The Pink Panther character in a cowboy hat pulls on a rope in front of a print of a Roman ruin

Printmaker John O’Donnell will be at Ohio State Lima for the opening of his show The False City at the Farmer Family Gallery from 4-6 p.m., Thursday, February 5, 2026. The False City is part of a long-term printmaking project made in response to the legacy of a 16th-century print series known as The Speculum Romanae Magnificentiae (Mirror of Roman Magnificence), a portfolio of etched and engraved prints depicting the monuments and ruins of ancient Rome.

The opening, book signing and exhibition are free and open to the public. The False City will be in the Farmer Family Gallery from February 5-March 12. The gallery is located in Reed Hall. Regular gallery hours are 11 a.m.-4 p.m., Monday-Thursday, with further visitation by appointment. Contact breidenbach.44@osu.edu

This project builds on the existing Renaissance project by creating copper plate etchings of archaeological sites. Each print reflects an attempt to update and extend the original Speculum through traditional and contemporary etching methods, combined with modern approaches to book design, visual narrative and site-specific research.

This work functions both as a tribute to historical printmaking and a reactivation of its purpose. Through archival research, site visits, and studio practice, the project contributes to an ongoing conversation about how we see, preserve and respond to the remains of the ancient world.

Artist biography

A man in a skeleton baseball hat looks at a book on a wall in front of old buildings

John O’Donnell is an artist, printmaker, and associate professor of art at the University of Connecticut. His research centers on the history of printmaking, architectural representation, and the ways images construct cultural memory. Through studio practice and archival research, he investigates the compression of time, myth and place within printed form. His projects bridge historical print technologies and contemporary image culture, addressing questions of simulation and visual reproduction. O’Donnell has exhibited widely, curated large-scale exhibitions, and presented research internationally. His work reflects a sustained commitment to printmaking as a critical tool for understanding how images generate meaning across centuries.