The State of the State: Philagrafika 2010

Back in the year 2000, a dedicated group of print artists, master printers, curators, collectors, educators and dealers came together in the city of Philadelphia. Alarmed by the declining status of prints in the contemporary art scene, their mandate was clear: protect an endangered species. Philagrafika was born. Read More

Messing About with Masterpieces: New Work by Giambattista Piranesi (1720-1778)

‘I have need of great ideas, and I believe that if I were commanded to design a new universe, I should have the folly to undertake such a thing.’ —Giambattista Piranesi
The 18th century printmaker Giambattista Piranesi is best known for his views of Rome (Vedute di Roma), those beautifully observed, deeply Romantic evocations of decrepit grandeur, and for his loose and labyrinthine invented prisons, the Carceri. Both have been hallmarks of refined, if slightly dusty, interiors for two centuries, but a recent exhibition at Fondazione Giorgio Cini in Venice argued for a new view of the artist as a multi-tasking globalist in tune with 21st century technological adventurism. Read More

Printed Bodies and the Materiality of Early Modern Prints

Figs 1, 2, 3. Lucas Kilian, Catoptri Microcosmici (Visio Prima, Visio Secunda, Visio Tertia) (1613), three anatomy broadsides composed of engraving and etching on ivory laid paper, discolored to cream, cut and joined with paper components, laid down on letterpress printed ivory laid paper, and mounted on cream wove paper. The Art Institute of Chicago, Gift of Dr. Ira Frank, 1944.461, 1944.462 and 1944.521.

In 1613, the Augsburg engraver Lucas Kilian produced a set of three broadsheets of human anatomy that are some of the most intricate early examples of interactive prints extant. Composed of several layers of engraving, letterpress and etching that were cut, stacked, and glued together as liftable flaps, these prints allowed the viewer to dissect male and female corpses as a didactic exercise. Read More