Cécile Reims, detail of plate from Les Métamorphoses (1957–8).

Engraving for Herself and Others: Cécile Reims

Simon Donaldson, detail from Ampère’s Law from Concinnitas (2014).

Truth, Beauty and Mathematics

Edgar Degas, detail from Mary Cassatt at the Louvre: The Etruscan Gallery; third state (1879-80).

Degas’ Etchings of Mary Cassatt at the Louvre and the Aesthetics of Process

View of The Newsstand inside the Metropolitan/Lorimer subway station in Brooklyn, NY.

Reclaiming the Means of Production: Self-Publishing in the 21st Century

  • Preserving the Disposable: Conservation of a Paper Dress

    Paper dress from the Atopos Collection Athens (registration number: 2006.02.235). Left: before conservation. Right: after conservation.

    Paper dress from the Atopos Collection Athens (registration number: 2006.02.235). Left: before conservation. Right: after conservation.

    The arts organization Atopos Contemporary Visual Culture in Athens, Greece, has collected more than 500 pieces of paper clothing, ranging from medieval Japanese examples to recent paper designs by Issye Miyake and Hugo Boss …Read more

  • Corey Hagelberg’s Calumet Area of Concern

    Corey Hagelberg, Dead Fish Anti-Frieze (2011), woodcut, 9 x 72 inches per panel. Image courtesy the artist.

    Corey Hagelberg, Dead Fish Anti-Frieze (2011), woodcut, 9 x 72 inches per panel. Image courtesy the artist.

    In this spirited exhibition at Beauty and Brawn Gallery in Chicago, Corey Hagelberg uses both prints and sculpture to call attention to the predicament of the Indiana Dunes where the Grand Calumet River meets Lake Michigan …Read more

  • Paper, Conservation and Context

    Historical Perspectives in the Conservation of Works of Art on Paper is the most recent publication in the Getty Conservation Institute’s “Readings in Conservation” series. Like its six predecessors, the text is comprised of a collection of essays and excerpts, all organized into themes that conservators will find familiar …Read more

  • The Space Between 0 and 1: Printmaking and Digital Technology in Portland

    Installation view of Sang-Mi Yoo, Anomalous Traces (2013–16) in “Variable States: Prints Now,” Upfor Gallery, 2016. From left to right: hand-cut pigment inkjet print, 36 x 44 x 72 inches; lasercut wool felt, 63 x 48 x 2 inches; pigment inkjet print, tiered, 96 x 44 x 78 inches. Photo: Mario Gallucci. Image courtesy Upfor Gallery, Portland, OR.

    Installation view of Sang-Mi Yoo, Anomalous Traces (2013–16) in “Variable States: Prints Now,” Upfor Gallery, 2016. From left to right: hand-cut pigment inkjet print, 36 x 44 x 72 inches; lasercut wool felt, 63 x 48 x 2 inches; pigment inkjet print, tiered, 96 x 44 x 78 inches. Photo: Mario Gallucci. Image courtesy Upfor Gallery, Portland, OR.

    Upfor Gallery, a young new-media gallery in Portland, Oregon, recently organized a small exhibition, “Variable States: Prints Now,” investigating relationships between digital technologies and printmaking. Curator Heather Lee Birdsong selected eight artists from across the United States …Read more