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. 1560) that misconceptions hands over the course of the 16th century, Dominicus Lampsonius proclaimed in a about the artist abounded as a result of bring to the fore questions of author- poem and accompanying portrait honor- all the “monstrosities” attributed to his ship and authenticity central to under- ing the artist’s legacy (Fig. 1).1 name.4 The countless adaptations after standing artistic production during the Yet the Netherlandish painter Hiero- Bosch’s inventions, many of them falsely early modern period. These prints claim nymus Bosch (c. 1450–1516) eludes such inscribed with his autograph, blurred the Bosch as their “inventor” but have, at best, easy characterization. His family name line between the works of the artist him- only tenuous connection to the artist’s was van Aken, but he signed his works self and those created by his followers.5 known works. As such, they belong to the with the name of his hometown, ’s-Her- This article addresses a neglected moment in the history of art, and print- togenbosch (also known as Den Bosch), aspect of Bosch’s posthumous reception: making in particular, when issues sur- thus tethering his creative production to the production of his legacy in print. rounding intellectual property—and the his place of birth.2 In the wake of Bosch’s Bosch appears never to have designed for very notion of an artist as individual cre- death, however, his legacy was reimag- the medium, and in part for this reason ator—were stirring a new consciousness ined and expanded into a veritable brand. the many prints bearing his name have and subversive approach toward inven- The immense popularity of his works received little attention in past scholar- tion itself.8 both within the Low Countries and across ship.6 Our recent exhibition, “Beyond The Boschian print phenomenon Europe fueled a vigorous “Boschian” Bosch: The Afterlife of a Renaissance surged during the latter half of the 16th afterlife already evident in the 1520s, Master in Print,” endeavored to address century in tandem with the growth of when paintings that riffed on Bosch’s this gap by revealing the importance of a full-fledged printmaking industry. imagery appeared on the flourishing art Boschian prints to the wide dissemina- The print publisher Hieronymus Cock

4 Art in Print November – December 2015 created a prolific enterprise in the thriv- ing commercial center of Antwerp, where he amassed a stock of prints ranging from reproductions of famous Italian Renaissance paintings to Netherland- ish landscapes, moralizing narratives and devotional images, as well as orna- ment designs and maps9 [see Art in Print March–April 2014]. Sixteen Boschian prints occupy a distinct place within the output of this publishing house and establish Cock’s critical role in the production of Bosch’s afterlife in the medium.10 Among the many living art- ists with whom Cock collaborated was Pieter Bruegel the Elder, who earned the epithet “a new Bosch” during his lifetime through his sophisticated emulation of his predecessor in works such as Big Fish Eat Little Fish (1557), published by Cock and engraved after Bruegel’s design. The engraving is inscribed not with Brue- gel’s name but with “Hieronymus Bosch inventor,” a conscious and competitive play with artistic identity surely encour- aged by Cock’s market-conscious sen- sibilities. Big Fish marks the beginning of the decades over which Cock, and his widow after him, brought their Boschian prints to market (Fig. 2).11 Rather than revisiting Bruegel’s famil- iar contribution to the Boschian print phenomenon, we focus here on two case studies of prints that were inspired by Bosch and produced by artists who likewise hailed from ’s-Hertogenbosch: Alart du Hameel and Balthasar van den Bos. The prints designed by Hameel and van den Bos have no stronger verifiable link to Bosch’s own paintings than any Above: Fig. 3. Alart du Hameel, Saint Christopher (n.d.), engraving, 19.9 x 33.7 cm. Private collection, other Boschian prints, but these two courtesy of Nicholas Stogdon. Below: Fig. 4. Alart du Hameel, Last Judgment (n.d.), engraving, 23.6 x artists shared a unique motivation for 34.7 cm. The British Museum, London, 1845,0809.436. ©The Trustees of The British Museum, London. perpetuating the creative legacy of the town that Bosch first put on the map. By printmaking, and three of these owe designs in print.16 The most impres- paying homage to their great predeces- an evident debt to Bosch, making them sive engraving bearing Hameel’s name sor, Hameel and van den Bos—each in the only Boschian prints produced dur- depicts a monstrance that St. John’s his own way—marketed their identities as ing Bosch’s lifetime.13 Hameel’s Saint Cathedral commissioned him to design inventors in a local tradition. Christopher and the Last Judgment take in 1484, which has fueled the assertion up subjects that Bosch painted but that he practiced metalworking.17 How- Alart du Hameel’s Besieged Elephant follow no known compositional model by ever, Hameel only created the model for the painter (Figs. 3–4).14 The Besieged Ele- the monstrance—likely in the form of a Alart du Hameel (ca. 1449–ca. 1506) phant, the focus of this case study, lacks drawing on which the surviving engrav- was foremost an architect and designer any counterpart in a surviving painting ing was based—while a Cologne gold- in the flamboyant Gothic mode.12 He by Bosch, but its later 16th-century recep- smith was called in to craft the liturgical was among the key architects of St. John’s tion indicates its close association with object itself (Fig. 6).18 As for the chronol- Cathedral in ’s-Hertogenbosch and a the famous artist (Fig. 5).15 ogy of Hameel’s prints, none is inscribed member of the local Confraternity of While it has been assumed that with a date, but his Monstrance—if it was Our Lady, to which Bosch also belonged. Hameel cut his own plates, no evidence published around the time of the com- That the two men knew each other seems affirms that he possessed the skill of the mission from St. John’s—might indicate beyond doubt. Twelve surviving engrav- burin, and it is equally plausible that he that at least some were created as early as ings attest to Hameel’s engagement with employed an engraver to produce his the 1480s.

Art in Print November – December 2015 5 The Besieged Elephant raises the ques- in the middle ground of the triptych’s tion of how closely Hameel collabo- center panel (Fig. 7). These affinities sug- rated with Bosch. At the least, he seems gest that Hameel was drawing inspiration to have had access to models emerging from Bosch’s art rather than copying his from the latter’s workshop, whether works wholesale. drawings or paintings; at most, Bosch Indeed, the assumption that Hameel’s may have actively encouraged Hameel’s Boschian engravings reproduce lost com- endeavors in print.19 The subject of the positions by Bosch should be tempered.22 battle elephant derives from the kind of The Besieged Elephant has been interpreted source material—medieval bestiaries and along these lines on the basis of two pieces romance—on which Bosch often drew of evidence: the inventory of King Philip and it takes up the theme of the tension II of Spain, which records a large paint- between human and animal impulses ing on canvas of “an elephant and other that recurs throughout his oeuvre.20 drolleries by Hieronymus Bosch,” and a Associated since antiquity with Alexan- tapestry series of “Bosch” compositions der the Great’s campaign in India, which produced in Brussels circa 1530–40, which encountered a legion of elephants armed is documented to have included a besieged with fortresses on their backs, the animal elephant among its subjects.23 However, embodied not only brute strength but the only known painted version of the also the threat of the foreign enemy; the Boschian Besieged Elephant—a surviving crescent flag flying from the tower atop watercolor painting dating around 1558— Hameel’s elephant alludes to the fears of derives directly from Hameel’s compo- the Muslim world and Turkish invasion sition.24 And despite the attribution of that surfaced in Europe throughout the Philip’s painting and the Brussels tapestry early modern period.21 Hameel’s depic- tion of the animal also compares closely Above: Fig. 5. Alart du Hameel, Besieged to the elephant in the left wing of Bosch’s Elephant (n.d.), engraving, 20.3 x 33.6 cm. Garden of Earthly Delights triptych, and The British Museum, London, 1845,0809.439. the ring of encamped fighters—populated ©The Trustees of The British Museum, London. Fig. 6. by men and various beasts—surrounding Left: Alart du Hameel, Monstrance (n.d.), engraving, printed on four sheets from bottom to the print’s protagonist recalls the eerie top: 11.5 x 26.6 cm, 30.7 x 21.1 cm, 33.4 x 21.1 circle of revelers riding similar creatures cm, 34.4 x 15.7 cm. ©Albertina, Vienna.

6 Art in Print November – December 2015 Right: Fig. 7. Hieronymus Bosch, The Garden of Earthly Delights (c. 1500–05), oil on panel, 220 x 390 cm. Museo Nacional del Prado, Madrid. ©Museo del Prado / Art Resource, NY. Below: Fig. 8. Joannes van Doetecum the Elder and Lucas van Doetecum (after Alart du Hameel), Besieged Elephant (n.d.), etching and engrav- ing, 39.5 x 54.3 cm. Private collection. to Bosch, these too may have originated with Hameel’s engraving, which would have been a more readily accessible prototype given its dissemination through print.25 Hameel became a key figure in the his- tory of Bosch’s afterlife precisely because he was perceived as a contemporary and acquaintance of Bosch whose prints were presumed to convey primary knowledge of the artist’s works. This perception relation to his hometown parallels, and devil floating in the sky, and his name stemmed in no small part from the refer- likely emulates, Bosch’s own adoption of appears again on the rear of a camel in ence to ’s-Hertogenbosch or “bosche” that the name in his signature.27 Yet Hameel the lower left. appears on several of Hameel’s engrav- clearly meant for The Besieged Elephant Despite Hameel’s efforts at self-pro- ings, including on Boschian prints like to be identified as his invention (not as motion, in the later 16th century the The Besieged Elephant as well as those Bosch’s) since he signed it three times: “bosche” inscription was taken to refer to with non-Boschian subjects.26 Hameel’s “H A MEEL” as well as his hallmark appear Bosch himself as the print’s creator. The assertion of his authorial status in direct in the upper right beside a Boschian conflation of Hameel’s Boschian prints

Art in Print November – December 2015 7 Above: Fig. 9. Balthasar van den Bos, The Conjuror (or Charlatan) (n.d.), engraving, 24.6 x 31.9 cm. Private collection. Below: Fig. 10. Follower of Hieronymus Bosch, The Charlatan (recto) (n.d.), pen and brown ink, 27.8 x 20.6 cm. Musée du Louvre, Paris. ©RMN-Grand Palais / Art Resource, NY. with Bosch as author only heightened as Hameel sought to champion his home- their appeal and ensured their status town and his own inventive capacities as exemplars for further Boschian cre- through prints such as The Besieged Ele- ations.28 phant, his Boschian engravings lived on in Sometime around 1560, Hieronymus large part because they seemed to possess Cock published an updated version of the aura of Hieronymus Bosch himself. Hameel’s Besieged Elephant that capital- ized on advances in the medium over Balthasar van den Bos’s the previous half-century to produce a Conjuror dramatic print nearly twice the size of Hameel’s original (Fig. 8).29 The many By its very theme, The Conjuror (Fig. 9) revisions to Hameel’s design include the addresses still more directly the slipperi- displacement of the crescent moon to ness of art and authorship in the realm of a filial on top of the elephant’s fortress, prints bearing Bosch’s name. The engrav- which evokes the decoration adorning ing’s sly main character demonstrates his the pinnacles of domes and minarets in sleight of hand with the ball trick on the Constantinople built under the Otto- table, while also conjuring frogs from an man sultan Süleyman the Magnificent old woman’s mouth, thus distracting her (r. 1520–60).30 Still more significantly, and facilitating the theft of her purse by Hameel’s name has been evacuated from his two collaborators.31 the print and replaced with the phrase Balthasar van den Bos was born in “Hieronymus Bosch inventor.” As much ’s-Hertogenbosch just two years after

8 Art in Print November – December 2015 Bosch’s death and like Bosch he included his hometown in his signature.32 He built his career, however, in Antwerp, where he joined the St. Luke’s Guild in 1551/52, the same year as Pieter Bruegel the Elder.33 He not only engraved for Hieronymus Cock and Cock’s competitor Hans Lief- rinck but also published prints himself, among them The Conjuror—his only print with a specific reference to Bosch.34 The Conjuror is alternatively known as The Charlatan, which is suggestive of its interpretive malleability. Van den Bos’s engraving is one of seven surviv- ing versions of the theme. In addition to the print, five variant paintings and a related drawing attest to the subject’s popularity across media (Figs. 10–13).35 The sketchy drawing in the Louvre seems to attest to the treatment of the subject within Bosch’s circle (Fig. 10). It shares some characteristics with the paintings and print, but also includes elements not present in other versions. Many ques- tions remain about the origins of these Conjuror compositions, but even a cur- Fig. 11. Follower of Hieronymus Bosch, The Charlatan (n.d.), oil on panel, 53 × 65 cm. Municipal sory examination of the surviving works Museum, Saint-Germain-en-Laye, France. ©Scala / Art Resource, NY. illuminates an interesting set of problems surrounding Bosch’s posthumous legacy. prominent inscription at the base of the A second inscription on the print, Van den Bos’s engraving indeed exem- table: “IHERONIMUS BOSCH INVINTOR “D * MARCOLEUS * RU” along the hem plifies what is true for many of the prints [sic].” In the nomenclature of Renaissance of the conjuror’s robe, has escaped notice produced “after” Hieronymus Bosch, prints, the word “inventor” suggests the in past scholarship but is crucial to the including Hameel’s Besieged Elephant: composition originated with the great print’s interpretation. “Marcoleus” is a they were not isolated compositions but painter, yet given the lack of any surviv- clear misspelling of the name Marcolfus, instead participants in the broader mar- ing corresponding work by Bosch it bears known in English as Marcolf, the popular ketplace for pictures claiming a relation asking to what extent the genealogy of folk hero and inveterate trickster whose to the famous painter. Unlike the other The Conjuror—in all its surviving per- maddening exploits with the wise King renditions of The Conjuror, the print mutations—can be traced back to Bosch Solomon ultimately won him a death sen- makes the link to Bosch explicit with its himself. tence.36 The presence of a gallows—he

Left: Fig. 12. Follower of Hieronymus Bosch, The Charlatan (16th century), oil on panel, 105.4 x 138.7 cm. Philadelphia Museum of Art, purchased with the W. P. Wilstach Fund, 1914. Right: Fig. 13. School of Hieronymus Bosch, The Conjurer (after 1500), oil on panel, 84 x 114 cm. The Israel Museum, Jerusalem. Bequest of Oliver O. and Marianne Ostier, New York, to the America-Israel Cultural Foundation. B77.0069. Photo ©The Israel Museum, Jerusalem by Elie Posner.

Art in Print November – December 2015 9 was sentenced to hang—in the painted itself, which is framed by a child’s hoop vital and generative force in the artist’s versions now in Philadelphia and Jerusa- resting against the base of the table. This ever-expanding afterlife. lem further supports this identification detail quite literally—and playfully— (Figs. 12–13). highlights the notion of invention, as seen The widely circulated story of Marcolf both in Marcolf’s deceitful tricks and in Marisa Bass is Assistant Professor at Washington describes him as an ugly, stocky peasant the legacy of Bosch’s generative imagina- University in St. Louis and a specialist in the art (“RU” references his “rustic” ancestors) tion. of the early modern Netherlands. who nonetheless possessed the wit and wiles to spar with the smartest of kings, Conclusion Elizabeth Wyckoff is Curator of Prints, Drawings even to the point of evading his own death and Photographs at the Saint Louis Art Museum. sentence. By the mid-16th century, Mar- Hameel’s Besieged Elephant and van colf’s skill at clever deception—frequently den Bos’s Conjuror raise two issues that identified as ingenium in the texts—had are central to understanding the Boschian Notes: overshadowed the emphasis on his gro- print phenomenon. The first regards the 1. The text of the poem reads: “Quid sibi vult, tesque appearance, and in van den Bos’s role of printmaking itself. With the emer- Hieronyme Boschi, / ille oculus tuus attonitus? print, he is a trickster above all.37 The gence of “Bosch” as a popular brand in quid / pallor in ore? velut lemures si / spectra conjuror’s devious ingenium thus became the 16th century, Boschian prints entered Erebi volitantia cora[m] / aspiceres? tibi ditis avari / crediderim patuisse recessus / Tartareasque intertwined with the productive ingenium into dialogue with compositions in other domos tua quando / quicquid habet sinus imus associated with Bosch, making the print media (tapestry, painting, drawing) also Averni / tam potuit bene pingere dextra.” Domini- a demonstration piece for the double- associated—however ambiguously—with cus Lampsonius, Pictorum aliquot celebrium Ger- edged sword of Renaissance conceptions the renowned painter. At the same time, maniae inferioris effigies (Antwerp: the widow of Hieronymus Cock, 1572), no. 3. See also Manfred of invention.38 prints had a technological edge over these Sellink, Cornelis Cort, in The New Hollstein: Dutch It must be admitted that van den Bos’s other visual genres in their power to dis- and Flemish Etching, Engravings and Woodcuts, engraving is technically less sophisticated seminate Bosch’s afterlife on a previously 1450–1700, edited by Huigen Leeflang (Rotter- than the engravings after Netherland- unimaginable scale. dam: Sound and Vision, 2000), no. 223. ish and Italian masters he produced for The second issue concerns the notion 2. “…Jheronimi van Aken, schilder ofte maelder Hieronymus Cock and Hans Liefrinck. of authenticity. Both Hameel and van den die hem selver scrift Jheronimus Bosch,” as recorded in the ledgers of the Confraternity of Our This characterization is reinforced by the Bos asserted the status of their prints as Lady in 1509–10. See G. C. M. van Dijck, Op zoek misspellings in the inscriptions (invintor, Boschian productions not only by emu- naar Jheronimus van Aken, alias Bosch, de feiten: Marcoleus) as well as the reversal of all lating the most renowned and inventive familie, vrienden en opdrachtgevers ca. 1400–ca. instances of the capital letter “N.”39 While son of ’s-Hertogenbosch but also on the 1635 (Zaltbommel: Europese Bibliotheek, 2001), it is possible that van den Bos affected an grounds that they too hailed from Bosch’s 182; Ester Vink, “Hieronymus Bosch’s Life in ’s-Hertogenbosch,” in Jos Koldeweij, Bernard amateurish style to accord with the sub- hometown. Although we have seen that Vermet, and Barbera van Kooij, eds., Hieronymus ject, this plate may simply be early, pre- their works were not “authentic” repro- Bosch: New Insights into his Life and Work (Rot- dating his work for the two publishers. ductions after Bosch in the modern sense terdam: Museum Boijmans van Beuningen, 2001), The Conjuror may even have preceded of the term, their prints gained traction 19n6. For further discussion of Bosch’s signature, the publication of Bruegel’s Big Fish, in precisely through their claim of descent see also Tobias Burg, Die Signatur: Formen und which case it could have been one source from the artist. Hameel was almost too Funktionen vom Mittelalter bis zum 17. Jahrhun- dert (Berlin: Lit-Verlag, 2007), 427–34. of inspiration for Cock to initiate his own successful at aligning himself in this way, 3. The most comprehensive study of painted cop- Boschian print stock.40 as his Boschian prints were construed ies after Bosch remains Gerd Unverfehrt, Hiero- In fact, van den Bos’s print could possi- as Bosch’s own inventions for centuries nymus Bosch: Die Rezeption seiner Kunst im bly have served as a model for the surviv- afterward. Van den Bos, who produced frühen 16. Jahrhundert (Berlin: Mann, 1980). See ing paintings to which it relates. Printed no other Boschian prints besides the also Matthijs Ilsink, Bosch en Bruegel als Bosch: kunst over kunst bij Pieter Bruegel (c. 1528–1569) versions of painted compositions are often Conjuror, instead advanced his career by en Jheronimus Bosch (c. 1450–1516) (Nijmegen: in reverse orientation (if the printmaker leaving ’s-Hertogenbosch for the more Uitgeverij Orange House, 2009); Larry Silver, did not think ahead, or consider it impor- cosmopolitan city of Antwerp. There he “Second Bosch: Family Resemblance and the tant to engrave the image in reverse), so collaborated with the enterprising Cock, Marketing of Art,” Nederlands Kunsthistorisch it is worth noting that the print is in the who perpetuated Bosch’s brand in print Jaarboek 50 (1999): 31–56; Larry Silver, Hiero- nymus Bosch (New York: Abbeville Press, 2006), same direction as all of the paintings. Of on a much larger scale. 361–97; and most recently, Tobias Pfeifer-Helke course, the print’s orientation is not an Bosch, as one of the first artists to sys- et al., Hieronymus Boschs Erbe (Dresden: Staatli- absolute indicator, and certain deviations tematically sign his works and to self- chen Kunstsammlungen Dresden, 2015). from the painted versions—such as the consciously proclaim his status as an 4. Felipe de Guevara, Commentarios de la Pin- addition of the second pocket-snatcher inventor, helped to inspire—however tura, in F. J. Sánchez Cantón, ed., Fuentes literar- in the print—might equally argue against indirectly—prints produced under his ias para la historia del arte Español, vol. 1 (Madrid: Imprenta Clásica Española, 1923), 159–61, esp. this interpretation. Yet it may be that van guise even decades after his death. The 159. For English translation, see James Synder, den Bos’s name and his origins in ’s-Her- Boschian corpus to which Hameel and Bosch in Perspective (Englewood Cliffs: Prentice- togenbosch would have lent credibility to van den Bos contributed has proven Hall, 1997), 28–30. his print as a primary source. The print subtly deceptive in its connection to 5. Fra José de Sigüenza, Historia de la Orden de makes this claim through the emphasis Bosch himself. Yet because these prints San Jerónimo, in Nueva Biblioteca de Autores Españoles, vol. 12 (Madrid: Bailly-Baillière, 1909), on Bosch as its inventor, and the care- trace their lineage from his legacy of 635–39; for English translation, see Synder, ful placement of the word “INVINTOR” invention, they nonetheless became a Bosch in Perspective, 34–41.

10 Art in Print November – December 2015 6. There was nothing unusual about Bosch’s lack denden Künstler aller Zeiten und Völker, vol. 68 ’s-Hertogenbosch: de cultuur van late middeleeu- of involvement with printmaking, as this was true (Munich: Saur, 1992–), 429–30. See also Adam wen en renaissance, edited by A. M. Koldeweij for most painters in the late 15th and early 16th von Bartsch, The Illustrated Bartsch, edited by 473–81, esp. 476–77, 479: “Naden patroone, centuries. In the Netherlands, only the genera- Walter L. Strauss (New York: Abaris Books, date meest[er] Alart die meest[er] vand[en] warck tion of painters who came of age during the last 1978–), 9.II, 231–32; Jos Koldeweij, Paul Van- van sunte jans, dair op ontworpen heeft, en[de] decade of Bosch’s life, such as Lucas van Ley- denbroeck, and Bernard Vermet, Hieronymus noch voirt volmaken zal mette beelden etc.” For den and Jan Gossart, began to experiment and Bosch: The Complete Paintings and Drawings additional discussion of the monstrance, see Max engage with the new medium. See Larry Silver, (Rotterdam: Museum Boijmans van Beuningen, Lehrs, “Über gestochene Vorlagen für gothisches “Graven Images: Reproductive Engravings as 2001), 45–47; C. Peeters, De Sint Janskathedraal Kirchengeräth,” Zeitschrift für christliche Kunst 6 Visual Models,” in Timothy Riggs and Larry Silver, te ’s-Hertogenbosch (The Hague: Staatsuitgeverij, (1893): col. 65–74; G. de Werd, “Alart Duhameels eds., Graven Images: The Rise of Professional 1985), 39–40; P. Gerlach, “Bossche architekten monstrans-ontwerp voor de Sint Jan te ’s-Herto- Printmakers in Antwerp and Haarlem, 1540–1640 ten tijde van Jeroen Bosch,” Brabants Heem 22 genbosch (1484–1484),” Brabantia 20 (1971): (Evanston: Mary and Leigh Block Gallery, North- (1970): 154–62; P. Gerlach, “Het testament van 102–3; Ornemanistes du XVe au XVIIe siècle, western University, 1993), 1–3; and Nadine de Bossche bouwmeester Alart DuHameel en Jan gravures et dessins (Paris: Réunion des musées Orenstein, “Gossart and Printmaking,” in Maryan Heyns,” Bossche bijdragen: bouwstoffen voor de nationaux, 1987), 49–50, no. 62; Jean-Pierre van W. Ainsworth, ed., Man, Myth, and Sensual Plea- geschiedenis van het Bisdom ’s-Hertogenbosch Rijen, “De kunstreis van het Bernulphusgilde naar sures: Jan Gossart’s Renaissance. The Complete 30 (1970–71): 206–15; C. R. Hermans, “De kunst- de Sint-Jan: Alart du Hamel en Lambert Hezen- Works (New Haven: Yale University Press, 2010), schilder Hieronymus van Aeken of Bos, en de mans,” in Bouwkunst: studies in vriendschap 105–12. bouwmeester en plaatsnijder Alard du Hamel,” voor Kees Peeters, edited by Wim Denslagen 7. Marisa Bass and Elizabeth Wyckoff, Beyond Handelingen van het Provincaal Genootschap van et al. (Amsterdam: Architectura & Natura Pers, Bosch: The Afterlife of a Renaissance Master Kunsten en Wetenschappen (1861): 60–74. On 1993), 427–39; and A. M. Koldeweij, “Goud- en in Print (St. Louis: St. Louis Art Museum, 2015). the flamboyant Gothic forms central to Hameel’s zilversmede te ’s-Hertogenbosch,” in In Busco- Prior to our exhibition, the only compendium of architectural vocabulary, see Ethan Matt Kavaler, ducis: kunst uit de Bourgondische tijd te ’s-Her- the prints after Bosch was the outdated catalogue Renaissance Gothic: Architecture and the Arts in togenbosch: de cultuur van late middeleeuwen of Paul Lafond, The Prints of Hieronymus Bosch Northern Europe, 1470–1540 (New Haven: Yale en renaissance, edited by A. M. Koldeweij, 2 vols. [1914], ed. and trans. Susan Fargo Gilchrist (San University Press, 2012), esp. 131–33. (The Hague: Maarssen, 1999), 2:465–72, 608–9, Francisco: Alan Wofsy Fine Arts, 2002). 13. See Bartsch, The Illustrated Bartsch, 9.II.001– esp. 467–70; and Marisa Bass, “Hieronymus 8. Lisa Pon, Raphael, Dürer, and Marcantonio 012; and the still useful catalogue by Max Lehrs, Bosch and his Legacy as ‘Inventor,’ ” in Marisa Raimondi: Copying and the Italian Renaissance “Verzeichniss der Kupferstiche des Alart du Bass and Elizabeth Wyckoff, Beyond Bosch: The Print (New Haven: Yale University Press, 2004); Hameel,” Oud Holland (1894): 15–25; and Lehrs, Afterlife of a Renaissance Master in Print (St. Sharon Gregory, Vasari and the Renaissance Geschichte und Kritischer Katalog der Deutschen, Louis: St. Louis Art Museum, 2015), 23–24. Print (Farnham: Ashgate Publishing Limited, Niederländischen, und Französchichen Kupfer- 19. Fritz Koreny, Hieronymus Bosch: Die Zeich- 2012); on the topic of reproductive see also David stichs im XV. Jahrhundert [1930], 9 vols. (Nen- nungen: Werkstaat und Nachfolge bis zum Ende Landau and Peter Parshall, The Renaissance deln: Kraus Reprint, 1969), 7:233–49. des 16. Jahrhunderts (Turnhout: Brepols 2012), Print 1470–1550 (New Haven: Yale University 14. Bass and Wyckoff, Beyond Bosch, 96–101, passim. Press, 1994), 20–46; Evelyn Lincoln, The Inven- cat. 5 (Saint Christopher), 130–35, cat. 12 (Last 20. See the description of the elephant in the tion of the Renaissance Printmaker (New Haven: Judgment), with prior literature. Aberdeen Bestiary (ca. 1200), fols. 10r–11r: www. Yale University Press, 2000), 1–15; Rebecca 15. Ibid., 140–43, no. 15, with prior literature. abdn.ac.uk/bestiary/translat/10r.hti. See also G. Zorach and Elizabeth Rodini, Paper Museums: 16. Although early 19th-century scholarship C. Druce, “The Elephant in Medieval Legend and The Reproductive Print in Europe, 1500–1800 actually attributed the engraving of the plates Art,” Journal of the Royal Archaeological Insti- (Chicago: The David and Alfred Smart Museum of to Bosch, Paul Lafond definitely asserted that tute 76 (1919): 1–73; and Dirk Bax, Hieronymus Art, The University of Chicago, 2005), 1–29; and Hameel himself cut the plates, and since then the Bosch: His Picture-Writing Deciphered, trans. M. Michael Bury, The Print in Italy 1550–1620 (Lon- latter assumption has not been questioned. See A. Bax-Botha (Rotterdam: A. A. Balkema, 1979), don: The British Museum, 2001), 10–11. Lafond, The Prints, 19. It cannot be ruled out that 275–83. Elephants armed with fortresses are illus- 9. Joris van Grieken, Ger Luijten, and Jan Van Hameel engraved the plates, but it is worth consid- trated and described in medieval travel accounts der Stock, Hieronymus Cock: The Renaissance ering the possibility that he was only the inventor of journeys in the Holy Land. See, for instance, in Print (Brussels: Mercatorfonds, 2013); see also of the compositions, particularly as he made his Kathryn Blair Moore, “The Disappearance of an Elizabeth Wyckoff, “Hieronymus Cock and the architectural career foremost as a designer and Author and the Emergence of a Genre: Niccolò da Invention of the Print Market in Antwerp,” in Marisa project supervisor. As noted by Peeters, De Sint Poggibonsi and Pilgrimage Guidebooks between Bass and Elizabeth Wyckoff, Beyond Bosch: The Janskathedraal, 40, Hameel’s hallmark does not Manuscript and Print,” Renaissance Quarterly 66 Afterlife of a Renaissance Master in Print (St. appear on a single stone of St. John’s Cathedral (2013): 357–411, esp. 365–68. For Schongauer’s Louis: St. Louis Art Museum, 2015), 35–57 and in ’s-Hertogenbosch, which suggests that he did print of a besieged elephant, which predates the review of van Grieken et al. in Art in Print not take his own hand to its construction, despite Hameel’s, see Max Lehrs, Martin Schongauer: (March–April 2014). being referred to as a “steenhouwer” (stonema- The Complete Engravings, A Catalogue Raisonné 10. Cock’s publishing house Aux Quatre Vents (At son) in relation to other commissions. See also A. (San Francisco: Alan Wofsy Fine Arts, 2005), the Sign of the Four Winds) was also continued M. Koldeweij, “Bourgondiërs in de hertogstad,” in 300–301, no. 94. after his death by his widow Volcxken Diericx, In Buscoducis: Kunst uit de Bourgondische tijd te 21. See Diodorus Siculus, Bibliotheca Historica, who was herself responsible for a handful of the ’s-Hertogenbosch: De cultuur van late middeleeu- Bk. XVII, 87–88, and Druce, “The Elephant in Boschian prints. For background, see especially wen en renaissance, edited by A. M. Koldeweij, Medieval Legend.” Jan Van der Stock, “Hieronymus Cock and Vol- vol. 2, 365–76, esp. 370, 601n42, who points 22. This assumption has been made regarding cxken Diericx: Print Publishers in Antwerp,” in van out that there is no documentary evidence for Hameel’s Besieged Elephant in much past litera- Grieken et al., Hieronymus Cock, 14–21. the assertion in early literature that Hameel was ture, including Bax, Hieronymus Bosch, 275–83; 11. Nadine M. Orenstein, Pieter Bruegel the Elder, commissioned by his hometown to produce an Unverfehrt, Hieronymus Bosch, 241–42; Paul in The New Hollstein: Dutch and Flemish Etching, engraved portrait of Philip the Fair. Vandenbroeck, Jheronimus Bosch: tussen volks- Engravings and Woodcuts, 1450–1700, edited by 17. Bartsch, The Illustrated Bartsch, 9.II.009; and leven en stadscultuur (Berchem: Uitgeverij EPO, Manfred Sellink (Rotterdam: Sound and Vision, Lehrs, Geschichte und Kritischer Katalog, 245–47, 1987), 107–09; Paul Vandenbroeck, Jheronimus 2006), no. 31, with additional literature; see also no. 9. Hameel’s Monstrance survives in only two Bosch: de verlossing van de wereld (Ghent: Matthijs Ilsink, “Big Fish Eat Little Fish: Looking at known impressions, preserved in the Rothschild Ludion, 2002), 118–20. a Potent(ial) Image and Its Offspring,” in Bass and Collection in Paris and the Albertina in Vienna. 23. For Philip II’s inventory, see Paul Vanden- Wyckoff, Beyond Bosch, 59–77. 18. For the contract document, see Liesbeth M. broeck, “The Spanish inventarios reales and 12. For Hameel’s biography, see especially De Helmus, “Drie contracten met zilversmeden,” in Hieronymus Bosch,” in Jos Koldeweij, Bernard Gruyter Allgemeines Künstler-Lexikon: Die Bil- In Buscoducis: kunst uit de Bourgondische tijd te Vermet, and Barbera van Kooij, eds., Hierony-

Art in Print November – December 2015 11 mus Bosch: New Insights into his Life and Work 33. Ilsink, Bosch en Bruegel als Bosch, 119, who 38. See Bass, “Hieronymus Bosch and his Legacy (Rotterdam: Museum Boijmans van Beuningen, also notes that he had arrived in Antwerp in 1543. as ‘Inventor.’ ” 2001), 54: “Otra lienço de borrón en que hay un 34. Evidence for self-publication can be found in 39. This clumsiness of execution is shared with elefante y otros disparates de Hierónimo Bosco.” a document showing the plates being used as a handful of other prints engraved and published For the tapestry series, see Paul Vandenbroeck, collateral for a loan in 1568; see Van der Stock, by the artist depicting vernacular subjects such as “Meaningful Caprices: Folk Culture, Middle-Class Printing Images in Antwerp, 390–391. Shrovetide and the Village Surgeon, those com- Ideology (ca. 1480–1510) and Aristocratic Recu- 35. The painting in Saint-Germain-en-Laye, con- positions attributed to Maarten van Cleve. F.W.H. peration (ca. 1530–1570),” Jaarboek Koninklijk sidered the dominant version but still, according to Hollstein, Dutch and Flemish Etchings, Engrav- Museum voor Schonen Kunsten (2009): 212–69, some sources, postdating Bosch, comes closest to ings, and Woodcuts, ca. 1450–1700 (Amsterdam: esp. 254–60. the print’s composition, lacking only the left-most Menno Herzberger: 1949–2010), vol. 3, 118, nos. 24. Private collection, Corella (watercolor on can- figure who carries away the stolen purse of the 14 and 15. vas, 153 x 233 cm), illustrated in Koldeweij, Van- frog-vomiting woman. The roundel version (pub- 40. A clear chronology of van den Bos’s prints denbroeck, and Vermet, Hieronymus Bosch, 117. lished as in a California private collection) shares remains to be sorted out, but he was apparently 25. It is of course difficult to know how many a similar focus on the conjuror and his victims, engraving for Cock by 1548; see Deluga, “Prints impressions of Hameel’s Besieged Elephant were while the other two paintings add another scene of by Balthasar van den Bos,” 2. On the dearth of produced, or how popular it was, but it is the rar- quackery to the right along with the gallows set in existing literature, see note 31 above. est of Hameel’s Boschian prints today. The only a town square. The most in-depth discussions of two surviving impressions are in London’s British the subject remain: Jeffrey Hamburger, “Bosch’s Museum and Vienna’s Albertina. ‘Conjuror’: An Attack on Magic and Sacramental 26. As first noted by Bartsch in 1808, the fact that Heresy,” Simiolus 14 (1984): 4–23; Lotte Brand the “bosche” inscription appears on Hameel’s Philip, “The Peddler by Hieronymus Bosch, A prints of varying subjects, some unrelated to Study in Detection,” Nederlands Kunsthistorisch Bosch, confirms that it is a place designation and Jaarboek 25 (1958): 1–81; and Dirk Bax, “Bez- not a reference to Bosch’s name. Bartsch, The waren tegen L. Brand Philips Interpretatie van Illustrated Bartsch, 9.II, 232. Jeroen Bosch’ marskramer, goochelaar, keisnijder 27. For more on this point, see Bass, “Hieronymus en voorgrond van hooiwagenpaneel,” Nederlands Bosch and his Legacy as ‘Inventor.’ ” Kunsthistorisch Jaarboek 13 (1962): 1–54. See 28. See Bass and Wyckoff, Beyond Bosch, 99, Bass and Wyckoff, Beyond Bosch, 198–203, cat. 133, for examples of figural details that Pieter 27, for further references. On the dating of the Bruegel the Elder culled from Hameel’s Bos- St.-Germain-en-Laye panel, see Vandenbroeck, chian compositions and employed in his own Jheronimus Bosch: de verlossing, 71. Bosch-inspired print series, the Seven Deadly 36. Brand Philip, “The Peddler,” 25, corrects the Sins (1556–58). See also the later renditions spelling but does not otherwise identify Marcolf. of Hameel’s Last Judgment in ibid., 130–39, For extensive literature on the subject of Solo- cats. 12–14. mon and Marcolf, see Jan M. Ziolkowski, ed. and 29. Ibid., 144–49, cat. 16, with prior literature. trans., Solomon and Marcolf (Cambridge: Harvard 30. Gülru Necipoğlu, The Age of Sinan: Architec- University Press, 2008); Nancy M. Bradbury and tural Culture in the Ottoman Empire (Princeton: Scott Bradbury, eds., The Dialogue of Solomon Princeton University Press, 2005), 68, 117–18. and Marcolf: A Dual-Language Edition from Latin 31. Bass and Wyckoff, Beyond Bosch, 198–203, and Middle English Printed Editions (Kalamazoo: cat. 27. Medieval Institute Publications, 2012); Nancy 32. Bosch, alternatively Bos, means forest or Mason Bradbury, “Rival Wisdom in the Latin Dia- wood. Van den Bos, who appears in documents logue of Solomon and Marcolf,” Speculum 83 as Balthasar Gheertsen (Gheertsone), signed (2008): 331–65; Sabine Griese, Salomon und Mar- his works in various ways, including the latinized kolf: ein literarischer Komplex im Mittelalter und in Sylvius, or with the initials BS or BB. (Note that der frühen Neuzeit (Tübingen: Niemeyer, 1999); the central lower edge of the impression illus- Malcolm Jones, “Marcolf the Trickster in Late trated has been repaired, and part of the signature Mediaeval Art and Literature or: The Mystery of has been redrawn erroneously so that it reads the Bum in the Oven,” in Gillian Bennett, ed., Spo- “B S H” instead of “B S F,” the F standing for fecit, ken in Jest (Sheffield: Sheffield Academic Press, or “made it,” in Latin.) Van den Bos has received 1991): 139–174; Michael Curschmann, “Markolf little attention in the literature; most references tanzt,” in Johannes Janota, et al, eds., Festschrift state simply that he is not related to the margin- Walter Haug und Burghard Wachinger (Tübingen ally better known artist and engraver Cornelis Bos. 1992): vol. 2, 967–9; Hedda Ragotzky, “Der Bauer For the most detailed information on his life and in der Narrenrolle. Zur Funktion ‘verkehrter Welt’ work see Waldemar Deluga, “Prints by Balthasar im frühen Nürnberger Fastnachtspiel,” in: Horst van den Bos from the Collection of Albrecht von Wenzel, ed., Typus und Individualität im Mittelalter Saebisch,” Delineavit et Sculpsit 17 (1997): 1–6; (Munich 1983): 77–101. See Ziolkowski, 107, 117, see also Ilsink, Bosch en Bruegel als Bosch, 117– 315–316 re: variant names and merging of related 122, including notes on his dates and activity in characters. Antwerp; Jan Van der Stock, Printing Images in 37. This shift away from Marcolf’s depiction Antwerp. The Introduction of Printmaking in a City: as an ugly peasant is evident in 16th-century Fifteenth Century to 1585, trans. Beverly Jackson carnival plays, for example in Nuremberg; see (Rotterdam: Sound and Vision Interactive, 1997): Griese, Salomon und Markolf, 239–265; and also 276, 390–391; Sune Schéle, Cornelis Bos: A Ragotzky, “Der Bauer in der Narrenrolle,” 89–101. Study of the Origins of the Netherland Grotesque In van den Bos’s print, the accomplice who is about (Stockholm: Almqvist and Wiksell, 1965): 25, 159, to carry away the woman’s purse is more like the 207, 221; Pieter van der Coelen, “Cornelis Bos: traditional Marcolf: short with grimacing features, Where Did He Go? Some New Discoveries and a prominent codpiece, patched clothing and Hypotheses about a Sixteenth-Century Engraver dilapidated shoes. See note 36 above for further and Publisher,” Simiolus 23, no. 2/3 (1995): 119– sources, and Jones, “Marcolf the Trickster,” 153 146. in particular regarding the motif of “burst shoes.”

12 Art in Print November – December 2015 Mirror : don’T LooK BaCK 4, 2015, intaglio/relief Collograph, screenprint, silver Leaf, 35 7/8 x 28 1/2 inches (91.1 x 72.4 cm), edition of 9 hurvin anderson

DURHAM PRESS 892 Durham Road | PO Box 159 | Durham, PA 18039 | 610.346.6133 | www.durhampress.com EXHIBITION REVIEW The Lure of the Weird: How Hieronymus Bosch Became a Brand By Armin Kunz

Johannes and Lucas van Doetecum in the manner of Hieronymus Bosch, Temptation of Saint Christopher (or Temptation of Saint Anthony) (1561), etching and engraving; sheet 13 3/16 x 16 15/16 inches (trimmed to image). Private collection.

“Beyond Bosch: The Afterlife of a adjective. Franz Kafka comes to mind; Delights (ca. 1500–05; Museo Nacional del Renaissance Master in Print” someone who has never read his work but Prado, Madrid); The Last Judgement (ca. Saint Louis Art Museum, Saint Louis has filled in a tax return will understand 1504–08; Gemäldegalerie der Akademie 17 April – 19 July 2015 a “Kafkaesque” situation as “having a der bildenden Künste, Vienna) and The Harvard University Art Museums, nightmarishly complex, bizarre, or illogi- Temptation of St. Anthony (ca. 1500; Museo Cambridge, MA cal quality,” especially, but not exclu- Nacional de Arte Antiga, Lisbon), Bosch 23 January – 8 May 2016 sively, in a bureaucratic context.1 Though introduced surreal worlds full of fantastic Merriam-Webster fails to reference the creatures—monsters, demons and devils here are not many artists or writers word “Boschian,” I would nevertheless as well as voluptuous nudes and tempt- Twho have created an imaginary assert a claim here for the comparable resses, all seen mingling with the artist’s world so distinctive that their names status of Hieronymus Bosch (1450–1516). contemporaries. Bosch typically ignored have entered everyday language as an In such paintings as The Garden of Earthly members of the nobility in favor of peas-

14 Art in Print November – December 2015 ants and their life in the countryside as he observed it in the environs of his home- town of ’s-Hertogenbosch in the province of Northern Brabant (now the southern Netherlands). The notion of “Boschian” is, however, associated with the “monsters and chime- ras” that crowd the artist’s compositions2 and his “obsession with the idea of hybrid forms as the offspring of mismating and unnatural union in the world … Horrid, malformed creatures with distended tor- sos or none at all wave insect-like append- ages; bulbous bodies turn into fish or sharp-beaked birds; animal, mineral, and vegetal hybrids mix and squirm from rot- ting vestments, cracked eggs, and metal- lic casings.”3 Before Bosch, one might have found such imagery on the margins of medieval manuscripts where the illu- minators took a certain artistic license,4 but Bosch put his “diabelerien”5 front and center in large paintings that attracted the attention of the highest-ranking col- lectors among the Netherlandish elite as Unknown etcher after Hieronymus Bosch, The Tree-Man (n.d.), etching, sheet 9 1/16 x 11 1/4 inches well as in the courts of Europe. In 1504, (trimmed within the platemark, top and bottom). Private collection. Philip the Fair, Duke of Burgundy and son of the Habsburg emperor, Maximil- 1450 and died in 1516, never actually made Delights triptych, the print is based not on ian I, commissioned a painting from the a print himself—unlike his close con- the painting but on a drawing by Bosch artist depicting the Last Judgment. Later temporary Martin Schongauer, who was now in the Albertina in Vienna. The in the century, the Spanish king, Philip II, not only a painter but also trained as a other touchstone for the phenomenon became Bosch’s most avid collector even goldsmith. A better comparison might be of the “Bosch print” is the engraving Big as his soldiers exerted an increasingly Andrea Mantegna, who, though nearly a Fish Eat Little Fish (cat. 11). Dated 1557, 41 brutal rule over the Netherlands, which generation older than Bosch was first and years after the artist’s death, it is indeed ultimately sparked the Dutch Revolt. foremost a painter. An exceptional group the earliest print that mentions “Hieroni- Bosch’s considerable commercial success of prints is closely linked to Mantegna, jmus Bos” as “inventor” of the plate. The and posthumous fame caused many of and while we cannot be absolutely cer- design drawing for it, to size and incised his best works to disappear into private tain that he engraved them himself, he for transfer, also survives; but it is dated collections, accessible only to a fairly definitely commissioned them in order to 1556 and signed not by Bosch but by Pieter small, exclusive circle of connoisseurs. distribute his own compositions. Raphael Bruegel the Elder (1525–1569). With the originals gone, copies and forg- was a closer contemporary of Bosch This brings us to perhaps the most eries entered the market, especially in and worked together with the engrav- influential person in the dissemination the nearby port city of Antwerp, where ers Marcantonio Raimondi and Baviero of Boschian images: the Antwerp pub- a thriving art market was beginning to de’ Carocci to make and sell prints after lisher Hieronymus Cock (1518–1570). He emerge during the 16th century. his designs. opened his shop, Aux Quatre Vents (At Even more important for the wider Bosch prints, though, are something the Sign of the Four Winds), in the late spread of Boschian imagery was the completely different and possibly unique 1540s; it was later operated by his widow, medium of print, and it is this aspect of in the history of reproductive printmak- Volcxken Diericx, until her own death Bosch’s “afterlife” that is addressed by the ing. Not only did the artist never engrave in 1600 and became what was probably exhibition and catalogue organized by a plate, but virtually all the prints con- the most successful and influential print Marisa Bass of Washington University in nected with his name were made many publishing house in Northern Europe St. Louis and Elizabeth Wyckoff, curator years after his death.6 Further, only one [see Art in Print March-April 2014].7 It was of prints, drawings and photographs at single print can be directly connected to Cock who commissioned Pieter van der the Saint Louis Art Museum. The show a surviving model that is fully accepted Heyden, one of the printmakers working is based on an astonishingly comprehen- as being by Bosch: The Tree-Man, an for him, to engrave a plate after Bruegel’s sive private collection in Saint Louis, aug- anonymous, undated etching, possibly by drawing; Cock then published the print mented by works from the museum’s own David Vinckboons (1576–1632) or a print- with the explicit inscription “Hieroni- holdings as well as a few crucial loans. But maker in his circle and therefore removed jmus Bos inventor.” Big Fish Eat Little what does the show’s subtitle, “Afterlife from Bosch by about a century (cat. 4). Fish can therefore be seen as both the of a Renaissance Master in Print,” mean? While this fantastic creature appears in paradigm of the “Boschian print” and as Hieronymus Bosch, who was born around the right wing of The Garden of Earthly a shrewd marketing move on the part of

Art in Print November – December 2015 15 Cock. Modern scholars have managed to signed their works. The history of 16th- 1575, 2nd edition (Upper Saddle River: Prentice identify a mere 16 prints from the more century German woodcuts demonstrates Hall Inc., 2005), 403. than 1,500 plates listed in the inventory that merely adding the name or mono- 4. Cf. Michael Camille, Image on the Edge: The of Volcxken Diericx’s estate as more or gram of a famous artist to a work made Margins of Medieval Art (Cambridge: Harvard Uni- versity Press, 2005). less directly connected with Bosch. Yet by someone else need not denote a “con- 5. A term used to describe Bosch’s paintings in when Lodovico Guicciardini wrote about flation” of two artistic identities:12 when sixteenth-century inventories; cf. Larry Silver, Antwerp in his Descrittione di tutti i Paesi publishers reprinted the blocks for prints “Second Bosch: Family Resemblance and the Bassi in 1567, he characterized Cock as by Baldung, Beham or Cranach in the Marketing of Art,” in Nederlands Kunsthistorisch having “published many prints after the later 16th and early 17th centuries, they Jaarboek, vol. 50 (1999), 31–56, here 31. 6. The exception is a handful of prints by Alart du work of Hieronymus Bosch and other often added the monogram of Albrecht Hameel, Bosch’s contemporary and fellow native famous painters.”8 A half-century after Dürer to enhance the marketability of of ’s-Hertogenbosch, that betray an awareness of his death, Bosch’s fame was undimin- the sheets.13 Boschian imagery (see cat. nos. 5, 12, and 15); ished, and it has been rightly pointed out Even if one leans more to the purely impressions of these prints are exceedingly rare, that the wide dissemination of Boschian commercial argument to explain Cock’s however, and some are only known in impres- sions printed considerably later in the 16th cen- prints, especially in the second half of use of Bosch’s name, the success of his tury. the 16th century, did not so much reflect venture and the undisputed popularity 7. On the seminal exhibition on Cock held in Leu- a revival but a survival of his popularity.9 of Boschian prints offer further evidence ven and Paris in 2013 and its accompanying cata- It is the special merit of this show and of the power of Bosch’s artistic imagi- logue, see the two reviews in Art in Print 3, no. 6 its accompanying catalogue that they not nation. He had invented worlds that (March–April 2014). Only one of the nine sections was dedicated to Boschian prints. only present a comprehensive corpus of remain recognizably “Boschian” even if 8. Quoted here from Elizabeth Wyckoff’s article in Boschian prints, but that Bass and Wyck- the prints associated with his name did the catalogue, 48 and 56n66. off examine each print in detail in order not reproduce specific works from his 9. Silver, “Second Bosch,” 41. to establish its degree of dependence on hand, let alone complete compositions. 10. Catalogue, 18f. Bosch’s art—ranging from simple pas- On the contrary, one may even describe 11. Ibid., 25f. tiches or derivative concoctions to the as the very characteristic of the Boschian 12. Ibid., 27. 13. To support her argument, Bass discusses the artistic sophistications of Pieter Bruegel, print that it incorporates individual example of Beham’s woodcut The Head of Christ who became known as a “new Bosch.” elements of his highly idiosyncratic of ca. 1520, which displays Dürer’s monogram The authors venture even further, trying imagery, which it then recombines— prominently in the center beneath the image, but to unlock at least some of the elements of Georg Baselitz would say “remixes”—to even this monogram was only added when the the kind of disguised symbolism Erwin populate new visual contexts. block was reprinted during the so-called Dürer Renaissance around 1600. Panofsky so successfully decoded in These highly fantastical worlds of early Netherlandish painting. And while Bosch—“such stuff as dreams are made Bass is well aware that Panofsky passed on”—differ from Kafka’s mostly quotid- over Bosch (he declared “This, too high ian territory, Gregor Samsa’s metamor- for my wit, I prefer to omit”), she probes phosis being the exception rather than “the ‘conscious’ intentionality underlying the rule. Yet one wonders if the modern Bosch’s visual excavation of the demonic individual’s tortuous experience of underworld,” recognizing this as the cru- bureaucracy that lies at the heart of Kaf- cial distinguishing feature between his ka’s writings might not have a subcon- art and subsequent “sensationalized imi- scious affinity to Bosch’s world of the tations” of it.”10 Such iconological explo- weird and absurd. Did Herr K. dream rations of the prints, however, remain of Boschian creatures? Or do tax examin- problematic in light of the considerable ers today? Perhaps readers resilient remove between them and the artist. For enough to work their way through David example, Bass calls attention to a detail in Foster Wallace’s The Pale King can let me Pieter van der Heyden’s engraving Shrove know… Tuesday (cat. 23): tacked over the fireplace is an image of an owl—possibly a print— on which the inscription “Hiero. Bos. Armin Kunz is an art historian and managing Inventor” can be read; she suggests that partner of C. G. Boerner, a dealership for old this alludes to the more “sinister poten- master prints and drawings with galleries in Düsseldorf and New York. tial of the mind’s creative powers” and makes reference to “Bosch as a duplici- tous creature who postures as something Notes: he is not.”11 But one might just as eas- 1. Merriam-Webster’s Collegiate Dictionary, 10th ily see the explicit reference to Bosch as edition (Springfield: Merriam-Webster Inc., 1996), another clever example of Cock’s market- 637. ing, and the labelling of the image within 2. Felipe de Guevara, Commentarios de la Pin- the image as an imaginative expansion of tura, ca. 1560, quoted from Marisa Bass’s essay in the exhibition catalogue, 17 and 31n33. the cartellino, the small piece of illusion- 3. James Snyder, Northern Renaissance Art: istically depicted paper on which artists Painting, Sculpture, the Graphic Arts from 1350 to

16 Art in Print November – December 2015 EXHIBITION REVIEW Replica, Fiction, Poetry: The Art of Marcel Broodthaers by Laurie Hurwitz

“Marcel Broodthaers Musée d’Art Moderne— Département des Aigles” Monnaie de Paris, Paris 18 April – July 5, 2015

n 1964 the poet Marcel Broodthaers I (1924–1976), a member of the Belgian Revolutionary Surrealists, reinvented himself as a visual artist: symbolically burying his literary career, he gathered 50 copies of his recent book Pense-Bête (Reminder) and embedded them in plaster. The result went on display in a Brussels gallery in his first solo show a few months later. On the invitation card he wrote: I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old ... Finally the idea of inventing some- thing insincere crossed my mind and I got to work immediately. For the next 12 years—until his death of liver disease on his 52nd birthday— Broodthaers questioned the very defini- tion of art. Inspired by René Magritte and Marcel Duchamp, he created a multi- faceted oeuvre that encompasses artists’ books, collages, films, installations and sculptures. These works were at once absurd and suffused with a melancholy poetry: a white cupboard completely stuffed with eggshells, a wooden tower of glass jars filled with identical photos of a woman’s elegantly made-up eye from a cosmetics ad, a black steamer pot over- flowing with mussels. Broodthaers’ magnum opus was the subversive Musée d’Art Moderne— Département des Aigles (Museum of Modern Art, Department of Eagles),1 an art museum of which he was director, reg- Installation view: Marcel Broodthaers, Un Jardin d’Hiver II (Winter Garden II) at “Marcel Broodthaers istrar and curator. This fictional institu- Musée d’Art Moderne—Département des Aigles,” Monnaie de Paris, 2015. tion, which parodied the business of art, took the eagle as its emblem.2 It opened in signage, photography, drawings and arti- in close collaboration with the artist’s September 1968 in the artist’s home at 30 facts, which toured Europe until 1972. widow, Maria Gilissen Broodthaers, and rue de la Pépinière in Brussels, but had The engrossing exhibition at the his daughter, Marie Puck Broodthaers. no permanent location and no perma- Monnaie de Paris3 resulted from three Rather than attempt to reconstitute nent collection; it manifested itself in 11 years of research by the organization’s the museum in its entirety—which they different sections including prints, contemporary curator, Chiara Parisi, felt would have betrayed the artist’s

Art in Print November – December 2015 17 for the first time. A round vestibule was transformed into a fascinating, strangely beautiful cabinet of curiosities, its vitrines lined with kitschy objects—eagle mugs, eagle silverware and tableware, liquor bottles, maps and books. In a parody of museum scholarship, all are given the same attention as prints, paintings and sculptures; each object is painstakingly labeled with an arbitrary number and the phrase “This is not a work of art” in French, German and English (borrowing from Magritte’s famous dictum, “Çeci n’est pas une pipe”). In the “Publicity Section,” Broodthaers reproduced the Figures Section in the form of documents and photographs (as if advertising that part of his museum), playing with the ambiguity of originals and reproductions. The nearby walls were covered with his Plaques (Poèmes industri- els; 1968–72), pressed plastic panels whose interplay of image and text (often cursive) evoke Broodthaers’ friend Magritte. The charming Langage des fleurs (Language of flowers; 1965), for instance, is shaped like an artist’s palette, but cursive let- ters replace the expected dollops of paint. Another states that children are not allowed (although he actually intended the opposite), thus poking fun at the seri- ousness and pretension of traditional art institutions. Marcel Broodthaers, Salle Blanche (White Room) (1975), installation in india ink on wood, photographs, lightbulbs, plastic fixtures. Collection Maria Gilissen/Musée national d’art moderne, Centre Georges Pompidou, Paris ©André Morain. original idea for a constantly shifting and Moderne—Département des Aigles was open-ended installation—they chose to born); on the walls where one might expect reconstruct certain sections, then intui- artworks to hang, we find instead stenciled tively complemented them with other words referring to the art world (peinture, key works. toile, chevalet, galerie, collectionneur, voleur, The show began with a narrow gallery etc.), as if they were part of a three-dimen- displaying a version of Broodthaers’ cliché- sional poem.4 The next gallery re-created ridden Jardin d’Hiver II (Winter Garden II), the first version of the museum itself with in which colonial imperialism becomes a postcards of paintings by Ingres, Courbet metaphor for the artist’s place within the and David taped to the wall and a batch of cumbersome museum system. It takes the packing crates stenciled with typical art- form of a décor or “designed space” mod- handling terms (FRAGILE, HANDLE WITH eled on the courtyards once popular in CARE, KEEP DRY), like Duchampian ready- bourgeois homes, with potted palm trees, mades, onto which slides of paintings and folding chairs, framed prints made from drawings were projected. 19th-century natural history engravings, The centerpiece of the exhibition was and a 16 mm film of the installation’s first the “Figures Section,” the apogee of Brood- incarnation at the Palais des Beaux-Arts thaers’ museum as shown at its last venue in Brussels in 1974 (where Broodthaers in 1972: an obsessive accumulation of some turned up with a live camel from the Ant- 400 objects about eagles gathered from werp zoo). centuries of high and low art. Thanks to Marcel Broodthaers poses with a camel (from This artificial winter garden opened loans from the numerous institutions, the Antwerp Zoo) and two museum guards at the directly onto the Salle blanche (White collectors and antiques dealers that origi- entrance of the Palais des Beaux Arts in Brussels, Belgium, at the opening of his Jardin d’Hiver Room, 1975), a life-size plywood copy of the nally collaborated with the artist, cer- (Winter Garden) installation, 1974. ©Maria artist’s living room (where the Musée d’Art tain details were precisely reconstituted Gilissen.

18 Art in Print November – December 2015 Marcel Broodthaers, (David • Ingres • Wiertz • Courbet) (1968), pressed plastic sign, 85.5 x 120 cm. ©Estate Marcel Broodthaers.

In 1970, Broodthaers declared that his fictional museum was for sale due to bank- ruptcy (the sale, part of the “Financial Sec- tion” of the installation, was announced on the cover of the Cologne Art Fair catalogue in 1971, but no buyers were found). He pro- duced an unlimited edition of gold bars stamped with an eagle and set the stamped Installation view: “Figures Section” at “Marcel Broodthaers Musée d’Art Moderne—Département des bars’ sale price at twice the market value of Aigles,” Monnaie de Paris, 2015. ©André Morain, 2015. gold; each was offered with a contract and a letter handwritten by Broodthaers. (Inter- estingly, the gold bar presented here was each country, decontextualized, becomes a symbolic importance while paradoxically noting lent by the contemporary conceptual art- kind of island, subverting the atlas’ func- their “grandeur, authority, strength. Divine spirit. ist Danh Vo.) In 1972, possibly fearing his tion and rendering it useless. Spirit of conquest. Imperialism.” The French word fiction had become increasingly real—that The exhibition concluded with a last aigle, which evokes the word aigre, or bitter (as in vinaigre, or vinegar), might also have been a pun his sendup of art institutions had actu- moment of grace: a small gallery filled with expressing his disillusionment with the art world ally become one of them—he closed the the click-click of old film projectors, dedi- and the museum system. By appropriating the museum, observing, “a fiction captures the cated to Broodthaers’ Cinéma Modèle eagle image and applying it according to his own truth and at the same time what it hides.”5 (Model Cinema; 1970): five short films pay- absurd logic, he parodied museums’ authority and The final galleries highlighted a rich ing homage to poets and artists (La Fon- their positing of the eagle as a symbol of artistic freedom—along the way, possibly launching what selection of letters, notebooks and printed taine, Schwitters, Baudelaire, Mallarmé is now known as “institutional critique.” matter that broaden this inquiry into the and Magritte) that had been integrated 3. La Monnaie de Paris, France’s 18th-century philosophy of commodities. A didactic into the eagle museum in 1971, in the base- royal mint, which produced all of France’s money poster on types of livestock labels each ment of a Düsseldorf house once occupied until 1973, was an apt venue for Broodthaers’ cow not with the breed but with the name by Goethe. In La Pluie (Projet pour un texte) work, an irreverent commentary on the relationship between art and money. The mint still produces of a car manufacturer. In a nearby vitrine, (The Rain. Project for a text; 1969), we see commemorative coins, decorations and medals, Broodthaers’ Cahiers (Exercise Books) from Broodthaers writing in a garden, drenched and contains a museum for its priceless collection 1971–1972 refer to “figures” and “finan- with unrelenting rain that erases each of historic coinage. Following an extensive reno- cial service,” each containing an envelope word—a fitting end to an exhibition that vation (still ongoing and slated for completion in propped open by an eagle and holding a invites multiple interpretations and defies 2016), it now also houses contemporary art exhi- bitions. 100-deutschmark bill. Another treasure: unequivocal interpretation. 4. Several of the installations reconstituted in the the miniature book, bound and boxed, exhibition, including the White Room, were ini- entitled La Conquête de l’espace. Atlas à tially created for the artist’s retrospective and his l’usage des artistes et des militaires (The Laurie Hurwitz is a curator at the Maison first important exhibition in Paris, “L’Angelus de Conquest of Space. Atlas for the Use of européenne de la photographie in Paris. She is Daumier,” held from 2 Oct–10 Nov 1975, at the Artists and the Military; 1975), which mea- Paris correspondent for ARTnews magazine. Hôtel de Rothschild, Centre national d’art con- temporain (the future Georges Pompidou Center), sures only 38 x 25 millimeters. It depicts in which each gallery was themed according to a the Northern and Southern hemispheres, color. Notes: followed by black silhouettes of 32 coun- 5. The museum’s closing was staged in two instal- 1. In a 1969 interview with Ludo Bekkers, Brood- lations at the Documenta in Kassel that year. tries, one to a page, in alphabetical order. thaers explained, “The name ‘Département des Rather than being shown to scale, all the Aigles’ comes from a very old poem that I had writ- countries are roughly the same size, with ten and found again, ‘O Tristesse envol de canards no clues as to topography: no cities, roads, sauvages, O mélancolie aigre château des aigles’ mountains or rivers are shown, just opaque (Sadness, flight of wild ducks, Melancholy, bitter castle of eagles). I wrote this 15 or 20 years ago ... black shapes, like tiny Rorschach inkblots. It is a literary memory.” Bordering countries are not indicated, so 2. In his writings, Broodthaers denied the eagles’

Art in Print November – December 2015 19 EXHIBITION REVIEW The Bits and Pieces of Robert Seydel By Megan N. Liberty

“Robert Seydel: The Eye in the Matter” Queens Museum, New York 19 July 2015 – 27 September 2015

A Picture Is Always a Book: Further Writings from Book of Ruth By Robert Seydel, edited by Lisa Pearson 12 pages, illustrated in color throughout Siglio Press, Los Angeles, 2014 $36

ollecting printed matter is inher- Cently nostalgic. In The Arcades Project, Walter Benjamin says of the col- lector, “Perhaps the most deeply hidden motive of the person who collects can be described this way: he takes up the strug- gle against dispersion.”1 As his recent posthumous exhibition at the Queens Museum demonstrated, artist and poet Robert Seydel (1960–2011) had a talent for collecting and assembling. Curators Peter Gizzi, Richard Kraft and Lisa Pearson described him as “an exceedingly solitary man who spent untold hours each day reading and studying, writing and mak- Robert Seydel, Puccini’s Pudding (2007), mixed media collage, 5 x 6 inches. From Book of Ruth ing art.” His collection of books, photo- by Robert Seydel (Los Angeles: Siglio Press, 2011).Courtesy of Siglio Press and the Estate of Robert graphed by Kraft, was vast, as was the Seydel. ©The Estate of Robert Seydel. range of sources for his collages—“debris from the street, forgotten photographs, cally charged labels and illustrations setting to view and read more than 50 col- and faded scraps of paper.”2 More pecu- are united in Puccini’s Pudding (2007), lages along with assorted notebook and liarly, Seydel’s collections, collages and where a cropped pudding label is pasted journal pages, most measuring no more journals were often done under assumed at the bottom of a composition that also than 6 1/2 by 4 1/2 inches. On the walls identities, such as the reclusive poet S. includes a colorful cartoon of a locomo- above the works were quotations from and the professor R. Welch.3 tive moving between hills, perhaps from Greissman’s writings, such as: “The Eye in the Matter” focuses on the an advertisement or a children’s book, a “What happens is not what matters. work of one particular invented alter-ego: black-and-white illustration of an eye, What matters is what’s here.” Ruth Greissman, a fictionalized version and some of Seydel’s stick-figure draw- of Seydel’s aunt. “Ruth” is an amateur art- ings. Pearson, who is also the publisher of “I’ll invent who I am, against what is. ist living in Queens with her brother Saul, Seydel’s books, has described the collages My name & time: a Queens of the mind.” who is in love with the artist Joseph Cor- as “made of detritus, of things that have “To wear masks put them off.” nell, also a resident of Queens. “Ruth’s rusted or faded, things torn, smudged, pretty much a complete fabrication,” bent, things that rarely capture our atten- Seydel toyed with identity by taking on Seydel explained in an interview, “but tion but here metamorphose into some- personas like Ruth and also by presenting she’s based on a set of supports that thing alive and deeply connected to a figures that seem to be masked or mutable. were real in my aunt’s life.”4 Like the life.”5 To dissect them into separate com- He frequently attached heads from printed images she makes, Ruth herself is assem- ponents is to strip them of the qualities illustrations onto bodies from studio por- bled from found parts. with which Seydel—correction, Ruth— trait photography. (Seydel had an MFA in In the portrait Per Lighthouse (2008), imbues them. Collage is a triumph over photography.) In a portrait of Ruth’s brother a sepia photograph of a woman joins the dispersion that haunts Benjamin’s Saul, a studio photograph of a well-dressed a bottle cap, the typed word “LIGHT- collector. man is augmented with an illustration HOUSE” and a fragment of a label reading The exhibition was fittingly small in of a delicately featured, oversized round “PER” in bold print. A variety of graphi- size but not in scope, providing an intimate head. Collaging a different head onto the

20 Art in Print November – December 2015 From Left to Right: Robert Seydel, Untitled Journal Page [I was beautiful as a girl] (n.d.), mixed media collage, 6 1/2 x 4 1/4 inches, from A Picture Is Always a Book: Further Writings from Book of Ruth by Robert Seydel (Los Angeles: Siglio Press, 2014); Robert Seydel, Per Lighthouse (2008), mixed media collage, 6 1/2 x 4 1/4 inches. From Book of Ruth by Robert Seydel (Los Angeles: Siglio Press, 2011). Collection of Richard Kraft and Lisa Pearson; Installation view: “Robert Seydel: The Eye in the Matter,” Queens Museum, 2015. Images courtesy of Siglio Press and the Estate of Robert Seydel. ©The Estate of Robert Seydel. otherwise unaltered body makes it appear quoted elsewhere on the wall.7 Through Notes: the figure is wearing a mask, further em- collage, schmutz is transformed into an 1. Walter Benjamin, “The Collector,” in The phasizing Seydel’s own mask as Ruth. agent of unity: “the happiness of glue.” In Arcades Project (Cambridge: Harvard University In the center of the gallery, two vitrines one of the journals on display, Ruth wrote Press, 1999), 211. displayed open journals, which Seydel about her “pale brown art” and her Jew- 2. Peter Gizzi, Ricahrd Kraft, and Lisa Pearson, called “Knot-books,” filled with collages ishness: “It’s true, the jew is best at empti- “Curator’s Statement,” in Robert Seydel: The Eye and typed pages adorned by hand-drawn in the Matter (Queens: The Queens Museum), ness. No topography of ecstasy [..] JC, MD, exhibition brochure, n.p. marginalia. One collage shows the torso will never understand our distance from 3. “About Robert Seydel,” in A Picture is Always a of a man in a classical pose, but where life.” The nod to Cornell (JC) and Marcel Book: Further Writings from the Book of Ruth (Los the archaic head should be we find a Duchamp (MD) acknowledges her debt to Angeles: Siglio Press, 2014), n.p. photograph of Gertrude Stein obstruct- pioneering collagists while emphasizing 4. Savina Velkova, “Making the Hand Obey ing a scrap of typed text. Stein’s presence Another’s Psychology,” in ibid., 101–102. the distinct quality of her own collages, 5. Lisa Pearson, “On the Art of Robert Seydel and invokes her legacy as an influential writer, haunted by her Jewish “emptiness.” the Construction of ‘Ruth,’ ” Siglio Press, 2007, an early supporter of modern art, and a A deep sadness over dispersion is cen- accessed 21 Aug 2015, sigliopress.com/on-the- gay Jewish woman. Inhabiting Ruth—an tral to Ruth’s persona and to this body of art-of-robert-seydel. unmarried woman and a Jew—high- Seydel’s work. The many odes to Queens, 6. Velkova, “Making the Hand,” 105. lights these characteristics of outsider- a place where diasporas collect, under- 7. “Flowers & Formulas” is printed in full in Book of Ruth (Los Angeles: Siglio Press, 2011). ness. He once explained, “I love artists score the longing to establish a home. 8. Ibid., 74. who contain a mixed pedigree, or who are Collage suits Ruth’s melancholy. As she contaminated in some way.”6 writes in “Flowers & Formulas,” “My art is Undertones of such contamination a damaged thing, made of damaged pervade his art. A line from Ruth’s long things.”8 The exhibition at the Queens poem “Formulas & Flowers” on the gal- Museum gathered these things in a lery wall reads, “Schmutz is my sign.” touching effort to provide a “topography While there is humor in this, there is of ecstasy” for Ruth and for Seydel’s also something ominous about iden- layered life and art. tifying with a smudge of dirt, and the word schmutz, in both Yiddish and Ger- man, evokes the mixed pedigree of Jew- Megan N. Liberty is a writer based in Brooklyn. ish immigrant culture. Collage similarly unites disparate elements together, albeit at times messily. “Reveal amber, the color of time, & happiness of glue,” wrote Ruth,

Art in Print November – December 2015 21 EXHIBITION REVIEW Lost in Translation: Duane Linklater by Andrea L. Ferber

“salt 11: Duane Linklater” Utah Museum of Fine Arts Salt Lake City 27 February – 2 August 2015

n the eleventh installment of the Utah IMuseum of Fine Arts’ (UMFA) “salt” exhibitions, artist Duane Linklater cut to the heart of the fundamental museum claim that objects can be understood as prima facie evidence of cultures. Lin- klater, who is Omaskêko Cree, selected 17 American Indian artifacts in the museum’s collection and replicated them as 3D printed sculptures or inkjet prints on linen. These doubly decontextualized entities, mute yet (theoretically) endlessly reproducible, suggested that transloca- tion has its limits. Each of the textiles, carvings and pot- tery was chosen because fundamental information, such as the maker’s identity, is unknown to the museum. Such “author- less” objects pose a number of questions: in many cultures, culturally significant objects may be created and owned collec- tively so the name of an individual maker is irrelevant; in others, makers may be known and celebrated, but that informa- tion can be lost over time (as indeed it has been for much Western art); in still others, both modes may be at work, depending on circumstance. In the absence of deep knowledge of both the originating cul- ture and the specific object’s subsequent passage through time and space, filling in the blanks can be an insurmountable dif- ficulty, and the objects are left to “speak for themselves” to people unfamiliar with their language.1 Linklater’s purpose was not to cor- rect the readings of these artifacts, but to illustrate the slippage that occurs as artifacts become untethered from their own specific histories. To emphasize this point he made his selections, not by close study and handling, but by logging into Duane Linklater, UMFA1977.099 (2015), inkjet print on linen, 85 x 44 inches. Courtesy the artist and Catriona Jeffries Gallery. the UMFA database from his studio in North Bay, Ontario. The low resolution of the 3D-printing the copying process physically ex- graphic objects. Rather than manually and inkjet technologies he used drama- presses the loss of information that reproducing the objects with skill and tized the loss of information. As UMFA occurs as American Indian objects precision, he uses mechanical filters curator Whitney Tassie observes: transform into Westernized ethno- to produce copies that might be more

22 Art in Print November – December 2015 accurately described as translations … The data lost in this imperfect process echoes the names, stories, purposes, and meanings that are erased during an object’s cultural translation and ethnographic transformation in a museum.2

The inkjet-printed imitations of weav- ings appear lifeless. The vertically hung ersatz Navajo Hanoolchaadi striped blan- ket is flat, drab and blurry in contrast to the commanding blood-red dye of the horizontally presented original, whose thickness and corner tassels cast shadows on the wall. Though the original is visu- ally compelling and a testament to the weaver’s virtuosity, neither it nor the copy can be used for the purpose for which it was woven. The sculptures were printed in ivory- colored plastic. In some cases—a Hopi katsina doll, a large Kwakwaka’wakw Installation view: “salt 11: Duane Linklater,” Utah Museum of Fine Arts, 2015. Courtesy the artist and raven mask—the original could be easily Catriona Jeffries Gallery. deduced from the copy. But a Cowichan painted wooden headdress, robbed of color, texture and material specificity, as it lies still and lifeless in a vitrine? Lin- was unrecognizable. klater has given literal form to the phrase In the exhibition, the authentic objects “pale imitation.” and the copies were separated into adja- The late museum director James Wood cent galleries, such that the copies began defended mass replication, writing, “All to take on independent life. The mir- reproductions of works ... ultimately rored tables on which the sculptures sat stimulate a desire to experience the origi- offered views of all sides of the object, but nal.”4 The question is what exactly that no additional information. In the absence experience teaches us. of contextualizing knowledge, neither the contemporary translation nor the artifact in the other room was able to Andrea L. Ferber, Ph.D., is Assistant Professor of Art History at Idaho State University. offer insight about, say, the Cowichan people and their culture. In this installation Linklater calls Notes: Navajo, Hanoolchaadi (Chief’s Blanket) attention to the role of the museum as an 1. The documentary Inuit Piqutingit (What Belongs (late 19th century), wool, 71 x 77 inches. Judge instrument of history, inevitably written to Inuit) (2006) by Zacharias Kunuk and Berna- Willis W. Ritter Collection of Navajo Textiles, UMFA1977.099. by the victors. His indigenous perspec- dette Dean addresses this subject by taking Nun- avut elders to five North American museums to tive, however, shines a slightly different discuss objects taken from their Inuit ancestors. light on this question from that provided 2. salt 11: Duane Linklater. UMFA exhibition bro- by such postcolonial critiques as Fred chure, 2015, n.p. Wilson’s Mining the Museum (1992–3) at 3. Duane Linklater, “Tautology,” accessed 7 Sept the Baltimore Historical Society. Since 2015, http://www.duanelinklater.com/index.php?/ recent/tautology. the enactment of the Native American 4. James N. Wood, “The Authorities of the Ameri- Graves Protection and Repatriation Act can Art Museum,” in Whose Muse? Art Museums (NAGPRA) in 1990, ethical questions and the Public Trust (Princeton University Press, about the things museums hold and the 2006), 111. rights of the originating cultures have been much discussed, but Linklater is not challenging the ownership of the objects in the UMFA’s collection; he is asking us to consider the interaction of “history, art, repetition, and semiotics.”3 How much can we actually learn from a mask with moveable parts created for a ritual dance

Art in Print November – December 2015 23 EDITION REVIEW Gray Matter: David Schutter By Susan Tallman

David Schutter, Study for Autograph Repetition (2013) Photogravure, inked à la poupée, 23 3/8 x 35 1/2 inches. Edition of five. Printed by Renaissance Press, Ashuelot, NH. Pub- lished by the artist and Aurel Schreiber, Berlin. $7,000.

avid Schutter’s paintings are ravish- Ding paradoxes: copies that don’t resemble the originals, replicas that can- not be replicated. From a distance, and in most reproductions, they appear as rectangles of cloudy gray; up close the layered brushstrokes build and scatter and reassemble with authority. Schutter’s recent photogravure, Study for Autograph Repetition, is still more peculiar: a daz- zling semi-photomechanical portrait of one of the artist’s paintings, itself rooted in another painting made by a different artist a century and a half ago. If the ref- erences chase each other back into the depths of history, the visual experience keeps one rooted in the exact moment of David Schutter, Study for Autograph Repetition (2013). viewing—this time, this place, this light. Schutter makes paintings about paint- ing, both in a general sense (the mate- exhibition space an architectural shell landscape painter,” and while Schutter rial exigencies of pictorial processes) was constructed that mimicked the acknowledges his sources in his titles, and a specific one: each is made “after” Art Institute gallery; inside hung four he does so in code. The resulting dia- an extant historical painting that he paintings matching the dimensions and ristic notations document encounters studies assiduously, absorbs and recasts. positions of the Corots in the museum. between the artist and specific objects, He spends months viewing and sketch- Though Corot was the guiding principle places and times; they are not crib sheets ing the target work in situ; he reads its of “Rendition,” Corot qua Corot was hard for the viewer. That said, codes always conservation reports and researches the to see. In place of the downy clouds and suggest a sporting challenge and anyone social and material world in which it was fluttery foliage that so beguiled Ameri- with reasonable Google skills can pull up made as well as the context in which it can 19th-century collectors, Schutter’s the source pictures to play compare-and- now sits. Having done this, he returns to canvases offer storms of muffled hues contrast. But that would be missing the the studio and paints without reference that conceal and reveal simultaneously. point. The reason to bury the reference is to his notes and drawings. He has worked (Ornithologists tell us that birds, who see that when the source is absent, the viewer his way through van Ruisdael landscapes more ultraviolet than we do, see the black must come to terms with what is pres- in the Gemäldegalerie Berlin, Constable’s feathers of a grackle as a riot of color. Even ent. The new painting cannot rely on its clouds at the Yale Center for British Art, human eyes can catch a glint of emerald résumé, it must carry its own weight. Chardin still lifes in the National Gallery or indigo—a momentary glimpse of opti- The photogravure, however, is overtly of Scotland and on and on. cal riches lying just beyond our percep- a reproduction of photographic origin—it His 2013 exhibition, “Rendition,” tion. Schutter’s paintings have a similar points unambiguously to another thing addressed four paintings by Jean-Bap- quality—as the raised edge of a brush- in another place—which is a critical tiste-Camille Corot housed in gallery stroke stroke catches a passing glimmer, divergence from Schutter’s previous prac- 224 at the Art Institute of Chicago.1 (The or matte scumble folds light into itself, tice. Schutter is not an old school copy- curator for the exhibition was Monika the surface of the painting springs to var- ist, he is a contemporary artist for whom Szewczyk, now a member of the curato- iegated life.) process is not simply a means to an end rial team of Documenta 14.) Within the The press materials for the 2013 show but an overt element of content. When we University of Chicago’s Logan Center referred only to “a 19th century French consider his densely worked surfaces, we

24 Art in Print November – December 2015 must also bear in mind all of the looking and studying that led to it—the cognitive transcription, the mutability of memory, the clumpiness of time. His process of intuitively internalizing information— which is to say, abjuring photography—is essential to the concept and the outcome of his paintings. The gravure is not sim- ply photographic, it is almost fetishisti- cally so. The resolution is so fine that the impressions left by individual hairs of Schutter’s brush on the canvas are clearly visible, but so is the tender granular gra- dient that produces the illusion of an object in space. The gravure doesn’t repeat the com- position of the painting, it shows the painting hanging on a wall. Shot from the side, the painting’s surface becomes a trapezoid. We can see the unpainted edge of the canvas as it wraps around the stretcher; shadows below and (more faintly) to the left attest to the object’s dimensionality. The uninked paper of the margins is a different color than that sur- rounding the painting—we are looking at David Schutter, AIC C 224 4 (2013), oil on linen, 23 1/2 x 28 1/2 inches. a picture of a picture of a picture, but we are also looking at a picture of a wall. Schutter uses the phrase mise en work obliquely and always pushing and one in view when they look at his abyme, the heraldic term for nested the beholder to other points of view paintings. Study for Autograph Repetition emblems that André Gide borrowed for that break that illusion, perpetually tosses us another ball to juggle while we conceits like the play-within-a-play or sending one to another position, and puzzle out the endlessly fascinating ques- looping Droste effect recursion.2 The therefore another perspective. tions of how pictures work. mise en abyme is a dislocating device; it muddies the distinction between the Each of the five impressions was inked world and the fiction, the watcher and the slightly differently and carries its own Susan Tallman is the Editor-in-Chief of watched. In this case, Schutter’s painting individual color shift.3 “Autograph rep- Art in Print. AIC C 224 4, which had been a kind of ter- etition” was a term employed in 19th- minus for the painter’s consideration of century France to distinguish an artist’s Notes: Corot’s Arleux-Palluel, The Bridge of Trysts repetition of his own work from that of 1. Gallery 224 usually also contains three paint- (1871/72), becomes itself the subject of student, workshop assistant, or hired ings by Jean-François Millet, but during the sum- further consideration. The tactics, how- hand, but Schutter notes that Corot’s mer that Schutter was studying the room the ever, are entirely different. dealer sometimes sold his variant edi- Millets were temporarily de-installed. He says, “I liked this off-kilter presentation that allowed me to The mise en abyme must not only tions using this term. Study for Autograph re-see the room as it was off balance. That was include its own framing, but it also needs Repetition is not a flatter repetition ofAIC one reason why the model of 224 was set at an to be a convincing enough rendition of its C 224 4, it is a different thing altogether. oblique angle, diagonally across the width of the subject/self to keep us in the game. This The goal, Schutter explains, was “to Logan Gallery.” is tricky because many of the qualities make a print that denied the promise of a 2. “Placed in the abyss” sounds wonderfully romantic, but the abyme was simply the center of that make Schutter’s paintings captivat- return to the object … [but] insisted upon the shield. The more down-to-earth “Droste effect” ing in person die in reproduction, where returning to itself in such a way that it refers to the early 20th-century Dutch cocoa tin the fluid layering of strokes and the elu- would highlight a spectatorship that is that shows a nurse carrying a tray on which sits a sive chromatic motion are made flat and constantly in negotiation.” tin of cocoa that shows a nurse carrying a tray… static. Paul Taylor, who made the gravure As with any great reproductive print, 3. The inking and printing was done by Courtney plate, suggested they might recreate the we find ourselves suspended between the Sennish. painting’s chromatic tease by inking the seductions of the translation and those of plate à la poupée with multiple tones of the image nested within. But here the ink. This enabled them, Schutter says, thing being represented is itself doubled, in ways less evident but no less real. Schut- to bend space in the picture, to make ter’s habit of explaining his process while the anamorphic qualities of the image thwarting instantaneous comparisons extremely present when viewing the asks viewers to hold two things in mind

Art in Print November – December 2015 25 EDITION REVIEW Imitation Games: Mike Bidlo and Piero Manzoni By Elleree Erdos

Mike Bidlo, Not Manzoni (Impronte, 1960; Impronte pollice sinistro, 1960; Impronte pollice destro, 1960) (2015) Three offset lithographs, sheet 20 x 14 inches (50.8 x 35.5 cm) each. Edition of 60. Printed by Anna-Marie Settine at the Robert Blackburn Printmaking Work- shop, New York. Published by World House Editions, Middlebury, CT.

he final line of Roland Barthes’ influ- Tential 1967 text, “The Death of the Author,” reads: “The birth of the reader must be at the cost of the death of the Author.”1 In the 1980s, appropriation artists such as Mike Bidlo purposefully conflated the roles of “reader” and “Author”—reread- ing the modernist canon and “rewriting” it in a contemporary sphere, while also play- ing the part of the original artist in the remaking of a work. A new print project by Bidlo offers a fresh opportunity, three decades on, to consider his mimicry as a reminder of the persistence of authorship and its ambiguities. The Not Manzoni prints re-create three lithographs from Piero Manzoni’s only print portfolio, 8 Tavole di accertamento (individual prints created 1958–1960, port- folio published 1962). Manzoni, who died young in 1963, produced proto-conceptual, satirical works that wittily critiqued both the aura-laden artwork and postwar con- sumerism. (His most famous work is prob- ably the edition of 90 sealed cans labeled “Artist’s Shit (Merda d’Artista),” which he priced by weight at the trading price for gold.) His portfolio included litho- graphic maps of Ireland and Iceland, two grids of stenciled letters (A through G), a sheet crossed by a horizontal black bar that alludes to his earlier multiple Linea (1959)2 and three reproductions of his fin- gerprints—left thumbprint, right thumb- Mike Bidlo, Not Manzoni (Impronte, 1960) (2015). Photo: Ali Eli, Camera Arts, New York. print, and the prints of all ten fingers (which also appear on the portfolio cover). gerprints are famously inimitable, thus the the art-devouring public), Manzoni offered It is these last three images that Bidlo has presence of Bidlo’s declares, along with the the audience hard-boiled eggs marked with chosen to re-create, copying Manzoni’s title, “not Manzoni.” his thumbprint (he frequently used finger- compositions—as in the originals, each of Manzoni, like Bidlo, challenged the prints as a kind of forensic “signature”), the thumbprints is enlarged to fill its page ways in which we articulate the value of art allowing the public to digest and eliminate and the set of ten digits is presented in two objects. In a 1960 performance Consumazi- objects “consecrated by the ‘personality’ of rows of five—but using his own fingers. As one dell’arte dinamica del pubblico divorare the artist: direct communion.”3 Both a par- indexical signs of individual identity, fin- l’arte (The consumption of dynamic art by ody of art consumption and a pun on the

26 Art in Print November – December 2015 Eucharist, Manzoni’s satire enlisted the spectator, body and soul. Similarly, Man- zoni’s Carta d’autenticita performance of 1961–62 were signed certificates of authenticity that declared the owners to be “Living Sculptures”; colored stamps des- ignated different categories—a red stamp made someone a work of art until death; yellow certified a particular, designated body part; green meant the body part was only a work of art in a particular position (an arm held in the air, for instance). Bidlo is best known for his painted rep- licas of works Picasso, Matisse, Warhol, Pollock and other modern masters, works he titles with “not” before the original art- ist’s name to forestall any notion of forg- ery and emphasize his role as re-creator. His appropriations have also extended to performances: in his 1982 show at P.S.1 in 1982, Bidlo hung his not-Pollock paintings in a replica of the townhouse belonging to Left: Mike Bidlo, Not Manzoni ((Impronte pollice destro, 1960) (2015). Right: Mike Bidlo, Not Peggy Guggenheim where the originals Manzoni (Impronte pollice sinistro, 1960) (2015). Photos: Ali Eli, Camera Arts, New York. were first shown; he further hired an actor to reenact Pollock’s infamous urination in their allusion to detective intrigue; they other art. Bidlo’s studied matching of his into Guggenheim’s fireplace. In 1986 he re- are also curiously ambiguous, suggest- fingerprints to Manzoni’s, with its inevita- created Yves Klein’s famous performative ing the idea of individual identity without bly unmatched result, is a reminder that, as painting Anthropometries (1960), and when being a recognizable portrayal of an indi- Wood writes, “‘Art’ still names the pro- he first met Nam June Paik, he cut off the vidual. Putting the Bidlo and Manzoni tected realm where culture stages the bit- artist’s tie, as Paik had once done to John fingerprints side by side, one can pick out ter contest between original and copy, but Cage.4 At the IFPDA print fair in Novem- numerous differences between them, but always with the same outcome.”6 ber, Bidlo will reenact Manzoni’s Carta in isolation each registers as an anony- d’autenticita, enabling visitors to become mous, universal sign. Elleree Erdos is a graduate student at Columbia In recreating the 1960 lithographs Bidlo works of art (or reproductions, depending University. She works at Craig F. Starr Gallery in on how you think about it). had a choice: he could replicate Manzoni’s New York. Bidlo’s appropriation practice was in product (drawing or otherwise imitating itself appropriated to an extent, following the friction ridge patterns of Manzoni’s Notes: on the heels of artists such as Elaine Stur- fingers to make something that looked 1. Roland Barthes, “The Death of the Author,” in tevant, who had been manually remaking nearly identical) or he could replicate Image-Music-Text, trans. Stephen Heath (New the works of her peers (Jasper Johns, Andy Manzoni’s process (substituting his own York: Hill & Wang, 1978), 148. Warhol, Frank Stella, etc.) since the mid- friction ridges). The continuation of the 2. Linea is the collective title for a group of Man- ’60s, and Sherrie Levine, who began repho- Manzoni-instigated play with creative zoni’s early experimental works, which consisted tographing the photographs of Walker identity logically required him to use his of inked lines on long strips of paper rolled up and sealed in cardboard tubes, with the length of Evans at the tail end of the ’70s. Like own fingers, but the process of re-creation each line written on a label on the outside of the Levine, Bidlo works from reproductions, is necessarily different from that of cre- tube, as well as on the back of each strip. Manzoni the means through which the modernist ation: in addition to the steps that both art- made at least 50 of these works in 1959, vary- canon has been broadcast and maintained, ists went through—inking and stamping ing in length from 0.78 meters to 33.63 meters, but his reliance on hand facture produces their fingers, enlarging the results, making plus three longer versions in 1959 and 1961. In 1960 he declared that the tubes should remain a certain slippage between the appearance templates and running them through the unopened, de-aestheticizing and de-emphasiz- of the original and that of the re-creation. press—Bidlo had to consider questions of ing the work itself, which remains unseen. The The title of Manzoni’s portfolio trans- matching. He studied the density of ink appearance of the lines themselves is left to the lates as “tables of assessment” or “tables of in the 1960 lithographs and the nature of viewer’s imagination. verification”: and each print—the maps, paper, the shape of the fingerprints (his 3. Manzoni, in a letter to Shozo Yamazaki, 22 July 1960, quoted in Deborah Schultz, Marcel Brood- the letters, the fingerprints—can be seen own fingers were larger and longer than thaers: Strategy and Dialogue (Switzerland: Peter as a tool of comparative analysis in rela- Manzoni’s) and their positions on the page. Lang International Academic Publishers, 2007), tion to an absent “original” subject (land, In Forgery, Replica, Fiction, historian 130. language, person). But each is also clearly Christopher S. Wood says, “to represent 4. From an interview with Mike Bidlo by Anney a work of art, presented in a portfolio as a the copy is to reassert the distinction Bonney, Bomb 45 (Fall 1993). 5. Christopher S. Wood, Forgery, Replica, Fiction: limited edition, the product of numerous between copy and original.”5 Authorship is Temporalities of German Renaissance Art (Chi- aesthetic and conceptual decisions. The an inescapable element in a work of mod- cago: University of Chicago Press, 2008), 18. fingerprints are engaging to the eye and ern art, even when that work imitates 6. Ibid.

Art in Print November – December 2015 27 BOOK REVIEW Holland’s “second golden age.” As Ackley and existing studies are translated into discusses in his introductory essay, his English or other widely read languages. own fascination with the period origi- Scholars are increasingly turning their nated in his years studying in the Nether- attention to art historical developments lands in the late 1950s and ’60s, but was outside the dominant narratives that pursued in earnest beginning in the position Paris at the epicenter of the 1980s when he became head of the print modern art world. Holland on Paper adds department in Boston. He inherited a to this larger revisionist project, enrich- small but stellar collection that included ing and enlivening our understandings of an early Mondrian charcoal land- the period. scape from ca. 1905–7 (Fig. 1) and a van Ackley begins by outlining major Gogh etching from 1890 of Dr. Gachet cultural shifts in Holland in the final (Fig. 2). This formed the nucleus of decades of 19th century that have seldom what has become an outstanding North been discussed outside Dutch-language American collection of Dutch works on publications. Beginning with the 1880s paper from this period—indeed one of art-for-art’s sake aesthetic associated the strongest outside Holland. As Ackley with the periodical De Nieuwe Gids and Holland on Paper in the Age of observes: followed in the 1890s by a more socially oriented concern for an engaged art Art Nouveau These works … may not form as per- related to the concept of Gemeenschaps- By Clifford S. Ackley; Research Assistant fect a survey as might be drawn from kunst (Community Art), Ackley out- Katherine Harper the collections of the Rijksmuseum lines the developments of this period in 256 pages, 155 color illustrations in Amsterdam …, the Gemeentemu- broad strokes. He points to the wealth Published by MFA Publications, seum in The Hague, or the Museum of styles—various strands of Realism Museum of Fine Arts, Boston, 2014 Boijmans van Beuningen in Rotter- and Symbolism co-existing with early $50 dam, but they do introduce the visual abstract tendencies—and to the equally preoccupations and imagery that are abundant array of ideological under- central to this highly creative and still pinnings ranging from sociopolitical relatively unknown period of Dutch (socialist, anarchist) and religious (Theo- art.2 sophical, Rosicrucian) to the scientific The Second Golden Age: The unusually diverse geographic (natural history, botany). Dutch Art Nouveau variation of Art Nouveau has recently The heart of the book is the “selective been the focus of a slow but steady recon- pictorial survey” of 117 exquisite plates of By Joan E. Greer sideration as new scholarship emerges individual prints and drawings by more

olland on Paper in the Age of Art Nou- Hveau is a handsomely produced volume that makes an important con- tribution to current English-language scholarship concerning Dutch works on paper from the 1890s and early years of the 20th century. The book brings together a selection of prints and draw- ings from the Boston Museum of Fine Arts collection of turn-of-the-century Dutch drawings and prints. Written by Clifford S. Ackley, the man who for more than three decades has been in charge of collecting, caring for and curating the works, with research assistant Kather- ine Harper, Holland on Paper provides a strong, visually rich entry point to the subject. Ackley, whose book Printmaking in the Age of Rembrandt1 and other publica- tions on Dutch art of the 17th century have long established him as an expert in the field, here turns his attention to Art Fig. 1. Piet Mondrian, Bend in the Gein with a Row of Ten or Eleven Poplars (ca. 1905-6), charcoal Nouveau—De Nieuwe Kunst, in Dutch— with touches of white chalk, stumping and erasure, on blue paper, 48 x 62.7 cm. Museum of Fine Arts, and the period sometimes known as Boston, William E. Nickerson Fund, 60.966.

28 Art in Print November – December 2015 Left: Fig. 2. Vincent van Gogh, Dr. Gachet (The Man with the Pipe) (1890), etching and drypoint, printed in red ink, image 18 x 15, sheet 32.3 x 23.3 cm. Museum of Fine Arts, Boston, Bequest of W.G. Russell Allen, 60.393. Right: Fig. 3. Johannes Theodorus Toorop, Delftsche Slaolie (Delft Salad Oil) (1894), lithograph in black and yellow inks, image 87.3 x 56, sheet 100 x 70.5. Museum of Fine Arts, Boston, Lee M. Friedman Fund, 1990.458. Images courtesy of the Museum of Fine Arts, Boston. than 30 artists. Each is discussed briefly period, and he emerges as the protagonist in Holland on Paper all the more welcome. and illustrated with at least one high- of Dutch Art Nouveau as it is presented in Van Hoytema’s early years included a for- quality reproduction, often augmented this book. His widely reproduced poster mative period as an artist in the Leiden by a close-up detail or reproductions of Delft Salad Oil (Fig. 3), which appears as Zoological Museum (1889–1990), and his additional art works as visual compari- a detail on the cover, serves as an entry precise observation of the natural world sons. The format facilitates a full under- point to the book as a whole and to the led to works characterized by botani- standing of variations of technique and introductory essay. The stylized, sinuous cal and zoological accuracy on the one exposes the Dutch preoccupation with lines of Toorop’s poster tie the Java-born hand and pattern and composition on the fine draftsmanship as well as the often Dutchman to international experiments other. The latter aligned him with wider virtuosic graphic achievement attained in graphic design and the decorative arts, Art Nouveau stylistic concerns. His best during this period of print discovery and especially those of Brussels. The poster works, such as the lithograph Christmas innovation. It is in this section that one is a reminder of the transnational com- Eve (Fig. 4), reveal a fine balance between finds the true strength of this publica- plexities of the period, and its status as detailed renderings of the natural world tion—a visual compendium that is aston- an advertisement underlines the period’s and abstracted and decorative framing. ishing to the newcomer and affirming desire to improve the aesthetic quality of His formal experimentation with tex- of the period’s variety and depth to all that is designed, imparting beauty and ture results in a densely articulated sur- the initiate. dignity to the objects of everyday life. face, and a visually distinct aspect of van Of the artists included, Jan Toorop and Van Hoytema was a particularly popu- Hoytema’s lithography that warrants the lesser-known but highly noteworthy lar artist in turn-of-the-century Holland, underlining. graphic designer Theo van Hoytema, are due in large part to his calendars and At the other end of the stylistic spec- by far the best represented, with more children’s picture books, but he has not trum from Toorop, and indicative of the than 20 works by each. Toorop is usu- enjoyed the same level of historical rec- period’s diversity within Holland, is the ally the dominant figure in surveys of the ognition as Toorop, making his inclusion sparer geometric abstraction evident in

Art in Print November – December 2015 29 Left: Fig. 4. Theodorus van Hoytema, Christmas Eve (Kerstnacht) (1894), lithograph, image 41 x 25 cm, sheet 50 x 31.5 cm. Museum of Fine Arts, Boston, Fund in Memory of Horatio Greenough Curtis, 2013.300.1. Right: Fig. 5. Johan Thorn Prikker, Holländische Kunstausstellung in Krefeld (Dutch Art Exhibition in Krefeld) (1903), color lithograph, 85.1 x 121 cm. Museum of Fine Arts, Boston, Lee M. Friedman Fund, 1986.587. Images courtesy of the Museum of Fine Arts, Boston. furniture design that also found its way to the subject. (One minor quibble is the Notes: into graphic production. Of particular omission of clear labeling to identify the 1. Boston Museum of Fine Arts, 1981. note is Johan Thorn Prikker’s design for fine yet nonsequentially placed details 2. Holland on Paper, 9. the Dutch art exhibition at the Kaiser of the images, leaving it to the intrigued Wilhelm Museum in Krefeld, Germany reader to leaf through the book attempt- (Fig. 5). Best known for his mystical sym- ing to match the detail to a full-size bolist paintings of the 1890s, Prikker here image elsewhere, or to discover the list combines abstract design components of details located inconspicuously on with roots in the natural world, a nod the final page with the colophon infor- toward batik design, bold typography mation.) and geometric framing. His subsequent Ackley concludes his introductory design experiments tied him to Belgium remarks: “I trust that my own subjective (especially to the architect and designer observations about these works convey Henry van de Velde) and to Germany, some of my sense of visual discovery.” which became his home soon after he This is exactly what this book achieves. designed this poster. Ackley has, in this stunning volume, con- Other highlights include the post- tributed significantly to the larger project ers of the committed socialist Richard of opening up to the English-speaking Roland Holst, the book design of Gerrit world an intriguing chapter in what has Willem Dijsselhof, the botanical studies until recently been among the best kept of Theo Nieuwenhuis, the mystical, theo- secrets of modern art. With the appear- sophically informed woodcuts of K. P. C. ance of this splendidly illustrated and De Bazel and the exotic, intricate drafts- valuable book, the secret is out. manship and decorative surface orna- mentation of C. A. Lion Cachet. Joan E. Greer is professor in the history of art, Completing this beautiful and useful design and visual culture at the University of addition to existing literature are a glos- Alberta. She specializes in Dutch and Belgian sary of printmaking techniques, a short art of the 18th to early-20th centuries. essay on Dutch printmaking and print- makers from the period, and an excellent bibliography. It is relevant to both the matter of the book and to Art in Print to note that the book design by Susan Marsh is both aesthetically pleasing and fitting

30 Art in Print November – December 2015 BOOK REVIEW The exhibition “Lyonel Feininger: artistic forms evidenced in much of his Woodcuts: Becoming a Bauhaus Artist” subsequent work. Feininger’s favored drew on the collection of Dr. Hermann subjects—fir trees, churches, villages Klumpp, a family friend who stored some and the architecture of northern Ger- of Feininger’s work in Quedlinburg when many, as well as the ships and harbors the artist fled Nazi Germany in 1937. The of the Baltic coast—were nonetheless, catalogue reproduces 169 prints, includ- like his chosen print medium, highly ing nearly all the woodcuts published traditional, even folkloric. The Gothic in Leona E. Prasse’s catalogue raisonné, church in Gelmeroda, located southwest Lyonel Feininger: A Definitive Catalogue of Weimar, for example, seems to have of his Graphic Work (Cleveland Museum been a particularly fruitful subject for of Art, 1972). The preface and essay by him. Feininger first drew it in 1906 and curator Björn Egging is divided broadly it became a recurrent motif in his work; into two sections, the first concentrat- in addition to numerous drawings and ing on the woodcuts of 1918–20 and the prints, he produced 13 oil paintings of the second on those made between 1921 and church between 1913 and 1936 in which 1937, with illustrations of the artist’s he incorporated Cubist and Futurist idi- Lyonel Feininger: Woodcuts: related lithographs, etchings, paintings oms. In woodcuts such as Gelmeroda from Becoming a Bauhaus Artist and drawings. The texts are punctuated 1920 (cat. 154) and Gelmeroda (small block, By Björn Egging, translated by Steven by brief insets on Feininger’s biography 1921; cat. no. 103), Feininger translates the Lindberg and his role at the Bauhaus, and include silhouette of the church and its imme- 272 pages, 233 color and 19 black-and- Gropius’s original curriculum as well as diate environs into bold Cubist geom- white illustrations a selection of letters and quotations from etries of craggy, intersecting black and Kerber Verlag, Bielefeld, Germany, 2014 the artist (many on his own woodcut- white lines. The woodcuts of this period $701 printed letterhead). remind us, too, of Feininger’s early career The craftsmanship involved in carv- as a cartoonist and illustrator, reflected in ing images from woodblocks and the the playfulness of prints like Zug auf der Cut to the Quick: challenge of working in black and white Brücke (Locomotive on the Bridge, 1918; seems to have driven Feininger’s reduc- cat. 65) and Die Eisenbahnbrücke (Railroad What Feininger Learned tive analysis in these small, extraordi- Viaduct, 1919; cat. 123), both of which sug- from Woodcut narily vibrant sheets, works that became gest children’s book illustrations. a testing ground for the radical econ- Egging, in his essay “Becoming a By Brian D. Cohen omy of means and investigation of new Bauhaus Artist: Lyonel Feininger’s

ainters attracted by printmaking Poften find that the medium offers them new opportunities for artistic expression, even when they use it to address existing themes in their work. For Lyonel Feininger (1871–1956), however, his work in woodcut not only developed alongside his painting but also allowed a radical re-envisioning of his visual syn- tax after a fallow period during World War I. He clearly found woodcut to be a powerfully compelling medium; indeed, he created most of the 320 woodcuts in his oeuvre within a three-year period between the spring of 1918, when he was living in Paris, and the winter of 1920, when he was teaching at the Bauhaus in Weimar (where he had been appointed first Master of Form by Walter Gropius in 1919). During this period of frenzied work, Feininger completed some 237 woodcuts in which he reduced form to an idiom of shifting planes and abrupt rever- sals, intermingling figure and ground as he began to explore avant-garde forms, if Lyonel Feininger, Zug auf Der Brucke (Locomotive on the Bridge) (1918), woodcut, image 9.2 x 11.6 not themes. [On Feininger, see also Art in cm, sheet 15.1 x 24.4 cm. (Prasse W81 State II). ©Lyonel-Feininger-Galerie, Quedlinburg and ©VG Print Sep-Oct 2014]. Bild-Kunst, Bonn.

Art in Print November – December 2015 31 Lyonel Feininger, Stadtkirche (Town Church) (1919), woodcut, image 20.0 x 26.0 cm, sheet 32.5 x 38.4 cm. (Prasse W147). ©Lyonel-Feininger-Galerie, Quedlinburg and ©VG Bild-Kunst, Bonn.

Woodcuts and their Significance as especially the brilliant yellow of Japanese Brian D. Cohen is an educator, writer, printmaker Sources of Artistic Inspiration,” provides Kozo paper of Die Eisenbahnbrücke and and painter. His essays on arts education are a a chronological outline of the parallel Auf dem Quai Mauer (On the Sea Wall, regular feature of the Arts and Culture section of development of Feininger’s ideas in his 1921; cat. 159) are beautifully represented the Huffington Post. paintings, prints and drawings during here too. Curiously, given its title, though the course of his career, paying close the book provides background informa- Notes: attention to his longstanding relation- tion about the Bauhaus, Egging barely 1. Published to accompany the exhibition ship to specific motifs and to the villages touches on Feininger’s artistic connec- “Auf dem Weg zum Bauhaus-Künstler. Lyonel in the Weimar region. He also situates tion to it. Instead, he focuses on the Feininger. Holzschnitte,” Lyonel-Feininger-Gal- Feininger’s work in the context of the remarkable accomplishment represented erie, Quedlinburg, 6 Sept 2013–6 Jan 2014 and woodcut revival in Germany during this by Feininger’s woodcuts, especially those Kunsthalle Emden, 25 Jan–11 May 2014. period, acknowledging the influence made between 1918 and 1920, arguing 2. Egging, 31. of artists associated with Die Brücke, convincingly that the artist’s entire sub- such as Karl Schmidt-Rottluff and Erich sequent career as a painter emerged from Heckel, and with Der Blaue Reiter, with the discoveries made in woodcut, where whom Feininger showed at Der Sturm he achieved his goal of “the simplest form gallery in Berlin in 1913. for a pictorial expression of enduring The elegant reproductions of the validity.”2 woodcuts in the catalogue are generally printed one to a page with a catalogue entry below. The vivid colors of the many special papers used by Feininger,

32 Art in Print November – December 2015 BOOK REVIEW subject of contemporary posters or that construction zones and train stations as those posters should take to the streets, potential locations of attention and gen- but a 1968 photograph by Li Zhensheng erators of revenue. shows an unexpected sight: in the Yang- The heart of Guffey’s book lies firmly tze, enthusiastic swimmers commemo- in the post-WWII era, but she clearly felt a rating Mao’s swim tread water and raise need to set the historical stage for her core their fists in Communist solidarity while arguments. Thus her first chapter cov- pushing pontoons bedecked with large- ers an astounding 110 years (1840–1950), scale graphics of the chairman, halted by racing to arrive at the mid-20th century. neither topography nor convention. In The analysis jumps from 1919 on page 74, turn, these new vistas reshaped China’s skids through the 1920s and ’30s, nods to public sphere. Hitler and Stalin but otherwise skips over It is anecdotes and documentary pho- World War II, to land in 1956 by page 81. tographs like these, peppered through- The remaining four chapters take us up to out Elizabeth Guffey’s Posters: A Global the present in far greater detail. Though History, that stop a reader in her tracks. this makes the text somewhat unbalanced, Guffey’s goal is to tell the story of “posters by grounding her thesis in earlier decades as things”—physical, commodifiable and Guffey emphasizes that the postwar era Posters: A Global History transportable objects that “materialize the was not entirely a rupture with the past, By Elizabeth E. Guffey increasingly immaterial nature of visual but threaded with important continuities. 320 pages, 121 color plates, 64 halftones communication.”1 She traces how posters The strength of the book lies in Guffey’s Reaktion Books, London, 2015 have moved through the life of the world compelling new arguments about pub- $40 on their ephemeral paper substrates. By lic graphics in the postwar decades when contrast, the book How Posters Work pub- posters lost ground to the “commercial lished in conjunction with the eponymous bonanza” of radio, television, advertising exhibition at the Cooper Hewitt, Smithso- and other forms of “soft” propaganda. The nian Design Museum, emphasizes these street poster fundamentally changed, lay- same objects as strategic design entities. ing the “groundwork for posters’ different, Lead author Ellen Lupton explains: “This altered existence.”4 Her second chapter, is not a book about posters. It is a book “Trashing Tradition: 1945–1965,” examines about how designers see.”2 These two the “poster as medium” in France, zero- volumes, organized around quite differ- ing in on artists Jacques Villeglé and Ray- ent arguments, enrich the field of poster mond Hains’ décollage or affice lacérée studies by pushing against conventional (poster-ripping) practice. From the gen- stylistic methods of poster history. Both erative relationship between the poster probe how perception alters meaning. For and public culture established in the first Guffey, perception is fully contextual, set decades of the 20th century, we move on in the public sphere, and her focus is on to the idea of the poster as relic or ruin, how posters register and catalyze social How Posters Work movements. For Lupton, perception is By Ellen Lupton, Caitlin Condell and Gail about cognition and how design lan- Davison guages are formed: “This book deliberately 208 pages ignores context,” she asserts.3 It revels in Cooper Hewitt Publishing, New York, the visual, inviting the brain and eyes to 2015 just look and evaluate those processes. $29.95 With a title that suggests the broad- est geographic and chronological reach, Guffey’s “global history” begins in the Posters from the Individual Eye 19th century. The author does an admi- to the Public Sphere rable job of rooting her thesis in the social, economic and legal shifts that gave birth By Jill Bugajski to poster culture, noting how the buying power of a new consumer class and the repeal of France’s censorship and post- n 16 July 1966, the 73-year-old ing laws changed the role of the poster O Chinese leader Mao Zedong swam in public life. She makes illuminating the Yangtze River for the second time to points not emphasized enough in previous demonstrate his vitality. The act became scholarship, for example about the selling iconic in the cult of Mao, its image recy- of public sites for display—a new “geog- Jan Lenica, poster for Alban Berg’s Wozzeck cled into visual culture and heroic myth. It raphy of consumption,” as she calls it: at the Teatr Wielki in Warsaw (1964), offset litho- is not surprising that Mao’s swim was the the reimagining of fences, facades, graph, 38 x 26 1/2 inches. Teatr Wielki, Warsaw.

Art in Print November – December 2015 33 Guffey is best when she braces her big ideas with localized examples like Bay Area psychedelia. Sections where she zooms out for a broader survey often seem cursory, as would be the case in any text that aspires to provide a “global” view in 287 pages. Indeed this aspiration sets up a number of problems: the early part of the book focuses on France and Eng- land, with passing acknowledgement of the U.S., Germany and Russia, and apart from a few short flyovers of West Africa, Japan, China and India, the text remains rooted in the West until chapter four, “Fetishism and the Global Poster.” At this point revolution and decolonization draw the story into Cuba and China, with a nod to Nicaragua, Chile and Botswana. In these conflicted places and times, posters are usually interpreted in terms of politics—and with good reason. One must take care, however, not to reinforce a false dichotomy between the commercial and the political, or to suggest that “ideol- ogy” is only at work in countries outside the U.S. and Western Europe. Selling itself has an ideology that is too often normal- ized and ignored, sanitizing the intentions of the commercial images that now flood our world. By chapter four, however, I was so swept away by Guffey’s storytelling that I stopped analyzing the parameters of her take on “global” or on the embedded ideologies of capitalism. Chapter five, “A New Golden Age —Digital Enchant- ment: 1980–2014,” introduces the reader Unknown designer, On Vous Intoxique, Radio, Television, Mouton! (You Are Being Poisoned, to the early years of desktop publishing Radio, Television, Mutton!) (1968), screenprint, 82 × 66 cm. Courtesy of Georgina Gerrish Fine Art. with a captivating analysis of April Grei- man’s five-foot-wide 1986 poster Does material to be appropriated into other posters really more inclined toward the it Make Sense?—one of the posters to be creative practices. purely decorative than earlier examples? designed on a Macintosh and printed on In chapter three, “New Art, New Space: Did they transform empty space into a LaserWriter. Guffey draws her theme 1960–1980,” Guffey documents “a new “instant environments” more than the of computers and digital manipulation generation of aesthetics” as the poster dense poster hoardings of the 19th century through to Lebanese Civil War posters was taken up as a form of personal expres- or World War II? Some of these assertions, and Palestinian martyr posters and more, sion, protest or promotion. These post- recycled from other sources and supported circling back to Shepard Fairey. At this ers, according to the author, “signaled through reiteration here, seem to point to point it becomes clear that the intellec- not just hipness, but a form of knowing.”5 the kind of historical amnesia that char- tual work Guffey did at the beginning of As in previous decades, they contributed acterized the ’60s more broadly. None- the book, flawed perhaps in traversing a to the social space that uniquely consti- theless, Guffey’s analysis of this 1960s broad expanse of well-worn scholarly ter- tuted their era. The ’60s was a decade of “addiction based on paper and seemingly ritory, has prepared the reader to come to pluralistic design that drew on an eclectic insatiable”6 is largely convincing and viv- grips with a proliferation of contempo- array of antecedents. Designers and audi- idly articulated. She pulls the reader into rary practices. In all, she grapples admi- ences alike mobilized this pulsating visual the Bay Area psychedelic scene, where rably with the ambition of her study, uses collage to shape a new public culture young audiences voraciously embraced the smart examples, draws on a diverse inflected with irony, conceptualism and a sensorial stimulation, spiritual enlighten- bibliography, takes her time when the protest aesthetic. Some of Guffey’s postu- ment and physical euphoria connoted by material demands it, and convinces her lates about the 1960s are not fully convinc- “op” designs. Posters thus became a form readers that examining the public lives of ing and seem to counter the continuities of “psychic space” that could be consumed posters broadens and enriches our under- she emphasizes elsewhere. Were these or exchanged. standing of the medium.

34 Art in Print November – December 2015 Left: Erik Nitsche, L’Atome au Service de la Paix, General Dynamics (1955), offset lithograph, 132.5 x 96 cm. Gift of Arthur Cohen and Daryl Otte in memory of Bill Moggridge. 2013-42-9. Right: Erik Nitsche, Atoms for Peace, General Dynamics (1955), offset lithograph, 132.4 x 95.7 cm. Gift of Arthur Cohen and Daryl Otte in memory of Bill Moggridge. 2013-42-11. Images courtesy of the Cooper Hewitt, Smithsonian Design Museum.

The Cooper Hewitt book How Posters in reworking her earlier methodology discrete subject areas works fine, given Work eschews chronology in favor of a around the historical poster collection at that this is primarily an exhibition cata- visual-thematic structure. Lupton’s intro- the Cooper Hewitt, Lupton has produced logue, not a coherent scholarly argument ductory chapter, “Vision in a Process,” a more approachable text. like Guffey’s. It is the exhibition itself (up focuses on the mechanics of seeing, call- Despite her claims, the discussion does at the Cooper Hewitt through 24 January ing on Gestalt psychology, neuroscience, not entirely divorce the images from the 2016) that best fulfills Lupton’s injunction semiotics, Bauhaus theory and more to contexts in which they were made. Caitlin to exercise the eye. explain how we perceive two-dimensional Condell’s essay, “How Posters Are Made,” The two books complement each designs. For Lupton posters are merely a surveys the history of printing and empha- other, reminding readers that vision is vehicle—or perhaps the pinnacle—of a sizes how dependent visual appearance is indeed an immersive and generative set of cognitive processes indicative of on the tools and methods of production. phenomenon, in individual perception our humanity and our modernity. This Karrie Jacobs’s “Night Discourse” was orig- and in social life. visually intense book includes a few rest- inally published in her and Steven Heller’s ing spots where the reader can focus Angry Graphics: Protest Posters of the Rea- on individual artists such as Edward gan/Bush Era (1992); in its consideration of Jill Bugajski is a historian of American art whose McKnight Kauffer [seeArt in Print Jul-Aug methods of distribution, it is a bit out of research addresses propaganda, cultural 2015], Bruno Munari, Rianne Petter and sync with Lupton’s theme of pure vision. exchange, reception and diplomacy between the René Put. Most of the text, however, is Jacobs underscores how graphics can meet United States and the Soviet Union in the 20th century. aimed at identifying visual strategies— the eye through official (paid-for) chan- “Overwhelm the Eye,” “Simplify,” “Over- nels, but also through unofficial “guerrilla” lap” and so on—akin to those Lupton means. The volume also includes a survey Notes: articulated in Graphic Design, The New of the Cooper Hewitt’s history of acquisi- 1. Guffey, Posters, a Global History, 7. Basics (with Jennifer Cole Phillips, 2008). tion in this area, “Collecting Posters,” by 2. Lupton et al., How Posters Work, 12. Here a similar thesis, structure and dis- Gail S. Davidson. These informative essays 3. Ibid., 13. 4. Guffey, Posters, 92. avowal of cultural critique give How Post- help fill out a book that might otherwise 5. Ibid., 126. ers Work a somewhat repetitive feel, but have felt inadequate. Their division into 6. Ibid., 155.

Art in Print November – December 2015 35 BOOK REVIEW its historical course are told in Helena E. arts,” Marsh argued that it had the abil- Wright’s new book: The First Smithson- ity to illustrate the history of engraving ian Collection: The European Engravings of as well as to represent the great masters George Perkins Marsh and the Role of Prints of the fine arts at large.5 His selections in the U.S. National Museum. of old masters and his close attention to Assembled in the United States in proof states, impression quality and tech- the 1830s and 1840s, Marsh’s impressive nique made the collection particularly collection included about 1,300 prints, appropriate for a museum whose mission among them rare works by Albrecht was not only to display aesthetic achieve- Dürer, Marc Antonio Raimondi and ments but also to represent all of human Rembrandt, as well as prominent 17th- knowledge and activity. Marsh’s prin- and 18th-century artists such as Claude ciples of connoisseurship and his concept Lorraine, Wenceslaus Hollar, Robert of print collecting remained relevant for Nanteuil and others.2 The fact that the following 50 years. The history of the Marsh—a Vermont lawyer, scholar, con- Marsh collection thus bridges antebellum gressman and diplomat—acquired such American culture with the avid print col- an important collection without travel- lecting that thrived after the Civil War ing to Europe is remarkable. The only and resulted in the celebrated collections print collections to rival Marsh’s, put of the New York merchant Henry Foster together by the architect and engineer Sewall and the Philadelphia banker James Ithiel Town and the Boston capitalist L. Claghorn (now at the Boston Museum The First Smithsonian Collection: Francis Calley Gray, had largely been of Fine Arts and Baltimore Museum of The European Engravings of George formed during European trips in the late Art, respectively). Perkins Marsh and the Role of Prints 1820s and 1830s.3 Marsh, however, relied Wright addresses the personal and in the U.S. National Museum on an extensive library of books on art political connections that led to the col- By Helena E. Wright and on a network of international book lection’s purchase, to its subsequent 289 pages, 30 illustrations and print dealers. In antebellum Vermont neglect and dispersion (between the Smithsonian Scholarly Press, 2015 and Washington DC, opportunities to Smithsonian, the Library of Congress and $39.95 study or acquire good impressions of rare the Corcoran Gallery), and to its renewed prints were scarce, so Marsh assembled consideration after 1878. Her concluding 300 manuals and treatises on the graphic chapters examine the relocation of com- arts. He owned the 21 volumes of Adam ponents of the collection among various Art as Print: Collecting, von Bartsch’s Le Peintre Graveur, Giuseppe DC institutions6 in light of the Smith- Longhi’s La Calcographia—in both Italian sonian’s role as our “national” museum Connoisseurship and the and German editions—and three manu- before the founding of the National Art Museum in 19th-Century als from Nicolas-Edme Roret’s series Gallery of Art. America on the graphic arts. These he studied to decide which works to acquire for his col- By Marie-Stéphanie Delamaire lection and to train his eyes when looking at the impressions he received. Marsh was a pioneer, not only in his he story of James Smithson’s early collecting method and practice of print T19th-century bequest to the United connoisseurship, but also in his suc- States to found an “establishment for the cessful sale of the collection to a public increase and diffusion of knowledge” is institution. Wright’s first chapter lists a well-known. The contested terrain of series of collections offered to the new the fledgling Smithsonian Institution’s institutions but turned down, including first acquisition is, however, a much less Robert Gilmor Jr.’s important collection familiar episode in the history of what of European and American art.4 The sec- is now the largest museum complex in ond and third chapters tell the story of America. In 1849, three years after Con- Marsh’s life, placing it in the context of gress defined the Smithsonian Institu- antebellum collecting. Wright shows that tion as a “library, museum, and gallery Marsh was not alone in his keen interest of art” that would also support “scientific in the historical and technical aspects of research, lectures, and publications,” printmaking, habits of close looking, and members of the executive committee a broad general knowledge of past and of regents agreed to purchase George current European art; these concerns Perkins Marsh’s collection of European were widely shared in the United States George Perkins Marsh Family (ca. 1844–1849). Library of Congress Prints and Photographs Divi- engravings and books on art.1 The story of that time. Describing his collection sion, LC-USZC4-4156. Courtesy of Smithsonian of this acquisition, its subsequent history as comprising “theoretical, historical, Institution Scholarly Press. Photo: Mathew Brady and the cultural ideologies that dictated descriptive and critical works on the fine Studio.

36 Art in Print November – December 2015 Left: Print exhibition at the Library of Congress. Marsh Collection, Print Department, Library of Congress. Photograph reproduced from American Art Annual, vol. 3 (1900–1901), p. 194. Right: The Smithsonian Library Room, wood engraving from The Illustrated News, November 12, 1853. Both images courtesy of Smithsonian Institution Scholarly Press.

Wright’s extensively researched In place of a binary opposition Notes: account offers a fresh perspective on an between arts and sciences, Wright’s his- 1. Terms of the bequest, quoted in Wright, 1. institution whose early history is often tory offers a less familiar, more kaleido- 2. Ibid., 12. portrayed as devoted entirely to scien- scopic picture of 19th-century American 3. Town’s collection was later broken up and sold tific pursuits. She positions art and print culture: one in which the boundaries off; Gray’s was left to Harvard. connoisseurship in the midst of public between European prints and American 4. Gilmor’s collection was sold at auction and dis- persed after his death. debates between those who agreed with visual culture defy the disciplinary 5. Wright, 12. Princeton University scientist Joseph divides that have separated pre-19th 6.The Smithsonian Library, the Library of Con- Henry that the institution should focus century and modern eras, European and gress, the Corcoran and what is now the National on research and publication alone, and American art, and artistic and scientific Museum of American History. those who concurred with Charles Cof- disciplines. This dense book is packed 7. Wright, 82. fin Jewett, the institution’s first assistant with information connecting individual secretary and librarian, who advocated prints, 19th-century public discourse and a collection-based institution aimed at the personal and public lives of Marsh, both public education and specialized Henry, Jewett and others who presided research. These conflicts were not simply over the collections acquired during this academic; they had political and regional period. At times the density of data can overtones: be overwhelming (the inclusion of sup- plementary appendices might have Press accounts surrounding the Jewett slightly relieved the narrative and allowed controversy also raised the issue of the more focused analysis). This is a minor Smithsonian as an elitist institution. quibble, however, with a book that con- Some newspapers called Henry and tributes significantly to the recent trans- his allies a “scientific dictatorship.” national turn in American art history, the Media coverage was tied to regional renewed inquiry into print connoisseur- differences; Jewett and his supporters ship and 19th-century culture, and the were mainly from New England, and relationship between the visual arts, Henry’s supporters ... Southerners.7 technology and the history of science in While Henry’s vision prevailed dur- America. ing Jewett’s lifetime and remains promi- nent in the institution’s public image even today, The First Smithsonian Collec- Marie-Stéphanie Delamaire is the Associate Curator of Fine Arts at Winterhur Museum. tion demonstrates the preeminence of the visual arts—and prints more specifi- cally—in the institution’s early collecting and exhibition history.

Art in Print November – December 2015 37 Prix de Print N0. 14 PRIX de Makeup Myriorama PRINT by Kathy Aoki Juried by Stephen Goddard

This iteration of the Art in Print Prix electing the Prix de Print was no Looking around Aoki’s rearrange- de Print has been judged by S small challenge. The piece that I able landscape we notice mascara wands Stephen Goddard. The Prix de Print is selected was in competition with some forming forests, a lipstick rocket, a a bimonthly competition, open to all other wonderful works, ranging from a Q-tip fence, an eyelash arch, a glamor- subscribers, in which a single work is sheet of wallpaper that might calm and ous makeup castle, “evil mascara ooze” selected by an outside juror to be the sub- soothe a compulsive list-maker; a layered, (Aoki’s phrase), eye shadow palettes, Hello ject of a brief essay. For further informa- backlit display of all the pages of Web- Kitty as a Mount Rushmore monument, tion on entering the Prix de Print, please ster’s Dictionary; a wonderfully com- and a mountainous bunny, a reminder of go to our website: https://artinprint.org/ posed etching and aquatint in black that the poisonous, disfiguring, blinding and about-art-in-print/. seemed familiar to this fan of Chicago sometimes lethal experiments conducted printmaking; an image of the American on rabbits to test cosmetic products. Kathy Aoki, Makeup Myriorama (2015) vernacular landscape that reminded me Scattered through the colorful game Photopolymer intaglio with watercolor, of Larry Stark’s wonderful Ice Houses; of Makeup Myriorama are issues of toxic- twelve sheets, each sheet 5.3 x 2.6 inches. and a politically driven, in-your-face, ity, cosmetic testing, animal rights and Variable edition of 10. Printed and photoetching and aquatint that appro- the control through advertising of teens published by the artist, Santa Clara, CA. priately incorporates Molotov cocktails and young adults. Aoki’s art functions $950. of molten rosin. something like a Trojan horse in that we But in the end what stole my heart let her material in because it is playful, was Makeup Myriorama, a set of 12 photo- puzzling and engaging; but once it has polymer intaglio “cards” with watercolor gained access, we may find ourselves by Bay Area artist Kathy Aoki. The artist’s overwhelmed as the seriousness of her description maps out the essentials: purpose becomes clear.

All twelve images keep the same horizon line and two other points of Stephen Goddard is associate director and a connection, such that the “cards” may senior curator at the Spencer Museum of Art. He is the former president of the Print Council be reordered again and again to create of America. new landscapes. The total number of combinations from the twelve images is 479,001,600. Inspiration for the Notes: project comes from card sets published 1. Maurice Rickards and Michael Twyman, The Encyclopedia of Ephemera: A Guide to the in the 19th century. Fragmentary Documents of Everyday Life for the Collector, Curator, and Historian (New York: What drew me to this work was the Psychology Press, 2000), 208. combinatorial game element, the idea of a cosmetic landscape that incorpo- rates what we might call the dark side of beauty, and Aoki’s historical reference to myriorama, a “printed panoramic view, divided vertically into separate strips and capable of rearrangement to form a variety of differing scenes. The term was coined by analogy with the panorama and the diorama.”1

38 Art in Print November – December 2015 Kathy Aoki, Makeup Myriorama (2015).

Art in Print November – December 2015 39 Art in Art in Print Number 3

Stephanie Syjuco: Market Forces (2015)

tephanie Syjuco describes her work team jerseys or designer-label handbags; S as “large-scale spectacles of collected jugs of Tide shoplifted and used as street cultural objects, cumulative archives, and currency (the peculiar dominance of Tide temporary vending installations.” Many in drug deals was the subject of a 2013 of these projects investigate local histo- Business Insider story2). The art students ries and economies, and the creative rifts then went into production, screenprint- that open up between official economic ing and constructing paper models of activities and the endlessly innovative— these pirated commodities, transform- and sometimes desperate—entrepreneur- ing the school’s exhibition space into a ship of the streets. In the Philippines she public manufacturing zone. At the same teamed with local artists to consider time they designed and printed 1.2 mil- “quick-and-dirty” design solutions to the lion pseudo dollars, which they scattered challenges of natural disasters. around campus for people to collect and These processes of production, valu- trade in for the other paper counterfeit ation and exchange inevitably raise counterfeits in the gallery. questions about utility, symbolism and Among the topics researched by the imitation—what exactly do we think we Market Forces team was the secondary are getting for our money? Unsurpris- market life of mobile phones. The stu- ingly, Syjuco frequently toys with ques- dents tracked what happened to Philadel- tions of authenticity and copying. In her phia-based phones once they were sold or Fauxrijuana workshops, participating art- traded in, and charted the global journeys ists compete to produce visually credible that took the phones through myriad fake marijuana from common household intermediaries and eventually to street supplies: the recipe of the winning entry vendors on other continents, where once is used to fabricate a limited-edition again they represent a tradable commod- multiple distributed to the participants. ity, a buck to be made, an object of desire. In This is Not the Berlin Wall (2014) she The model on the facing pace is made gathered bits of rubble from crum- to be cut out and glued together. It won’t bling Soviet-era buildings in Poland and get any reception, but it still has some- painted them to resemble the colorful thing to say. —ST concrete chips commonly sold as frag- ments of the Berlin Wall. (Given that only a few sections on just one side of the Wall Stephanie Syjuco creates large-scale spectacles were ever graffitied in the first place, most of collected cultural objects, cumulative archives and temporary vending installations, often with of the real remains look like any other an active public component that invites viewers concrete rubble.) Like the real ersatz sou- to directly participate as producers or distributors. venirs, Syjuco’s were packaged in Ziploc bags with certificates of authenticity. Her project for Art in Art in Print is a Notes: small-scale extension of Market Forces, a 1. Fox School of Business and Tyler School of Art 2014 collaboration with MBA students worked in conjunction with the Center for Design and Innovation. and printmaking students at Temple 2. Rebecca Baird-Remba, “Why Criminals Can University that studied and dramatized Trade Tide Detergent for Crack Cocaine,” Busi- local underground economies in Phila- ness Insider, 9 Jan 2013. http://www.businessin- delphia.1 The business students con- sider.com/the-tide-black-market-2013-1?op=1. ducted research, identifying material Special thanks to Temple Contemporary for their generous support of the Market Forces project goods that were bought or traded on and to Haigan Pearson for the iPhone layout black or gray markets: counterfeit DVDs, design. All photos by the artist.

CERTIFICATE OF INAUTHENTICITY

This document certifies that this reproduction black market object was produced to commemorate the project Market Forces by Stephanie Syjuco in collaboration with Amze Emmons and the Tyler School of Art’s Printmaking students, James Moustafellos and the Fox School of Business MBA and undergraduate students, and Rob Blackson at Temple Contemporary. It featured hand-silkscreened and hand-assembled products, $1.2 million in black market currency distributed across the campus, and a temporary production space that activated an alternative exchange economy.

Please feel free to copy, distribute, and modify this print ad infinitum. Whitney Museum of American Art, New York. $25,000.

Tracey Emin, Into the Pink and Blue (2015) News of the Monotype, two sheets, 41 1/2 x 55 inches. Unique image. Printed by Maurice Sanchez at Derriere L'Etoile, New York. Published by Carolina Nitsch, Print World New York. Price on request.

Selected New Editions

John Baldessari, Concrete Couples (2015) Suite of nine Mixografía® prints on handmade Christo, Wrapped The Art Newspaper (2015). paper, 48 x 48 inches overall. Edition of 50. Printed and published by Mixografia, Los Ange- les. Price on request. John Robert Craft, Degradation Suite from the Fire Etchings Suite (2015) Suite of four heat etched intaglio prints, 9 x 9 inches each. Edition of 10. Printed by Heather Tracey Emin, Into the Pink and Blue (2015). Parrish, Austin, TX. Published by Flatbed Press, Austin, TX. $1,000 for the suite. Shepard Fairey, Paradise Turns (2015) Three-color relief print on handmade paper, 40 1/2 x 30 1/2 inches. Edition of 25. Printed by Ruth Lingen and Akemi Martin, New York. Published by Pace Editions, Inc., New York. Price on request.

John Baldessari, Concrete Couples (2015).

Sebastiaan Bremer, Dubbele Late Tulp Eros, Parkiet Tulp Sunshine, Scilla Campanulata and Triumph Tulp Bruno Walter (2015) Archival inkjet prints with hand additions and John Robert Craft, from the Degradation Suite mylar confetti, 18 x 13 1/2 inches each. Edition of (2015). 6 each. Printed and published by Lower East Side Printshop, New York. $1,500 each. Marcel Dzama, Here's a Fine Revolution (2015) Color spit bite aquatint with aquatint and soft ground etching, 29 1/2 x 30 3/4 inches. Edition of 25. Printed and published by Crown Point Press, San Francisco. Price on request. Shepard Fairey, Paradise Turns (2015).

Adam Feibelman, Sunday Kind of Love and Stay Awhile (2015) Six- and four-color lithographs, 35 1/4 x 28 inches and 22 1/4 x 29 5/8 inches. Edition of 10 and 15. Printed by Bill Lagattuta, Tamarind Institute, Albuquerque, NM. Published by Tamarind Insti- tute. $800 and $500. Sebastiaan Bremer, Dubbele Late Tulp Eros (2015).

Matthew Carter, a–z (2015) Marcel Dzama, Here's a Fine Revolution (2015). Portfolio of 26 aquatints with chine collé, 14 x 14 inches each. Edition of 52. Printed and published by James Stroud at Center Street Studio, Milton, Dahlia Elsayed, Flags of Future States (2014) MA $15,000. Paper pulp painting and eight-run screenprint, 28 x 37 inches. Edition of 10. Printed and pub- lished by the Brodsky Center For Innovative Editions, New Brunswick, NJ. $1,500.

Adam Feibelman, Sunday Kind of Love (2015).

Dan Flanagan, Peen (2015) Matthew Carter, a–z (2015). Screenprint, 24 x 18 inches. Edition of 150. Printed by Kayrock Screenprinting, Brooklyn, Christo, Wrapped The Art Newspaper (2015) NY. Published by Kayrock Editions, Brooklyn. The Art Newspaper, collaged photo, rope, 4 mil. $40. plastic sheeting, 7 5/8 x 11 1/4 x 1 inches. Variable edition of 15. Published by Carolina Nitsch for the Whitney Museum of American Art, New York. Dahlia Elsayed, Flags of Future States (2014). $25,000. NY. Published by Kayrock Editions, Brooklyn. ington, IL. Published by Manneken Press, Bloom- $40. ington. $1,200 each.

Red Grooms, The Carriage Trade (2015) Color 3-D lithograph, 21 x 28 x 3 inches. Edition of 45. Printed and published by Shark's Ink, Lyons, CO. Price on request.

Dan Flanagan, Peen (2015).

Jane E. Goldman, Audubon March (2015) Archival pigment print, hand painted, 21 3/4 x 29 Richard Hull, Bloom (2015). 3/4 inches. Edition of 25. Printed and published by Red Grooms, The Carriage Trade (2015). Stewart & Stewart, Bloomfield Hills, MI. $1,000. Rashid Johnson, Untitled and Untitled (2015) Benjamin Guffee, Through V (2015) Softground etchings, 14 x 17 7/8 inches and 10 Collagraph, 25 x 45 1/2 inches. Edition of 4. x 5 7/8 inches. Edition of 25 each. Printed by Printed and published by Amanda Verbeck, Pele Jennifer Melby, Brooklyn, NY. Published by Prints, St. Louis, MO. $1,400. Hauser & Wirth, New York. Organized by Diane Villani Editions, New York. Price on request.

Jane E. Goldman, Audubon March (2015).

Don Gorvett, Twilight, Portsmouth’s Finest Hour, Too (2014) Redcution woodcut, 39 x 47 inches. Edition of 25. Benjamin Guffee, Through V (2015). Printed and published by the artist, Portsmouth, NH. Available from Piscataqua Fine Art, Ports- Tom Hammick, The Cloudy Mountain Suite mouth. $4,500. (2015) Series of 12 reduction woodcuts, 30 x 38 cm each. Edition of 20. rinted by Tom Hammick, Jane Smith, Pru Ainslie and Magda Kaggwa at West Beam Studio, East Sussex, UK. Published by Hammick Editions, London. Available from Rashid Johnson, Untitled (2015). Flowers Gallery, London and New York. $1,200 each, $12,560 for the portfolio. Paula Schuette Kraemer, Souvenir I–VI (2015) Etching, chine collé, relief and artificial flower petals, 14 1/2 x 12 inches each. Edition of 10 each. Printed and published by the artist, Open Gate Press, Madison, WI. $400 each. Don Gorvett, Twilight, Portsmouth’s Finest Hour, Too (2014).

Isca Greenfield-Sanders, Wildwood (Detail I), Wildwood (Detail II) and Wildwood (Detail III) (2014) Direct-to-plate photogravure and aquatint, 18 3/4 x 18 inches each. Edition of 35. Printed and published by Paulson Bott Press, Berkeley, CA. $5,000 for the set of three. Tom Hammick, Crowd Control from The Cloudy Mountain Suite (2015).

Richard Hull, Bloom and Ton (2015) Etching, aquatint and burnishing, image 12 x 18 inches each, sheet 24 1/2 x 18 inches each. Edition of 21 each. Printed by Jonathan Higgins, Bloom- ington, IL. Published by Manneken Press, Bloom- Paula Schuette Kraemer, Souvenir IV (2015). ington. $1,200 each. Karl LaRocca, Go Running Every Day, Go Swimming Every Day, Go Cycling Every Day (2015) Three screenprints, 24 x 18 inches each. Edi- Isca Greenfield-Sanders, Wildwood (Detail I) tion of 150. Printed by Kayrock Screenprinting, (2014). Brooklyn, NY. Published by Kayrock Editions, Brooklyn. $40 each.

44 Art in Print November – December 2015 Brooklyn, NY. Published by Kayrock Editions, Amherst, MA. Available from Stewart & Stewart, Brooklyn. $40 each. Bloomfield Hills, MI. $650.

James Nares, Before the Rain (2015) Screenprint, 46 7/8 x 34 3/4 inches. Edition of 48. Printed and published by Durham Press, Dur- ham, PA. Price on request.

Karl LaRocca, Go Swimming Every Day (2015). Katja Oxman, Held Slanting in the Sky (2015). Marcus Linnenbrink, EVENTHOUGHYOU- HAVETOGO (2015) Endi Poskovic, Pletikosa (2015) Series of watercolor monotypes, 18 x 24 inches Lithograph with chine collé, printed in four each. Unique images. Printed and published by colors from limestone and photo-sensitive James Stroud at Center Street Studio, Milton, plate, 22 1/2 x 30 inches. Edition of 35. Printed MA. $3,000 each. James Nares, Before the Rain (2015). by Jill Graham at the Nova Scotia College of Art and Design print studios, Halifax, Nova Scotia, Morgan O'Hara, Drawn to Sound in New York, Canada. Published by the artist, Ann Arbor, MI. Romy at Play in Frühlingstrasse, Gräfelfing, Ger- Available from Stewart & Stewart, Bloomfield Hills, MI. $1,200. many and Il Gallo in Michoacán, Mexico (2015) Ten, five and two-color screenprints, 50 x 66 cm each. Edition of 20 each. Printed and published by Aspinwall Editions, New York. $650 .

Marcus Linnenbrink, from EVENTHOUGHYOU- HAVETOGO (2015).

Emil Lukas, Larva 19 (2015) Screenprint monoprint, 37 1/2 x 29 inches. Unique image. Printed and published by Durham Endi Poskovic, Pletikosa (2015). Press, Durham, PA. $3,000. Beverly Semmes, Mouth (FRP Edition #1) (2014) Archival pigment print with digitally stitched Morgan O'Hara, Romy at Play in Frühling- rayon embroidery, 12 3/4 x 10 inches. Edition strasse (2015). of 30. Printed by Jennifer Malhman at Ribuoli Digital, New York. Published by World House Sheryl Oppenheim, Hand Over Hand (2015) Editions, Middlebury, CT. $1,000. Screenprint, 24 x 18 inches . Edition of 150. Printed by Kayrock Screenprinting, Brooklyn, NY. Published by Kayrock Editions, Brooklyn. $40.

Emil Lukas, Larva 19 (2015).

Daniel MacAdam, Fort #4 (2015) Screenprint, 23 x 23 inches. Edition of 75. Printed and published by the artist, Chicago, IL. $150.

Beverly Semmes, Mouth (FRP Edition #1) (2014).

Alyson Shotz, Phase Shift (2015) Suite of six silver gelatin prints, 30 1/2 x 20 1/2 Sheryl Oppenheim, Hand Over Hand (2015). inches each. Edition of 10. Printed by Laumont, New York. Published by Carolina Nitsch, New Katja Oxman, Held Slanting in the Sky (2015) York. $10,000. Etching and aquatint, 23 1/2 x 17 1/2 inches. Edi- tion of 50. Printed and published by the artist, Amherst, MA. Available from Stewart & Stewart, Daniel MacAdam, Fort #4 (2015). Bloomfield Hills, MI. $650.

Art in Print November – December 2015 45 New York. Published by Carolina Nitsch, New York. $10,000.

Chuck Webster, Reach A Call in the Sun, “Mementos” Sainte Chappelle; Meet Where It's Big (Parade); 11 September 2015 – 29 January 2016 Fun House; Gleamer and Large Hearted Boy, Tamarind Institute Sainte Chappelle (2015) http://tamarind.unm.edu Color etching, aquatint, hard ground, scrap- This exhibition showcases memorabilia from ing, burnishing, spit bite, dry point, image throughout the prolific careers of Marjorie 10 1/2 x 12 inches, sheet 17 x 20 1/2 inches Devon, Bill Lagattuta and Rodney Hamon, who (Reach A Call in the Sun, Sainte Chappelle; Meet are retiring from the Tamarind Institute. Where It's Big (Parade) and Fun House), image 7 3/16 x 8 1/2 inches, sheet 14 x 15 3/4 inches AUSTIN, TX (Gleamer), image 15 x 20 inches, sheet 22 x 30 “Encrucijadas: Photogravures of inches (Large Hearted Boy, Sainte Chappelle). Byron Brauchli” Edition of 20 each. Printed and published by 23 October 2015 – 3 December 2015 Wingate Studio, Hinsdale, NH. Price on request. Flatbed Press Alyson Shotz, Phase Shift (2015). http://www.flatbedpress.com This exhibition features photogravures of the Kiki Smith, In a Bower (2015) Mexican landscape by Byron Brauchli, a photog- Etching, aquatint, color additions by hand, rapher and researcher at the Institute of Fine Arts image 24 x 36 inches, sheet 33 3/4 x 44 1/2 inches. at the University of Veracruz, Xalapa. Variable edition of 18. Printed and published by And: Harlan & Weaver, New York. Price on request. “Memento: Monoprints and Monotypes” 18 August 2015 – 1 December 2015 Flatbed Press http://flatbedpress.com Monoprints and monotypes by Cassandra James, Jules Buck Jones, Samson Mnisi, Larry Scholder and Linda Ridgway are showcased in this Chuck Webster, Large Hearted Boy, Sainte exhibition. Chappelle (2015). BERLIN Paul Weissman, Water, Everywhere (2015) “Didier Hamey” Lithograph (acid tint/lacquer transfer/manière 5 November 2015 – 13 December 2015 Kiki Smith, In a Bower (2015). noire, on 1 plate and 4 stones, in 5 lithographic 55 Limited inks), 14 x 11 inches. Edition of 75. Printed and http://55ltd.net/content/ Bill Thompson, Edition (2015) published by the artist, Honolulu, HI. Published Etching with chine collé, image 12 1/2 x 14 inches, by Honolulu Printmakers, Honolulu. $100. BOSTON sheet 21 1/2 x 22 1/4 inches. Edition of 45. Printed “In the Steps of the Master: and published by James Stroud at Center Street Pupils of Hokusai” Studio, Milton, MA. $750. 29 August 2015 – 15 February 2016 Museum of Fine Arts Boston http://mfa.org Featuring prints and paintings by his many pupils, this exhibition examines the first wave of Katsushika Hokusai’s impact on the Japanese art world, during his own lifetime and shortly thereafter.

CAMBRIDGE “Cradled in Caricature: Visual Humour in Satirical Prints and Drawings” 13 October 2015 – 31 January 2016 Fitzwilliam Museum Bill Thompson, Edition (2015). Paul Weissman, Water, Everywhere (2015). http://www.fitzmuseum.cam.ac.uk Alexander Valentine, Repetitious Threads This exhibition looks at the methods used by (2015) British artists from James Gillray to Glen Baxter Etching and aquatint, 11 x 14 inches. Edition of to amuse and entertain. 9. Printed and published by Fernwey Editions, Exhibitions of Note And: Chicago, IL. $100. “Following Hercules: The Story of ALBUQUERQUE Classical Art” “Desert (Loss)—Mixed Media Prints by 25 September 2015 – 6 December 2015 Ren Adams” Fitzwilliam Museum 6 November 2015 – 28 November 2015 http://www.fitzmuseum.cam.ac.uk New Grounds Print Workshop & Gallery Hercules inhabits each of the forty objects in http://www.newgroundsgallery.com this exhibition, which range from exquisite Ren Adams, a recent MFA graduate from Lesley miniatures and Renaissance prints, drawings University College of Art and Design, exhibits and paintings, to Wedgwood cameos and a her newest mixed media prints. giant polystyrene statue.

And: CHAMPAIGN, IL “3rd International Juried Print Exhibition” “Tamarind Institute and the 5 December 2015 – 26 December 2015 Rebirth of Lithography” Alexander Valentine, Repetitious Threads New Grounds Gallery presents its 3rd Interna- 28 August 2015 – 23 December 2015 (2015). tional Print Exhibition, which features works by Krannert Art Museum, University of Illinois international contemporary printmakers. Urbana-Champaign http://kam.illinois.edu/

46 Art in Print November – December 2015 This exhibition explores the history of the Tama- DES MOINES, IA rind Institute through a selection of Tamarind “East and Beyond: Helen Frankenthaler lithographs from the Krannert's permanent and Her Contemporaries” collection. 29 September 2015 – 17 January 2016 Des Moines Art Center CHICAGO http://www.desmoinesartcenter.org/exhibitions/ “The People's Pamphlets” East-and-Beyond.aspx 9 October 2015 – 25 November 2015 In celebration of the acquisition of Helen Fran- Spudnik Press kenthaler's breakthrough color woodblock print, http://www.spudnikpress.org East and Beyond (1973), this exhibition presents The People’s Pamphlets is a risograph edition of Frankenthaler's print alongside works on paper 25 tri-fold pamphlets by contemporary artists on and ceramics by American and Japanese artists view in the Annex at Spudnik Press Cooperative. who were active during the 1950s to 1980s. “Homegrown: The School of the EUGENE, OR Art Institute of Chicago in the “Enrique Chagoya: Adventures of Permanent Collection” Modernist Cannibals” 17 October 2015 – 14 February 2016 10 September 2015 – 6 December 2015 The Art Institute of Chicago Jordan Schnitzer Museum of Art, http://www.artic.edu University of Oregon To celebrate the long association between the http://jsma.uoregon.edu/Chagoya Art Institute of Chicago and the School of the This exhibition highlights Chagoya’s artist’s Art Institute of Chicago (SAIC), this exhibition books that take their form from pre-Columbian features approximately 120 objects, primarily codices and combine chine-collé, letterpress, works on paper, from the museum's collection lithography and woodcut printing techniques to made by artists who attended SAIC between the create rich, multi-layered compositions. early 20th century and today.

“Stagestruck City" FORT WORTH, TX “Castiglione: Lost Genius. Masterworks 18 September 2015 – 31 December 2015 on Paper from the Royal Collection” The Newberry Library 22 November 2015 – 14 February 2016 http://www.newberry.org/stagestruck-city Kimbell Art Museum Through a selection of Newberry items such as https://www.kimbellart.org/exhibition/castiglione- colorful posters, programs, scripts, letters, and lost-genius-masterworks-paper-royal-collection photographs, the exhibition traces the evolu- This exhibition features 90 drawings, etchings tion of Chicago’s theater tradition. and monotypes by the master Genoese drafts- man, painter and printmaker Giovanni Bene- CINCINNATI detto Castiglione. “Erwin Redl” 9 October 2015 – 23 December 2015 GENEVA Carl Solway Gallery “Louise Lawler: No Drones” http://www.solwaygallery.com/ 17 September 2015 – 30 January 2016 Erwin Redl’s exhibition, featuring work from Blondeau & Cie 2010-2015, includes an installation composed of http://www.blondeau.ch digitally controlled LED light sculptures, kinetic Lawler's works on vinyl, photographs and works sculpture, drawings and prints. on paper are featured in this exhibition co- organized by Blondeau & Cie (Geneva) and Metro “Mark Mothersbaugh: Myopia” 25 September 2015 – 9 January 2016 Pictures (New York). Contemporary Arts Center Cincinnati www.contemporaryartscenter.org “Visions Célestes, Visions Funestes: This retrospective, organized by the Museum of Apocalypses et visions bibliques de Contemporary Art Denver, is the first compre- Dürer à Redon” hensive presentation of Mark Mothersbaugh's 16 October 2015 – 31 January 2016 art and music from the early 1970s through Musées d'Art et d'Histoire de Genève the present day. It includes prints, drawings, http://institutions.ville-geneve.ch/fr/mah/ paintings, sculptures, video animations, per- Culled from the collection of the Cabinet d’arts formances, installations and documentation graphiques of the Musée d’art et d’histoire, from his days as a founding member of the band about 100 prints from the 15th to the 20th cen- Devo. This nationally-touring exhibition is tury reveal artistic interpretations of prophetic accompanied by a major publication by Princ- visions, from the Original Sin to the Last Judg- eton Architectural Press. ment. A hallucinatory journey around three major series of prints—Albrecht Dürer's Apoca- Pele Prints COPENHAGEN lypsis cum figuris, John Martin’s Paradise Lost, “Peter Linde Busk” and Odilon Redon's Apocalypse de Saint Jean. Ken Wood 4 September 2015 – 29 November 2015 Written Words Fly Kunstforeningen GL Strand HAMBURG, GERMANY http://en.glstrand.dk/ “Nolde in Hamburg” This exhibition includes sculptures and recent 18 September 2015 – 10 February 2016 woodcuts by the artist. Hamburger Kunsthalle www.peleprints.com http://www.hamburger-kunsthalle.de German-Danish Expressionist artist Emil Nolde’s close ties to the city of Hamburg are explored in a comprehensive exhibition of 200 of his works, including paintings, watercolors, etchings, woodcuts, and brush-and-ink drawings.

Art in Print November – December 2015 47 INDIANAPOLIS LONDON “Gustave Baumann, German Craftsman- “Facing History: Contemporary Open Gate Press American Artist” Portraiture” 25 October 2015 – 14 February 2016 27 July 2015 – 24 April 2016 Indianapolis Museum of Art Victoria and Albert Museum http://www.imamuseum.org/exhibition/gustave- http://www.vam.ac.uk/whatson/event/4213/facing- baumann-german-craftsman-american-artist history-contemporary-portraiture-1582300000/ Featuring 104 works by this early 20th-century Portraits by contemporary artists and photogra- woodblock artist, drawn from the IMA’s collec- phers, from Julian Opie, Grayson Perry and Ellen tion acquired from the artist, his daughter and Heck to Maud Sulter and Bettina von Zwehl. various private donors. The display shows how artists have adapted historical or conventional modes of portraiture ITHACA, NY such as silhouettes, portrait miniatures, medals, “Imprint/In Print” Old Master paintings and death masks, as well 8 August 2015 – 20 December 2015 as passport photographs, ID cards and election Herbert F. Johnson Museum of Art, campaign posters. Cornell University http://museum.cornell.edu/ LOS ANGELES This exhibition traces the history of printmaking “New Objectivity, Modern German Art with works from the Johnson Museum’s exten- in the Weimar Republic, 1919–1933” sive print collection. 4 October 2015 – 18 January 2016 Los Angeles County Museum of Art www.opengatepress.com And: http://www.lacma.org “James Siena: Labyrinthian Structures” This is the first comprehensive exhibition in the 5 September 2015 – 20 December 2015 United States to explore the dominant artistic Herbert F. Johnson Museum of Art, trends of the Weimar Republic through nearly Cornell University 200 paintings, prints, photographs and drawings. http://museum.cornell.edu/ This exhibition presents a selection of prints “The Edible Monument: The Art of by Cornell alumnus James Siena, who is Food for Festivals” best known for his densely patterned paint- 13 October 2015 – 13 March 2016 ings, drawings and prints based on strict self- The Getty Center imposed systems. http://www.getty.edu This exhibition, drawn from the Getty Research KANSAS CITY, MO Institute’s Festival Collection, features rare “American Epics: Thomas Hart Benton books and prints, including early cookbooks and Hollywood” and serving manuals that illustrate the meth- 10 October 2015 – 3 January 2016 ods and materials for making edible monu- The Nelson-Atkins Museum of Art ments. http://www.nelson-atkins.org The first major exhibition on Thomas Hart Ben- MANHATTAN, KS ton in more than 25 years reveals the fascinating “Art for Every Home: Associated but overlooked relationship between Benton’s American Artists” art, movie making and visual storytelling in 20th- 15 September 2015 – 31 January 2016 century America. It brings together nearly 100 Marianna Kistler Beach Museum of Art, works by Benton, including paintings, murals, Kansas State University drawings, prints and illustrated books. http://beach.k-state.edu This groundbreaking traveling exhibition and its LA LOUVIÈRE, BELGIUM accompanying catalogue provide the first com- “Lumières sur les Cités: François Schuiten” prehensive overview of Associated American 3 October 2015 – 7 February 2016 Artists (1934-2000), the commercial enterprise Centre de la Gravure et de L'Image Imprimée best known as the publisher of prints by Region- http://www.centredelagravure.be/fr/ alist artists Thomas Hart Benton, John Steuart exhibitions/15402-lumieres-sur-les-cites Curry and Grant Wood. Belgian comic book artist François Schuiten presents a selection of his drawings and prints, MINNEAPOLIS including a brand new body of work. “Niet Voor Kinderen: New Prints by Jay Heikes” LJUBLJANA, SLOVENIA 30 October 2015 – 21 November 2015 “31st Biennial of Graphic Arts, Ljubljana: Highpoint Center for Printmaking Over you / you” http://highpointprintmaking.org 28 August 2015 – 3 December 2015 Jay Heikes presents new prints created during his International Centre of Graphic Arts time as a visiting artist at the Highpoint Center http://www.mglc-lj.si/eng/the_biennial/the_31st_ for Printmaking alongside his previous work. biennial_of_graphic_arts Curated by Nicola Lees "Over you / you" “Prints of Darkness: The Art of Aquatint” addresses the history, formal and sociopolitical 31 October 2015 – 6 March 2016 characteristics of the graphic arts. It will focus Minneapolis Institute of Art on the Biennial’s role in making art available to a http://new.artsmia.org/exhibition/prints-of-dark- wide audience, rather than as a venue for fine art ness-the-art-of-aquatint/ printing techniques. This exhibition provides a survey of this evoca- tive technique, from innovative early examples by Francisco Goya and Jean-Baptiste Le Prince to haunting 20th-century images by Otto Dix and Pablo Picasso.

48 Art in Print November – December 2015 And: “Rembrandt’s Changing Impressions” “Seven Masters: 20th-Century 9 September 2015 – 12 December 2015 Japanese Woodblock Prints from the Miriam and Ira D. Wallach Art Gallery, Wells Collection” Columbia University 26 September 2015 – 13 March 2016 http://www.columbia.edu/cu/wallach/exhibitions/ http://new.artsmia.org/exhibition/seven-mas- Rembrandts-Changing-Impressions.html ters-20th-century-japanese-woodblock-prints- A selection of important prints by Rembrandt from-the-wells-collection/ showing the changes he made to his particular This exhibition features seven artists who played works and the development of his ideas over the a significant role in the development of early course of his career. 20th-century shin hanga, or new print. “Graphic Passion: Matisse and the MUNICH Book Arts” “PIN. Freunde der Pinakothek der 30 October 2015 – 18 January 2016 Moderne—50 Years On. A Selection from Morgan Library & Museum the Staatliche Graphische Sammlung http://www.themorgan.org/exhibitions/graphic- München” passion 29 October 2015 – 1 January 2016 This landmark exhibition features examples of Pinakothek der Moderne Matisse’s livres d'artiste and illustrated books in http://www.pinakothek.de order to explores the decisive role book produc- In honor of the PIN. Freunde der Pinakothek tion played in his career. der Moderne's 50th anniversary, this exhibition features prints and drawings produced between “Only By Night” 1965 and 2015. 2 October 2015 – 7 November 2015 Planthouse NEUSS, GERMANY http://planthouse.net “Cut” This exhibition features representations of noc- 27 September 2015 – 22 November 2015 turnal scenes by such artists as Kamrooz Aram, Kulturforum Alte Post / Städtische Galerie Glen Baldridge, Shawn Bitters, James Castle, https://www.altepost.de/ Vija Celmins, Gregory Crewdson, Matthew Day Featuring woodcuts by contemporary German Jackson, Juliet Jacobson, Michael Krueger, Vera artists, this exhibition includes works by Mit Lutter, Mary Manning, Robert Olsen, Mae Shore, Inessa Emmer, Anton Bäumer, Michael Falken- Kyle Simon, Brian Shure and Chris Ulivo. stein, Roman Klonek, Axel Naß, Wolfgang Pilz, Werner Reuber and Frank-Ulrich Schmidt. “Bruce Conner & Ed Ruscha: Smoke and Mirrors” NEW YORK 1 October 2015 – 25 November 2015 “Deceptively Simple: Pouran Jinchi, Senior & Shopmaker Il Lee, Richard Tsao” http://www.seniorandshopmaker.com 29 September 2015 – 21 November 2015 Graphic works by Conner and Ruscha, two semi- Art Projects International nal figures in the post-war California art scene, http://www.artprojects.com/ are the focus of this exhibition. Art Projects International presents abstract paintings and monotypes by Jinchi, Lee and Tsao. “Martin Puryear: Multiple Dimensions” 9 October 2015 – 10 January 2016 “Robert Rauschenberg: Making Tracks” The Morgan Library & Museum 24 September 2015 – 8 November 2015 http://www.themorgan.org Jim Kempner Fine Art Organized by the Art Institute of Chicago, this http://www.jimkempnerfineart.com traveling exhibition explores the evolution of This exhibition features Rauschenberg’s ‘Tracks’ Puryear’s ideas across different media—drawing, series, shown in its entirety for the first time in sculpture and print. the United States. “Printing Women: Three Centuries of “Alone Together” Female Printmakers, 1570 -1900” 29 September 2015 – 15 November 2015 2 October 2015 – 31 January 2016 EntEr thE colorful world of Lower East Side Printshop The New York Public Library http://printshop.org http://www.nypl.org Guest-curated by Beth Citron, Curator of Centered around a collection last shown in Modern and Contemporary Art at the Rubin 1901, the exhibition showcases 84 prints made Museum, this exhibition features prints by Guy by female printmakers from the 16th to the Ben-Ari, Noa Charuvi, Dana Kadison, So Yoon 19th century. It features the work of expert and Lym, Felix Plaza, Bundith Phunsombatlert and amateur artists alike, including Angelica Kauff- Anya Zelinkska. man, Maria Cosway, Queen Victoria, Madame de Pompadour, Maria Sybillia Merien, Esther Inglis, “2015 International Miniature Print Geronima Parasole, and others. Exhibition” 1 November 2015 – 18 December 2015 NORWALK, CT Manhattan Graphics Center “20th Retrospective: Highlights from http://www.manhattangraphicscenter.org/ The Past 20 Years” The first juried competition and exhibition at 12 September 2015 – 13 December 2015 the Manhattan Graphics Center devoted to Center for Contemporary Printmaking small prints (no larger than 9 square inches or 58 http://contemprints.org/ Planthouse square centimeters). This retrospective exhibition features prints from artists who have been integral to the planthousE.nEt Center for Contemporary Printmaking’s history. “Rembrandt's Changing Impressions”

Art in Print November – December 2015 49 PARIS RALEIGH, NC CHUCK WEBSTER “Fantastique! Kuniyoshi” “The Worlds of M. C. Escher: Nature, 1 October 2015 – 17 January 2016 Science and Imagination” Cathedrals Petit Palais 17 October 2015 – 17 January 2016 Musée des Beaux-Arts de la Ville de Paris North Carolina Museum of Art http://www.petitpalais.paris.fr/fr/expositions/fan- http://ncartmuseum.org/ tastique-kuniyoshi-le-demon-de-lestampe Comprising approximately 125 woodcuts, litho- The 250 works on display showcase Kuniyoshi’s graphs, wood engravings and mezzotints, as well significance in Japanese society during and after as numerous drawings, watercolors, woodblocks his lifetime. and lithographic stones never before exhibited, this exhibition will survey Escher’s entire career, PASADENA, CA from his earliest print to his final masterpiece. “Indoor/Outdoor: Vuillard’s ‘Landscapes and Interiors’ ” SAN FRANCISCO 16 October 2015 – 18 January 2016 “Julian Lethbridge: Color Prints” Norton Simon Museum 1 June 2015 – 1 December 2015 http://www.nortonsimon.org Arion Press This exhibition offers the rare chance to see http://www.arionpress.com davidkrut.com Edouard Vuillard’s 1899 print album Paysages Julian Lethbridge’s color prints for the Arion [email protected] et Intérieurs (Landscapes and Interiors) in its Press publication What the End is For are pre- entirety. Featuring scenes of fin-de-siècle Paris, sented in this exhibition. the series immerses viewers in Vuillard’s world, showing us the streetscapes and domestic scenes And: that fueled the artist’s imagination. “Julie Mehretu: Hand Colored Prints” 1 June 2015 – 1 December 2015 “The Nature of William S. Rice: Arts and This exhibition presents Julie Mehretu’s hand- Crafts Painter and Printmaker” colored prints for the Arion Press publication 15 November 2015 – 3 April 2016 Poetry of Sappho. Pasadena Museum of California Art http://pmcaonline.org/exhibitions/william-s-rice/ And: A prolific painter of the California landscape, “Kara Walker: Lithographs for Rice is now best known as a printmaker who Porgy & Bess” authored two books on the process and executed 1 July 2015 – 1 December 2015 every print himself. The Arion Gallery presents Kara Walker’s litho- graphs for the Arion Press publication Porgy & PHILADELPHIA Bess. “Print Love: Celebrating The Print Center at 100” “Marcel Dzama” 2 October 2015 – 3 January 2016 30 October 2015 – 2 January 2016 Philadelphia Museum of Art Crown Point Press http://printcenter.org/100/the-print-center-100-2/ http://www.crownpoint.com Featuring forty-some works selected from more Crown Point Press presents Marcel Dzama’s than 1,600 donated by The Print Center to the three new color etchings and a portfolio. Philadelphia Museum of Art since 1929, this exhi- bition is presented as part of The Print Center SAN JUAN, PUERTO RICO 100, the Philadelphia organization’s centennial ”The IV Poly/Graphic San Juan Triennial: celebration. Latin American and the Caribbean” 24 October 2015 – 27 February 2016 “Justin Myer Staller: Prints + Process” Monastery Alpirsbach 8 October 2015 – 25 November 2015 http://www.icp.gobierno.pr/ Second State Press The theme of this Triennial is displacement— http://www.secondstatepress.org formal and conceptual—and the eruption of the Staller’s solo exhibition takes a look inside the graphic image into three-dimensional space. artist’s process, which combines photographic collage, screenprinting and photopolymer pro- SANTA ROSA, CA cesses. The exhibition is presented as part of The “Inside Magnolia Editions: Print Center 100. Collaboration and Innovation” 12 December 2015 – 7 February 2016 “The Print Center 100” Sonoma County Museum of Art 18 September 2015 – 19 December 2015 http://www.magnoliaeditions.com The Print Center Works published by Magnolia Editions are show- http://printcenter.org/100/ cased in this exhibition. Featured artists include Acting as the physical nexus of The Print Cen- Chuck Close, Bruce Conner, Robert Arneson, ter's 100 Centennial celebration, this exhibition Hung Liu, Mel Ramos, Enrique Chagoya, Kiki includes art, ephemera and objects illustrating Smith and many more. the organization's history, mission and future. SEATTLE “Carol Summers” 5 November 2015 – 28 November 2015 Davidson Galleries http://www.davidsongalleries.com Davidson Galleries present a large collection of Summer’s work, including early woodcuts and new woven works.

And:

50 Art in Print November – December 2015 “Ben Beres” WEST YORKSHIRE 5 November 2015 – 28 November 2015 “Wild Girl: Gertrude Hermes, http://www.davidsongalleries.com Sculptures & Prints” Seattle artist Ben Beres introduces a new body 13 November 2015 – 28 January 2016 Ernesto Caivano of etchings in this exhibition. Hepworth Wakefield http://www.hepworthwakefield.org/ And: This exhibition includes 35 sculptures by Hermes “Charlies Spitzack” including decorative commissions and over 60 3 December 2015 – 24 December 2015 works on paper, alongside rarely seen school-girl This exhibition features a new series of woodcuts notebooks, sketchpads, artists’ woodblocks, pri- by Seattle artist Charles Spitzack. vate press books, zoo drawings and a portrait of Hermes by her former tutor Leon Underwood. UNIVERSITY PARK, PA “You Have to See This: Abstract Art f ZURICH rom the Permanent Collection” “Carte Blanche: Pamela Rosenkranz” 1 September 2015 – 6 December 2015 29 August 2015 – 19 December 2015 Palmer Museum of Art, Penn State University Parkett Exhibition Space http://www.palmermuseum.psu.edu/exhibitions. http://parkettart.com html This exhibition includes a selection of Parkett This exhibition presents 20th-century abstract Editions, including photographs, prints, sculp- works on paper from the permanent collection. ture and video, curated by Swiss artist Pamela Rosenkranz. WAIBLINGEN, GERMANY “Collection Domberger from Events Baumeister to Polke” 3 October 2015 – 6 January 2016 AUSTIN, TX Galerie Stihl “PrintAustin 2016” http://www.galerie-stihl-waiblingen.de/2010-2.html 15 January 2016 – 15 February 2016 This comprehensive exhibition examines the PrintAustin history of Luitpold Domberger’s screenprint http://www.printaustin.org/ workshop during the second half of the 20th cen- This month-long event will include juried print tury, including important early screenprints by exhibitions, artist talks, signings and panels and Willi Baumeister, who introduced screenprinting printmaking demonstrations at several Austin to Germany in the 1950s, as well as works by Josef galleries and venues. Albers, Keith Haring, Robert Indiana and others. TAOS, NM WASHINGTON, DC “Pressing Through Time–150 Years “The Serial Impulse at Gemini G.E.L.” of Printmaking in Taos” 4 October 2015 – 7 February 2016 1 September 2015 – 30 January 2016 National Gallery of Art Monastery Alpirsbach http://www.nga.gov/content/ngaweb/exhibi- http://pressingthroughtime.com/ tions/2015/serial-impulse-at-gemini-g-e-l.html This multi-venue event marks the first compre- This exhibition showcases seventeen print hensive overview of printmaking in Taos Valley series, shown in their entirety, created at Gem- from the earliest known images of the region ini G.E.L. over the past five decades. It includes through contemporary prints. The exhibitions seminal early works by Roy Lichtenstein, Robert are spread across 15 museums, arts organizations Rauschenberg and Frank Stella, as well as more and galleries and a symposium is scheduled for recent serial projects by John Baldessari, Julie 17–18 October at Harwood Museum of Art. Mehretu, Richard Serra and others.

And: Auctions “Louise Bourgeois: No Exit” 15 November 2015 – 15 May 2016 ADMIRALTY, HONG KONG http://www.nga.gov “Prints, Photographs & Works on Paper” This exhibition explores Bourgeois’s ties to 14 November 2015 surrealism and existentialism through 4 sculp- Bonhams tures and 17 works on paper, including a rare http://www.bonhams.com copy of her illustrated book He Disappeared into Complete Silence (1947). LONDON “Prints and Multiples” WATERVILLE, ME 24 November 2015 “Whistler in the World: The Lunder Bonhams Collection of James McNeill Whistler http://www.bonhams.com at the Colby College Museum of Art" 15 September 2015 – 10 January 2016 NEW YORK Colby College Museum of Art “Post-War & Contemporary http://www.colby.edu/academics_cs/museum/exhi- Prints & Multiples” bitions/upcoming-exhibitions.cfm 17 November 2015 Drawn entirely from the Lunder Collection, this Bonhams exhibition includes nearly 100 works, including http://www.bonhams.com/ important prints by Whistler. “Contemporary Art” LeRoy Neiman Center 12 November 2015 for Print Studies Swann Auction Galleries arts.columbia.edu/neiman http://www.swanngalleries.com/

Art in Print November – December 2015 51 ONLINE ONLY Symposia Aldo Rossi: Opera Grafica “Japanese Prints” Etchings, Lithographs, Silscreen Prints 9 November 2015 RHEINE, GERMANY Edited by Germano Celant Christie’s “SNAP 2015: Kunstraum Druckgrafik: 256 pages http://www.christies.com/ Printmaking in Other Forms of Art” Published by Silvana Editoriale, Milan, 2015. 12 November 2015 – 15 November 2015 $50. Kloster Bentlage Fairs http://snap2015.de/ SNAP 2015 will be a meeting point for profes- NEW YORK sional, artistic and international exchange. The “IFPDA Print Fair” theme of the symposium (conducted in Eng- 4 November 2015 – 8 November 2015 lish), is “Kunstraum Druckgrafik: Printmaking in Park Avenue Armory Other Forms of Art.” Presentations will include http://www.ifpda.org/content/print-fair lectures, panel discussions and demonstration workshops.

NOVEMBER 5–8, 2015 PARK AVENUE ARMORY New Books

The Autobiography of Gustave Baumann Gustave Baumann Edited by Martin Krause Foreword by Dr. Charles L. Venable Other News 160 pages, 80 full-color reproductions, “Editions/Artists’ Books Fair” 36 black-and-white historical photographs. IFPDA Announces 2015 Recipients of 5 November 2015 – 8 November 2015 Published by Pomegranate Communica- The Tunnel NYC The Richard Hamilton Acquisition Prize tions, Inc., Portland, OR, 2015. and IFPDA Book Award http://eabfair.org/ $65. At the upcoming IFPDA Print Fair (November 4–8, 2015), the IFPDA Foundation will announce the selection of the Cincinnati Art Museum as the 2015 recipient of the Richard Hamilton Acquisition Prize. The prize, sponsored by the executive search firm Champion & Partners, provides $10,000 for a museum acquisition 5 of one or more prints from any period to be purchased at the fair. MIAMI The 2015 IFPDA Book Award will be presented “Art on Paper Miami” to Clifford S. Ackley, the Ruth and Carl J. Shapiro 1–6 December 2015 Curator of Prints and Drawings at the Museum Deauville Beach Resort, Miami Beach of Fine Arts, Boston, for Holland on Paper in the http://thepaperfair.com/miami Age of Art Nouveau [see review in this issue of Art in Print].

The Not-So-Mini-Print Exhibition and Exchange 2015 The Collected Hairy Who Publications For its annual non-juried show and sale Alberta 1966–1969 Printmakers invites all interested printmakers Edited and with an essay by Dan Nadel to submit an edition of ten 8 x 10 inch prints 168 pages, 106 color images, 9 black-and-white for exhibition and exchange in the Alberta images Printmakers Gallery. Each participant will receive Published by Matthew Marks, New York, 2015. 8 prints created by other artists, and Alberta $50. Printmakers will retain 2 works from each “INK Miami Art Fair” edition for sale in their gallery and online store. 2–6 December 2015 The exhibition will be held 5–23 December Suites of Dorchester, Miami Beach 2015 and all entries are due by 28 November. http://www.inkartfair.com/ For more information, please go to http://www. albertaprintmakers.com/#!submisssions/c5xl.

Call for Entries: PrintAustin PrintAustin, a month-long print event in January and February is currently seeking participants for four parts of the event. “The Contemporary Print” exhibition will survey traditions and innovations in printmaking today. SEOUL, KOREA While non-traditional or digital output will be “Art Edition” accepted as a print element, submissions must 25 November 2015 – 29 November 2015 utilize traditional print media as their primary Hongik University Museum of Art techniques. The entry deadline is 1 November http://www.artedition.kr/ and the exhibition is open to all artists over 18. The Exchange Portfolio is open to anyone who registers and is inspired this year by Tibetan prayer flags. Participants will be mailed a dozen white handkerchiefs to be used as substrate for any print technique. Ten of the prints will be redistributed to other participants in a random

52 Art in Print November – December 2015 Become a Professional Member of Art in Print now.

María Elena González, T2 (Bark) (2014), cardboard, birch bark, ink, 1.2 x 12.2 meters. MGLC Archive. Photo: Jaka Babnik. Benefits of Professional selection process, and the two remaining prints unexpected musical composition is heard when Membership include: from each edition will be retained and sold to the roll is played: the music of a birch tree. raise funds for PrintAustin. Registrations and The members of the Jury were Adam Budak, payments must be received by 15 December. Emily King, Rafal Niemojewski, Alessandro PrintAustin also hosts a bin sale to which artists Rabottini and Breda Kolar Sluga. For more • 6 printed issues of can submit original prints for the public to flip information please visit the website the journal published through and purchase. Anyone can participate http://www.biennialfoundation.org/2013/09/maria- bimonthly and the deadline for payment and registration is elena-gonzalez-wins-grand-prize-at-30th-biennial- 30 January 2016. of-graphic-arts/. Universities, print organizations, vendors and • Instant online access artists are invited to participate in the PrintExpo, Morgan Ng Wins the First Annual to all journal content an opportunity for artists and vendors to sell Schulman and Bullard Article Prize local. The deadline to sign up is 1 January 2016. Morgan Ng, PhD Candidate in Architectural • News of the Print World, For more information on PrintAustin, please visit History, Harvard University, was awarded the http://printaustin.org/. first annual Schulman and Bullard Article Prize, delivered biweekly to your given each year through the Association of Print email inbox and viewable Grand Prize Winner of the 30th Biennial of Scholars (APS) to an article published by an any time online Graphic Arts in Ljubljana early-career scholar that features compelling and María Elena González received the Grand innovative research on prints or printmaking. Prize of the 30th Biennial of Graphic Arts for Ng’s article, “Milton’s Maps” appeared in Word & • 12 months of online ads her piece entitled The Tree Talk Series (2013). Image: A Journal of Verbal/Visual Enquiry. Please Best known for her sculptural installations, visit the open access link to download the article: • 1 small print ad in the González collected and flattened the bark of a http://bit.ly/1Oov8Ej. journal fallen birch, produced a series of drawings and Two honorable mentions went to articles by etchings, then scanned the furrowed patterns Marisa Anne Bass and Alexandra Onuf. Bass • Option to purchase and had them laser cut into piano roll. An contributed a catalogue essay, “Hieronymous Bosch and His Legacy as ‘Inventor,’” to the St. additional discounted Louis Art Museum’s exhibition Beyond Bosch: advertising The Afterlife of a Renaissance Master in Print. Onuf’s article “Old Plates, New Impressions: • Listing in the Print Local Landscape Prints in Seventeenth-Century Antwerp” appeared in Art Bulletin. Both authors Directory, available online have written for Art in Print and Bass’s article on and published in the Bosch appears in this issue. The Schulman and Bullard Article Prize, which journal annually carries a $2,000 prize, is generously sponsored by Susan Schulman and Carolyn Bullard. Ng • 20% discounts available will also receive a print by artist Liz Zanis to to non-profit organizations commemorate his award. APS is currently accepting submissions for the 2016 prize up to the deadline of 31 January 2016. Please visit the APS website for more details about submitting an article for consideration: http://printscholars. org/awards/. Subscribe online at www.artinprint.org/ Please submit announcements of subscribe. exhibitions, publications and other events to [email protected].

Art in Print November – December 2015 53

Andy Warhol Shoes (F.&S.II.253) (detail) screenprint in colours with diamond dust, 1980. Sold for £87,000 (December 2014)

Welcoming Entries for Auction Modern & Contemporary Prints Quarterly sales at Bloomsbury House, 24 Maddox Street, Mayfair, London W1S 1PP For further details or a free auction valuation, please contact: Alexander Hayter [email protected] | +44 (0) 20 7495 9494 www.bloomsburyauctions.com Art in Print November – December 2015 57 Cade Tompkins Projects is pleased to present DANIEL HEYMAN in collaboration with LUCY GANJE In Our Own Words: Native Impressions 2015 12 color reduction woodcuts (portraits) and 12 letterpress prints (oral history) 1 1 26 ⁄4 x 19 ⁄4 inches each, title page and colophon in linen portfolio Edition of 9 (on handmade paper) Edition of 14 (on Japanese Okawara paper) • Daniel Heyman (American, b. 1963) traveled to North Dakota in the summer of 2015 to create an outstanding project of 26 prints that chronicles stories of individual Native Americans who live within the Tribal Nations of North Dakota. Heyman collaborated with Professor Lucy Ganje, creator of the letterpress text images, and Professor Kim Fink, master printer at Sundog Multiples at University of North Dakota. • To view this portfolio please visit our website or contact us directly. • CADE TOMPKINS PROJECTS www.cadetompkins.com Telephone (401) 751-4888 • Email [email protected]

Illustrated: In Our Own Words: Native Impressions: That Language, one of 12 portraits ANDY WARHOL AND CONTEMPORARY PRINTMAKING

PHILBROOK MUSEUM OF ART TULSA, OKLAHOMA OCTOBER 18, 2015 – JANUARY 17, 2016

The exhibition features 17 artists, all of whom, like Warhol, use color as a tool to shape how audiences read and understand images. Curated by Sienna Brown, Nancy E. Meinig Curator of Modern and Contemporary Art, and Catherine Whitney, Chief Curator of Philbrook Museum of Art, Tulsa, Oklahoma.

Exhibition photo of In Living Color: Andy Warhol and Contemporary Printmaking at the Tampa Museum of Art. Photo Credit: Ryan Walsh Rita Ackermann Marie-Jo Lafontaine Brian Alfred Julian Lethbridge Caetano de Almeida Liza Lou Darren Almond Ryan McGinness John Armleder Ugo Rondinone Mike Bidlo Gr aciela Sacco Lizzi Bougatsos Hugh Scott-Douglas Robert Cottingham Beverly Semmes Jane Dickson Josh Smith Sylvie Fleury Mitchell Squire Mark Francis John Tremblay Gary Hill Bernar Venet Nicky Hoberman Not Vital Antony Gormley Marijke van Warmerdam

World House Editions Member IFPDA

www.WorldHouseEditions.com

60 Art in Print November – December 2015 JOHN BALDESSARI CONCRETE COUPLES

LOS ANGELES WWW. MIXOGRAFIA.COM JOHN BALDESSARI, CONCRETE COUPLES, 2015. MIXOGRAFIA PRINT ON HANDMADE + 323 232 1158 PAPER. EDITION OF 50. 48 x 48 INCHES, 9 -PANEL SUITE.

Robert Kushner Aloe Day and Aloe Night new woodcut prints to bene t the Fine Arts Work Center in Provincetown in cooperation with Jungle Press Editions contact: Andrew Mockler at [email protected]

Art in Print November – December 2015 61 DIETER ROTH

DIANE VILLANI EDITIONS

ifpda printfair 201 5

BOOTH 219 NOVEMBER 4 – 8, 2015

Self-portrait as Spring Potato, 1973 285 lafayette street new york ny 10012 Drypoint 212.925.1075 15 3/8 x 18 7/8” [email protected] Ed: 13 villanieditions.com

Villani_Art in Print_Nov_2015_half page_2104_final.indd 2 10/5/15 1:57 PM

Wildwood Press Damon Davis All Hands on Deck wildwoodpress.us artnet.com ifpda.org

62 Art in Print November – December 2015 Crown Point Press 20 HawtHorne Street San FranciSco, ca 94105 (415) 974-6273 crownpoint.com marceL DZama tHree etcHinGS & a portFoLio

Visit crown point press at the print Fair november 5-8, 2015 park avenue armory new York

Here's a Fine Revolution 2015. color etching, 29½ x 37¾", edition 25.

color etching, paper size: 33 ¾ x 44 ½ inches, variable edition of 18 HARLAN & WEAVER, INC., New York

Art in Print November – December 2015 63 IFPDA PRINT FAIR NEW EDITIONS NOVEMBER 4 - 8, 2015 JENNIFER ANGUS PARK AVE ARMORY RICHARD BOSMAN NEW YORK SUZANNE CAPORAEL ROBERT COTTINGHAM INK MIAMI ART FAIR JIM DINE DECEMBER 2 - 6, 2015 MICHELLE GRABNER SUITES OF DORCHESTER DAN RIZZIE MIAMI BEACH ALISON SAAR

WWW.TANDEMPRESS.WISC.EDU [email protected] 608.263.3437 Jim Dine The Cottonwoods at Night, 2015 IFPDA MEMBER Woodcut, collograph, etching, serigraphy, ed. 24 64” x 48”

PHANTASMAGORICAL: THE WORLD OF ELISABETH STEVENS & SELECTIONS FROM THE COLLECTION OF THE STATE COLLEGE OF FLORIDA

OCTOBER 16-DECEMBER 9, 2015 State College of Florida, 5840 26th Street, Bradenton, Florida 34207 Joseph Loccisano, Gallery Director, (941)752-5225, [email protected]

Elisabeth Stevens, “Circus Sarasota” (2012) Etching with aquatint Image 16”x18”; sheet 22’’x29’ Printed by Bleu Acier, Tampa, Florida

64 Art in Print November – December 2015 Trenton Doyle Hancock

Mound #1 the Legend, 2015

Mixed media sculpture accompanied by an 8 x 8 inch acrylic painting on canvas 27 x 16 x 16 inches Edition Variée: 15

GRAPHICSTUDIO | Institute for Research in Art 3702 Spectrum Blvd. Suite 100 Tampa, FL 33612

813.974.3503 graphicstudio.usf.edu

CHUCK WEBSTER new etchings

WINGATE E/AB Fair Booth B18 269 11th Avenue, New York STUDIO November 6-8 2015

Art in Print November – December 2015 65 Audubon April, 2015, ed: 25, sh: 21.75” x 29.75” Audubon March, 2015, ed: 25, sh: 21.75” x 29.75” Jane E. Goldman: New Editions Hand Painted Archival Pigment Prints IFPDA Print Fair • 4-8 November 2015 • NYC

StewartStePrinter/Publisherwa rt& Dealer & of StewartFineStewa Prints Since rt1980 5571 Wing Lake Road • Bloomfield Hills MI 48301-1250 www.StewartStewart.com

66 Art in Print November – December 2015 RED GROOMS

The Carriage Trade (2015) color 3-D lithograph 21 x 28 x 3 inches edition of 45

SHARK’S INK. www.sharksink.com

Richard Hull New Etchings & Monotypes

Bloom, 2015. Etching, aquatint, burnishing 24 ½” x 18”, edition 20 Published by Manneken Press

(309) 829-7443 [email protected] www.mannekenpress.com

Art in Print November – December 2015 67 Matika Wilbur

Kumu Ka’eo Izon

2015 photogravure ed. of 40, 22" x 25 3/4"

68 Art in Print November – December 2015 Museum Folkwang October 30, 2015 – January 31, 2016 Museumsplatz 1, 45128 Essen, Germany, www.museum-folkwang.de Markus Linnenbrink

New Watercolor Monotypes

EVENTHOUGHYOUHAVETOGO 13 watercolor monotype 19 x 24 inches (image/sheet) 2015

will be featured at:

E/AB Fair 2015 The Tunnel NYC November 5–8

Art on Paper Miami Deauville Beach Resort December 1–6

Center Street Studio www.centerstreetstudio.com

Art in Print is the single most comprehensive resource for serious writing on, and timely information about, the most important art form of the past 500 years.

Subscriptions and advertising cover less than half of our operating costs.

The rest comes from people like you.

Please donate now... www.artinprint.org. 2015 Membership Subscription Form

To subscribe, please complete and mail this form to Art in Print at the address below or call us toll-free in the US, M-F from 9-5 CST, at 1.844.ARTINPR (1.844.278.4677) to subscribe by phone. Please address any questions to [email protected]. Thank you for your support! q Check this box if this is a renewal and enter just your name and the email address linked to your current subscription.

Name ______Organization ______Address 1 ______Address 2 ______City, State/Province, Zip ______Country Code ______(if outside U. S.)

Telephone ______Email ______

How did you find out aboutArt in Print ? q Friend/Colleague q Advertisement q Art/Print Event q Online Research q Postcard q Other ______

Annual Subscriptions Art in Print is available in both Digital and Print form. Please choose from the annual membership categories listed below.

Basic Subscriptions Professional Subscriptions Library Subscriptions (IP Recognition) q Basic Digital $38 q Professional Print + Digital $350 q Library Digital $300 + Access to premium content + Access to premium content + Multi-user access to premium online online content online + Bi-weekly eBlasts with news of the + Bi-weekly eBlasts with news of the + Bi-weekly eBlasts with news of the print world and announcements print world and announcements print world and announcements + 6 digital issues of the journal + 6 digital issues of the journal + 6 digital issues of the journal in PDF form in PDF form in PDF form + 6 issues of the printed journal q Basic Print + Digital $108 q Library Print + Digital $400 delivered to your mailbox (US, UK, Canada) + All of the above plus 6 issues of the + 12 months of online ads + All of the above plus 6 issues of printed journal delivered to your the printed journal delivered to + 1 small print ad in the journal mailbox your mailbox + Option to purchase additional discounted advertising in the journal Subscribe through us or through your q Basic Print + Digital $138 Art in Print + Listing in the subscription management agency. (Worldwide) International Directory + All of the above plus 6 issues of the online and in print printed journal delivered to your + 20% discounts available to international mailbox non-profit organizations

Subscribe by phone: To subscribe by phone, please call 1.844.ARTINPR (1.844.278.4677) anytime M-F from 9-5 CST. International subscribers: contact us by email and we will arrange a convenient time to call you. Purchase back issues of Art in Print from MagCloud at www.magcloud. Subscribe by Post: com/user/established-2011. To subscribe by post, please copy this form or print from the online PDF and mail to: Art in Print, Attn: R. Collins, 3500 N. Lake Shore Drive, Suite 10A, Chicago, IL 60657-1927

Art in Print will never share your information without your consent. Please contact us at [email protected] if you have any questions. Contributors to this Issue

Marisa Bass is Assistant Professor at Washington University in St. Louis and a specialist in the art of the early modern Netherlands. She is the author of the forthcoming book Jan Gossart and the Invention of Netherlandish Antiquity, to be published by Princeton University Press in February 2016.

Jill Bugajski is a historian of American art whose research addresses propaganda, cultural exchange, reception and diplomacy between the United States and the Soviet Union in the 20th century.

Brian D. Cohen is an educator, writer, printmaker and painter. He founded Bridge Press in 1989 to further the association and integration of visual image, original text and book structure. His essays on arts education are a regular feature of the Arts and Culture section of the Huffington Post. FRANCES B. ASHFORTH WATERBASE MONOTYPES Marie-Stéphanie Delamaire is the Associate Curator of Fine Arts at Winterhur Museum. She earned Pyrocumulus, Carbon Black her PhD from Columbia University and is a specialist of American prints and the transnational art 15x16, unique, 2014 market. She has received fellowships from the Andrew W. Mellon Foundation, the National Endowment francesbashforth.com for the Humanities and the Terra Foundation for American Art.

Elleree Erdos is a graduate student at Columbia University and the Sorbonne. She holds a BA in art history from Williams College and has worked in the print departments at The Museum of Modern Art and the Sterling and Francine Clark Art Institute, as well as in the American Wing at the Metropolitan Kiki Smith Museum of Art.

Stephen Goddard is associate director and a senior curator at the Spencer Museum of Art. After graduating from Grinnell College, he attended the University of Iowa for his PhD and did post-doctoral work at the Yale University Art Gallery. In 30 years at the Spencer he has organized over 40 exhibitions and offered many courses on the history of printmaking. He was, for four years, president of the Print Council of America.

Andrea L. Ferber is Assistant Professor of Art History at Idaho State University. She is currently teaching Contemporary Native American Art at ISU. She recently curated “Dylan Miner: Michif-Michin (The People, The Medicine)” and “Ramon Murillo: A Retrospective” at the ISU Transition Gallery. Her current book project is Theories of Printmaking: A Collection of Essays, co-edited with Monika Meler.

Joan E. Greer is professor in the history of art, design, and visual culture at the University of Alberta. She received her doctorate from the Vrije Universiteit Amsterdam and specializes in Dutch and Belgian art of the 18th to early 20th centuries. Among her recent publications is “De Tuin (The Garden) and the Genre of Artists’ Periodicals in Late Nineteenth-Century Holland: A Case Study with Reflections on Methods,” in Nineteenth Century Studies 26 (2013).

LeRoy Neiman Center for Print Studies arts.columbia.edu/neiman Laurie Hurwitz is a curator at the Maison européenne de la photographie in Paris, France. She has written on art and design for Art & Auction, frieze, Metropolis, Aperture, Sculpture, Revue Dada and Connaissance des arts. She is Paris correspondent for ARTnews magazine.

Armin Kunz is an art historian and managing partner of C. G. Boerner, a dealership for old master prints and drawings with galleries in Düsseldorf and New York. His areas of special interest are Northern art of the early modern period and German Romanticism.

Megan N. Liberty is a writer based in Brooklyn. She has an MA in art history from the Courtauld Institute of Art and a BA from Dickinson College. Her interests include text and image, artists’ books and ephemera, and archive curatorial practices.

Stephanie Syjuco was born in the Philippines. She received her BFA from the San Francisco Art Institute and her MFA from Stanford University. The recipient of a 2014 Guggenheim Fellowship and a 2009 Joan Mitchell Painters and Sculptors award, she is assistant professor at the University of California Berkeley. Her work has been shown at MoMA/PS 1 and the Whitney Museum of American Art, among other venues.

Elizabeth Wyckoff is Curator of Prints, Drawings and Photographs at the Saint Louis Art Museum. Much of her research has focused on Dutch and Flemish prints, but throughout her career she has curated exhibitions on a wide range of topics from old-master to contemporary prints, books and DOMINIQUE LABAUVIE, TRAILS (DIPTYCH), 2015 drawings. WOODCUT ON MAPLE VENEER, 55 X 32”, ED. 3 BLEU ACIER WWW.BLEUACIER.COM E/AB FAIR - BOOTH D 28 Susan Tallman is the Editor-in-Chief of Art in Print. She has written extensively about prints, issues of multiplicity and authenticity, and other aspects of contemporary art.

72 Art in Print November – December 2015 Back Issues of Art in Print

Volume One / May 2011 – April 2012

Volume 1, Number 1 Volume 1, Number 2 Volume 1, Number 3 Volume 1, Number 4 Volume 1, Number 5 Volume 1, Number 6

Volume Two / May 2012 – April 2013

Volume 2, Number 1 Volume 2, Number 2 Volume 2, Number 3 Volume 2, Number 4 Volume 2, Number 5 Volume 2, Number 6

Volume Three / May 2013 – April 2014

Volume 3, Number 1 Volume 3, Number 2 Volume 3, Number 3 Volume 3, Number 4 Volume 3, Number 5 Volume 3, Number 6

Volume Four / May 2014 – April 2015

Volume 4, Number 1 Volume 4, Number 2 Volume 4, Number 3 Volume 4, Number 4 Volume 4, Number 5 Volume 4, Number 6 Volume Five / May 2015 – April 2016

Complete your library of Art in Print now. Purchase digital or print versions of all back issues of the journal from MagCloud, our print-on-demand service. Please visit www.magcloud.com/user/established-2011.

Volume 5, Number 1 Volume 5, Number 2 Volume 5, Number 3 AiP Floorplan_Layout 1 10/9/15 2:49 PM Page 1

Nov. 5 - 8 The Tunnel

A.I.R. Gallery, Brooklyn, NY D30 David Krut Projects, New York, NY A37 Anartist, New York, NY C34 Latin Art Space, Arlington, MA D24 Aspinwall Editions, New York, NY B58 Lax & Associates, Brooklyn, NY A11 Baron/Boisanté & Om from India, New Lower East Side Printshop, New York, York, NY B14 NY B44 Black Shamrock Etchings, Chicago, IL Ludion/Graphic Matter, Antwerp, B20 Belgium B56 Bleu Acier, Tampa, FL D28 Marginal Editions, Brooklyn, NY C42 Booklyn, Brooklyn, NY A19 Zea Mays Printmaking, Florence, Brodsky Center at Rutgers University, MA B54 New Brunswick, NJ B10 Jennifer Melby Editions, Brooklyn, Brooklyn Academy of Music, Brooklyn, NY B12 NY C33 LeRoy Neiman Center for Print Studies, Burnet Editions, New York, NY B4 Columbia University, Center Street Studio, Milton, MA B16 New York, NY B6 Cirrus Gallery & Cirrus Editions, Los Oehme Graphics, Steamboat Springs, Angeles, CA A5 CO B50 Collaborative Art Editions, Printeresting, Philadelphia, PA C38 St. Petersburg, FL A7 Purgatory Pie Press, New York, NY C25 Thorsten Dennerline/The Bird Press, Abby Schoolman, New York, NY A17 Bennington, VT C27 Shore Publishing, Tuxedo Park, NY D32 Derriere L'Etoile Studios, Long Island Sims Reed, London, UK C31 City, NY B48 Small Editions, Brooklyn, NY C40 Johan Deumens Gallery & CTL Presse, Michael Steinberg Fine Art/ Amsterdam, Netherlands A3 Eminence Grise Editions, Dieu Donné, New York, NY D26 New York, NY B46 Arthur Fournier Fine & Rare, Brooklyn, 10 Grand Press, Brooklyn, NY A43 NY A15 21st Editions, South Dennis, MA C29 Galerie 8 + 4 / Bernard Chauveau / Universal Limited Art Editions (ULAE), Le Néant, Paris, France C23 Bay Shore, NY B8 Harlan & Weaver, New York, NY A41 VanDeb Editions, Long Island City, Highpoint Center for Printmaking, NY A45 Minneapolis, MN A39 Weng Fine Art, Krefeld, Germany B22 International Print Center New York Western Exhibitions, Chicago, IL C35 (IPCNY), New York, NY C36 Wingate Studio, Hinsdale, NH B18 Owen James Gallery, Brooklyn, NY A9 Zucker Art Books, New York, NY A21 Jungle Press Editions, Brooklyn, NY A1 Kayrock Screenprinting, Brooklyn, NY B52

www.eabfair.org [email protected] @eabfair 212.673.5390 Presented by The International Fine Print Dealers Association Show Managed by Sanford L. Smith + Associates paulson bott pressPAULSON back to BOTTkansas (detail), PRESS 2015 aquatint etching 43” x 60” www.paulsonbottpress.com spencer finch paulson paulson bott bott press pressPAULSON PAULSON backback to BOTTkansas to BOTTkansas (detail), PRESS (detail), PRESS 2015 2015 aquatint aquatint etching etching 43” 43” x 60” x 60” www.paulsonbottpress.com www.paulsonbottpress.com spencer spencer finchfinch EAB15.AIP.Nov.pdf 1 9/21/15 2:50 PM

The Tunnel 269 11th Avenue (b/w 27th & 28th Streets)

A.I.R. Gallery, Brooklyn Latin Art Space, Arlington Anartist, New York Lax & Associates, Brooklyn C Aspinwall Editions, New York Lower East Side Printshop, New York M Baron/Boisanté & Om from India, New York Ludion/Graphic Matter, Antwerp

Y Black Shamrock Etchings, Chicago Marginal Editions, Brooklyn CM Bleu Acier, Tampa Zea Mays Printmaking, Florence

MY Booklyn, Brooklyn Jennifer Melby Editions, Brooklyn

CY Brodsky Center at Rutgers University, New Brunswick LeRoy Neiman Center for Print Studies,

CMY Brooklyn Academy of Music, Brooklyn Columbia University, New York Burnet Editions, New York Oehme Graphics, Steamboat Springs K Center Street Studio, Milton Printeresting, Philadelphia Cirrus Gallery & Cirrus Editions, Los Angeles Purgatory Pie Press, New York Collaborative Art Editions, St. Petersburg Abby Schoolman, New York Thorsten Dennerline/The Bird Press, Bennington Shore Publishing, Tuxedo Park Derriere L’Etoile Studios, Long Island City Sims Reed, London Johan Deumens Gallery & CTL Presse, Amsterdam Small Editions, Brooklyn Dieu Donné, New York Michael Steinberg Fine Art/Eminence Grise Editions, Arthur Fournier Fine & Rare, Brooklyn New York Galerie 8 + 4, Suresnes 10 Grand Press, Brooklyn Harlan & Weaver, New York 21st Editions, South Dennis Highpoint Center for Printmaking, Minneapolis Universal Limited Art Editions (ULAE), Bay Shore International Print Center New York (IPCNY), New York VanDeb Editions, Long Island City Owen James Gallery, Brooklyn Weng Fine Art, Krefeld Jungle Press Editions, Brooklyn Western Exhibitions, Chicago Kayrock Screenprinting, Brooklyn Wingate Studio, Hinsdale David Krut Projects, New York Zucker Art Books, New York