award for Excellence in the Arts\, 2005; Visionary Woman Award\, Moore College\, Pennsylvania\, 2011; election to the National Academy of Art\, New York\, 2011; Living Artist of Distinction Award\, Georgia O’Keeffe Museum\, 2012; The Woodson Foundation Lifetime Achievement Award\, 2015\, among many others; as well as four honorary doctorates from Minneapolis College of Art and Design (1992)\, Pennsylvania Academy of Fine Arts (1998)\, Massachusetts College of Art (2003)\, and University of New Mexico (2009). Smith’s work is held in many collections\, such as the Cornell Fine Arts Museum\, Rollins College\, Winter Park\, Florida; Museum of Modern Art\, Quito\, Ecuador; the Museum of Mankind\, Vienna\, Austria; The Walker Art Center\, Minneapolis\, MN; The Smithsonian American Art Museum\, Washington D.C.; Museum of Modern Art\, the Brooklyn Museum\, the Metropolitan Museum of Art\, and Whitney Museum of American Art\, NY. \nNeal Ambrose Smith\, descendent of the Confederated Salish and Kootenai Nation of Montana\, is a contemporary Native American painter\, sculptor\, printmaker\, and professor. He has taught at the Institute of American Indian Arts in Santa Fe\, NM\, as well as many workshops nationally\, numerous of which\, alongside his mother\, Jaune Quick-to-See Smith. He has developed an app called Artist Ideas\, with 100 ideas for making art\, available for Android and Apple. His work is included in the collections of many national and international institutions\, including the New York Public Library\, the Smithsonian National Museum of the American Indian\, Galerie municipale d’art contemporain in Chamalières\, France\, and Hongik University in Seoul\, Korea. He received his BA from the University of Northern Colorado and MFA from the University of New Mexico. \nIn their lecture\, Jaune Quick-to-See Smith and Neal Ambrose-Smith will discuss thirty years of exploration in solvent-free printmaking and embracing environmentally-friendly practices through teaching\, exhibiting\, and advocation. \nThis event is organized by the Association of Print Scholars (APS) and hosted on Zoom by The Drawing Foundation.  \n \nImage: Juane Quick-to-See Smith and Neal Ambrose Smith. Photo courtesy Jordan James.
URL:https://thedrawingfoundation.org/event/aps-distinguished-scholar-lecture-2024/
LOCATION:Online (Zoom Webinar)
CATEGORIES:Events
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2024/03/APS-Dist-Scholar-2024-speakers.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20231012T120000
DTEND;TZID=UTC:20231012T130000
DTSTAMP:20260511T131733
CREATED:20230929T012814Z
LAST-MODIFIED:20231208T180841Z
UID:10000008-1697112000-1697115600@thedrawingfoundation.org
SUMMARY:Drawings for Prints II: Sébastien Le Clerc and Jane Hogarth
DESCRIPTION:The acts of drawing and printmaking have always been intertwined. Historically\, drawing has been the space of inspiration and development before setting the burin to plate or crayon to stone. This virtual panel will showcase case studies by emerging scholars. The subject of this panel is inspired by this year’s Master Drawings New York showcase at IFPDA: Drawings for Prints.  \n__ \nSébastien Le Clerc (1637-1714) and the Value of Preparatory Drawings for Prints: an Early Interest in the Artistic Process?Antoine Gallay\nIn the early 18th-century onward\, drawings became highly appreciated by amateurs as a means to evoke the artistic process and access the artist’s mind or genius. By considering Sébastien Le Clerc (1637-1714)\, one of the most celebrated printmakers of his time\, we examine the impact of this concept on artists’ practices\, with a consideration of how Le Clerc’s conception of drawing evolved at the end of his career and how it was connected to the way his work was considered within amateurs’ circles. \nAntoine Gallay is a postdoctoral researcher at the University of Geneva. He earned his PhD in both art history and the history of science and then received fellowships from the Cohn Institute for the History and Philosophy of Science and Ideas at Tel Aviv University and the Zentralinstitut für Kunstgeschichte in Munich. His research focuses on the status and practices of draughtsmen and printmakers in Ancien Régime France. \n__ \nRead the Fine Print!: ‘Publish’d as the Act directs by Jane Hogarth’\nCristina S. Martinez\nThe paper discusses prints that were published by Jane Hogarth from drawings made by her late husband\, William Hogarth. An analysis of select prints and their publication line will explore the various relationships that existed between parties involved in the creation of a print from an original drawing and of the related copyright implications. \nCristina S. Martinez is an interdisciplinary art historian who holds a PhD from Birkbeck College\, University of London. She has published essays on 18th-century British art\, the work of William Hogarth\, the history of copyright law and artistic practices of appropriation. She currently teaches in the Department of Visual Arts at the University of Ottawa. \n__ \nPresented by The Drawing Foundation and hosted by IFPDA Print Month 2023 \nImage Caption: Sébastien Le Clerc\, Alexandre entering Babylon\, c. 1740\, Pen and brown ink\, brush and gray wash over red chalk\, 22.4 x 36.7 cm\, New York\, Metropolitan Museum of Art
URL:https://thedrawingfoundation.org/event/drawings-for-prints-ii/
LOCATION:Online (Zoom Webinar)
CATEGORIES:Events
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2023/09/Design-for-Garden-Architecture-Sebastien-Leclerc-French-1637-1714.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20231005T120000
DTEND;TZID=UTC:20231005T130000
DTSTAMP:20260511T131733
CREATED:20230929T004949Z
LAST-MODIFIED:20231208T180851Z
UID:10000007-1696507200-1696510800@thedrawingfoundation.org
SUMMARY:Drawings for Prints I: Paris Salons and German Expressionism
DESCRIPTION:The acts of drawing and printmaking have always been intertwined. Historically\, drawing has been the space of inspiration and development before setting the burin to plate or crayon to stone. This virtual panel will showcase case studies by emerging scholars. The subject of this panel is inspired by this year’s Master Drawings New York showcase at IFPDA: Drawings for Prints.\n__ \nExhibiting Drawings for Prints: From the Paris Salons to a Symbiotic Art Market\nCabelle J. Ahn\nCharting the early exhibition history of drawings related to prints in 18th-century France using a data-driven approach which traces the intertwined markets for the two media and spotlights two extraordinary instances in which they collided in the Paris Salons: architectural proposals for a municipal redesign\, drawn directly on existing etchings; and preparatory drawings\, originally made for hand-painted liturgical texts at Versailles\, that were later circulated widely as prints. Together\, the data and examples illustrate the strong symbiosis that has existed between these two markets dating back some 250 years. \nCabelle J. Ahn is an independent art historian\, a PhD Candidate at Harvard University\, and the Vice President of the Association of Print Scholars. Her research centers on exhibition histories in early modern Europe\, the history of the art market\, and the intersection between Old Masters and Contemporary Art.\n__ \nTime Signatures: Expressionism Between Drawing and Print\nJoseph Henry\nAs a young collective starting out in 1905\, the German Expressionists known as “Die Brücke” (The Bridge) began two ventures around the same time—the touring of their prints throughout small institutions in Germany and the development of a life-drawing practice they called Viertelstundenakte\, or “quarter-hour nudes.” In these works\, Die Brücke sketched a model for the titular allotment before she would shift position and drawing began anew. Many of the quarter-hour nudes\, only of which a few still survive today\, were subsequently translated into prints. This talk aims to compare the temporalities of these two modes of image-production\, particularly in their seriality. How did tempo\, pace\, and reiteration\, the paper asks\, map not only on to the Expressionist enterprise\, but on to wider cultural concerns in an industrializing Germany more broadly? \nJoseph Henry a PhD Candidate in the art history program at the CUNY Graduate Center and the Florence B. Selden Fellow in Prints and Drawings at the Yale University Art Gallery. His dissertation and scholarly work focus on questions of Expressionism\, art and labor\, works on paper\, and primitivism and colonialism. He has held fellowships and positions at the Metropolitan Museum of Art\, the Museum of Modern Art\, and the Whitney Museum of American Art and published contemporary art criticism across a number of venues.\n__ \nPresented by The Drawing Foundation and hosted by IFPDA Print Month 2023 \nImage caption: Thérèse-Éléonore Lingée after Charles-Nicolas Cochin\, Panis Angelorum\, c. 1776. Stipple Engraving\, Philadelphia Museum of Art.
URL:https://thedrawingfoundation.org/event/drawings-for-prints-i/
LOCATION:Online (Zoom Webinar)
CATEGORIES:Events
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2023/09/Drawings-for-Prints-I-Image-e1701963312304.jpg
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