on Alexandre Araujo Bishop
Dates: June 22, 29, July 06 and 13, 2026
Mondays
Hour: 19h to 21h
Duration: 4 meetings
Audience: general interested parties
Investment: R$ 320,00 + fees
Online course
Live, via video conferencing platform
Recorded classes available for a limited time only
Includes certificate at the end
Printmaking in Brazil has a long tradition, from classic engravings to contemporary graphic experiments. In recent years, this field has gained new momentum: fairs have become epicenters of this movement, bringing together designers and independent producers of artist's books, zines, posters, installations, and other publications in sales spaces where prints are accessible and easy to collect.
This course discusses the popularization of printing and the democratization of consumption in the visual arts through print fairs, which bring together creators and an audience interested in a diversity of poetic, political, and social expressions conveyed on paper.
In 1950, the São Paulo artist Lívio Abramo (1903–1992) won the 1st prize at the National Salon of Fine Arts – an unprecedented achievement for the field of Brazilian printmaking, which was then dominated by this prize. Lívio considered printmaking a "poor" art form because it was based on the reproduction of images from a matrix with a view to broad communication. In 2009, Galeria Vermelho, in partnership with the French print publishing center CNEAI, launched the Tijuana print art fair, the oldest among the more than 100 existing in the country.
These events mark turning points where art left the studios and began circulating in the streets, reaching audiences beyond institutional circuits.
Agenda
Lesson 1 – Goeldi goes to the fair and the fairs without Goeldi
- Goeldi at SP Arte 2025
- Art fairs featuring prints without famous or established artists.
- The social roles of the role
Lesson 2 – Creating, copying and distributing: MAM-SP Printmaking Club
- The drawing
- Woodcut, a popular technique
- The matrix and the copies
- The MAM Printmaking Club: controlled copying and the encouragement of collecting.
- Engraving vs. printing: an artist's Christmas card and an industry Christmas card.
Class 3 - To produce, reproduce and sell at the fair.
- Production/Creation
- Circulation/Consumption
Class 4 - "Poor" art and its communicative and market potential.
- Contemporary artists go to the fairs.
- Printed art versus contemporary art
Alexandre Araujo Bispo
MAM friend There's a 20% discount. Be part!
Students, teachers and retirees have a 10% discount
Doubts:
cursos@mam.org.br
WhatsApp: 11 99774 3987
By participating in this activity/event, you authorize, free of charge and permanently, the São Paulo Museum of Modern Art to use your image, voice, biographical data, and distinctive features, captured in video, audio, photography, and prints, for the purposes of recording, disseminating, and promoting the institution's activities, in any means, vehicles, supports, media, methods, and technologies, whether tangible or intangible. If you do not wish your image to be disclosed, please inform the Museum of Modern Art of São Paulo by email. cursos@mam.org.br.
credits
Image: Untitled (1946), by Lívio Abramo. Collection MAM São Paulo
