Jay A. Clarke is Manton Curator of Prints, Drawings, and Photographs at the Clark Art Institute and a lecturer in the Graduate Program in the History of Art at Williams College. She is author of Becoming Edvard Munch: Influence, Anxiety, and Myth (2009) and editor of Innovation. Tradition and Nostalgia: The Manton Collection of British Art (2012); The Impressionist Line from Edgar Degas to Toulouse-Lautrec (2013); and Hurricanes Waves: Clifford Ross (2015). Clarke has published articles on Käthe Kollwitz, Max Beckmann, Edvard Munch, the art dealer and critic Julius Meier-Graefe, and the British linocut movement.

Käthe Kollwitz and the Face of Grief

Käthe Kollwitz, detail from Woman with Dead Child (1903), etching, drypoint, sandpaper and soft-ground on paper, 40.3 × 47 cm. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. 2015.15.

I have long been drawn to the large-scale intaglio print Woman with Dead Child (1903) by Käthe Kollwitz, a trenchant image of grief and loss. But the animal-like nature of the woman’s face, virtually unique in Kollwitz’s oeuvre, has always puzzled me Read More

The Politics of Geography and Process: Impressions from South Africa, 1965 to Now

Fig. 1. Charles Nkosi, Submission to Death from Black Crucifixion (1976), one from a series of thirteen linocuts, 39 x 24.7 cm. Published by the artist, Rorke’s Drift, KwaZulu-Natal. Gift of the Associates of the Department of Prints and Illustrated Books, 2007, The Museum of Modern Art.

The politics of geography and process intersect across borders and decades in the thoughtful and thought-provoking exhibition on view at the Museum of Modern Art (MoMA) "Impressions from South Africa, 1965 to Now." These intersections are enriched by the confluences between "Impressions" and the magisterial "German Expressionism: The Graphic Impulse," which was concurrently on view in the expansive sixth floor galleries (see John Ganz’s review, "Sturm und Drang on 53rd Street," Art in Print, July–August 2011). Read More