“If you’re going to do art history,” Steinberg declared, “you’d better know what your artists were looking at. And that has to include prints.”
A new book examines the collective Atelier 17, whose members redefined beliefs about gender identity and artistic achievement in the 1940s and ’50s.
Takuji Hamanaka’s works seem to have been made by a mason who lives in a heightened state of consciousness.
Sarah Amos’s work may be labor-intensive, yet it conveys neither labor nor the consumption of time, but a meditative joy.
The dynamic curator Judith K. Brodsky makes a compelling case for the historical importance and profound expressions of printmaking.
Self Help Graphics & Art is hosting its second Printmaking Summit featuring workshops, talks, and demonstrations. Celebrated artist Alison Saar will be giving the keynote address.
A new exhibition gathers some 300 works, including 265 prints, to show the increasingly central role printmaking played in Bourgeois’s practice through the decades.
The Mysterious Landscapes of Hercules Segers at the Metropolitan Museum of Art is the first major retrospective on the radically experimental 17th-century Dutch artist.
Ryan Standfest’s diagrams are sometimes fraught with Dadaist logic. They are instructions for unstructured outcomes, answers to questions no one has asked.
From portraits of his dog to Japanese motifs, these fine-lined images attest to the originality of Henri-Charles Guérard, who was one of the most respected printmakers of his time.
The first picture that caught me up short was “Factory Smoke” (1877–79), hanging alone on a freestanding wall in the middle of the gallery.
As the 16th-century religious wars raged around Europe, Dutch artist Maarten van Heemskerck collaborated with printmaker Philip Galle on a series of 22 engravings featuring Old Testament destruction.