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Pioneering print collector and curator, Samuel P. Avery (1822–1904), donated a collection of 17,775 prints, including works by Cassatt, Whistler, Turner and Manet, to establish the Print Collection of the New York Public Library in 1900. Prior to his donation, Avery curated print exhibitions at the Library, Metropolitan Museum of Art, Grolier Club, and Union League Club. Through an examination of Avery's persistent efforts to exhibit exemplary prints in museum and gallery settings – including an unusual collection of prints by women – this article provides evidence that Avery's ground-breaking curatorial efforts led to the institutionalization of print display in New York. [ABSTRACT FROM AUTHOR]

The article previews exhibition "African-Print Fashion Now! A Story of Taste, Globalization and Style" at Fowler Museum in University of California, Los Angeles, California; Memphis Brooks Museum of Art in Memphis, Tennessee; and Museum of Arts and Design in New York on March 2017-December 2018.

The article reviews the exhibition Patience on a Monument at the University of Texas in Austin, Texas from February 11 to April 16, 2017, featuring digital prints and videos by artists Eto Otitigbe.

The article reviews art exhibitions at the Ateneo Art Gallery in Manila, Philippines from January-December 2013, including "Tuloy Po Kayo, Welcome!" by David Medalla, "Multiplicity: The Art of Fine Prints" and "Marking Time: 2013 Ateneo Art Awards."

The article reviews the exhibition "Zwelethu Mthethwa: New Works" at the Jack Shainman Gallery in New York City from January 24, 2013 to February 23, 2013.

The article reviews the exhibition "Earth Matters: Land as Material and Metaphor in the Arts of Africa" at the National Museum of African Art and Enid A. Haupt Garden, Smithsonian Institution from April 22, 2013 through February 23, 2014.

The prints of Sebald Beham and his brother Barthel were the subject of a recent exhibition titled Gottlosen Maler at the Albrecht-Dűrer-Haus in Nuremberg (March 3-July 3, 2011), where this essay was included in the exhibition catalogue in German. Revised and expanded for publication in this journal in English, the essay addresses Beham's biography and historiography and argues that Beham should be viewed as a highly creative and productive entrepreneur and as one of the first "painters" (to use terminology of the time) to specialize in prints. Between 1520 and 1550, he produced a prodigious number of prints. [ABSTRACT FROM AUTHOR]

The author describes her curation of the Pan-Asian print exhibition "Traversing Thresholds" in 2012. She notes that a threshold can be a physical demarcation between spaces and a point of being both an entry or an end, which also has physiological and psychological applications. The author discusses the issues she faced on whether a large and fragmented "Asian" art can be rendered conceptually coherent for analysis.

The article offers information on the article "Labour of Love for the Romantics," by Richard Westall which appeared in the July 25, 1959 issue of "London Times." It says that the article offers a review of the prints and drawings displayed a the Art Council Gallery in Saint (St.) James's Square by A Collector. It says that Westall notes the exhibition has inspired him to rummage his collection in Romanticism. It adds that Westall's list of drawings are published as engraving for various genres.

In this article the author shares her experience of traveling to various places and the biology she encountered at each place, including an exhibition on nature prints at a public garden in the Bronx, New York, called Wave Hill, where she saw mid-18th century nature prints by artists Christiano Ludwig and Johann Knipnof, a museum visit to the Museum of Public Assistance in Paris, France, where she saw a painting titled "First Attempt at a Treatment for Cancer with X-Rays," by physician Georges Chicotot, and a visit to the Botanical Garden in Rome, Italy, where she saw working gardens of medical plants and botanical specimens.

The article presents a study by Conservation Center of Los Angeles County Museum of Art (LACMA) and Paper Conservation of Fine Arts Museums of San Francisco (FAMSF), California to investigate changes in the appearance of mock ups of screen prints of artist Ed Ruscha under different light-aging conditions. Topics discussed include Gallery light testing of mock ups revealing salmon roe as the most light sensitive ink medium among the inks used in screen prints, micro-fade testing (MFT) and conclusion that the ink Ruscha used in his prints were light sensitive. Also included are suggestions on providing proper environmental conditions for storage of prints and using light with ultra violet filtration at exhibitions.

The article reviews the exhibition "Primatice Maître de Fontainbleau," by Dominique Cordellier at the Musée du Louvre from September 22, 2004 - January 3, 2005 in Paris, France.

Evaluates Arcade III, Great Britain's Third Open International Exhibition of Electronic Prints supported by the Arts and Humanities Research Board and Apple Europe. Artists who participated in the exhibition; Distinction between computer graphics and fine art print.