Picasso and Chicago at The Art Institute of Chicago

The “Picasso and Chicago” exhibit marks the special hundred- year relationship of Pablo Picasso with the city of Chicago and features more than 250 works selected from the The Art Institute of Chicago’s own exceptional holdings and from private collections throughout city. Representing Picasso’s innovations in nearly every media—paintings, sculpture, prints, drawings, and ceramics—the works not only tell the story of Picasso’s artistic development but also the city’s great interest in and support for the artist since the Armory Show of 1913, a signal event in the history of modern art.

The 1913 Armory Show showcased the works of the most radical European artists of the day alongside their progressive American contemporaries and forever changed the artistic landscape for artists, collectors, critics, and cultural institutions in the United States. Unlike the other venues for the Armory Show in New York and Boston, which were private institutions, the Art Institute enjoys the distinction of being the only art museum to host the exhibition and as such, has the privilege of being the first in the United States to present the works of such artists as Constantin Brâncusi, Marcel Duchamp, Henri Matisse, and Picasso to the public. Indeed, Chicago’s interest in Picasso’s art would grow over the years, leading to a number of important distinctions: as just one remarkable example, in 1967 the city welcomed the artist’s first monumental work of public sculpture.

“It is clear in even the briefest of histories that Chicago played a critical, early role in the reception and development of modern art in the United States,” said Stephanie D’Alessandro, Gary C. and Frances Comer Curator of Modern Art at the Art Institute and curator of the exhibition. “While the career of Pablo Picasso is just one of many examples, it is nonetheless an extraordinary story: some of the most significant events in the reception of his art—including the first presentation of Picasso’s works at an American art museum, the first solo show devoted to the artist outside a commercial gallery, and the first permanent display of his work in an American museum—all happened in Chicago and all within just the first two decades of the last century. This exhibition marks the special hundred-year relationship of Pablo Picasso, and our city.”

Picasso and Chicago documents the development of Picasso’s career alongside the growth of Chicago collectors and cultural institutions, emphasizing the storied moments of overlap that have contributed not only to the vibrant interest in Picasso today but also to the presence of nearly 400 works by the artist in the collection of the Art Institute. The museum began its Picasso collection in the early 1920s with two figural drawings, Sketches of a Young Woman and a Man (1904) and Study of a Seated Man(1905); in 1926 the Art Institute welcomed one of Picasso’s signature Blue Period paintings, The Old Guitarist (late 1903–early 1904), as a part of a generous gift in memory of Helen Birch Bartlett.

Over the subsequent decades, the museum’s collection has expanded to include such important paintings as the classically inspired Mother and Child (1921) and surrealist Red Armchair (1931), as well as such memorable sculptures as the Cubist Head of a Woman (Fernande) (1909), the playful Figure (1935), and the maquette for Picasso’s largest three- dimensional work, the Richard J. Daley Center Sculpture (1964–67). The Art Institute has also developed an exceptional collection of works on paper that demonstrates Picasso’s endless inventiveness and masterful draftsmanship, as seen in such extraordinary examples as the turbulent Minotaur (1933) and the monumental Woman Washing Her Feet (1944). Likewise, the print collection holds special works including The Frugal Meal (1904), one of only three examples of this familiar Blue Period etching printed in blue-green ink. Because of the fragility of the drawings and prints, these works from the museum’s collection are rarely on view, and visitors will be offered an extraordinary opportunity to see them in the context of Picasso’s career and the museum’s own collection.

The exhibition is accompanied by a handsome catalogue, Picasso and Chicago: 100 Years, 100 Works, that brings together 100 of Picasso’s finest works in Chicago. The book will be available beginning March 4, 2013, at the Art Institute’s Museum Shop for $24.95.

Pablo Picasso. Man and Flute Player, 1967. The Art Institute of Chicago, restricted gift from the estate of Loula D. Lasker, © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Pablo Picasso. Minotaur and Wounded Horse, 1935. The Art Institute of Chicago, Anonymous gift. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Pablo Picasso. Weeping Woman I, 1937. The Art Institute of Chicago, through prior acquisition of the Martin A. Ryerson Collection with the assistance of the Noel and Florence Rothman Family and the Margaret Fisher Endowment. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Pablo Picasso. The Faun Musician, 1947. The Art Institute of Chicago, gift of Dorothy Braude Edinburg to the Harry B. and Bessie K. Braude Memorial Collection. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Pablo Picasso. The Frugal Meal, from The Saltimbanques,1904. The Art Institute of Chicago, Clarence Buckingham Collection. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

“Chicago and Picasso” February 20 – May 12, 2013 The Art Institute of Chicago 111 South Michigan Avenue Chicago, IL 60603

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The South Dakota Art Museum has received an extensive, growing donation of valuable fine art prints that offer visitors an encyclopedic collection of printmaking from the 1960s, 1970s and early 1980s. The collection includes impressive examples of pop, op, abstract, color field and photo-realist art. The donation comes from Neil C. Cockerline, a former preservation services director and senior conservator with the Midwest Art Conservation Center in Minneapolis, MN in memory of his late mother Florence L. Cockerline. From initial appraisals, the value of the collection in today’s art market ranges between $500,000 and $1 million.

Neil C. Cockerline holding a print by Robert Indiana called “Jo the Loiterer”

The collection currently contains more than 400 prints and will continue to grow with the South Dakota Art Museum as its permanent home. The Cockerline Collection features more than 100 notable artists including Jim Dine, Robert Rauschenberg, Robert Motherwell, Andy Warhol, Henri Matisse and Robert Indiana. The works are all original prints which means the artist was present or had strict control of the piece during the printmaking process. After each edition is completed, the plate or screen used to make the print is destroyed, making all the pieces in the collection rare.

“I chose to donate this collection to the South Dakota Art Museum because I knew the staff and university are very supportive of the museum, and they have a reputation of professionalism and a commitment to preservation. The collection will also attract people to the museum. There isn’t a collection like this in the state or nearby.” Cockerline selected each piece to be included in the first exhibition. The South Dakota Art Museum plans to schedule many local exhibitions, as well as send the collection to other venues. Cockerline donated the collection in honor of his late mother because of her influence as his artistic mentor as a child. The donation will be used to educate SDSU students in many departments on campus. “When I put the collection together it was basically to form a context of printmaking from 1960 to 1982,” said Cockerline. “I always wanted it to be a teaching collection.” Museum interns will gain experience handling, cataloging, researching and preserving contemporary works of art. History and political science students will be able to visually see the impact social unrest and current events of the period had on the visual arts.

Lisa Scholten, SDAM Curator of Collections, said the donation impacts the public by exposing people to rarely seen art. “It would take visiting hundreds of different museums to view all of the prints that now call the South Dakota Art Museum home,” said Scholten.

Lowell Nesbitt Exotic Orchid Ellen (Kuhn) Charap A (1980) Screenprint, 25 X 22 Black Day in July (1968) in. © The Estate of Lowell Lithograph, 33 X 23 in. Nesbitt © Ellen (Kuhn) Charap

James Rosenquist Miles (1975) William Weege Home, Home Screenprint, 30 X 22 in. © on the Range…Played… James Rosenquist / Licensed (1970) Screenprint, by VAGA, New York, NY 41.75 X 29.75 in. © Bill www.vagarights.com Weege

“Cockerline Collection: Prints of the 60’s, 70’s and 80’s” South Dakota Museum of Art January 15 – May 12, 2013 Brookings, SD

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Lines Etched with the Weight of Life: Georges Rouault’s Miserere at The Snite Museum of Art

In response to the ravages of World War I, French artist Georges Rouault (1871–1958) produced a portfolio of drawings, which were reproduced as heliogravures, a process combining engraving and photography. Dissatisfied with the results of the reproductions, the artist continued to modify the plates using a variety of printmaking techniques in un-conventional ways. What he achieved was an entirely new object whose surface physicality created a spiritual space in which the viewer’s mind focuses upon the transcendent truths expressed by the artist. Although printed in 1927 under the supervision of the artist, the prints remained in storage until 1948 when they were finally published.

“Lines Etched with the Weight of Life: Georges Rouault’s Miserere” is a haunting series of 58 works on paper. The title, “Have mercy on me, O God” is taken from Psalm 51, and is considered a monument in twentieth-century printmaking. This is the first time the Snite Museum of Art will present the series, described as a powerful lamentation of the human condition, in its entirety.

Compared with some of the most famous graphic sequences in history, including Albrecht Dürer’s Little Passion, Jacques Callot’s Caprices, and Francesco Goya’s Disasters of War, Miserere uniquely combines overtly religious iconography with modern, subtle and introspective portrayals of human misery and salvation. Prints by these artists are also included in the exhibition to illustrate Rouault’s homage to tradition and his endless innovation.

“Lines Etched with the Weight of Life: Georges Rouault’s Miserere” January 13 – March 10, 2013 The Snite Museum of Art University of Notre Dame, South Bend, IN METRO GALLERY FRAME

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INK MIAMI

On our trip to Art Basel Miami we planned to attend some of the satellite shows surrounding the convention center. The first one on our list was INK MIAMI because one of our customers, Graphicstudio, was an exhibitor and we wanted to stop by and say hello. It was well worth the trip. INK MIAMI is the antidote to the larger art fairs. It is located in the Dorchester Hotel which is located a few blocks from the convention center where ART BASEL is held. Unlike ART MIAMI and ART BASEL each exhibitor has their own hotel room, which limits the visual clutter of competing exhibitors. The scale of the space and the atmosphere makes it much easier to appreciate the art. It is sponsored by the International Fine Print Dealers Association (IFPDA) and exhibitors are selected from among their members. Since its founding in 2006, the Fair has attracted a loyal following among museum curators and committed collectors of works on paper.

There are 15 exhibitors at INK MIAMI and they all serve an important role in the fine art works on paper community. Time constraints did not allow us to talk with each of them individually. In addition to Graphicstudio, we had the opportunity to talk directly with the ones below and we hope to have the privilege of touring their studios in the future.

Graphicstudio We have done many projects with Graphicstudio and have toured their studio in Tampa at the University of South Florida so we were familiar with their mission. Artists are invited to work at the studio by invitation. They are a university-based atelier engaged in a unique experiment in art and education, committed to research and the application of traditional and new techniques for the production of limited edition prints and sculpture multiples. The artists they were exhibiting at the show were: Christian Marclay, Iva Gueorguieva, Trenton Doyle Hancock, Carlos Garaicoa, Richard Tuttle, Alex Katz, Ibrahim Miranda, among others. Tamarind Institute is a division of the College of Fine Arts of the University of New Mexico in Albuquerque. Tamarind Lithography Workshop, Inc. (TLW) was founded in Los Angeles in 1960 as a means to “rescue” the dying art of lithography. They became affiliated with the University of New Mexico in 1970. Their goal remains to continue to restore the prestige of lithography by creating a collection of extraordinary prints. In order to do that they are creating a a pool of master artisan-printers in the United States by training apprentices. Artists are invited to work at the institute by invitation. They work collaboratively with master printers to extend the expressive potential of the medium. The artists exhibited at the show were Jim Dine, Liliana Porter, Anna Hepler, James Siena, Nicola López, Toyin Odutola, Tony DeLap, Kiki Smith, Tiago Gualberto, Donald Sultan, and many more.

Tande m Press Tande m Press was found ed in 1987 and is based at University of Wisconsin-Madison. Tandem Press is an artistic laboratory where internationally recognized artists undertake creative experimentation. Tandem Press shares this mission by teaching, undertaking research into new and traditional printmaking techniques, and by conducting outreach programs to help educate the public about art in general, and printmaking in particular. Tandem is celebrating it’s 25th anniversary this December with an exhibiton opening at the Chazen Museum in Madison. The artists that were exhibited at the show were: Suzanne Caporael, Robert Cottingham, Nicola López, Cameron Martin, Judy Pfaff, Sean Scully, T.L. Solien, David Lynch, and Dennis Nechvatal. Mixografia In addition to the University presses above, we were especially impressed with Mixografia, which is located in Los Angeles. Mixografia produces and publishes handmade 3D paper prints, multiples and sculptures in all media that expand the language of traditional editions by allowing the artist greater choice. Since its inception, the workshop has aspired to help the artist realize a vision through the production of artwork they may not have thought possible. With their processes, the artist is not limited by the boundaries associated with traditional techniques or by the selection of their materials. Their processes accommodate the unique working style of each artist, and preserve the identifiable traits of their artwork. This collaborative environment is an exciting and freeing experience, while at the same time challenging and gratifying. Artists exhibited at the show were: John Baldessari, Kwang-Young Chun, Jorge Pardo, Jason Martin, Ed Ruscha, Donald Sultan, Tom Wesselmann, Rachel Whiteread, and Peter Wuthrich.

50 for Arkansas The Dorothy and Herbert Vogel Collection

Dorothy and Herbert Vogel were avid collectors of contemporary art and were well known throughout the New York art scene. Their world-class art collection began in a one-bedroom New York apartment while they lived on Dorothy’s income as a librarian and dedicated Herb’s income as a postal worker to the acquisition of art. Their collection steadily grew to more than 4,000 pieces. In 2008, the Vogel’s launched a nation-wide gifts program titled The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States with the help of the National Gallery of Art, the National Endowment for the Arts and the Institute of Museum and Library Services. The Vogel’s distributed 2,500 works from their collection throughout the nation, with 50 works going to a selected art institution in each of the 50 states. Consisting largely of works on paper, the Arkansas Arts Center was selected to receive the works for the state of Arkansas. This exhibition will feature the works from this gift. Artists include William Anastasi, Will Barnet, Michael Goldberg, Michael Lucero, Betty Parsons, Richard Tuttle and more.

Robert Duran American (Salinas, Betty Parsons American (New California, 1938-2005) active New York, 1900 – 1982, New York) York Untitled watercolor on paper Brush Up paint on weathered 1970 wood construction 1974

MASS PRODUCTION

We always appreciate getting photos from our customer’s sharing how they fit our gallery frames. This is a good example of fitting a large order of gallery frames with wood spacers.

Attaching spacers with clamps Richard Tuttle Watercolor

“50 for Arkansas: The Dorothy and Herbert Vogel Collection” September 21 – January 6, 2012 Arkansas Arts Center Little Rock, AR GALLERY FRAMES

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Ulysses suite by Robert Motherwell

“I thought you might enjoy seeing the attached photo. It is the entire Ulysses suite by Robert Motherwell in your frames: very beautiful, a perfect complement to the works. Motherwell was commissioned to do this suite of prints to complement a beautiful hand-printed text of James Joyce’s Ulysses. Thanks,” Jerald

Motherwell counted Irish author, James Joyce, as his favorite modern author and drew upon his writings for titles to his paintings, drawings, and prints throughout his career. Ulysses, written by Joyce, chronicles the passage of Leopold Bloom through Dublin during an ordinary day in 1904. The title alludes to the hero of Homer’s Odyssey, Odysseus (Latinized into Ulysses). The Ulysses project was four years in planning and a year and a half in production and included an illustrated book and this portfolio of 22 prints. Motherwell saw an affinity between Joyce’s particular use of language and his own thinking about representation and abstraction. The prints have strong calligraphic elements, a recurring motif in Motherwell’s work. Metropolitan has been making frames for the Jerald Melberg Gallery for many years. He is located in Charlotte, NC. He like many other galleries exhibit in multiple art fairs every year. This one is artMRKT San Francisco and took place May 17 – 20th. It is considered to be the Bay Area’s premier contemporary and modern art fair. This year they featured 70 galleries from around the globe. Both historically important work was showcased alongside contemporary pieces and projects.

Jerald Melberg Gallery Charlotte, NC 28211 www.jeraldmelberg.com

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The Art of Oleg Vassiliev at The Museum of Russian Art The Art of Oleg Vassiliev surveys the career of one of the most important unofficial Soviet artists. This exhibition is the third in the series of remarkable one-man shows under the umbrella title Discovering Russian 20th Century Masters. The exhibition of Vassiliev’s works on paper includes the exciting House with the Mezzanine series, seven children’s books illustrated by Oleg Vassiliev and Erik Bulatov, as well as his six self-portraits where the artist explores the issues of identity and self-representation through visual means. Inspired by the personalities and settings of Anton Chekhov’s story “House with the Mezzanine,” this series of thirty metal- cut prints combines a critical revision of Soviet history with the ingenious graphics to create a progression of beautiful vignettes.

One of the most respected figures in Russian contemporary art, visual artist Oleg Vassiliev was at the inception of the Unofficial Artist Movement in the Soviet Union during the 1950s, ‘60s and ‘70s. This movement demonstrated disagreement with soviet society and government through artistic experimentation and non conformist work. For Vassiliev this meant combining Russian Realist style with that of the early Soviet avant-garde in studies of pictorial space and light. Vassiliev, who immigrated to the Untied States in 1990, continues to paint in his home studio in St. Paul. In 2012 the Museum of Russian Art in Minneapolis held a retrospective of his work. Oleg Vassiliev was recently featured on TPT’s MN Original series. Click here to watch.

The Art of Oleg Vassiliev The Museum of Russian Art. Minneapolis, MN

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Metropolitan frames go to London This fall we had the pleasure of working with Graphicstudio on a new project for Allan McCollum. We had worked with Graphicstudio on a previous project for the artist. After that initial series, a commissioned version of the work entitled “One Thousand Women” was recently installed in the Chanel store in London. The Chanel installation features the most popular 1000 women’s names according to the US census. The project has a global aspect. The artist, Allan McCollum, lives and works in New York City. Metropolitan Picture Framing is located in Minneapolis. Graphicstudio is located in Tampa. The first series was shown at La Salle De Bain in Lyon and at the Thomas Schulte Gallery in Berlin. Because of the German exhibit, the artist was commissioned to create a project for the Chanel store in London.

We wanted to find out more about how the project came into being and how artists work with Graphicstudio as well as the framing and installation challenges of this commission.

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Kristin DuFrain, Curator and Registrar, Kristin Soderqvist, Director of Sales and Marketing,

Jennifer Andrews, Internet Marketing, and Matt Squiers, Production Assistant of Graphicstudio contributed to the interview below.

Karen Desnick, metroframe I know that Graphicstudio is a university-based atelier that works directly with artists engaged in the production of limited edition prints using traditional and new techniques. Can you tell me how the collaboration with artists begin and how their work is marketed?

​Artists are invited to work at the studios by invitation from our Director, Margaret Miller. Artists are selected based on our current curatorial interests and programming at the Institute for Research in Art (Graphicstudio, USF Contemporary Art Museum and the Public Art Program). Once an agreement is reached and a contract is signed, we market the editions to collectors, corporate collections, museums, art consultants and other galleries. We participate in art fairs targeted to works on paper and editions. We also work closely with galleries that are the main representative of the artist. We sell work nationally and internationally. We also have a strong e-marketing campaign using Facebook, Twitter, YouTube and a blog.

Note: ​Over one hundred leading international contemporary artists have created more than 600 limited edition fine art works at Graphicstudio, in intaglio, photogravure, lithography, cyanotype, relief, serigraphy, sculpture, artist books, and in the Graphicstudio invented techniques of waxtype (encaustic screenprinting), and heliorelief (a photographic woodblock process). Click to see a list of graphicstudio artists.

Karen Desnick, metroframe Can you tell us us more about Allan McCullom’s relationship with Graphicstudio? I know that his work with Graphicstudio was selected to be in the collection of The National Gallery of Art.

Kristin DuFrain and Allan McCollum

In 2004 Allan’s first project with us was “Each and Every One of You” which consisted of 1200 Digital inkjet prints (600 male and 600 female names listed as the most common names for each gender according to the 1990 US Census Bureau) .

He researched the U.S. Census Bureau’s most recent compilation of common names used in the U.S., and produced 3 portfolios of 1200 prints. Each portfolio is ordered according to popularity into two handmade walnut boxes. The paper size was 4″ x 6″ and the framed pieces were matted to 8″ x 10″. It was made in an Edition of 3. “Each and Every One of You” was first exhibited at theBarbara Krakow Gallery in Boston, Massachusetts. We have continued working with Allan through the years to create sculptural shapes and most recently the project “One Thousand Women” for Chanel.

Karen Desnick, metroframe I know that the Chanel project was a commission. Can you discuss how that happened.

“Each and Everyone of You” was on display at Thomas Schulte Gallery in Berlin, Germany. Someone working on the new Chanel store in London saw the project and approached us and the artist about doing a site specific commission for the space of just female names.

Karen Desnick, metroframe How was the work produced? How many people were involved?

The prints are Digital inkjet prints hand cut and framed at Graphicstudio. The digital process for the project was: 1000 individual names were created as Adobe® Photoshop files using a Helvetica® black condensed font as white text in a black inked field. Each name was centered and scaled to fit within a specified space of 1/4″ inside the black inked field. A Gaussian blur filter of 1.0 was applied to each name. The names were printed with Epson Ultra Chrome TM using matte black Ink on the EPSON Stylus Pro 7900. For the original project back in 2004 we had a crew of about 15 staff and students working on it at different times. For the Chanel project we had 3 – 4 people working on it.

Karen Desnick, metroframe Framing, crating, shipping is challenging for 1000 pictures. Can you talk about the logistics of getting it done.

On both projects we had to create a kind of factory assembly line. We created templates to cut pieces we needed, we set out all of the frame parts, we put them together, and then cleaned the frames and wrapped them in ethafoam. Each frame has a label on the back with the project information and also its popularity. We then made custom boxes and packed the work in plastic wrapped stacks in popularity order. When the artwork arrives to the site for installation it needs to be easy to open and hung in the correct order. We sent the work in a custom built crate via an art handler to London.

Karen Desnick, metroframe Installing 1000 pictures just over an inch apart with security hangers so they hang straight and are sorted by name popularity has to be challenging. Matt, can you explain the process and how long it took? I had experience installing Allan McCollum’s work because I worked on the installation at the Thomas Schulte Gallery in Berlin, which represents the artist. Two of their preparators met me in London to help with the installation. The first thing I did was to make an Adobe® lllustrator computer file exactly to scale. I then put the measurements for the security hanger holes into the file. I printed it out on a laser printer which maintains the scale perfectly. I taped 10 of these printouts together and took a piece of clear acetate and laid it on top of the printouts. I punched a thumb tack through the acetate where the holes for the security hangers were suppose to be. I made three of those and taped them to the wall. I used a nail to punch the holes in the wall. I used a contractor grade DeWalt laser level to dictate where the acetate was being placed on the wall. Because there was a banister that went all the way up the wall, it was necessary to start from there and work upwards. We put all of the security hangers up first and then attached the frames. One of the most difficult aspects was the small amount of space between the frames (3 cm or approximately 1.18″). We had to bend the security hanger tool to be able to get between the frames to attach them to the hanger. The project was also complicated because they were still doing construction in the rest of the store. We worked on the project off and on for about a week.

Karen Desnick, metroframe For those of you who are wondering, Mary is the most popular girl’s name and James is the most popular boy’s name.

Links

Allan McCollum

Graphicstudio

Robert Brinker at Francis M. Naumann Fine Art

“Robert Brinker” is the first solo show of paintings by Robert Brinker to be held at Francis M. Naumann Fine Art. The eight large paintings and smaller studies in this exhibition were produced over the course of the past year, but they mark the culmination of a ten-year exploration of integrating figurative elements derived from the print media and translated into abstract patterns. The artist described the process employed in making these new paintings: “I begin by tracing lines from many sources such as coloring books, comics, and traditional Chinese paper cuts… The finished collage is then scanned into the computer where I can further manipulate it… I use these lines as a template that I overlay on some of the original source materials and begin to create the composition, colors and details… In the paintings (as opposed to the collages and preliminary studies), I am able to better explore the space by manipulating the paint, creating subtle fades in the lines and backgrounds or through flat fields of color. ” Francis M. Naumann Fine Art January 13 – February 24, 2012

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A centennial exhibition of Will Barnet’s work

The Arkansas Arts Center will display more than 75 drawings given to them by the artist in honor of his long-time friendship with former director Townsend Wolfe.

Will Barnet As a student Barnet studied at the School of the Museum of Fine Arts, Boston. In 1930 Barnet continued his studies at the Art Students League of New York, beginning his long association with the school where he concentrated on painting as well as printmaking, In 1936 he became the official printer for the Art Students League. There, he later instructed students in the graphic arts at the school. Barnet continued his love of teaching with positions at the Cooper Union, at Yale University, and at the Pennsylvania Academy of Fine Arts. He has taught artists including Cy Twombly, Tom Wesselmann, Eva Hesse, James Rosenquist, Mark Rothko and Donald Judd. A devoted printmaker, and with a technical expertise encompassing lithograph, woodcut, serigraph, and intaglio, Barnet has treated printmaking as a serious undertaking in its own right. His work has entered virtually every major museum in the United States including: The Metropolitan Museum of Art, The National Gallery of Art, The Museum of Modern Art, New York, The Whitney Museum of American Art, and The Museum of Fine Arts, Boston.

Portrait of Sully De Vito 1928 E.D. Poem 1989 Whiplash 1958 A Peaceable Kingdom 1946

Art by Will Barnet © Will Barnet, courtesy Alexandre Gallery, New York. Photography, Cindy Momchilov, Camera Work, Inc.

Arkansas Arts Center The Arkansas Arts Center was created in 1960. It was decided to select drawings as the collection’s primary concentration believing they could make a unique contribution to the field. The Arkansas Arts Center has been committed to building a collection of unique works on paper, primarily American and European, from the Renaissance to the present. Arkansas Arts Center

‘Will Barnet at Arkansas Arts Center: A Centennial Exhibition” October 7, 2011 – January 15, 2012 Arkansas Art Center

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