The Print Center Announces Its Fall Exhibition ULAE: Prints for a New Generation

The Print Center Announces Its Fall Exhibition ULAE: Prints for a New Generation

September 13 – November 23, 2024

(left to right) Kiki Smith, My Blue Lake, 1995, 3 color lithograph and photogravure, 43 ½” x 54 ¾”, edition of 41, © Kiki Smith / Universal Limited Art Editions; Carroll Dunham, Floating Shape with Backdrop, 1989-90, 4 color photolithograph, 22 ¾” x 28 ¾”, edition of 47. © Carroll Dunham / Universal Limited Art Editions

PHILADELPHIA, PA – The Print Center is pleased to announce the exhibition ULAE: Prints for a New Generation, on view September 13 – November 23, 2024. The show will present printed works by nine leading contemporary American masters made at Universal Limited Art Editions (ULAE), the renowned printmaking studio in Bay Shore, New York: Carroll Dunham, Jane Hammond, Bill Jensen, Julian Lethbridge, Suzanne McClelland, Elizabeth Murray, Susan Rothenberg, Kiki Smith and Terry Winters. This show continues a longstanding series recognizing the work of printshops across the United States that have made extraordinary contributions to contemporary print, including the Brodsky Center, Dieu Donné, Durham Press, Forth Estate and the Lower East Side Printshop. This exhibition is the first institutional show dedicated to the work of ULAE in Philadelphia. ULAE: Prints for a New Generation will fill all three galleries of The Print Center’s two-story building with work from the venerable studio, including early prints by celebrated artists who went on to greater acclaim in the ensuing decades. The exhibition will unfold in two parts: the first-floor gallery will spotlight the very successful, ongoing collaboration between the exceptional multidisciplinary artist Kiki Smith and ULAE that spans over thirty years, and the second floor will offer a rare opportunity to see artworks from the 1980s and 1990s – a very significant period for the workshop and American printmaking.

Spotlight on Kiki Smith will survey the ongoing collaboration with ULAE, beginning with her first lithograph produced at the studio in 1990 and concluding with a piece from 2020. The exhibition demonstrates how the continuous exchange between Smith and ULAE’s master printers has encouraged one of the finest artists working in print today. Together, they have produced conceptually adventurous, technically ambitious and impressively large-scale prints. These works track along with Smith’s shifting interests in the human body, self-portraiture, gender roles, nature and folklore. This is the first solo installation of Smith’s work in Philadelphia since an exhibition at The Fabric Workshop and Museum in 2002-03.

Kiki Smith, Litter (Fireplace Editions), 1999, 4 color lithograph with gilding, 22” x 30”, edition of 50. Published by Universal Limited Art Editions © Kiki Smith / Universal Limited Art Editions

Terry Winters, Novalis, 1983-89, etching and aquatint, 42 ½” x 31”, edition of 50. Published by Universal Limited Art Editions © Terry Winters / Universal Limited Art Editions

The second-floor galleries will feature prints by Carroll Dunham, Jane Hammond, Bill Jensen, Julian Lethbridge, Suzanne McClelland, Elizabeth Murray, Susan Rothenberg and Terry Winters – who represent two waves of artists who started working at ULAE in the 1980s and 90s. This influx of new artists was initiated after its legendary founder, Tatyana Grosman, passed in 1982. The next director, Bill Goldston, renewed Grosman’s vision by inviting younger painters and sculptors to collaborate. As a group, these works reveal the artists’ preference for a hybrid abstraction that acknowledges the presence of the human figure, along with the natural and man-made worlds.

The artists of the 80s explored the continuum between expressionistic abstraction and representation. Dunham’s surrealist forms border on cartoonish figuration and are amplified by flamboyant color. The abstract intaglio prints by Jensen are explorations of an inner world filled with curvilinear forms and dense textures. Murray’s large-scale lithographs, made by layering numerous sheets of printed and folded paper, employ exuberant lines to show a dog moving around a table. For Rothenberg, images of disembodied heads and fragmented body parts emerge from menacing darkness or glowing light, embodying a heightened state of mind. The abstract lithograph by Winters refers to the minute building blocks of the natural world, such as cells and organisms, blown up to a human scale.

(left to right) Elizabeth Murray working on Up Dog, and Down Dog, 1987-88; Elizabeth Murray, Down Dog, 1988, 9 color lithograph, 41” x 50 ¾”, edition of 65. Published by Universal Limited Art Editions © The Murray Holman Family Trust / Universal Limited Art Editions / Artists Rights Society (ARS), New York

The artists of the 90s brought more varied interests and artistic styles into the studio. They had emerged into a changed art world and made prints that reverberated with their social and political concerns. Hammond’s print is a map of downtown Manhattan, with images drawn from her archive of 276 found images, that create a visually dense topography marked by personal associations. Lethbridge’s lithographs conform to a painting style often described as cerebral abstraction, observable in the black-and-white palette used to compose an image of rhythmic patterns. McClelland’s swashes of color track the path of her boisterous mark-making used to obscure a newspaper page documenting the moment’s political landscape.

All images courtesy of Universal Limited Art Editions. All artworks published by Universal Limited Art Editions.

About Universal Limited Art Editions

ULAE is celebrated for its nearly seventy years of steadfast dedication to supporting the work of contemporary artists and sustaining the tradition of fine art printmaking in the United States. It was founded in 1957 in a small cottage on Long Island by Tatyana Grosman (1904-1982) as a printmaking workshop dedicated to creating fine art lithography. She established a guiding ethos centered entirely on the artist’s vision by offering exclusive and nearly limitless access to the lithography press. ULAE soon gained recognition for its collaboration with young artists of the sixties, including the luminaries Jasper Johns and Robert Rauschenberg, and led the way for a revival in the medium in the United States. Bill Goldston assumed the position of Director in the early 1980s and followed Grosman’s precedent by inviting younger generations of artists. He built a larger, state-of-the-art printmaking facility staffed by several highly skilled master printers to ensure ULAE could meet their ambitions. To this day, under the directorship of Bill’s daughter Larissa Goldston, ULAE continues to collaborate with the most prominent and innovative artists of our times in lithography, intaglio, woodcut and digital processes.  The Museum of Modern Art collects all of their editions, from its first to the most recent. There have been several major exhibitions of work produced at ULAE, including a commemoration of its first twenty-five years at the Art Institute of Chicago, 1990, and a celebration of its fortieth anniversary at the Corcoran Art Gallery, Washington, DC, 1997.

About the Artists

To read the biographies of Carroll Dunham, Jane Hammond, Bill Jensen, Julian Lethbridge, Suzanne McClelland, Elizabeth Murray, Susan Rothenberg, Kiki Smith and Terry Winters, view the complete PDF.

Programs Gallery Talk & Opening Reception Thursday, September 12 5:30pm, Gallery Talk with Lauren Rosenblum, Jensen Bryan Curator 6 – 7:30pm, Reception  Conversation with ULAE – Date TBD

All of The Print Center’s exhibitions and programs are free and open to the public. For more information visit printcenter.org.

About The Print Center Mission For more than a century, The Print Center has encouraged the growth and understanding of photography and printmaking as vital contemporary arts through exhibitions, publications and educational programs. The Print Center has an international voice and a strong sense of local purpose. Free and open to the public, it presents changing exhibitions, which highlight established and emerging, local, national and international contemporary artists. It mounts one of the oldest annual art competitions in the country, now in its 99th year, provides the Artists-in-Schools Program to Philadelphia public high school students and its Gallery Store offers a carefully selected array of contemporary prints and photographs onsite and online. Funders Support for The Print Center is offered by: Edna W. Andrade Fund; Drexel University Antoinette Westphal College of Media Arts & Design; Forman Family Fund; Sheila Fortune Foundation; Fund for Children; FS Investments; Allen Hilles Fund; IFPDA Foundation; William King Foundation; Phillip and Edith Leonian Foundation; Christopher Ludwick Foundation; National Endowment for the Arts; PA American Rescue Plan Act; William Penn Foundation; Pennsylvania Council on the Arts; Philadelphia Cultural Fund; The Philadelphia Foundation; Rosenlund Family Foundation; Henrietta Tower Wurts Memorial; and our Board of Governors, Luminaries, members and friends.

The Print Center  1614 Latimer Street Philadelphia, PA 19103 p: 215.735.6090     info@printcenter.org www.printcenter.org facebook.com/printcenterphilly @ThePrintCenter  #ThePrintCenter

Free and open to the public Tuesday – Saturday, 11am – 6pm Closed Saturdays August 3 – September 7

WHERE TRACKS ARE DRAGGED: Indigenous Women’s Trade Through 18th Century Adirondacks

WHERE TRACKS ARE DRAGGED: Indigenous Women’s Trade Through  18th Century Adirondacks by Maeve Kane When Agnese, a Kahnawà:ke Mohawk woman, traveled through the Adirondacks in the summer of 1742, she connected two colonial centers of trade across imperial borders and through traditional Haudenosaunee (Iroquois) territories. Agnese carried a pack of beaver pelts down from Montreal and returned with red fabric and fine laces.  This trade was illegal for Agnese's trade partners—one a French widow, the other a future mayor of Albany--but for Agnese, that colonial border between Canada and New York and the colonial jurisdiction that attempted to regulate it simply did not exist. This talk will discuss the Indigenous women who conducted trade between Albany, Montreal, and Haudenosaunee territories, the things they bought and carried, and what it means for Haudenosaunee sovereignty and the right to free travel in the 21st century. $8 Admission\Members Free. Doors open at 6:30. Kane is Professor of History at the University at Albany, and co-author of a new textbook on American women’s history. She is also part of a new podcast on the American Revolution, “Worlds Turned Upside Down.”

Explore the Beautiful Exhibition at the Gerald Peters Gallery

Beautiful Exhibition at the Gerald Peters Gallery

#geraldpetersgallery#fineartmagazine#fineartfun

Hi All, A fun night at Hamptons Fine Art Fair Opening day

Hamptons Fine Art Fair 2024 July 11-14 

 

Artist Stacy Roberts, at the Milou Gallery

Scluptor Steve Zaluski, Artists , Victoria Kovalenchkova , Jamie Forbes, and  Agnes Belezany

Artist Jeff Muhes, Gallery Owner Beth McNeil 

Giancarlo  Impiliga, and the always lovey Nina Impilgia

Jamie Forbes, Lisa Grub, and Steve Zauski

Andre Protsouk Booth 130 , with friends.

#hamptonsfineart#fineartmagazine#fineartfun

Last Chance to See D’Lan Contemporary's Exhibition of Australian First Nations Artist Daniel Walbidi in New York Gallery Ends tod

Last Chance to See D’Lan Contemporary's Exhibition of Australian First Nations Artist Daniel Walbidi in New York Gallery   Yurlupirti - Forever Without End (eternal) April 25 – June 15, 2024 in NYC Daniel Walbidi, Winpa, 2023, synthetic polymer paint on linen, 80.7 x 67.1 inches (205 x 170.5 cm). © Daniel Walbidi c/o Short St Gallery, 2024. New York, NY — June 12, 2024 — D’Lan Contemporary's inaugural exhibition ‘Yurlupirti - Forever Without End (eternal)' by Yulparitja / Mangala contemporary artist Daniel Walbidi is closing on Saturday, June 15th at the Australian gallery’s new space at 25 East 73rd Street in New York. This sellout exhibition, featuring 10 new paintings by Walbidi, has had a successful run since the opening of the gallery's new space on April 26, 2024.   This exhibition follows the successful launch of D’Lan Contemporary's first New York space in May 2023, where the gallery hosted its first exhibition of Daniel Walbidi, marking Walbidi’s premiere in NYC. ‘Yurlupirti - Forever Without End (eternal)’  presents a new body of larger-scale works and delves deeper into Walbidi’s personal beliefs and cultural perspectives grounded in the land. This marks the D’Lan Contemporary’s second collaboration with Walbidi and the artist’s primary representative Emily Rohr and Short St. Gallery (Broome, Western Australia), highlighting the significant demand and appreciation for Australian First Nations art in the global art market.   Daniel Walbidi creates art that acts as a bridge to the spiritual and ancient wisdom of the desert, deeply rooted in Australian First Nations’ perceptions of reality and the importance of land acknowledgment. Employing a vivid, layered abstract style, he explores profound questions about life through this new body of work. With water as a central theme, Daniel mirrors the fusion of coastal and desert environments through an intense color palette, offering a visual narrative that pays homage to his Yulparitja/Mangala heritage.   “My ambition is not only to be a successful artist but also to be someone who is able to make our culture​ known and understood and to give a different perspective​ of what land is to Aboriginal people. The laws of the land extend to New York. There is a long tradition through the​ Native American community, which I often think about​… The ​fundamental laws for existence are all written in the land.​ My aim is to share our perspective because it will shift the approach and understanding of Western people. If you are born in the land, you are of the land,” says Walbidi.   Daniel Walbidi is from Bidyadanga, a coastal community 250km south of Broome, Western Australia, home to the Karrajarri people. Originally the La Grange Mission, this remote area in Western Australia served as a settlement for Indigenous people migrating from the desert to assist in building cattle stations. “Daniel's upbringing fostered a deep appreciation for his people’s traditions and cross-cultural connections. As we prepare to see Daniel’s paintings grace the walls of our new space in New York, his art and words offer a poignant reflection on the importance of preservation and the enduring resilience of Australian First Nations cultures,” says Lucy Foster, Gallery Manager of D’Lan Contemporary, New York.   D’Lan Contemporary was founded in 2016 by D’Lan Davidson, a leading international Australian First Nations art consultant, dealer, and gallerist. The gallery has since dedicated itself to showcasing exceptional works of art by leading and emerging Australian First Nations artists globally. Since first discovering Daniel's work during his tenure at Sotheby’s Australia, D’Lan has been determined to collaborate with the artist and showcase his remarkable paintings to a broader audience. “Following Daniel’s first sellout solo exhibition in New York last year, we are thrilled to welcome him back to reveal an exciting new body of work in his artistic journey. Our expansion and second collaboration with Daniel is a testament to the momentum in his work and the growing appreciation and appetite for Australian First Nations art internationally,” saysDavidson.   The Australian gallery’s opening of a second space in New York signals a new direction in programming strategy. This additional space will present curated exhibitions featuring living Australian First Nations artists, alongside a schedule of events and educational talk programming. The 81st Street location will remain open by appointment with a focus on exhibiting exceptional secondary market works of art for private sale.   ‘Yurlupirti - Forever Without End (eternal)’ will be on view through Saturday, June 15, 2024, from 11 AM to 6 PM. The opening reception took place on Thursday, April 25, where the artist was present and participated in a discussion with his primary representative, Emily Rohr of Short St. Gallery, hosted by D’Lan Davidson and New York Gallery Manager, Lucy Foster.   For more information, please visit: dlancontemporary.com.au.   NOTES TO EDITORS   About Daniel Walbidi          Daniel Walbidi (b. 1983) is from a small coastal community 250km south of Broome called Bidyadanga, the traditional homeland of the Karrajarri people. Formerly La Grange Mission, it is where people were brought into from the desert to help build the cattle stations there. This is how Daniel's desert parents came to live at the coast. Bidyadanga has five tribes living within the community. Daniel says, "We all speak and understand each other's languages and live together as one big family."   At the age of 16, Daniel actively sought to exhibit his work. He was painting on wood boards, old doors, off cuts and anything he could find to express himself. He urged the elderly people in the community to start painting so that he could learn about his people's history and cultural background. He has since become initiated and continues to paint and exhibit his work around Australia.   Taking colors from nature—both from the desert and the ocean—Walbidi’s artistic practice has been deeply rooted in Australian First Nations perceptions of reality and the importance of land acknowledgement, as well as his people's traditional teachings and experiences. Walbidi won the painting prize at the National Indigenous Art Awards at the Museum and Art Gallery of Northern Territory in 2014. He was named among the Top 50 of Australia's Most Collectable Artists by Australian Art Collector in 2011. His work has been collected by significant institutions and exhibited globally including at the Metropolitan Museum of Art (New York). A documentary titled "Desert Heart," showcasing his work and his people's story, aired on ABC in March 2008. He continues to display a complex understanding of his traditional country in the Great Sandy Desert of Western Australia.   About D’Lan Contemporary D’Lan Contemporary was founded by D'Lan Davidson in Melbourne, Australia in 2016; a leading art consultant, dealer, and gallerist specialising in Australian First Nations art for over 20 years. Representing Australia's most dynamic art movement, D’Lan Contemporary presents regular exhibitions of modern and contemporary art by leading Australian First Nations artists alongside a program of educational talks and events, to celebrate and promote the rich art and culture of the country's first peoples.   In 2023, D'Lan Contemporary expanded to New York’s Upper East Side, enabling the gallery to further foster awareness of and appreciation for Australian First Nations art internationally. The 81st Street location will continue to operate by appointment, focusing on private sales of outstanding secondary market artworks.   D’Lan Contemporary maintains strict ethical practices and exclusively exhibits and sells works of art with impeccable provenance to protect the artist, the buyer, and the market from fraudulent sales or unethical procurement.   The gallery is committed to creating a sustainable marketplace and generating positive industry change; the gallery gives back 30% of its net profits to communities.   D’Lan Contemporary New York (73rd Street Location) Tuesday–Saturday, 11 AM–6 PM 25 East 73rd Street Upper East Side New York NY 10021 USA   D’Lan Contemporary New York (81st Street Location) Appointment Only 4 East 81st Street Upper East Side New York NY 10028 USA   D’Lan Contemporary Melbourne Tuesday–Friday, 10 AM–5 PM Saturday, 11 AM–4 PM (during exhibitions) Wurundjeri Country 40 Exhibition Street, Melbourne VIC 3000 Australia   Website dlancontemporary.com.au   Social Media Facebook: facebook.com/DlanContemporary Instagram: @dlancontemporary YouTube: @dlancontemporary   About Short St. Gallery Established in 1998, Short St. Gallery, located in the heart of Chinatown in Broome, Western Australia, is the country's leading contemporary Art Gallery specialising in Aboriginal Art. The gallery sources works ​directly from remote Indigenous communities and Art Centres from the Kimberley, Tiwi Islands, the APY and NG Lands, Central Desert, Pilbara and throughout regional Australia.   The gallery seeks to educate and proudly showcase the stylistic diversity of the different cultures which make up Australia. From the saltwater to the freshwater, to the desert people, Short St. Gallery offers a glimpse at the sophisticated and dynamic landscape which is Australian art.   Short St. Gallery represents over 15 different artists directly and over 100 artists through their art centres, including the acclaimed Yulparitja/Mangala artist, Daniel Walbidi.

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