Copies and Creation • Beyond Hieronymus Bosch • Broodthaers in Paris • Stephanie Syjuco • Robert Seydel Duane Linklater
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US $30 The Global Journal of Prints and Ideas November – December 2015 Volume 5, Number 4 Copies and Creation • Beyond Hieronymus Bosch • Broodthaers in Paris • Stephanie Syjuco • Robert Seydel Duane Linklater • Bidlo and Manzoni • David Schutter • Book and Catalogue Reviews • Prix de Print • News November – December 2015 In This Issue Volume 5, Number 4 Editor-in-Chief Susan Tallman 2 Susan Tallman On Copying Associate Publisher Marisa Bass and 4 Julie Bernatz Elizabeth Wyckoff Sons of ’s-Hertogenbosch: Hieronymus Managing Editor Bosch’s Local Legacy in Print Isabella Kendrick Exhibition Reviews Associate Editor Armin Kunz 14 Julie Warchol How Hieronymus Bosch Became a Brand Manuscript Editor Prudence Crowther Laurie Hurwitz 17 The Art of Marcel Broodthaers Online Columnist Sarah Kirk Hanley Megan N. Liberty 20 The Bits and Pieces of Robert Seydel Editor-at-Large Andrea L. Ferber 22 Catherine Bindman Lost in Translation: Duane Linklater Design Director Edition Reviews Skip Langer Susan Tallman 24 Gray Matter: David Schutter Elleree Erdos 26 Mike Bidlo and Piero Manzoni Book Reviews Joan E. Greer 28 Dutch Art Nouveau Brian D. Cohen 31 Cut to the Quick: Feininger Jill Bugajski 33 Posters from the Individual Eye to the Public Sphere Marie-Stéphanie Delamaire 36 Collecting, Connoisseurship and the Art Museum in 19th-Century America Prix de Print, No. 14 38 Stephen Goddard Makeup Myriorama by Kathy Aoki Art in Art in Print Number 3 40 On the Cover: Mike Bidlo, detail of Not Stephanie Syjuco: Market Forces (2015) Manzoni (Impronte pollice sinistro, 1960) (2015). Photo: Ali Eli, Camera Arts, New York. News of the Print World 43 New York Print Week 2015 Maps 74 This Page: Joannes van Doetecum the Elder and Lucas van Doetecum (after Alart du Hameel), detail of Besieged Elephant (n.d.), etching and engraving, 39.5 x 54.3 cm. Private collection. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org Art in Print is supported in part [email protected] by an award from the 1.844.ARTINPR (1.844.278.4677) National Endowment for the Arts. No part of this periodical may be published Art Works. without the written consent of the publisher. On Copying By Susan Tallman n mid-September, the Clyfford Still curators Elizabeth Wyckoff and Marisa area of Dutch prints and drawings. Brian I Museum in Denver opened an exhi- Bass consider the claims to Boschness of Cohen considers Björn Egging’s recent bition of Still’s “Replicas”—compositions prints by two artists who shared the origi- book, Lyonel Feininger: Woodcuts: Becom- that the great Abstract Expressionist nal artist’s hometown. ing a Bauhaus Artist, and the role of prints painted two or three times on different The triple role of reproductive prints as in the development of Feininger’s painting canvases.1 Still’s jagged structures and original objects of connoisseurship in their style. And Jill Bugajski looks at two recent densely wrought brushwork have long own right, documents of absent paintings, publications that address the history and served as emblems of the emotional and instruments of political pedagogy is function of the poster, its social impact urgency and moment-to-moment impro- at the heart of Helena E. Wright’s recent (Elizabeth E. Guffey’sPosters: A Global His- visatory engagement of Abstract Expres- history of the Smithsonian’s first art acqui- tory) and its visual function (Ellen Lup- sionism, so to see two almost identical sition, the print collection of George Per- ton’s How Posters Work). examples side-by-side is unsettling, like kins Marsh; Marie-Stéphanie Delamaire Finally, the winner of this issue’s Prix discovering that an impassioned speech reviews the book and its insights into the de Print, Kathy Aoki’s permutational has been carefully rehearsed and delivered American attempt at culture building. 12-part landscape, Makeup Myriorama to multiple beloveds. Still’s explanation— Laurie Hurwitz looks at the brief but (2015), is explored by juror Stephen that replicating paintings was “neces- influential career of Marcel Broodthaers, Goddard. sary” when “the importance of the idea recently the subject of a major exhibition In putting this issue together we con- or breakthrough merits survival on more at the Monnaie de Paris, and his witty sidered many definitions of the copy than one stretch of canvas”—is a reminder articulation of the co-dependency of and arguments about its value (or lack that replication is a far more complex, originality, replication and framing (both thereof), but as an articulation of its mate- diverse and meaningful activity than the physically and psychologically) in the rial and philosophical fascinations, no pejorative term “copy” suggests. production of cultural and commercial quote seems more trenchant than this Once a standard part of artist train- value. The books and collages that the late observation from Jasper Johns: ing, copying fell out of favor more than a Robert Seydel made under the guise century ago. Thomas Eakins argued, “an of his aunt Ruth raise questions about I am concerned with a thing’s not being imitation of imitations cannot have so authenticity, the borrowed and the blue. what it was, with its becoming some- much life as an imitation of nature itself,”2 His exhibition at the Queens Museum is thing other than what it is, with any and by the 20th century, even copying reviewed here by Megan Liberty. Andrea moment in which one identifies a thing nature itself came to seem an irrelevant Ferber discusses Duane Linklater’s 3-D precisely and with the slipping away of drudgery to many art students. The Mod- and digital copies of American Indian that moment, with at any moment ernist artist-hero was an innovator not artifacts in the collection of the Utah seeing or saying and letting it go at an imitator, and while postmodernism Museum—objects whose muteness dra- that.3 resurrected copying—redubbed “appro- matizes the losses incurred by artifacts priation”—as a conceptual practice (see stripped from their originating con- Elleree Erdos’s review of Mike Bidlo’s Not texts. For David Schutter, on the other Susan Tallman is the Editor-in-Chief of Manzoni edition in this issue), in effect it hand, the complex material, perceptual Art in Print. substituted the concept for the composi- and cognitive processes that underlie tion as constituting the requisite innova- re-creation lead to visually and conceptu- Notes: tion. Recent years, however, have seen ally dense works of art: his photogravure 1. “Repeat/Recreate: Clyfford Still’s ‘Replicas,’ ” increasingly nuanced research by art his- of his own painting after a painting by 18 Sep 2015–10 Jan 2016. torians into the creative reuse, adapta- Camille Corot is discussed on page 24. 2. W.C. Brownell, “The Art Schools of Philadel- phia,” 1879, cited in James K. McNutt, “Plaster tion, translation and recontextualization The third project in our Art in Art in Casts after Antique Sculpture: Their Role in the of one artwork by another. This issue of Print series—Stephanie Syjuco’s Market Elevation of Public Taste and in American Art Art in Print brings together art from the Forces—moves the conversation about Instruction,” Studies in Art Education, spring 16th century to the present, and considers the copy into the economic sphere: an 1990, 165. shifting perceptions of imitation, innova- endlessly replicatable DIY multiple that 3. Johns, quoted in “Interview with G.R. Swen- son,” in Theories and Documents of Contem- tion and mutton dressed as lamb. imitates a mass-market consumer prod- porary Art, ed. Kristine Stiles and Peter Selz The St. Louis Museum of Art’s recent uct ubiquitous in authentic, inauthentic, (University of California Press, 1996), 324. exhibition, “Beyond Bosch: The After- cloned, stolen, borrowed, hacked and life of a Renaissance Master in Print,” repurposed forms. surveyed the influential print legacy of This issue also includes reviews of a Hieronymus Bosch, an artist who made no number of significant recent publications. prints. Armin Kunz explores how Bosch’s Joan Greer looks at Clifford S. Ackley’s quixotic personal style was expanded into Holland on Paper in the Age of Art Nouveau, a posthumous brand, while exhibition an important overview of an understudied 2 Art in Print November – December 2015 Robert Nanteuil Anton Würth 1623 Reims – Paris 1678 b. 1957 Oberstdorf Le Cardinal Jules Mazarin devant sa galerie 1659 M.drôlerie 2015 engraving from three plates printed on three sheets; 545 x 780 mm (21 ⅜ x 30 ¾ inches) Featured in our Neue Lagerliste 134: miszellaneen – MISCELLANEA. 23 East 73 Street ∙ New York, NY 10021 ∙ 1 212 772 7330 ∙ info (at) cgboerner.com Kasernenstrasse 13 ∙ D-42013 Düsseldorf ∙ 49 211 13 18 05 ∙ info (at)Art incgboerner.de Print November – December 2015 3 Sons of ’s-Hertogenbosch: Hieronymus Bosch’s Local Legacy in Print By Marisa Bass and Elizabeth Wyckoff Left: Fig. 1. Cornelis Cort, The Painter Hieronymus Bosch, in Pictorum aliquot celebrium Germaniae inferioris effigies(1572), engraving, 18.6 x 12.2 cm. Rijksmuseum, Amsterdam. Right: Fig. 2. Pieter van der Heyden (after Pieter Bruegel the Elder), Big Fish Eat Little Fish (1557), engraving, 23 x 30 cm. Private collection. he mere mention of “Bosch” con- market in Antwerp, the largest metropolis tion and changing interpretation of the Tjures images of hybrid creatures, in the 16th-century Netherlands.3 Felipe themes and subjects associated with saints in torment and acts of human de Guevara, who witnessed the covetous Bosch himself.7 debauchery. Nobody had looked so deeply demand for Bosch’s paintings at the court The prints in the Boschian corpus, into the recesses of hell before, or painted of Spain, lamented in his Commentaries which were produced by many different them so well, as the 16th-century scholar on Painting (ca.