Join Maureen Warren, Daniel Horst, and Meredith Hale for an exploration of the satirical visual strategies that early modern Netherlandish printmakers—such as Joan Blaeu, Romeyn de Hooghe, Willem Jacobsz and Claes Jansz Visscher—used to memorialize historical events, lionize (or demonize) domestic and international leaders, and instigate collective action. Published for an exhibition at Krannert Art Museum, Paper Knives, Paper Crowns provides a chronological arc and thematic overview of Netherlandish political prints, addressing multiple types ...

Join us for a presentation of new research by Lauren Rosenblum and Christina Weyl, co-curators of the exhibition A Model Workshop: Margaret Lowengrund and The Contemporaries, currently on view at Print Center New York and accompanied by a multi-author publication. Rosenblum and Weyl's project recovers the legacy of Lowengrund (1902–1957), the first woman to open her own printmaking workshop in the United States; a visionary leader, organizer, and critic within the mid-twentieth century New York printmaking community; and a driving force behind the revival of artistic lithography. ...

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 ...

Join Sharon Coplan Hurowitz, Gemini GEL Master Printer James Reid, Jordan Schnitzer, and special guests as they discuss the impact of Ellsworth Kelly’s printmaking practice.

Moderated by Judy Hecker, Executive Director of Print Center New York.

"Durer's Prints and the Islamic East" will explore three of the artist’s most enigmatic print projects: the engraved Sea Monster, woodcut Knots, and etched Landscape with Cannon. Dürer’s prints demonstrate his knowledge of the politics, trade, and religion of the Mamluk and Ottoman Empires, much of which has been forgotten over the past half century.

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 panel will discuss the areas of intersection between drawings and prints and how the understanding of the relationship between these two mediums has changed over time and continues to evolve in current scholarship. The subject of this panel is inspired by this year’s Master Drawings New York showcase at IFPDA: Drawings for Prints. Organized in collaboration with The Drawing Foundation and Master Drawings New York.

Join Allison Rudnick and Yashua Klos in conversation.

This conversation was offered in conjunction with the exhibition curated by Allison Rudnick, “Art For the Millions; American Culture and Politics in the 1930’s” at The Metropolitan Museum of Art and the special project installation of Yashua Klos’s mural “Our Labor” at the Javits Convention Center.

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.
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A conversation and virtual studio visits moderated by Dr. Rebecca Szantyr (New York Public Library) with The Artists' Press (founded by Mark Attwood and specializing in lithographs) and Artist Proof Studio (Johannesburg-based printing press and non-profit that offers workshops and training).

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.
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Join us for an unscripted conversation with print curators from The Metropolitan Museum of Art (Jennifer Farrell), Whitney Museum of American Art (Kim Conaty), and Baltimore Museum of Art (Leslie Cozzi) to learn about how they work on their collections, acquisitions, and exhibitions, and find out about upcoming initiatives and projects.

Moderated by Sharon Coplan Hurowitz.

Moderated by Jennifer Farrell, curator for modern and contemporary prints, illustrated books, and artists' books at The Metropolitan Museum of Art.

Juan Sánchez is an influential American visual artist and activist, and one of the most important Nuyorican cultural figures in recent decades with work in the permanent collections of The Met, MoMA, El Museo del Barrio and more. Over 50 years he has produced an extensive body of prints (with Tamarind Institute, Wildwood Press, and the Robert Blackburn Workshop) that consistently address issues that are as relevant now as they were in the 1980s...

The mysterious business of print publishing has changed little since Hieronymus Cock and Volcxken Diericx founded the print publishing house, Aux Quatre Vents (The Four Winds) in Antwerp in 1548. They understood that every print requires the skills and expertise of an artist, a printer, and a publisher to make the leap from imagination to a physical reality. Recognizing that these roles did not need to be performed by the same person, they divided up the labor, pairing artists with printmakers and selling the prints themselves. This method of divided labor has remained to this day a common and time-tested business model.

Exhibiting Drawings for Prints: From the Paris Salons to a Symbiotic Art Market charts 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 ...

In 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 ...

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. ...

Join Master Printer and Publisher Jacob Samuel, and artists Charline von Heyl and Josiah McElheny for a panel discussion about Samuel's belief in etching as the most flexible of print mediums, and the challenges and benefits for contemporary artists working with this technique.

Moderated by Esther Adler, Curator, Department of Drawings and Prints, The Museum of Modern Art.

A conversation between Elleree Erdos, Chase Hall, Josephine Halvorson, and Jameson Green about the next generation of artists making print and essential parts of their practice.

This program was hosted by the IFPDA Print Fair 2023, on-site at the Javits Convention Center.

A conversation between Ed Ruscha and Christophe Cherix, Robert Lehman Foundation Chief Curator of Drawings and Prints at The Museum of Modern Art, on-site at the 30th edition of the IFPDA Print Fair.

This program was offered in conjunction with the exhibition ED RUSCHA / NOW THEN at The Museum of Modern Art.