Current & Fortcoming Exhibitions

Till 26|05|2019
The Female Nude: Ways of Seeing
Curated by students in History of Art, this exhibition will challenge the representation of the female unclothed body in printmaking
Studio 3 Gallery, University of Kent, School of Arts
Jarman Building
Canterbury, CT2 7UG

Private View: 06|06 6.30-8
07|06 > 06|07 2019
In Edition
Bo.Lee gallery
222 Rye Lane,
London SE15 4NL

Open Wednesday- Saturday 11am – 6pm (or by appointment)

Till 07|06 2019
Sixty Years: Women’s Art in the Clifford Chance Art Collection

10 Upper Bank St, Canary Wharf, London E14 5JJ

By appointment only via email:

10|06 – 12|08|2019
Royal Academy of Arts – Summer Exhibition

Burlington House, Piccadilly
London W1J 0BD

Till 15|06|2019
Points of Contact, a survey of seventy years of printmaking in Britain.
Pied Bull Yard – Access Via Bury Place
68/69 Great Russell St

Open: Wed-Fri, 10:30-5:30

01|04 > 16|12|2019
International printmakers
Galleri Heike Arndt DK
4892 Kettinge (Denmark)
Raagelundevej 7-9

22|09|2020 – 10|01|2021
Voices of Protest
The Crying Game prints
Marcelle Hanselaar with prints by Otto Dix, Francisco Goya, Jean Rustin, Leo Haas
Shiba Gallery
The Fitzwilliam Museum
Trumpington St, Cambridge CB2 1RB

This exhibition will showcase The Crying Game (2015-17), a set of prints by Marcelle Hanselaar, in whose work the human capacity for intolerance and aggression is laid unflinchingly bare. Hanselaar uses the inherent ferocity of the scored etched line to confront such disparate images as the conflicts and destruction in the Middle East, the plight of refugees, child soldiers, slavery and drug addiction. The thirty etchings that make up The Crying Game will be interspersed with prints by earlier artists in the Fitzwilliam Museum’s collection, some of whom have been her greatest influences: Francisco Goya (1746-1828), who documented the cruelty of the Spanish Peninsular War (1808-14) and Otto Dix (1891-1969), as well as Leo Haas (1901-1983) and Jean Rustin (1928-2013), who witnessed atrocities of World War II and the Nazi holocaust. Hanselaar’s work adds a female perspective and makes a significant contribution to Fitzwilliam’s growing collection of prints relating to war and conflict. Juxtaposed in this way, showing a long history of violence as documented by artists, Hanselaar’s prints address issues of shock and provocation and confront the ethical responsibilities of being an observer in a world riddled with horror and violence.