Britany Salsbury is Associate Curator of Prints and Drawings at the Milwaukee Art Museum and a former Andrew W. Mellon Curatorial Fellow in the Department of Prints, Drawings, and Photographs at the RISD Museum. She holds a PhD in art history from the Graduate Center of the City University of New York.

Michael Menchaca

Michael Menchaca describes his work as a “digital codex”—a phrase that captures the juxtaposition and, sometimes, tension between the pre-Columbian and contemporary cultures that he cites Read More

Acid and Needlework: Women Printmakers at the New York Public Library

Angelica Kauffmann, Half-length Portrait of a Woman, with a Child Holding an Apple (1763), etching, image 24 x 11 cm, sheet 24.9 x 11.6 cm. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library.

At the age of just 18, a young Dutch woman named Henrietta Louisa Koenen (1830–1881) began gathering a remarkable collection of prints by and about women artists. In just over a decade, she amassed a collection that was remarkable in its scope and breadth Read More

Allison Bianco

Allison Bianco, Later that Day at Second Beach (2014). Courtesy of the artist and Cade Tompkins Projects.

Allison Bianco uses printmaking to explore her relationship to her memories of her native Rhode Island through a combination of technical experimentation and art historical references. In her recent work, these landscapes have increasingly symbolized the juxtaposition Read More

Daniel Heyman

For more than a decade Daniel Heyman has worked on the border between artistic practice and oral history. His prints combine portraiture and text to mine some of the most contentious social and political issues of our day Read More

The Impressionist Line from Degas to Toulouse-Lautrec: Drawings and Prints from the Clark

William-Adolphe Bouguereau, Study of Venus for “Apollo and the Muses in Olympus” (ca. 1867), graphite with touches of white chalk on beige wove paper, 46.8 x 30.5 cm. ©Sterling and Francine Clark Art Institute, Williamstown, MA, 1955.1578.

The 19th century was a period of continuous flux in which industrialization, commodification and urbanization fundamentally transformed everyday experience. In France especially these changes found resonance in the visual arts. Read More

Daring Methods: The Prints of Mary Cassatt

Mary Cassatt, Costume Study after Paul Gavarni, New York Public Library. Wallach Fund. Left: State i (ca. 1878), etching and drypoint, image 20.5 x 13.7 cm, sheet 26.2 x 20.4 cm. Center: State ii (ca. 1878), etching, drypoint and aquatint, image 20.5 x 13.7 cm, sheet 26.2 x 20.4 cm. Right: State iii (ca. 1878), plate burnished with traces of etching and aquatint, image 20.5 x 13.7 cm, sheet 25.1 x 20.1 cm.

The art of Mary Cassatt has, since the blossoming of social and feminist art histories in the 1970s, come to be understood in the discourse on Impressionism primarily as representative of female experience in late 19th-century Paris. As a result, her subject matter—motherhood and domestic life—has been emphasized far more extensively than her technical process. Her remarkable prints have, likewise, been absorbed into scholarly accounts through their reliance on this same material. Read More

The Crowded Paradise of Peter Blake

Peter Blake, Abbey Road from The London Suite (2012).

Peter Blake made his name, art historically speaking, with collage—from the painted conglomeration of figures, reproductions of famous paintings, and Life magazine covers seen in his early work On the Balcony (1955-57) to his ubiquitous photo-collaged album cover for the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band (1967). He reprises this technique with innovation and humor derived from decades of revised technique in The London Suite, a series of silkprints that depict wildly imaginative scenes on the streets of the British capital. Read More

Adrian Piper: Mokshamudra Progression

For Adrian Piper, works on paper have generally served as a prop for more conceptual explorations rather than as an end in themselves. Mokshamudra Progression inverts that paradigm by using print-making to address and project abstract concerns. In a series of nine lithographically printed digital photographs, a clenched fist is shown stage by stage as it becomes an open palm. These images of transition are printed above an arrow that extends the length of the suite and points to the left and right. Read More