New Editions • Altmejd • Armleder • Gonzales • Heck • Herrera • Ledgerwood • Mehretu • Moyer • Quaytman Peeter

US $25

The Global Journal of Prints and Ideas March – April 2015 Volume 4, Number 6

New Editions • Altmejd • Armleder • Gonzales • Heck • Herrera • Ledgerwood • Mehretu • Moyer • Quaytman Peeters • Ruscha • Saar • Saban • Siena • Suarez Londoño • Tuymans • Wool • and More • Prix de Print • News James Ensor: Experimental Printmaker Uncommon Prints from a Private Collection

Squelettes voulant se chauffeur – Skeletons Warming Themselves 1895 hand-colored etching on wove paper, used by the artist as wrapper for the copper plate watercolor and white heightening with annotations in pencil and pen; ca. 7 ⁵∕₈ x 6 ¼ inches

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) cgboerner.de March – April 2015 In This Issue Volume 4, Number 6

Editor-in-Chief Susan Tallman 2 Susan Tallman On the Moment

Associate Publisher New Editions 2014 Reviews Julie Bernatz Gill Saunders 4 Ellen Heck: Forty Fridas Managing Editor Dana Johnson Catherine Bindman 6 José Antonio Suárez Londoño News Editor Isabella Kendrick Sarah Kirk Hanley 8 New Editions from Diane Villani Manuscript Editor and Hauser & Wirth Prudence Crowther Reviews A–Z 10 Online Columnist Prix de Print, No. 10 32 Sarah Kirk Hanley Sarah Kirk Hanley Jeremy Lundquist: Stability Dynamics Design Director Skip Langer Exhibition Reviews Editor-at-Large Vincent Katz 34 Catherine Bindman Richard Tuttle at Bowdoin Laurie Hurwitz 37 “Digital” Printing Étienne Tremblay-Tardif 39 Mutchler, Urban and Dupuis-Bourret at Atelier Circulaire Mary MacNaughton 42 Memory and Beekeeping in a Tradigital Mode

Book Reviews Sarah C. Schaefer 43 Popularity, Populism and the Poster Susan Tallman 45 Women and Print: A Contemporary View

News of the Print World 46 On the Cover: Ed Ruscha, detail from the suite Contributors 68 Rusty Signs (2014), one of six Mixografía® prints on handmade paper, 24 x 24 inches each. Guide to Back Issues 69 Edition of 50. Published by Mixografía, Los Angeles. ©Ed Ruscha. Image courtesy of Ed Ruscha and Mixografia Workshop.

This Page: James Siena, detail of Logic Sequence: Complete (2014), part 3 of 3, paper pulp (pigmented linen on cotton base sheet), 16 1/2 x 13 inches each. Unique image.

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 the Moment By Susan Tallman

his, our annual new editions issue, the Scripps College exhibition “Women T is meant to offer a snapshot of a and Print: A Contemporary View,” also moment in time—a collection of infor- reviewed in these pages, is very much of mation more directed than surveillance this moment. footage, but less constructed than a One final note: we are pleased to painting. Contemporary art and print are announce the launch of our new website so frequently the same thing these days this past month. While visually similar to it may seem unnecessary to set aside an the old site, it is significantly easier to nav- issue specifically for new editions, but igate and includes a number of new fea- printed art and printed editions are not tures for subscribers: the long-dormant always the same thing—and if the former members’ page now offers direct access to has successfully infiltrated Chelsea and all current content (you no longer have to the evening auctions, the latter remains download the PDF just to get at a single peculiarly invisible in galleries and in article), as well as all the news items fea- the media. Unfortunately, it remains the tured in the biweekly eBlasts and more. case that the art people are most likely to The Prix de Print now enjoys its own page own is the art they are least likely to read and the calendar is vastly improved. More about. So in this issue we compensate for changes will be coming as we rebuild the neglect by looking closely at dozens of “Resources” section into a more effective Charline von Heyl, Dust on a White Shirt individual artworks. vehicle for research on the history and (Evil Eye) (2014), intaglio, image 24 x 19 inches, There is no editorial argument behind paper 31 x 25 inches. Edition of 20. Printed and production of artists’ prints. We encour- the selection—we do not suggest that published by Crown Point Press, San Francisco. age you to send us your thoughts about these are “the best” recent editions, nor the site and how it might be further have we tried to emphasize particular improved. trends or identify particular symptoms. this to be the lesser of two evils—if art- As always, Art in Print is a reflection of Instead, as in previous years, we simply ists had to pay shipping costs for physi- the community that supports it—the art- asked contributors to select prints they cal objects, the entry pool could quickly ists, printers, collectors, curators, schol- found intriguing, meaningful or other- shrink to a small puddle of the diminu- ars and plain lovers of prints who wise noteworthy. Altogether, 14 writers tive, the local and the rich. The pages of recognize them as catalysts of culture. selected works by 36 artists from three Art in Print have been greatly enriched Thank you. continents. They include ambitious proj- by the broad range of Prix de Print win- ects from storied workshops, and home- ners, including the current one, chosen grown prints published by the artists who by critic and curator Sarah Kirk Hanley: Susan Tallman is the Editor-in-Chief of made them. The materials include paper, Jeremy Lundquist’s Stability Dynamics, an Art in Print. ink, sugar-sack quilts, gold powder and ambitious multistate etching project that human hair. The largest can fill a gallery investigates the collision of design strate- wall; the smallest could be carried in a gies and military strategies, and occupies notebook. Suffice it to say, homogeneity some 86 square feet. is not the problem. The focus on contemporary art con- Access and distribution, on the other tinues in the exhibition reviews that hand, are a hindrance. Even with mul- follow: poet and critic Vincent Katz sur- tiple writers in multiple locations, the veys Richard Tuttle’s print retrospec- range of works that can be seen in per- tive at the Bowdoin College Museum of son is limited. But since photographic Art; Laurie Hurwitz discusses Matthew reproductions carry such a small frac- Brandt’s “Woodblocks” in Paris; Mary tion of information about an object, we MacNaughton examines Nancy Macko’s do ask that all reviews be written from interdisciplinary prints in Los Angeles; the actual work of art. Undoubtedly, as and Étienne Tremblay-Tardif looks at the a result, many wonderful projects have print-based installations of Andrée-Anne been missed. Dupuis-Bourret and the team of Leslie The attentive Art in Print reader will Mutchler and Jason Urban in Montreal. observe that we violate this rule of first- Ruth E. Iskin’s new book on the early his- hand knowledge with the Prix de Print, tory of the poster, reviewed here by Sarah which is judged on the basis of digital C. Schaefer, is rooted in the 19th century images. In terms of the Prix, we found rather than the 21st; but the catalogue of

2 Art in Print March – April 2015 New Editions 2014

Edition Reviews: Editions in the News: David Altmejd 10 Darren Almond 46 John Kørner 47 Ida Applebroog 8 Justin Amrhein 46 Paula Schuette Kraemer 49 John Armleder 10 James Angel 46 Julie Krone 46 Richard Bosman 11 Polly Apfelbaum 46 Julian Lethbridge 49 Enrique Chagoya 12 Frances B. Ashforth 46 Alexandra Leeds 46 Matthew Day Jackson 8 Aziz 46 Noël Loeschbor 46 Jeffrey Dell 12 Thomas Bayrle 46 Richard Long 49, 50 Lesley Dill 13 Carla Beretta 46 Matt Magee 50 Stella Ebner 14 Sebastian Black 47 Gerhard Marx 50 Nancy Friedemann 14 Silvana Blasbalg 46 Maser 50 Wayne Gonzales 15 Brent Bond 47 Nico Mazza 46 Ellen Heck 4 Jan-Henri Booyens 47 Adriana Moracci 46 Arturo Herrera 16 Jonathan Borofsky 47 Toni Mosley 46 Charline von Heyl 17 Richard Bosman 47 Wangechi Mutu 50 Susan Howe 18 Kelie Bowman 47 Santiago Ocampo 46 Xylor Jane 18 Julie Buffalohead 47 Jody Paulsen 50 Jennie C. Jones 19 Sophie Calle 47 Elizabeth Peyton 50 Judy Ledgerwood 19 Alicia Candiani 46, 47, 48 Jennifer Pickering 46 José Antonio Marcela Casals 46 Jack Pierson 50 Suárez Londoño 6 Enrique Chagoya 48 Endi Poskovic 50 Allan McCollum 20 Hera Chan 46 Barbara Putnam 46 John McLean 21 Gordon Close 48 Haleh Redjaian 51 Julie Mehretu 22 Paola Cohen 46 Ron Rumford 51 Carrie Moyer 22 Cristina Duro 46 Carlos Scannapieco 46 Kouseki Ono 24 Jonathan Eckel 48 Jenny Schmid 51 Goedele Peeters 24 Ida Ekblad 48 Richard Serra 51 Clark Richert 25 Elmgreen & Dragset 48 Viviana Sierra 46 R. H. Quaytman 18 Amze Emmons 48 Federico Signorelli 46 Ed Ruscha 25 Andrea Evans 48 Cristina Solía 46 Alison Saar 26 Steven Ford 48 Laura Tecce 46 Analia Saban 27 Donald Forsythe 48 Wayne Thiebaud 51 David Salle 28 Liam Gillick 49 Frank X Tolbert 2 51 James Siena 29 María Guerreiro 46 Richard Tuttle 51 Rob Swainston 30 Peter Halley 49 Norma Villareal 46 Luc Tuymans 30 Christopher Hartshorne 49 Joan Wadleigh Curran 51 Christopher Wool 31 Anne Heyvaert 46 Max Wolpe 51 John Hitchcock 46 Sidney Hurwitz 49 Anton Kannemeyer 49

Notes on the Editions: All prices are subject to change. As currency conversion rates are also subject to change, we list prices in the currency provided by the publisher. All prices are for unframed works unless otherwise noted. UK and South African prices do not include VAT. EDITION REVIEW Ellen Heck By Gill Saunders

Forty Fridas (2011-2012) Forty combination woodcut and drypoint prints in a clamshell box with copper inset, 17 1/2 x 13 inches each. Edition of 4. Printed and published by the artist, Berkeley, CA. $14,000.

ince the International Print Bien- S nale was established in Newcastle (UK) in 2009, the Victoria & Albert Museum has awarded a prize: an online essay about the prize-winning work, written by myself as senior curator of prints, in return for which the artist is asked to donate a piece to the museum’s permanent collection. As usual, this year’s biennale offered an inspiring survey of art in print, with established names exhibited alongside up-and-coming ones. And, as before, the selected works offered rich evidence of the significance of print in contemporary art practice, showcasing exceptional technical prowess in every print medium. Faced with this wealth and variety of achievement, I thought it would be a struggle to decide on a recipient for the V&A award until I saw Ellen Heck’s suite Forty Fridas (2011–12). Small in scale, deceptively modest, apparently conventional, these portraits of women and girls were a revelation. Seen en masse at the Print Biennale, they were beguiling and engaging by virtue of their subjects, but also technically intriguing—a novel and complex amalgamation of drypoint and color woodcut. I knew at once I’d found the winner. These were beautiful prints, worthy of a place in the V&A collection, and I knew immediately that it would be a pleasure and a privilege Ellen Heck, Anna as Frida from Forty Fridas (2011-2012). to spend time with them, write about them, and exhibit them.1 The essay, however, was more of a traits. Indeed Kahlo made an art form of It is this multiplicity that Heck has so challenge than I had anticipated, since the carefully constructed public presen- eloquently exploited with her 40 sitters. Heck has herself written eloquently and tation of her self-image, an assertive and Each portrait is strikingly individual with insight about this project, and has self-possessed character who engages the and each sitter is identified by name, but given a very thorough account of the viewer with a direct unsmiling gaze. Her together they reveal echoes that amplify printmaking process.2 first love, Alejandro Gómez Arias, wrote, their impact and resonance. Identity is As the title of the series suggests, Heck “Who was Frida Kahlo? It is not possible shown to be a mutable state, a game we depicts women and girls dressed as the to find an exact answer. So contradictory can all play as we style ourselves for dif- Mexican painter Frida Kahlo (1907–1954), and multiple was her personality that it ferent audiences. Each sitter is both her- best known for her compelling self-por- can be said that many Fridas existed.”3 self and an imagined other.

4 Art in Print March – April 2015 experiment with process, color, pose and effect. Heck has described her process as “a slippery hybrid of the scientific method and intuitive play.” The prints reflect and reveal her working methods, and the process is essential to the effects. Drypoint and color woodcut are challenging and labor-intensive, their effects innately fugitive and hard to control or pre- dict. These characteristics animate the images, enlivening surfaces that might appear flat or inert in reproduction. In the flesh we discover a subtle layering of color, the use of translucent and metallic pigments that shimmer and glow, giving each portrait the aura of an icon. The resemblance is emphasized further by a patina of scuffs, grazes and faint lines that complicate the surfaces, confirming the handmade, hard-won character of Left: Ellen Heck, Tomoko as Frida; Right: Margaret as Frida, from Forty Fridas (2011-2012). the prints, and suggest something pre- cious and much-loved. This use of a worn The familiarity of Kahlo’s self-por- invited family members and friends to and distressed matrix has distinguished traits, which are well-known and widely pose for her, but she also put out a call precedents, most notably in the prints of reproduced, inspired and enabled Heck’s for participants on her website. These Mary Cassatt (1844–1926). Heck’s women project. Each sitter is dressed or acces- sitters include Eden, Chayito and Kate. In and girls undoubtedly owe a debt to Cas- sorized to evoke Kahlo’s iconic self-styl- the later works the younger models pre- satt’s use of outline, flat areas of color ing, unifying the series. The resemblance dominate because, in the artist’s words, and decorative patterning (all ultimately is achieved in part through the pose of “dressing up can be read as an aspira- derived from Japanese ukiyo-e woodblock the sitter: the turn of the head, the steady tional activity, and among the younger prints), and yet remain original and dis- regard. Some of these “Fridas” wear shawls, models, this act brings with it a sense tinctive in their appearance and affect. scarves, bold pendant earrings or embroi- of promise, and hopes for the future.” Portraiture is freighted with a particu- dery, with dark center-parted hair pulled Finally she took faces in isolation and lar significance in our self-conscious age, back or put up. Eyebrows are emphatically added the Frida accessories to the por- when the “selfie” has become a defining expressive. All wear headdresses of flow- traits herself. The portraits of Jasmine, means of self-presentation for an ever- ers, feathers, or twists of cloth. Abigail and Trimita were arrived at in this expanding audience. In using Kahlo’s self- Heck is not alone in adopting—and way. Heck also introduced some playful crafted likeness to structure her portraits adapting—Kahlo’s self-portraits. Her variations: the solemn wide-eyed Rory of others, Ellen Heck has found a novel fellow American Miriam Schapiro has, features twice, Frida herself is re-imag- means of refreshing a stale genre. Without in her own words, “collaborated” with ined as Leonardo’s Lady with an Ermine resorting to stylistic gimmicks or descend- Kahlo, representing herself as Frida in (Cecilia Gallerani), with a bold gaze out ing to pastiche, she has created a new several prints and paintings modelled on towards the viewer instead of the averted model for the age-old collaboration the self-portraits. For many women, Frida gaze of the original, and in a companion between artist and sitter in which each has is a heroine, someone with whom they print Cecilia impersonates Frida, with an active part and a distinct identity. can identify; her portraits have a uni- a parrot in place of the ermine. There is versal appeal grounded in her defiantly even a Frida as Frida. unconventional beauty, and her asser- All the portraits elicit an intense Gill Saunders is Senior Curator of Prints, Victoria tion of an independent identity both as a intimacy, as the sitters make eye con- & Albert Museum. woman and as an artist. tact and engage the viewer. The effect is Heck says her series can be divided enhanced by the shallow, indeterminate into three groups, each with a slightly dif- pictorial spaces against which each sit- Notes: 1. A selection of prints from the series will be ferent goal, but all involving a kind of col- ter is silhouetted. While some figures included in a V&A exhibition “Facing History: laboration with the sitters. The earliest are engagingly informal, others, such as Contemporary Portraiture,” scheduled to open in group was developed from images Heck Ava, have a hieratic formality that recalls the summer of 2015. found on the Internet, where images of Renaissance portraits. 2. Ellen Heck. Forty Fridas (2014). http://www. women in the guise of Frida are plentiful; What strikes the viewer, seeing all blurb.com/books/5421357-forty-fridas 3. Alejandro Gómez Arias, “A Testimony to Frida she emailed the people concerned ask- the prints together, is the variety the Kahlo,” first published in 1977, reprinted in Frida ing for permission to use their images in artist has introduced despite the appar- Kahlo and Tina Modotti (London: Whitechapel Art exchange for a print. Portraits from this ent constraints of her project. There is Gallery, 1982), 38–39. group include Rory, Davina and Margaret. no template, no standard formula; each Deciding to focus on faces, Heck then print has been approached afresh, as an

Art in Print March – April 2015 5 EDITION REVIEW José Antonio Suárez Londoño By Catherine Bindman

The Herkimer Suite (2014) Suite of six etchings, two with additions in watercolor applied by hand, on handmade Indian Khadi white paper, sheet 16 1/2 x 12 inches each, image size variable. Edition of 20. Printed and published by Harlan & Weaver, New York, NY. $2,800 for the suite.

n May 2014, Colombian artist José I Antonio Suárez Londoño was living in an apartment on Herkimer Street in Brooklyn while he worked on a project with printers Felix Harlan and Carol Weaver that would eventually take on the name of the street. The first and smallest sheet of the resulting suite incorporates images of plants and leaves he picked up in the neighborhood as well as animals, the head of a black man and the motif of densely connected concentric circles that recurs in every print in the series, sometimes more than once. This first image was intended as a test plate and is inscribed in archaic script within the left margin, “TEST Plate HERBARIUM.” To the right of this is a key to the numbered, drawn motifs showing how many min- utes each was immersed in acid. Once the image was printed, Londoño applied José Antonio Suárez Londoño, plate from The Herkimer Suite (2014). Courtesy Harlan & Weaver, Inc., New York. watercolor to some of its elements. He then made four black-and-white plates that form the core of the suite as well as variable impressions and, as importantly, tables with turned legs, are at least famil- a final print, also hand-colored, to serve enabled him to rotate the individual iar. But the blank-featured, stylized nudes as an index. This last work shows orna- plates easily as he worked; this became standing or somersaulting in space; the mental baubles, pendants and inscrip- essential to his working process. The test birdcage and lantern structures or the tions alluding to the fact that the New plate and index plate ultimately became little black statuette on a base holding York workshop of Harlan & Weaver had bookends for a suite of six separate sheets a ladder are harder to decipher or inter- once been a jewelers; it also records the incorporating keys and annotations in pret. The starting point for each of these names of the printers who worked on the the manner of an herbarium. The pat- images, Londoño says, is the concentric project. terns on the four central plates are also circles motif; once he discovered that he Harlan and Weaver (with whom the designed such that when they are put could use a compass within the etching artist had produced three etchings in together, the leaves and flowers form a plate to create these forms, it encouraged 2012 and 2013) had originally invited Lon- little garden at the center of the grid. him to create a fluid sense of orientation doño to make a single plate to be printed If the prints at first suggest the scien- within each image. Indeed, the various on old Indian paper they had obtained at tific didacticism of an old botanical trea- components of the four core plates seem an artist’s estate sale. Londoño decided tise, on closer inspection their contents to circle the sheet as if lifted from above to divide the plate into four equal parts evoke an especially idiosyncratic cabinet by a tornado and dropped back suddenly with the idea of printing them in a grid on of curiosities—the controlled scattering on to the surface. Once the circles were a single sheet, but in a different order for of naturalistic plants, animals and birds established, he kept rotating the plates each impression (this single-sheet com- is interspersed with less obviously com- and “filling them with little things until position was printed in the summer of patible motifs, all wildly disproportion- the moment I say ‘it’s enough.’” These 2014 but has not yet been editioned). The ate in scale. Some, like the frigate and “little things” are mostly figurative smaller plates allowed the artist to create the rowboat, the upturned beds and the details from the “yearbooks” in which he

6 Art in Print March – April 2015 has made a daily drawing since 1997. The drawings respond to the books he is reading—sometimes relating to entire pas- sages and other times arising from just a single word; among these prompts are the diaries of Franz Kafka, Paul Klee and Rainer Maria Rilke; Arthur Rimbaud’s Poésies Complètes; Ovid’s Metamorphoses; W. G. Sebald’s The Rings of Saturn and the poetry of Patti Smith (a selection of these notebooks was exhibited at the Drawing Center in New York in 2012; in the same year Londoño produced drawings for the publication of Smith’s poem Hecatomb). While the yearbooks point to an unusually wide frame of cultural reference, Londoño is not merely eclectic. The Herkimer Suite was inspired in part by José Antonio Suárez Londoño, test plate from The Herkimer Suite (2014). an important herbarium of the plants of Courtesy Harlan & Weaver, Inc., New York. Colombia. Based on the findings of the Expedición Botanica de Neuva Granada circles—all these represent the artist’s Catherine Bindman is an editor and art critic who led by the Spanish doctor, botanist and measured responses to the ideas of writ- has written extensively on both old master and priest José Celestino Mutis between 1783 ers and other artists rather than a direct contemporary prints. and 1808, it contains exquisite botani- appropriation or illustration of them. cal plates. In 1816 the descriptions and Londoño’s obsession with literature and more than 6,000 illustrations produced old botanies, with scientific instruments by Mutis and his team were shipped to like the compass and with traditional Madrid at the behest of the Spanish king printmaking techniques—all evident in but the resources to publish the work were this suite—seems similarly archaic at this not found until after World War II. By moment of technological compulsion. the time Londoño (b. 1955) was in school Indeed, the copperplates for The Herkimer in Medellín, he says, “everyone learned Suite were smoked in the traditional about this expedition,” and as an adult he manner to create an unusually dark vel- visited Madrid to see the original plates vet surface that, Londoño explains, is in the Royal Botanic Garden. The artist’s “beautiful to draw on—you can see better youthful interest in botanical drawings what you are doing.” Printer Felix Harlan was soon matched by a then-very-unfash- notes that the technique, while still ionable interest in the traditional print- widely used in South America, is rarely making techniques of woodcut, etching employed in the U.S. because of the large and lithography, which he learned from quantities of sticky black smoke it cre- a local printer soon after graduating high ates. At Harlan & Weaver, Londoño dis- school. Later, at art school in Geneva, missed the traditional use of wax tapers Londoño made prints every semester for as they produced insufficient amounts of seven years, largely undisturbed by the smoke; a kerosene lamp discovered in the ancient professor and the other students, studio was found similarly wanting. fully absorbed as they were in the school’s Eventually the artist settled on what he prevailing Conceptualist agenda. While called “a Molotov Cocktail,” soaking a drawing remains primary in his daily strip of T-shirt fabric in melted Vaseline practice, Londoño has remained commit- and dramatically setting it on fire. “He ted to etching ever since. got what he wanted and he was quite There is something old-fashioned proud of it,” says Harlan. “Although I about the modest and often oblique man- made him do it in front of the exhaust ner in which Londoño references literary fan.” “I’m glad he showed me,” he adds. and artistic figures in the economical “But I don’t know if I’m going to do it motifs in his yearbooks and etchings. A again.” Londoño himself clearly harbors series of numbered clouds or a hand rest- no such reservations. One discerns, in ing face down on a surface, small figures fact, a small but excusable note of swag- in obscure moments of confrontation or ger in his tone as he describes his abiding connection, numerous annotations, fascination with the technique: “I work more plant forms and more concentric like Rembrandt,” he pronounces.

Art in Print March – April 2015 7 EDITION REVIEW New Editions from Diane Villani and Hauser & Wirth By Sarah Kirk Hanley

Ida Applebroog, Ephemera (2014) Suite of five etchings with photogravure (with essay by Elisabeth Lebo- vici), 12 x 15 inches each. Edition of 25. Printed by Lothar Osterburg Stu- dio, Brooklyn, NY, and Jennifer Melby, Brooklyn. Published by Hauser & Wirth Editions with Diane Villani, New York. $12,000 for the suite.

Matthew Day Jackson, LIFE, June 5th 1944 (2014) Rust (iron oxide) transfer and woodblock, 30 1/4 x 21 3/4 inches. Edition of 25. Printed by Shore Publishing, Tuxedo Park, NY. Published by Hauser & Wirth Editions with Diane Villani, New York. $2,500.

hese recent projects by Ida Apple- T broog and Matthew Day Jackson are the first fruit of a new collaboration between Hauser & Wirth and veteran print publisher Diane Villani to produce Ida Applebroog, two etchings from Ephemera and support editions by the gallery’s (2014). artists. Villani will continue to publish under her own imprint, Diane Vil- lani Editions, but will also be intimately Villani for more than a decade, producing involved in the gallery’s publication proj- etchings, photogravures, digital prints ects; Jacqueline Sischy is heading the and offset book works. Ephemera con- initiative for Hauser & Wirth. sists of five photogravures with etching The seed for the project was planted in in the artist’s simple linear style. Each a 2012 meeting to discuss the print legacy of the images was originally painted on of Dieter Roth. Villani, Björn Roth (the the curved back of steel folding chairs, artist’s son and collaborator) and Barry then photographed and digitally altered Rosen, who represents the estate, met at by the artist before being transformed the Roth studio in Basel. “We all felt that it into photogravure by Lothar Osterburg was important to focus some attention on and printed by Jennifer Melby. Each is the conservation, exhibition and archiving rich with narrative suggestion—a care- of the remaining Dieter Roth print inven- free businessman in his car, a disturbing tory,” Villani explains. After a presence and surreal representation of three girls for these works was established on the locked together in stocks—but there is gallery’s website, Villani began to track no logical connection between them. down publications by other gallery artists, Elisabeth Lebovici’s brief and insightful images (Lebovici duly defers to Meyer such as Ellen Gallagher, Louise Bourgeois essay, included as an introductory page, Schapiro) and her practice of dropping and Guillermo Kuitca, to complement the analyzes Applebroog’s manipulation and the viewer into the middle of the story. Roth listings. “From there, it was only nat- deconstruction of the tools of visual nar- Lebovici quotes the artist: “There is no ural to expand to new publications.” rative, especially her use of the box as a narrative, no beginning, no end. You Applebroog has been working with “non-mimetic” device to frame selected enter by the middle.”

8 Art in Print March – April 2015 soon-to-open Los Angeles location, and the Applebroog suite is featured in a recent issue of Hauser & Wirth Magazine (vol. 4, December 2014–February 2015). The gallery is excited about this new initiative, as are many of its artists. The primary challenge is geographic; its artists live and work all over the globe— Kuitca is in Buenos Aires; Gallagher in Rotterdam and New York, Mark Bradford in Los Angeles; Pierre Huyghe in Paris; Rodney Graham in Vancouver; Anri Sala in Berlin—so scheduling workshop time is a challenge. Formats are likely to vary with each project; some will be printed in small editions while larger editions may be sold under the gallery’s publication program (precedents include artists’ books by Bradford and Paul and Damon McCarthy). “We don’t have strict boundaries about how we operate or who we work with,” Sischy remarks. Villani, for her part, sees the project as “passing the tradition of publishing to the next generation.”

Sarah Kirk Hanley is an independent print curator, writer and appraiser based in the New York area. She writes the INK Blog for the Art in Print website and is a frequent contributor to the journal.

Matthew Day Jackson, LIFE, June 5th 1944 (2014).

Matthew Day Jackson’s print inves- ments, and the corrosion provides the tigates the metaphorical and cultural printed medium. It is an inexact method, implications of Life magazine, a subject and each impression is slightly different. he has previously explored in collages and Hand-carved woodblocks recreate the canvases. This work recreates the maga- original masthead, date, price and sub- zine’s June 5, 1944, cover showing a sea of scription information. marching, uniformed soldiers with the These editions and others will be dis- caption, “The US Infantry.” For contem- played in Hauser & Wirth’s Roth New porary viewers who know their history, York Bar and its Roth Bar and Grill in the date may conjure both exhilaration rural England (the complex includes and dread, a visceral awareness that the a working farm, gardens and a guest following day—D-Day—would spell house). These two permanent installa- the beginning of the end of World War tions were created by Björn Roth and II, but at the cost of tens of thousands his sons, Einar and Oddur, using found of young lives. Mortality, individuality objects to embellish functional dining and the subjective experience of time spaces (the New York location is used are leitmotifs for the artist, and are inti- only for special events but is always open mated here through the use of rust: the to visitors; the Somerset location in the etched iron intaglio plate was oxidized UK is a full-service restaurant). The gal- through chemical and elemental treat- lery also intends to show editions in its

Art in Print March – April 2015 9 EDITION REVIEWS A–Z

David Altmejd

Ringers (2014) 21 intaglio prints with chine collé, laser engraving, pigmented inkjet and collage, and hand additions of glitter, fake fur, human hair, chain, wool, gold leaf, beads and/or pearls on various papers adhered to board, image 7 x 5 1/4 inches each, sheet 26 x 19 1/4 inches each. Edition of 30. Printed and published by the LeRoy Neiman Center for Print Studies, Columbia University, New York. $1,800 each. $30,000 for the set.

or those accustomed to experienc- F ing the works of David Altmejd in three dimensions and at a large scale, in immersive installations in which glass and mirrors compound mysteries of David Altmejd, K.O. and D.B. from Ringers (2014). facture and content, this set of mixed- medium prints will come as a surprise. While they distill the artist’s penchant grown lips and hair has become beards. John Armleder for visual sleight of hand and, like the False noses are added and all manner of sculptures, shape an experience of muta- garb, from gowns to dress shirts and a Ancient Imperial Horses (2014) ble identity, in contrast to the larger burka. Pearls and glitter adorn these new Screenprint, 40 x 40 inches. Edition of work they are wonderfully intimate and beings, droll, timid and sinister by turn. 48. Printed by Axelle Editions, Brook- humorous. In 2012, the year he began “D.B.” appears twice—this is master lyn. Published by World House Editions, thinking about Ringers, Altmejd was cre- printer Doug Bennett, and the doubling Middlebury, CT. $3,600. ating a series of somewhat gory-looking is perhaps an homage to his printerly epoxy heads displayed upside down. That ingenuity. In one instance he appears as ohn Cage once wrote that the reason to preoccupation informed his decision in a head in a little vitrine, as if on display J compose music (and by extension, this, his first major print project, to cre- in a museum; in another he is given a make art) was not “to bring order out of ate a set of topsy-turvy portraits. After great hairy chest. “K.O.,” his expression chaos nor to suggest improvements in cre- shooting photos of his workshop assis- astonished, is a head spinning through ation, but simply [as] a way of waking up to tants, as well as students and staff at the air, altered by the addition of some of the the very life we’re living, which is so excel- LeRoy Neiman Center, Altmejd tweaked artist’s own hair. “M.T.” is a shy lady with lent once one…lets it act of its own accord.”1 the portraits in Photoshop, then printed pinprick nostrils and a set of dignify- This may seem a peculiar quote to them in inkjet. Flipped upside down, they ing pearls; “A.W.” has become a tattooed bring up with regard to John Armleder’s were overprinted in intaglio—mainly leather dude. The portrayals have little or new screenprint, a large and sublimely line etching, with occasional aquatint nothing to do with the actual people— tidy vortex of black dots arranged in and spit-bite—and adhered to a sturdy Altmejd is revealing nothing except, per- concentric rings of diminishing size. No foamcore backing. Altmejd then cut holes haps, the reality that we all carry within aleatoric event has been allowed to dis- with a laser to create shallow glitter-filled us for more than one identity. rupt the pictorial scheme. Everything is cavities in the board, and attached small Sometimes, in the background, one perfect: the matte ink sucks in light, the chains, pearls and other materials as can see the Neiman workshop, stocked pristine paper sends it blazing back, and adornments to transform his sitters. with shelves of ink and other supplies— the edge between the two is razor sharp. In keeping with one meaning of the an indication that we are also viewing a The fact that Armleder is Swiss allows the title, we are here dealing with fraudulent community of production. Ringers was cliché to write itself. identity. Each of the sitters is identified complex and time-consuming, as Nei- But in this print—as in his entire in the lower left margin by initials, but man projects often are. Though playfully career—Armleder is playing with some- in the image, he or she is rendered nearly intent on asserting artistic liberties, Alt- thing far wilder than the visual archi- unrecognizable. Males become females mejd here pays tribute to those who facil- tecture of modernist design or even the and females males; foreheads have itated his creation. —Faye Hirsch endgames of appropriation that have recy-

10 Art in Print March – April 2015 Richard Bosman

Crossing (2014) Woodcut, 20 x 29 inches. Edition of 30. $1,500. Round Trip (2014) Woodcut, 33 1/2 x 25 inches. Edition of 30. $1,500. Squall (2014) Linoleum cut, 19 1/2 x 24 1/2 inches. Edition of 30. $1,200. All printed and published by Tandem Press, Madison, WI. Prepublication prices subject to change.

hree new relief prints from Tandem T Press extend Richard Bosman’s exploration of the drama of travel, particularly at sea. The theme was established in his first print publications in 1981, which included the iconic woodcut Man Over- board. Closely associated with the Neo- Expressionism of the 1980s, Bosman’s work is enjoying renewed appreciation: he was recently interviewed by Ross Simo- nini, and his prints from 1981–1993 were the subject of a tightly focused exhibition at Owen James Gallery. In addition to the dangers of the sea, his substantial body of John Armleder, Ancient Imperial Horses (2014). prints has also explored the latent anxiety of woodlands and urban environments. cled that architecture for the past three Bosman has continued to refine and decades. Armleder’s roots lie in Fluxus and Notes: expand what Roberta Smith described in 1. John Cage, “Experimental Music,” 1957. the fundamental Cagean question of what Reprinted in Silence (Middletown, CT: Wesleyan a 2003 review as his “juicy and overdone” relevance (if any) the intentions of the University Press, 1961), 12. style, characterized by “slightly clumsy artist have to the experience of the audi- scale relationships between surface agita- ence. Armleder’s oeuvre is charismatically tion, surface size and image.” eclectic: in addition to making reasonably conventional art objects (paintings, prints, etc.) he has acted as a curator, critic, performance artist and publisher. All of these activities can be seen, like the closing and opening of the keyboard lid in Cage’s seminal 4´33˝ (1952), as frames for attention— devices that prompt us to look, not to tell us what we see. Beyond the ellipse between title and image, there is nothing mysterious about Ancient Imperial Horses—it carries no hint of personal expression or social critique. There is no message to be deciphered. The system is self-evident, but it is also mesmerizing (one can image Mesmer employing it). The eye is entranced, pulled dot by dot into the distance that isn’t a distance, where we find nothing but what we brought with us in the first place: the very life we’re living. —Susan Tallman Richard Bosman, Crossing (2014).

Art in Print March – April 2015 11 Enrique Chagoya, La Bestia’s Guide to the Birth of the Cool (2014).

In prints, this means simple block-like and everyday travelers of various ages ics have a power to haunt the psyches forms, expansive gestural marks, and and ethnicities. As with prior codices, of guests, hosts and celebrants. When saturated hues, all evident in these latest the imagery is a lively amalgam of cul- visually isolated and rendered as icons prints. He exploits the distinctive charac- tural references from Central America, of half-remembered cheer they become teristics of his materials—in Crossing the Europe and the U.S., covering a historical the poetically resonant subject of Jef- blocky nature of woodcarving is empha- period of some 500 years. It also follows frey Dell’s prints. Their oscillations sized in the clouds and cabin of the cargo the basic framework Chagoya has estab- between happy and sad are as easy to ship. In Round Trip (illustrated page 47) lished for his codices, inspired by the respond to intuitively as they are hard unaltered wood grain animates the clear pre-Columbian books of the Nahua and to process fully. These polka dots and blue sky around a generic passenger jet Maya: reading from right to left, folded zippy stripes feel less like cheer-moti- pictured approaching the viewer (top) and accordion-style, numerated in the Maya vators than evidence of an emotional flying away (bottom). In the linoleum cut system, and printed on Amate, a tradi- crime scene. Squall, expanses of gray ink imbue clouds tional paper first manufactured by early Floating in fields of creamy white and ocean with a sense of impending Mesoamerican cultures. (See “Visual Cul- and rarely approaching the edges of the doom. As in much of Bosman’s work, each ture of the Nacirema: Chagoya’s Printed sheet, Dell’s shapes appear like frag- image seems to be a frame isolated from a Codices,” Art in Print, Vol. 1, No. 6.) ments of folded paper and ribbons, flat wider narrative. He recently explained, Though Chagoya acknowledges the surfaces twisted or curled into fugitive “I prefer to think of what I do as making conditions of such travel (one page shows illusions of three-dimensionality. Each images that often imply a past, present an overburdened train with passengers has an area of richly hued color where and future. I think of [them] as fiction.” packed shoulder-to-shoulder both inside nothing is held back in terms of satura- —Sarah Kirk Hanley and out), such distress is balanced by a tion, woozy blends and visual seduction. vibrant color palette and appropriations The specific quality of Dell’s screen- Enrique Chagoya of Mondrian paintings and Mondrian- printing technique allows his simple inspired fashion. On the final page, a forms to contradict themselves and La Bestia’s Guide to the Birth of the Cool handful of Mesoamerican gods dressed make the happy-sad vibe palpable. These (2014) in mod A-line dresses dance over a yellow beguiling touches are anomalous with Color lithograph with chine collé and caboose and its rails. Chagoya explains the overall restraint one always senses gold powder on handmade Amate paper, that he wants to celebrate the exuberance in his work. In Dell’s world the birthday 8 1/2 x 92 inches. Edition of 30. Published of childhood as well as the cultural riches cake itself remains a tease. by Shark’s Ink, Lyons, CO. $4,000 (price immigrants carry with them: “Diversity subject to change). in my book is a wealth of culture, not a threat, hence the celebration on the last n his 12th editioned codex with Shark’s page.” —Sarah Kirk Hanley I Ink, Enrique Chagoya returns to immigration, a topic he hasn’t visited in Notes: depth for nearly two decades. Prompted 1. Chagoya notes that many immigrants also by the recent controversy over the illegal travel by bus or on foot, but he was interested in immigration of unaccompanied minors the formal qualities of the train in the context of his from Central America, La Bestia’s Guide to established codex format. the Birth of the Cool is the artist’s response to the xenophobic punditry embedded in Jeffrey Dell the debate. The work’s central motif is the Beast Hot Money Girl I and II (2014) (La Bestia), also known as the Death Screenprint, 34 x 23 inches. Edition of 4. Train (el tren de la muerte)—the freight Printed and published by the artist, San train system that transports migrants Marcos, TX. $2,200. through Mexico to the U.S. border ille- gally and under unsafe conditions.1 Cha- he party is over, but the bits of wrap- goya’s train, which travels over a map T ping paper, bows and ribbon are spanning territory from Mexico to Chile, strewn on the floor, decorative stream- carries a number of children but also sev- ers dangle overhead and leftover cake is eral superheroes, Mesoamerican gods, crusting-up on the counter. These rel- Jeffrey Dell, Hot Money Girl II (2014).

12 Art in Print March – April 2015 Left: Lesley Dill, Hummingbird Dress (2013). Right: Lesley Dill, Hummingbird Dress: Red (2013).

Using a classic push-pull maneuver aligns with Dell’s perverse depiction of embodies that ephemeral moment. Dill that Hans Hofmann would likely have good times. The memory of ill-advised has suggested that the “bird is flying off approved of, the dots and stripes of rich party behavior is presented sympatheti- with the dress” in the way an idea can color appear to sit well behind the pic- cally, through images that suggest the overcome the body. The unfurling wings ture plane—visual magnets, attract- resultant mix of pride and shame. View- and skirt, emphasized by the feather ing our attention and desires—at the ers may wish they had been to the party, arms that extend from the bodice, inter- same time they remain on the surface felt the streamers and eaten the cake, but est her as a representation of the expan- of his fictive yet fully articulated shapes. few would want to clean up the emotional sion and freedom of spirit. Strings at the Visual analysis is never easy or fully messes left behind. —Bill Arning upper corners connect the viewer, the completed. Even in Dell’s earlier, more work and the spiritual realm. The two narrative works such as Pink Blob or Last Lesley Dill variants, identical aside from the colors Moments (both 2009) the story is far of the background and hummingbird, from clear, and their more descriptively Hummingbird Dress and Hummingbird offer different incarnations of the idea; drawn images attract and repel in equal Dress: Red (2013) she sees the white background and rust- measure with a slipperiness that is visu- Color lithographs with collaged three- orange/brown bird as “literary” and the ally and conceptually engaging. dimensional elements, 22 1/4 x 22 1/4 red background and pale-blue/black bird Dell’s titles are derived from Google inches each. Edition of 15 each. Printed as “sculptural.” searches under his own name. Googling and published by Tamarind Institute, The artist’s ruminations were inspired oneself is a model of solipsism that Albuquerque, NM. $2,500 each. by two separate quotations from John should be embarrassing, and often Milton’s Paradise Lost—“lightest moment indeed offers a lesson in humility. The esley Dill’s most recent editions with of impulse” and “high collateral glory”— titles Hot Money Girl and The Saints L Tamarind Institute, Hummingbird which appear together along the lower Vacation come from a different Jeff Dell, Dress and Hummingbird Dress: Red, con- edge of the sheet and on the dress itself. a British director of exploitation films tinue the artist’s dialogue with ink on The “moment” is represented by the bird whose cyber presence is much larger paper that began in the early 1990s after and dress while the “glory” occupies the than that of Jeff Dell the artist. And yet an extended stay in India. These two open space around them. Dill was fasci- the words can be read as descriptive of prints explore a number of her estab- nated by Milton’s combination of the the screenprints: the orange swirl of The lished motifs, from women’s clothing to words “collateral” and “glory,” which Saints Vacation could be a cast off reli- birds to the written word. For decades rings odd to the contemporary ear. The gious garment, or a streamer thrown at Dill has used dresses as a central meta- “old style” typefaces offer a visual allusion an Italian saint’s street celebration; it phor for the spiritual body and feminine to Milton’s time, while the scattershot seems to speak of those moments when power. She has also long been fascinated effect of the different point sizes and col- we leave our vows behind. Hot Money by birds, which she employs here to sym- ors force the viewer to work at reading. At Girl becomes a stripper’s garter belt from bolize the instant of impulse between the same time they energize the text and an old movie. idea and action; the hummingbird is convey, Dill says, both “optimism and This queering of the notion of self a particularly fragile organism that depth.” —Sarah Kirk Hanley

Art in Print March – April 2015 13 Stella Ebner Nancy Friedemann

The Back Rub (Or the Great Wave) (2012) Untitled (2014) Screenprint on Japanese paper, 36 x 25 Four-color woodcut on Sekishu paper, inches. Edition of 5. Printed and pub- 30 x 55 inches. Edition of 10. Printed lished by the artist, Purchase College, and published by Constellation Studios, SUNY, Purchase, NY. $1,600. Lincoln, NE. $4,500.

hrough the seating area of a vacant n the 16th century, Andalucian nuns T and darkened Japanese restaurant, I brought lace and embroidery tech- two figures can be seen in an illuminated niques to Colombia, where the imported doorway behind a semitransparent cur- vocabulary of Hispano-Moresque motifs tain, one massaging the shoulders of the was expanded by native flora and fauna, other. One of Stella Ebner’s poignant odes resulting in a distinctive art of mantil- to the beauty of everyday life, this poster- las and shawls with the delicacy and sized screenprint, like many of the art- resilience of gossamer. This hand art has ist’s prints, uses frames within frames, a fostered continuity from generation to bystander’s viewpoint and multiple passes generation, offering reassurance that life of transparent inks to create a narrative at persists. Colombian painter Nancy Friede- once commonplace and profound. mann’s enamel-on-mylar lace “drawings” A composition of nested rectangles Stella Ebner, The Back Rub (Or the Great share the reverence for handmade tex- Wave) (2012). focuses attention on the upper center. tiles that marks the work of contempo- The outer room, which bleeds off the rary artists such as Miriam Schapiro, but paper, is in shadow, creating a heavy cally indolent manaki-neko “fortune cat” have their roots in the specific traditions frame for the light, vertical area of the raising its paw between a laminated sushi of Colombia. doorway and the hanging screen. Here, menu and a well-watered indoor shrub. This large and complicated woodcut— overlapping images of Hokusai’s Great A generous accumulation of transpar- more than four feet long—is, remark- Wave (which is reproduced on the deco- ent layers of color builds up a rich, jewel- ably, her first work in the medium. (She rative curtain) and the arms, shoulders toned surface on the Japanese paper. In had made one, much simpler, lithograph and bent heads of the figures behind it Let’s Go! G-O! Go! (2014), this same tech- at Tamarind in 2006.) In a sea of black, merge in a shared gesture. The essence nique is used to feature the abstracted fragile white lines delineate an intricate of the print is articulated in this small reflections of a cheerleading routine in botanic network—roses, eucalyptus, a space where the weight of an icon of the high gloss of a gym floor. spider web—that stretches across the cultural identity harmonizes with the In The Back Rub (Or the Great Wave) upper image; on the right, a branch sup- fatigue and relief of employees after Ebner once again presents us with a lay- ports a pair of parrots; but below this a long day’s work. The title, similarly, ered narrative—a tender appreciation of a vision of decorous nature a handful of encourages us to flip back and forth moment of intimacy framed by historical lines suggest endless water, out of which between their sympathetic interaction awareness and carefully constructed jux- peeks the roof of a house, the wheels of and art history. tapositions. —Ellen Heck drowned cars, and a flailing hand. Catching the scene through the clean and empty seating area of a restaurant now closed for the night, we are acciden- tal observers presented with a glimpse of one of the many lovely moments on earth that often pass unappreciated. Unusual vantage points are a recurrent feature in Ebner’s work. In The Award Ceremony (2014), from below stage level, we admire a professional flower arrangement placed on the floor near the wings. In Memorial Day (2011), we discover the near-abstract beauty of the very tips of American flags piercing an image almost entirely filled with sky. Ebner’s style is graphic yet loose, creating shapes that reverberate at their edges with vitality and often humor. Amid the simplified background imagery of the restaurant, she has placed ceramic vases, each with its own pattern, and a comi- Nancy Friedemann, Untitled (2014).

14 Art in Print March – April 2015 The juxtaposition of delicate beauty and destruction suggests resilience in the face of loss, but whether the inundation is a personal sorrow or a shared disaster like the deadly 1985 Nevado del Ruiz mudslides is left open to interpretation. Friedemann’s woodcut is one of the first publications of Constellation - Stu dios, the new Nebraska-based printshop founded by the well-known woodcut artist Karen Kunc [see Art in Print, Vol. 2, No. 2]. Kunc understands paper and she understands ink. For this print, artist and printer selected Sekishu, one of the oldest Japanese washi papers. While apparently fragile it is amazingly strong, and it drapes over your hands like lace when you take it from the drawer. Printed in two shades of black, with floral areas hand-rubbed by the artist with transparent yellow ochre and burnt red, the image has the bruised patina of old silk, enhanc- ing the sense of a treasured heirloom. —Penelope Smith

Wayne Gonzales Crowd (2014) Boxed portfolio of five single-color etchings, image 8 x 8 inches each, sheet 18 x 14 inches each. Edition of 40. Printed by Greg Burnet, NY. Published by Graphic Matter, Antwerp. $6,000.

Parking Lot (2014) Five-color reduction linocut, 11 x 19 inches. Edition of 24. Printed by Leslie Miller and Brad Ewing at Grenfell Press, NY. Published by Grenfell Press. $1,800.

ayne Gonzales has spent his W 25-year-long career exploring the markers of a society unhinged by the “truthiness” of media. Profoundly influ- enced by the silkscreen methods of Andy Above: Wayne Gonzales, from Crowd (2014). Below: Wayne Gonzales, Parking Lot (2014). Warhol, he first created a name for himself with paintings related to the assas- For each of the prints under consider- Monica), a parking lot, some people on sination of John F. Kennedy. (Gonzales ation here, Gonzales began with a pre- a lawn (picnickers? concert-goers?) and grew up in New Orleans, in the shadow existing photograph that he scanned another group near the edge of a park or of the Jack Ruby “conspiracy.”) Although and digitally altered, leaving it believ- wood. In the case of the three populated he has not made many formal editions, able, though not according to its original images, one senses that they may once Gonzales has long considered the pro- logic. Crowds are stretched, their actors have captured a lighthearted leisure—but, pensity of prints to disseminate and, duplicated; parked cars are multiplied transformed, they do so no longer. From in their photographic appropriations, and rearranged. His alterations, however, a distance, the scenes read coherently, to distort. In two recent forays into are seamless, and as such, merely sensed. though they are filled with shadows; up printmaking, he turned to some tradi- Crowd consists of five small images: a close, they dissolve into an illegible net- tional techniques—etching and reduc- group of houses (borrowed from Walker work of small, scratchy lines. These are tion linocut—creating a fascinating Evans’s 1936 series, “American Photo- luscious etchings, boasting deep, inky symbiosis of contemporary image-con- graphs”), a beach scene (adapted from blacks—seductive little objects that are struction and old-fashioned craft.xxx Gonzales’s own photo of bathers in Santa the more disconcerting for the feature-

Art in Print March – April 2015 15 less, unreadable figures inhabiting them, anonymous characters that might as well be made of ash. Elias Canetti wrote, “Men usually believe that the dead live together in a distant country, under the earth, on an island, or in a heavenly house.”1 Gon- zales has seemingly invented his own version of such uncanny crowds and the realms they inhabit. The depopulated tract of a parking lot, the subject of one of the images in Crowd, is taken up again in the reduction linocut that Gonzales printed at Grenfell Press. Creating a tripartite image with no gaps between its enjambed panels, Gonzales multiplies and crams the cars together so that there is likewise no room between them. The subject is again a crowd, though conveyed entirely in surrogate— post-human and post-apocalyptic, bathed in a masterful grisaille of black and four shades of gray. The image exercises a kind of seduction even as it alienates, the smoothness of the surface and cool atmospherics attracting even as the claustro- phobic subject repels. Like the Crowd etchings, this is a powerful print, its modest scale out of all proportion to the effect it exerts. —Faye Hirsch

Notes: 1. Elias Canetti, “The Crowd,” Crowds and Power, trans. Carol Stewart (New York: Farrar Straus Giroux, 1962), 42. Arturo Herrera Dance (2014) Nine photogravures, 52.5 x 39.5 cm each. Edition of 24. Printed and published by Niels Borch Jensen, Copenhagen. €1,600 ea.

Four Dancers (2014) Photogravure, image 28.5 x 41 cm, sheet Arturo Herrera, from Dance (2014). 39 x 51.5 cm. Edition of 24. Printed and published by Niels Borch Jensen, Copen- Romanticism or self-taught karate, painting and its unique multimedia cous- hagen. €1,800. objects that have outlived their original ins—you end up with one thing only and he new photogravures from veteran purpose and can be recast as interlocu- every decision made entails the loss of T collagist Arturo Herrera extend his tors in a new conversation about history, what came before. One of the glories of work in visually gripping and emotionally the world we find and the world we make print is that you can have your cake and affecting ways. Though his early reputation [see Christina Nippe’s article on his over- eat it too—state proofs, templates and was established by his intricate rework- printed found books in the July–August impressions can all be preserved as a kind ings of pop cultural motifs, it was quickly 2014 issue of Art in Print]. of archive of the image. These lowered apparent that—for all the Disney borrow- The photogravures arose from a vol- stakes facilitate experimentalism and ings—Herrera’s sensibility was eloquent ume picked up in a second-hand bookshop also, in the right hands, poetry. rather than brash, and inquisitive rather in Charlottenburg—a 1947 publication of Photogravure enabled Herrera to than sardonic. In his densely intercut col- dance photographs by Serge Lido with a bypass the irremediable acts of cutting, lages, the jittery noise of visual life is not preface by Jean Cocteau. gluing or overprinting. Instead he arranged quashed, but rejiggered into counterpoint. Most of Herrera’s previous work was objects—string, mesh, shards of metal— in For years Herrera has been frequent- girded by a spine of tension between the the manner of photograms over transpar- ing the book stalls in Berlin flea markets, destruction necessitated by the construc- encies of the book pages. When exposed to collecting battered volumes on German tion of what we see. It is the nature of make the printing plates, these ephemeral

16 Art in Print March – April 2015 Left: Charline von Heyl, Dust on a White Shirt (Stripes) (2014). Right: Charline von Heyl, Nightpack (2014). addenda become solid blocks of darkness, Six intaglio prints, image 24 x 19 inches, prints—the four large Nightpack works some sharp-edged, some retreating into sheet 31 x 25 inches. Edition of 20 each. and six smaller prints—distinguished increasingly out-of-focus depths. In and Printed and published by Crown Point from one another by like size and shared around these irrational, unidentifiable Press, San Francisco. $3,000 each, except imagery. The prints’ undeniable sponta- black shapes and wiggles, the arms of long- Dust on a White Shirt (Evil Eye) and Dust on neity is most evident in the tonal washes gone bend gracefully, satin toe shoes a White Shirt (Stripes), $3,500 each. and graphic marks of L’étranger, Schatzi, gleam, and muscular legs arc through the and Schmutzi, which use the same spit- air. Almost all the faces are obscured, he ten punchy prints by Charline bite and etching plates printed in varying which inevitably reads as an act of aggres- Tvon Heyl that debuted at the IFPDA colors. Despite their impetuous gestures, sion, but the rhythmic cohesion of the Print Fair in November look like the work cacophonous colors and fusion of tech- composition is so compelling one can’t of a seasoned printmaker. Made with niques, the compositions are reined in by help seeing the dancers and the shadows as Crown Point Press, the largely abstract mirrored and repeated forms that provide part of a single choreography. Herrera’s works combine an array of intaglio tech- a sense of harmony. For example, the two familiar themes of loss and creation, chaos niques and explosive gestural marks. three-toed paws at the bottom of the two and coherence, are given form here not The confidence they exude is remarkable Dust on a White Shirt prints are echoed through absence and presence but through given that von Heyl made her first prints by the etched outline of a four-toed paw, darkness and light. —Susan Tallman only in 2013 (at Prints of Darkness in overlapping but askew. The all-over com- Brooklyn), but her ease with the medium positions of the Nightpack prints arise Charline von Heyl is not entirely surprising—the layering from the repetition of circular and oval and replication that are distinctive fea- shapes that take on the semblance of eyes Nightpack (The Lost Weekend), Nightpack tures of printmaking are tactics she has emerging from tangles of abstraction (Red, Yellow and Blue), Nightpack (Gothic), employed in her painting for more than akin to Jackson Pollock’s painting Eyes in Nightpack (2014) two decades. the Heat (1946). Four intaglio prints, image 44 3/4 x 35 3/4 At Crown Point, von Heyl worked in The red-and-white Nightpack (The inches, sheet 52 1/4 x 42 3/4 inches. Edition soft-ground etching, drypoint, sugar-lift Lost Weekend) contains a more blatantly of 10 each. Printed and published by Crown aquatint and spit-bite aquatint on plates referential element. Beneath the out- Point Press, San Francisco. $8,500 each. of two different sizes: 44 3/4 x 35 3/4 stretched paw at the bottom right, von L’étranger, Snoopy (Black V), Schatzi, inches and 24 x 19 inches. She then printed Heyl added a cartoonish black bottle. Schmutzi, Dust on a White Shirt (Evil Eye), various plates together, combining dispa- Drawing upon an eclectic collection of Dust on a White Shirt (Stripes) (2014) rate techniques to create two groups of visual material, from modern master-

Art in Print March – April 2015 17 Susan Howe and R. H. Quaytman, from Tom Tit Tot (2014). pieces to comics, the artist has produced School) in Troy, New York, and wrote clopedia of Needlework (1886), a playful, lighthearted works without sac- numerous textbooks and treatises. She comprehensive volume that aimed to rificing complexity. The prints aren’t only was also a published poet. The Quayt- consolidate worldwide knowledge of this fun to look at—von Heyl seems to have man print included in the Tom Tit Tom handicraft at the dawn of the machine had fun making them, too. deluxe edition—A Sketch of the Whole age. In a book that explores the archeol- —Allison Rudnick Complicated Subject of Universal History— ogy of knowledge from the intimate per- takes its title from Willard. And Tom spective of a mother-daughter collabor- Tit Tot’s frontispiece—a combination of ation, this humble sock made gradually Susan Howe and screenprint, digital and letterpress print- by hand serves as a metonym for the R. H. Quaytman ing—uses imagery appropriated from whole messy and miraculous enterprise Willard’s illustrations Picture of Nations of learning, doing, creating and passing Tom Tit Tot (2014) and The Temple of Time. The temple in on. “TANGIBLE THINGS,” Howe pro- Bound book with letterpress, screenprint the frontispiece retains vestiges of the claims in one of her poems, “Out of a and digital printing, 12 3/4 x 10 inches. names, places and historical epochs that stark oblivion.” Edition of 95. Printed by the Grenfell Willard assembled into architectur- —Elizabeth Finch Press, with Brett Groves, Axelle Editions ally defined categories. This impulse to and the Lower East Side Printshop, New order is echoed in the Tom Tit Tot bibli- Xylor Jane York. Published by the Library Council of ography, which details Howe’s literary the Museum of Modern Art. $3,000. source matter—a personal archive of art Third Order Magic Square for Deep Sleep Deluxe edition including a further print criticism, philosophy, poetry, history and (2014) by Quaytman published in an edition of folklore, with an emphasis on American, Three-color aquatint, 21 3/4 x 24 1/2 26. $8,000. British and Irish writers. Cutting, tap- inches. Edition of 22. Printed and pub- ing and pasting together excerpts from lished by Wingate Studio, Hinsdale, NH. he title of this artist’s book by poet these texts, Howe composed 67 poems. $2,000. T Susan Howe and her daughter, the She included unaltered fragments from artist R. H. Quaytman, comes from an the textual infrastructures—footnotes, rints, quite simply, are affairs in English variant of the folk tale Rumpel- contents pages, leadings and typefaces. P numbers. Through the use of repro- stiltskin. In this telling, a young woman Letterpress printing instills this lovingly ductive techniques, images can be saves her life and gains her freedom by selected and arranged miscellany with released from the limitations of a solitary guessing the name of a strange creature formal unity as the type moves about the existence, multiplied into a series of itera- who has come to her aid in the impos- page, weaving together meaning in some tions and divided as these iterations are sible task of spinning fives skeins of flax a places and letting it unravel in others. sorted into sequenced editions. Perhaps a day for a month. The resourcefulness and Two of the three remaining images by reprinting leads to the existence of addi- ingenuity of remarkable women are two Quaytman appear opposite Howe’s tional copies entering circulation, as is of the many themes that run through this poems and are also printed letterpress. occasionally the case with artist’s books. engrossing, conceptually prismatic edition. One is a single fingerprint posed in a Or perhaps copies are subtracted from Quaytman modeled aspects of the black field, the other an abstract, shadow- circulation when they are damaged, cen- book’s design and images on the illus- like wedge taken from the frontispiece. sored or destroyed. In short, the print is trated histories and atlases of Emma The third image, a child’s sock with a intertwined with processes that system- Hart Willard (1787–1870). Teacher, educa- prominent hole, at the edge of which rests atically and numerically arrange images tion reformer and women’s rights activ- an idle darning needle, appears on its that exist more than once. ist, Willard founded the Troy Female own page spread. It comes from a photo- Xylor Jane, a Massachusetts artist, has Seminary (now the Emma Willard engraving in Thérèse de Dillmont’s Ency- long been interested in the aesthetics of

18 Art in Print March – April 2015 like if multiple members of the edition debut exhibition with Sikkema Jenkins were arranged in larger permutations, & Co., and she was the subject of a 2013 essentially increasing the mathematical midcareer retrospective at the Hirsh- order of Jane’s magic square. While the horn Museum and Sculpture Garden. subjects of Jane’s paintings and drawings Five Point One Surround is Jones’s are always neatly contained within the second print publication, following a physical boundaries of the surface, the 2012 suite created at the Lower East aquatint encourages the viewer to look Side Printshop. It is a quintych of aqua- beyond the edge. Mathematical relation- tints, each built from geometric blocks ships and their aesthetic implications of pure black and gray that punctuate are embedded within the individual open expanses of negative space. The magic-square image, but Third Order work was inspired by the six-channel Magic Square for Deep Sleep asks to be “surround sound” systems commonly considered in terms of the larger struc- used in movie theaters: the central print ture of the edition. Jane’s attentiveness represents the subwoofer and the other to mathematics is expanded by the mul- four satellite speakers. Each of the trap- tiplicity inherent in printmaking itself. ezoidal shapes echoes the others; as a Xylor Jane, Third Order Magic Square —Elliott Mickleburgh whole, the composition is neatly book- for Deep Sleep (2014). ended by the left and right panels, which enclose the space. mathematical systems, but most of her Jennie C. Jones The syncopated formal march of work to date has taken the form of unique shapes evokes jazz, which has been a (non-multiple) paintings and drawings. Five Point One Surround (2014) source of inspiration for Jones. What she Her first collaboration with Wingate Stu- Portfolio of five intaglio etchings, 30 x calls the “sweeping rhythmic gesture” of dio is thus a meaningful departure. 22 inches each. Edition of 15. Published the composition is intended to approxi- As in Jane’s other work, the image is by Universal Limited Art Editions, Bay mate the careful placement of speakers based on a mathematical structure: in Shore, NY. $12,000. for optimal aural experience, as well as this case the magic square. The numeri- “how we visually experience recorded cal values that usually populate these visitor to Jennie C. Jones’s website music as well as sound art through the grids are replaced here by blocks of A will see the words “listening as a pure geometry of listening devices.” color, the three tones of the aquatint conceptual practice” directly below her —Sarah Kirk Hanley overlapping to create a broader palette. name. This succinct phrase speaks to The lines dividing these color blocks are both to the impetus for her artistic prac- Judy Ledgerwood not immaculately straight as one might tice as well as her minimal aesthetic. expect from an artist riveted by math- Her work—from sound installations Chromatic Patterns After the Graham ematical elegance. Instead, these pre- to canvases that mimic acoustic sound Foundation —Pink, Red and Orange (2014) cise but nonetheless imperfect margins absorption panels—takes its formal cue Three relief and lithography prints with make the work resemble a patchwork from audio equipment design and func- aluminum dust, 22 x 30 inches each. Edi- quilt, a likeness that synchs neatly with tion. Employing the materials, the geo- tion of 20 each. Printed and published the title’s description of “a magic square metric aesthetic and the neutral palette by Manneken Press, Bloomington, IL. for deep sleep.” of audio technology, Jones explores how $2,000 each. The set is also available The resemblance to the tessellated the experience of listening to recorded in a deluxe edition with portfolio case patterns on quilts or tiled surfaces music is shaped by the equipment used designed by Jason Pickleman and a poem makes the use of print and its implica- and by the architecture in which it is by John Yau, “26 Letters for Judy Ledger- tions of multiplicity particularly inter- installed. Interest in Jones’s work has wood.” Edition of 8, numbered in Roman esting. One wonders what it might look gathered momentum since her 2010 numerals. $7,200.

Jennie C. Jones, Five Point One Surround (2014).

Art in Print March – April 2015 19 udy Ledgerwood’s new prints derive J from the painter’s installation at Chi- cago’s Graham Foundation. Three of the Prairie Style mansion’s reception rooms were emptied of contents and their walls painted in a silver geometric floral pattern over grounds of dayglo pink, red and orange. The pattern’s tight repeat was loosely painted, incurring a certain amount of slippage—each iteration is, and is not, the same. Ledgerwood’s inspiration was Morton Feldman’s 1981 composition for cello and piano, Patterns in a Chromatic Field, which employs tightly repeated motifs that are almost, but not quite, identical—a sloppy canon in which the slop assumes an erratic structure of its own. Ledgerwood took the metaphorical “chromatic field” of Feldman’s title and made it literal; the breaks in Feldman’s composition became doorways from one room to another; time—the distance between one part of the composition and another—was replaced with space, at least for the two Allan McCollum, No. 18 from Lands of Shadow and Substance (2014). Image courtesy of Graphicstudio/USF. Photo: Will Lytch. months that the installation lasted. From engravings of 17th-century tri- Ledgerwood has imbued hers with a Allan McCollum umphal processions to Christo litho- visual and tactile intensity—the dizzying graphs of wrapped monuments, prints color background is roughed up by visible Lands of Shadow and Substance (No. 1–27) have always been used to record spectacles grain, and the pattern is given literal spar- (2014) whose power was part and parcel of their kle with aluminum dust. The loopy flow- Framed archival pigment prints, various ephemerality. Given that the life of the ers and loose lines were redrawn for each sizes. Editions of 3 each. Printed and pub- original event has departed, artists down of the prints, so when seen together they lished by USF Graphicstudio, Tampa, FL. the years have had to devise numerous bump and pull against one another, like $3,500 each. strategies to ensure the print is something different spaces in the same building, or more than the limp skin of a burst balloon. staves in a score. —Susan Tallman llan McCollum’s new series, Lands of A Shadow and Substance, builds on his earlier series, Perpetual Photographs, started in 1982, in which the artist photo-graphed pictures hanging in the background in television scenes, trimmed the frames and context away, then enlarged and reframed them, literally and metaphorically. The art object–prop was originally chosen by set designers to suggest a social milieu without distracting from the action taking place downstage. When the scene was broadcast, the object was transformed into electrical waves transmitted over the airways and recast as evanescent spots of light and dark on the small screen of a television (McCollum’s subjects are all black and white). These transforma- tions of context and materiality have all occurred before the artist intervened. McCollum begins with that last stage—freezing the fleeting televised moment, isolating the integrated work of art. Blown up from a small background detail on a small television screen, the Judy Ledgerwood, Chromatic Patterns After the Graham Foundation–Orange (2014). image is a fuzzy analogue of the original.

20 Art in Print March – April 2015 He accepts the loss of color and resolution imposed by its past, but then seems to roll back the clock, reframing it and rehang- ing it, only this time in a gallery. The inci- dental prop is now the focus of attention. The drop-away of visual information is a byproduct of both technology (the resolution of old broadcast television) and intent (the picture’s importance lay not in its pictorial content but in its status as a social marker for a certain kind of space). The Lands of Shadow and Substance prints are all taken from episodes of The Twilight Zone, whose opening monologue announced, “You’re moving into a land of both shadow and substance, of things and ideas. You’ve just crossed over into the Twilight Zone.”1 While in the Perpetual Photographs the subject matter is often unrecognizable, the new prints all suggest landscapes, banal and benign. These formerly comfortable images have been recast as something strange, echoing the basic plot device of the Twilight Zone. The gray mats and frames that enclose the Shadow and Substance prints, echoing the appearance of the photographed screen, extend the confusion between televised world and real life into three- dimensional solidity. The reduced contrast, coupled with the loss of resolution within the image, prompts the desire to rub one’s eyes. What started as framed art on a wall is reincarnated as framed art on a wall. But this isn’t a line coming full circle, it’s a three-dimensional coil where every return is displaced by an unresolvable distance. —Benjamin Levy John McLean, Babirnie (2013).

Notes: Balquidder (2013) McLean’s prints, which are many, are 1. The monologue appears in the fourth and fifth Drypoint and screenprint, 32 x 28 cm. Edi- similarly deft in composition and graced seasons of the show, 1963–1964. tion of 20. Printed and published by the by a lightness the paintings lack. Working Print Studio, Cambridge, England. £600. with Kip Gresham at the Print Studio in John McLean Cambridge, McLean has created screen- ohn McLean, now in his 70s, has built prints, monotypes, relief prints and car- Balboughty (2013) and Balkaskie (2013) J a reputation as a virtuosic arranger borundum etchings, each of which makes Drypoint and screenprint, 34 x 48 cm of the most basic of pictorial elements: the most of the specific properties of the each. Editions of 20. Printed and pub- shapes and color. Scottish in origin, medium at hand: the slapped flatness of lished by the Print Studio, Cambridge, McLean studied literature at university screenprint, the scratchy pebble-dash of England. £660 each. before joining the London art scene in carborundum, the unpredictable color Babirnie (2013) and Fingask (2013) the 1960s, and while his work is less well- breaks of monotype. Drypoint and screenprint, 43 x 35 cm known in the States, Clement Greenberg If many of his prints convey the exu- each. Editions of 10. Printed and pub- was a fervent admirer of the artist’s lively, berance of a party, his recent projects are lished by the Print Studio, Cambridge, abstract canvases. His compositions are more like intimate tête-à-têtes between England. £720 each. characterized by internal relationships two quite different personalities: the that can only be described as social— cheerful assertiveness of screened ink Biggar (2013) rectangles brace themselves in groups and the scratchy, rich poetry of drypoint Drypoint and screenprint, 36 x 37 cm. Edi- like amateur acrobats, irregular polygons lines. These two voices do not overlap, tion of 15. Printed and published by the clump and scatter like brightly dressed neither hogs the floor, and both have sur- Print Studio, Cambridge, England. £720. guests at a cocktail reception. prising things to say that depend on the

Art in Print March – April 2015 21 presence of the other. These are social objects in another sense as well: they must be seen in person to be understood. The complexity of their conversation evaporates in reproduction where everything is uniformly flattened and the almost shocking black ridge of the drypoint is swallowed into gray. These are prints to spend time with. —Susan Tallman Julie Mehretu Myriads, Only By Dark (2014) Four-panel multicolored aquatint and spit-bite on Hahnemühle Museum Etch- ing 450 gsm, 81 1/4 x 45 1/4 inches, each panel. Edition of 30. Printed by the artist, published by Gemini G.E.L., Los Angeles. $175,000, framed.

ulie Mehretu’s intricate assemblages of J lines, washes and gestural marks articulate familiar yet often unidentifiable linguistic and architectonic traces, fragments of systems the viewer can grab onto. In painting and print, she layers velvety aquatint stains and rigorously architectural plans, maps and other sche- clean lines, is well suited to the task. mata to invoke the histories of cities and Working on Mylar to simulate the 12 to civilizations, and heighten our awareness 18 plates used for each print, Mehretu of how we make sense of the world. began with the background vector lines Inspired in part by the energy of the and arcs. These were generated in Adobe Arab Spring, Myriads, Only By Dark is Illustrator but on the plate were inked à Left: Julie Mehretu, panel C of Myriads, Only initially overwhelming in its scale (each la poupée, such that several colors could By Dark. (indigene) (2014). ©2014 Julie Mehretu of the four panels is nearly seven feet be blended within a single line. On other and Gemini G.E.L. LLC. high), immediacy and dynamism. Only Mylars she applied ink with airbrush or Above: detail. gradually do the prints disclose their with paper towel to create a pixelated deliberate structure, built up, layer upon effect; spit-bite was applied directly dow onto time and space. Mehretu’s layer, through an assortment of etching onto the copper plates, while handprints habitual mapping of historical and per- techniques and no fewer than 57 differ- and large smudges were made by print- sonal narratives, public constructs and ent plates. Close looking reveals three ing from the artist’s hand and forearm physical places cracks open to the future sets of plate marks on each print. Lim- dipped in India ink. as well as the past. —Elleree Erdos ited by the size of the press bed, Mehretu Viewing the prints, we reverse Meh- originally planned to use three sheets of retu’s sequence of creation; what she con- paper for each panel, as she had done in structed, we deconstruct. The frames and Carrie Moyer Auguries (2010), in which 12 sheets adjoin plate marks guide us through this process, Untitled (2014–) to form a 15-foot-long, gridded image. and the more time one spends in front Ongoing series of monotypes in ink on The arrival of a larger press meant each of a panel, the farther the eye reaches Rives BFK paper with mulberry chine of Myriad’s panels could be printed with a into its shadows. Each composition sug- collé, in two sizes, roughly 41 x 30 and 29 single plate, but Mehretu chose to main- gests a cobweb that has snared traces of x 21 inches (a few flip these dimensions in tain the sense of internal division with time—fragments of a momentary world. horizontal format). Printed and published the embossed plate marks, which she felt The admixture of impromptu gesture and by Marina Ancona at 10 Grand Press in suggested the folds of an oversized map. precision, initially jarring, becomes syn- Brooklyn, NY. $4,000–$6,000 each. In each composition, a foreground chronistic, an analog for mankind’s rela- flurry of vigorous black smudges and tionship with the tectonic world. Swash and Soft Cells (2014–) handprints hovers above a delicate back- Over the four parts of Myriads, Only By Ongoing series of monotypes in water- ground armature of straight lines and Dark, the open spaces grow ever more color on Arches 88, 24 x 18 inches each architectural curves. This juxtaposition sharply defined, until in the final print it (one horizontal flips the dimensions). of impulsive smears and precise, topo- assumes a diamond shape, edged with Printed by James Stroud. Published by graphical marks is at the heart of Meh- ethereal lines of pink and blue. This Center Street Studio, Boston, MA. Pre- retu’s aesthetic, and etching, with its rhombus hovers like a kaleidoscopic win- publication price $2,600 each.

22 Art in Print March – April 2015 Left: Carrie Moyer, Swash 2 (2014–). Right: Carrie Moyer, Untitled (2014–).

his past year, Carrie Moyer, who has additionally collaged and stenciled with ings are Fed-Exed back to Boston, where Tgained renown in the past few years cutouts from other printed sheets. In this Stroud runs them once through the for large, colorful abstract canvases com- labor-intensive process, the prints might press against sheets of drenched paper bining biomorphic and hard-edge forms, be run through the press as many as 20 and under enormous pressure, transfer- has turned her attention to monotypes, times; 15 have been produced thus far, ring the re-liquefied watercolor image working in two different modes at two with another five under way. The images from the vellum to the paper. Because different workshops. Visitors to the E/ are striking for their layered, translucent the vellum never absorbs the watercolor, AB Fair in Manhattan last November effects, partially achieved with offset Moyer is able to work on it by subtrac- could view the series in side-by-side lithographic inks that 10 Grand’s Marina tion, removing earlier marks and apply- booths—a serendipitous arrangement Ancona found at a now-defunct Spanish ing new ones. “I can spread out,” says that allowed ready comparison. Both company. Once the basic compositions Moyer, “doing lots of things at once. I featured Moyer’s signature compositions are set, Ancona reports, she and Moyer love both processes, but the watercolor and her bright-hued palette verging on deploy the offset inks—“very luminous, is very immediate—a one-shot complica- the psychedelic. It is clear she has come almost fluorescent,” as Ancona describes tion, not a layering built up over time.” to appreciate the light-bestowing quali- them—in a unifying tint. Moyer’s shapes The aptly titled Swash and Soft Cells ties of paper, on which she rarely works, melt into a shallow, ambient ether, monotypes are more allover in feeling as well as the spontaneous effects of a except for occasional opaque, hard-edge than the 10 Grand prints. The image lies matrix. “You can kill a painting by doing shapes that seem to sit on the surface— flatter on the surface, often with distinc- too much to it,” Moyer says. “Maybe it’s here a blue bracket, there a rust-colored tive beading and pooling that convey the a cliché, but here there’s a finiteness, arabesque. liquid quality of her medium. One feels and the element of surprise is deeply By contrast, the prints Moyer has pro- more immediately the bodily movement satisfying.” duced with James Stroud at Center Street of the artist as she pours and spatters. Moyer has visited 10 Grand Press near Studio—13 and counting—are created in Together, the two sets of prints represent her studio repeatedly over the past year— her Brooklyn studio. Stroud has devised two sides of Moyer’s abstraction, one four or five days for the first runs, then a method by which Moyer paints in satu- considered, the other more free-wheel- back for two or three days at a time to rated solutions of watercolor onto resis- ing, and display her roots in both graphic finish up. The resulting untitled mono- tant vellum, which he sends her through design and Color Field painting. types are printed with chine collé and the mail. Once completely dry, the draw- —Faye Hirsch

Art in Print March – April 2015 23 printer’s existence–result in gorgeous swaths of anomalous color and irregular edges where layers pool and pock. Beautifully abstract conglomerations of stratified ink, the One Hundred Layers of Color prints are intriguing in the manner of natural history artifacts. It would not seem implausible for one of them to crawl off its pedestal like some giant, flattened, futuristic caterpillar. —Ellen Heck Goedele Peeters Swimmingpool I–III (2014) Suite of three reduction woodcuts with stencil, 27 1/2 x 37 3/8 inches each. Edition of 5. Printed and published by the artist, Antwerp. $1,200 each; $3,600 set.

Kouseki Ono, from One Hundred Layers of Color (2014). wimmingpool I–III, a suite of three S reduction woodcuts, is emblematic Kouseki Ono which begin to rise in rows of tiny peaks. of the recent work of Goedele Peeters, a In a videoconference, Ono held up a Belgian artist whose primary medium One Hundred Layers of Color (2014) mason jar full of individual rainbow nub- is printmaking. The suite is comprised Screenprints, 29 1/2 x 35 1/2 and 19 1/2 x 23 bins he had harvested from larger sheets. of three different views in different light 1/2 inches. Variable edition. Printed and (He has also used these to encrust beetle and from varying angles. The scale envel- published by the artist, Saitama, Japan. shells, skulls and geometric forms.) ops but does not overwhelm. The setting $3,500–2,500. The texture of the prints resembles is non-specific—someplace with clear reptile skin or some kind of otherworldly skies, hot sun and well-groomed con- ouseki Ono’s screenprints, tex- pelt, and slightly ragged edges contribute crete. (In fact, it is a villa in Libya, but the K tured rectangles of changing color, to this impression. While Ono’s process artist says the exact location is “unim- were presented like specimens on pedes- is systematic and the rectangular for- portant.”) Bereft of human figures, the tals at Kala gallery in Berkeley, Califor- mat keeps framing in mind, each piece architecture serves as a vehicle for explor- nia during last spring’s SGCI conference. in this varied edition is made unique by ing light, color and shadow. The subject Rubbery mats of closely packed quarter- seemingly unplanned inconsistencies. is represented in its essence, albeit with inch projections created by the selective Random areas of lower pressure and air strategic details—a wall of ivy, wooden buildup of 100 layers of dots in varying bubbles–normally the bane of a screen- planks, a utility pipe. These guide the eye colors, these prints shimmer in moiré patterns as you walk around them or look from different angles. Answering the frequently voiced question, “How was it done?,” the artist explained that he arrived at his singu- lar method in graduate school through experimentation, repeatedly printing the same screen of an array of hand- drawn dots until it seemed as if one print had suddenly “gotten goosebumps.” He described the moment of watching a screenprint come to life as magical, and has been exploring the surprises of this techniqe for the last decade. The prints in Ono’s recent series, One Hundred Layers of Color, are built up through the accumulation of screenprinted ink, but rather than growing from a template of dots, these are created by repeatedly overlapping the printing of two screens of parallel lines that are nearly perpendicular. Ink accumulates more quickly at the lines’ intersections, Goedele Peeters, Swimmingpool I (2014).

24 Art in Print March – April 2015 through the composition but do not lend geographic specificity. The overall tone is meditative. Peeters’ sophisticated understanding of her materials can be seen in the way the Japanese paper enhances the inherent warmth of the wood, generating light effects so striking they draw the viewer from across the room. Wide swaths of paper are left unadorned; properly lit, they appear as inviting and brilliant as sunlight itself. Her flawless expanses of ink in muted yet resonant colors remi- niscent of Richard Diebenkorn are thin enough to allow the texture of the wood- grain to show through. Here, this lends a dappled quality to the water, walls, shadows and foliage. In a recent monograph on Peeters, poet and artist Johan van Cauwenberge astutely connects her concerns with those of Hopper: “She draws our attention to the subject itself in its isolated longeur, simultaneously creating a sense of loneliness, abandonment.”1 This latent anxiety, enhanced by a lack of reference to place, is what allows Peeters’ art to reach beyond its ostensible subject and tap into the collective disquiet. —Sarah Kirk Hanley Clark Richert, Entaglement (2014). Notes: 1. Goedele Peeters and Johan van Cauwen- shadow can generate a nonrepeating pat- berge, De stille Wereld van Goedele Peeters/ tern of rhombuses. Like Richert’s paint- Ed Ruscha The Silent World of Goedele Peeters/Le monde silencieux de Goedele Peeters (Bruges: Galerie ings, Entanglement uses brilliant color, Rusty Signs (2014) Pinsart, 2012), 58. clean-limned geometry and tessellation Suite of six Mixografía® prints on hand- to produce a visually dynamic image made paper, 24 x 24 inches each. Edition that demands puzzling out. But the print of 50 each. Published by Mixografía, Los Clark Richert differs from the painting in important Angeles. $18,000 each. Entanglement (2014) ways: the blocks of color are variegated, Eight-color lithograph, 31 3/4 x 31 3/4 a simple property that nevertheless draws n Ed Ruscha’s words, his new prints “are inches. Edition of 30. Printed and pub- the viewer in closer, and the change I about neglected and forgotten signs lished by Shark’s Ink, Lyons, CO. $2,000. of position causes the image to bulge from neglected and forgotten land- and recede. More significantly, while scapes,” and, indeed, Rusty Signs is a natu- eometric tessellation has been a Richert’s paintings pursue these patterns ral extension of the artist’s investigation G life’s calling for Clark Richert—a to the edge of the canvas, the edge of the of the significance of the “American fron- tool at once abstract, metaphysical and image here is determined by its parts. Its tier” for our times. Signs have been central dazzlingly concrete. A co-founder of the irregular contours seem to hint that if we to Ruscha’s work from the outset—most fabled 1960s artists’ commune Drop City, just took up scissors, glue and a folding famously in the exaggerated perspective Richert has built tessellated housing that knife, we could use the print to build a of the Standard sign—but here they are strove to change the way we live and coherent polyhedron. Lean in, however, presented as things rather than pictures. painted tessellated paintings that strive and the illusion falls apart into an array These are prints in the guise of objects. to change the way we see. of flat tiles. Step back, and flat stars pop Ruscha has worked with Mixografía Entanglement, the artist’s first litho- out to float above the faceted surface. Get for more than two decades, and in this graph, continues his long-term investi- close again and you are caught up in the series he has harnessed the full potential gation of the rhombic triacontahedron, chromatic nuance of each small part. of the company’s proprietary cast-paper a three-dimensional shape that has a Like higher-order mathematics, method. The process involves making a couple of remarkable properties: each of Entanglement is lovely and profound; a relief cast from an existing object, hand- its 30 faces is a rhombus whose diago- clear statement of systematic simplicity inking the mould, filling it with hand- nal lengths conform to the golden sec- that utterly defies resolution. made paper (often dyed to specification), tion, and the shape’s two-dimensional —Susan Tallman and applying moderate pressure under a

Art in Print March – April 2015 25 Backwater Blues (2014) Woodcut on chine collé, 27 3/8 x 14 3/8 inches. Edition of 30. $1,500.

Shorn (2014) Woodcut, 32 x 19 inches. Edition of 30. $1,500.

All printed and published by Tandem Press, Madison, WI.

lison Saar’s art addresses race, gender A and class inequalities through pow- erfully built female figures, often nude or simply clothed, looking out with a stolid, haunting gaze. Though known primarily as a sculptor, she has created dozens of editions over her three-decades-long career, most frequently in woodcut. Wood forms a bridge between the prints and the sculptures, which are carved and embellished with “historically charged, richly tactile materials—coal, tar, wood, rope, antlers, ceiling tin, old tools,” as described by Art in America.1 Two of Saar’s new editions translate this canny use of found objects to printmaking. Used sugar-sack quilts serve as the printing surface for Mirror, Mirror: Mulatta Seeking Inner Negress and Cotton Eater (alternative versions of these images Ed Ruscha, one of six from the suite Rusty Signs (2014). ©Ed Ruscha. Image courtesy of Ed Ruscha and Mixografia Workshop. were also produced with chine collé and solid-color backgrounds, respectively). press. In a discussion about the project, American Dream’s morning after, a Saar explains she was drawn to the quilts Mixografía director Shaye Remba offered theme that has occupied the artist since because of their role as recycled bedding that Ruscha “always thinks very carefully, his seminal Course of Empire series, first (they are worn thin and repaired to the very deeply, about how to employ the exhibited at the 2005 Venice Biennale. point of disintegration) and also as a met- technique to achieve his intentions.” —Sarah Kirk Hanley onym for “the dark history of sugar and Indeed, no other printmaking technique cotton…in fostering the slave trade in could mimic the physical properties of America.”2 the embossed metal signs that formed Alison Saar With the exception of Backwater Blues, the source material for the edition; these which is a meditation on the plight of Mirror, Mirror: Mulatta Seeking Inner weathered artifacts have been repro- Hurricane Katrina’s victims, all of the Negress (2014) duced with all of their imperfections— new editions allude to classical literature. Woodcut on found sugar-sack quilt rust pocks, bullet holes, dents, clipped The central figure in Cotton Eater was pieces, 40 1/2 x 23 1/2 inches. Variable edi- corners, punched perforations and chips. inspired by the lotus eaters of the Odys- tion of 10. Price on request. These are emblazoned with messages sey: absently munching on cotton bolls that intimate loss (Cash for Tools; Dead Mirror, Mirror: Mulatta Seeking Inner she evinces a “state of apathy… but her End; For Sale—17 Acres) in the boxy let- Negress II (2014) stomach is distended by malnutrition,” ters Ruscha has frequently employed. Woodcut on chine collé, 40 1/2 x 23 1/2 Saar explains. Cotton represents not just The artist mulled over a number of effects inches. Edition of 30. Prepublication the slave trade, but the myriad empty and color combinations; colored pulps price $1,500. promises made to African-Americans were printed in metallic and flat inks of over the centuries. Shorn—which shows a various colors, some quite vibrant, to Cotton Eater (2014) nude woman standing in a pile of her own impart the feel of various locations and Woodcut on found sugar-sack quilt hair with a shard of glass in her hand— histories to the final works. Remba pieces, 72 x 34 inches. Varied edition of 6. alludes to Demeter’s grieving over the explains that there were originally eight Not available. loss of her daughter in Ovid’s Metamor- versions of “For Sale—17 Acres,” but that phoses. It seems fair to assume that Mirror, Ruscha chose only one for final produc- Cotton Eater II (2014) Mirror: Mulatta Seeking Inner Negress pur- tion. As a group, they imply cultural Woodcut, 72 x 34 inches. Edition of 14. posely evokes Snow White and the fairy decline and decay—a meditation on the $4,000. tale’s implications for female self-critique

26 Art in Print March – April 2015 Left: Alison Saar, Mirror, Mirror: Mulatta Seeking Inner Negress (2014). Right: Analia Saban, Three Stripe Hand Towel (with Stain) (2014). rooted in European standards of beauty: he Mixografia workshop’s method not even her first bath towel—in 2011, while the woman gazing into the mirror T of making dimensional prints has she fashioned Two Stripe Bath Towel with is light-skinned, the face that stares back resulted in a wide variety of engaging edi- acrylic paint on canvas. She has used at her is dark. —Sarah Kirk Hanley tions, many of which are close facsimi- acrylic paint to reinvent bags, bed sheets les of objects. As the shop explains, “any and towels, creating imitations of com- Notes: solid material or combination of materi- monplace fabrics with a medium usu- 1. Leah Ollman, “Alison Saar/Los Angeles: Otis College of Art and Design,” Art in America 100, als” can be used as the matrix for the cast ally reserved for coloring and marking no. 10 (November 2012): 176–77. copper mold to which paper pulp and them. Other works dissect traditional art 2. Saar in Tandem Press Newsletter, Fall 2014 sometimes ink is applied. Dario Esco- forms to investigate the act of making a http://www.tandempress.wisc.edu/news/fall2014. bar’s Untitled (2013) is a detailed replica mark. Every Brushstroke Has a Direction pdf of a cut-apart basketball and Ed Ruscha’s (Sail Boat) (2005) is an oil painting of a new Rusty Signs [see review this issue] boat at sea, but over every brushstroke a Analia Saban are difficult to differentiate from the real blue arrow has been drawn in crayon to Three Stripe Hand Towel (with Stain) (2014) things, but Analia Saban’s Three Stripe mark the direction of the stroke. She has Mixografía® print on handmade paper Hand Towel (with Stain) may be the most vacuum-sealed oil paintings so they never with hand-staining by the artist, 28 1/2 quixotic yet: a white paper impression of dry and created sculptures from decon- x 17 1/2 inches. Variable edition of 18. a very standard bathroom article with a structed paintings. Printed and published by Mixografia, Los small discoloration. Three Stripe Hand Towel (with Stain) Angeles. $2,600. This is not Saban’s first replica. It is extends Saban’s acrylic paint studies, but

Art in Print March – April 2015 27 adds the element of the multiple. The piece is essentially a painting on paper (Saban hand-stained the small stain on each print) in the shape of a common household object. By producing these in an edition, Saban diminishes the pre- ciousness that afflicted some of her previous imitations of the commonplace. Though the mark is applied by hand—a unique gesture by the artist—it looks just like an ordinary stain on a washcloth. In Three Stripe Hand Towel (with Stain), Saban raises questions about art and life and the ways we evaluate everyday experience. —Isabella Kendrick

David Salle Syrie, Turquoise (2014) Color lithograph, image 40 x 52 1/2 inches, sheet 42 1/4 x 54 7/8 inches. Edition of 35. Printed and published by Houston Fine Art Press. Prepublication price $9,000 (subject to change).

fter two decades of minimal engage- A ment with printmaking, David Salle is completing an ambitious group of eight oversized lithographs. (Salle’s last substantial print project was High and Low in 1993 with the now-defunct Tyler Graphics). He credits Richard Newlin, the Tamarind-trained lithographer who owns Houston Fine Arts Press, with winning him over. Newlin personally deliv- ered materials to the artist’s doorstep and demonstrated exceptional persis- tence, commitment and passion for the project. Perhaps more significant, Salle was impressed by Newlin’s sensitivity to painterly concerns: “It is rare,” he says, “to David Salle, Syrie, Turquoise (2014). meet someone with whom you can have a dialogue about the retinal and relational relating closely to the artist’s horizontally a woman below. The tangle at the top is aspects of color—how it lands on the eye divided canvases of recent years (“David a photograph of beach detritus, but the and interacts with textures and surfaces.” Salle” at Maureen Paley, London, 26 source is neither here nor there—Salle Newlin, who worked extensively with May–24 July 2011; and “David Salle/Fran- is more interested in the lines and forms Richard Diebenkorn, had also been on cis Picabia” at Thaddeus Ropac, Paris, 23 that appear when the photo is repur- a long hiatus, focusing on his role as a January–23 February 2013). Of the even- posed and abstracted, how they differ parent. Returning to his métier with tual series of eight, two lithographs have from the gestures that surround them renewed purpose, he sees this project as been editioned and signed as of this writ- and how that relationship changes when the first of several in which he will work ing; two more will be signed in April, two the colors are altered. In Syrie, Turquoise, with only one artist at a time to give each in the fall and the final two in late 2015 or the detritus reads as pure black lines and his undivided attention. early 2016. The first two completed prints blocky forms that meander and coalesce The ambition behind the new suite (of which Syrie, Turquoise is one) are uni- into a swirling mass: they play across a is to create prints that rival the artist’s fied in scale, approach, conceptual con- lime-green field smeared with cobalt-blue paintings in their presence, scale, nuance cerns and basic compositional elements. drybrush strokes. In the other print, Salle and impact. Both painter and printer Each is composed of two images, maintains the black-and-white tonality wanted to explore the limits of the litho- divided horizontally: abstract photo- of the original photograph but interrupts graphic medium. Indeed, the resulting generated and handmade marks in the the surface with a gridded screen-like prints are highly layered and sophisti- upper image are juxtaposed against a pattern that contrasts with the juicy cated (Syrie, Turquoise required 47 plates), gestural naturalistic representation of drips and pools of rose pink behind it.

28 Art in Print March – April 2015 In both prints, the bottom section depicts the face and shoulders of a young woman in fluid brushstrokes. Syrie is shown in full color, surrounded by a subtly mottled turquoise background reminis- cent of swimming pools, which generates a chromatic dissonance with the green and blue above. The other woman is por- trayed in a range of warm neutral tones on a French-gray background; these play against the cooler black and white of the photographic image above, which lies on a warm cream substrate slathered in lush pink. Both figures offer a hint of sexuality but no overt impropriety. Syrie, an attractive blonde, leans forward, lips slightly parted, and stares at the viewer through dazzling blue eyes that have a slightly confrontational glint. The other sitter is shown from the side with a composed up-do and deferential downward Left: James Siena, Circle Sequence VII (2014) Right: James Siena, Logic Sequence: Complete glance; her mien is submissive and mod- (2014). Both courtesy Dieu Donné. ©James Siena. Photos: Etienne Froussard. est. In a 1994 profile of the artist in the New Yorker, Janet Malcom described the slightly lurid and unsettling quality of Logic Package: Green; Purple; Orange; during the artist’s prior Dieu Donné Salle’s female subjects: “Someone has Primaries; Secondaries; Black (2014) residency. In Circle Sequence I–VII Siena stage-directed them—someone with a Six related works in paper pulp (pig- illustrates the building blocks of the very cold eye and with definite and per- mented linen on cotton base sheet), 16 1/2 idea, adding a new element to the com- haps rather unpleasant ideas, someone x 12 3/4–13 inches each. Unique. $5,150 position with each successive image: a who could well be taking photographs for each. large red circle is joined by two black a girlie magazine.” The poses both com- circles above, then an ochre circle above, Dis-connected Hooks: Red; Blue (2014) pel and repel: human incarnations of the continuing until the smallest light-blue Two related works in paper pulp (pig- color relationships and abstract imagery circles are added at the upper right and mented linen on abaca base sheet), 17 1/4 contained in the work. left corners. The suite of seven consti- x 13 1/2 inches. Editions of 15. $1,500 each. These new lithographs—like the tutes a narrative “not unlike the pages whole of Salle’s oeuvre—ride the line of All produced and published by Dieu of a book,” Kunz observes.1 attraction and repulsion, investigating Donné, New York. The second body of work, the how those responses are generated. It will related Logic Package and Logic Package be fascinating to watch the full series ames Siena has worked with the Dieu Sequence, represents a sustained visual unfold. —Sarah Kirk Hanley J Donné paper workshop regularly since puzzle predicated on two components: 2006, creating self-contained editions a chart of 24 rectangles of primary and as well as larger bodies of related works. secondary colors in three columns of James Siena During a residency there this past year eight (Logic Package: Complete) and a Siena was able to bring his experience schema of arrows that connect these Circle Sequence I–VII (2014) and knowledge of paper pulp to bear on (Logic Package Sequence: Complete). The Suite of seven works in paper pulp (pig- the “visual algorithms” that define his chart and arrows are joined together in mented linen on abaca base sheet), 33 1/4 work, optimizing the stencil-based pro- Logic Sequence: Complete, in which we x 24 1/4 inches each. Unique images. No cess to elucidate ideas. can see that the arrows systematically longer available. Each of the three groups of works he connect primary colors to secondaries Logic Package: Complete; Logic Package produced follows a distinct set of rules: (red and blue to purple, for instance). Sequence: Complete; Logic Sequence: the first, Circle Sequence I–VII, builds on The four Logic Package Sequence works Complete (2014) a composition Siena has worked with in include both colors and diagram; the Suite of three works in paper pulp (pig- the past: an expansive circle rests at the six Logic Package works show the col- mented linen on cotton base sheet), 16 ½ lower edge of a large rectangular sheet, ored rectangles only. The descrip- x 13 inches each. Unique. $15,000 (set of 3). surrounded by smaller circles that fill tive titles clarify what is shown with the space, descending in scale. As noted the exception of the last work in the Logic Package Sequence: Green; Purple; by Armin Kunz in the brochure essay series, Logic Package: Black, in which Orange; Primary Secondary (2014) for the series, Siena’s interest in this black, red and yellow rectangles defy Four related works in paper pulp (pig- idea can be traced to his 2011 lithograph the system and seem to establish a new mented linen on cotton base sheet), Coalition and the subsequent Twelve line of inquiry. Kunz offers theoretical 16 1/2 x 13 inches each. Unique.$5,000 each. Circles, Twelve Squares (2012), created balm for this unexpected turn—citing

Art in Print March – April 2015 29 Newton, Goethe and Cennini on the “politics of representation, the ubiquity color black—but leaves the work open to of the image, the spectacle perfected as interpretation, as does the artist. image, and ultimately the fragmentation The works in Circle Sequence and Logic and disappearance of the image.” All of Package Sequence/Logic Package empha- this sounds rather abstract and inscrutable size the tactile differences between paper until you find yourself in the throes of an fibers and revel in the imperfect edges image like Who Owns the Sky? (03), where that result from stenciling the pigmented fragmented images and light are layered wet pulp. Siena says, “I like the tension with such dexterity that an inexplicable between precision and accident… It’s an harmony subdues the pandemonium. inherent quality in papermaking that The greenish glow of Who Owns the is utterly real.” Intriguingly, the results Sky? (03) clouds an image that, much like are also unique—paper pulp “drawings” the world we inhabit, is at once familiar rather than editions. and surreal, beautiful and toxic. In Dis-connected Hooks: Red and Blue, —Elleree Erdos Siena appears to have taken a breather from the heady matters addressed in the Luc Tuymans unique series, composing two variants of the same composition in editions of 15. Surrender (2014) These mazes of stylized arrows composed Rob Swainston, Who Owns the Sky? (03) Screenprint triptych, each 8 1/4 x 21 inches. of pigmented linen pulp jog the eye (2014). Edition of 80. Printed by Tubbax, Ant- through space in an endless loop around werp. Published by Graphic Matter, Ant- a rectangular field of natural abaca fibers. werp. $3,500. In Kunz’s words, they are “mesmerizing bons punctuated with translucent versions of the ‘endless line drawing’ that frames like filmstrips occupy the left- onfronting an artwork by Luc Tuy- has been at the core of James Siena’s art hand side and emanate blinding light. C mans often involves a modicum of from the beginning.” A pair of buggy eyes seems to stare out bewilderment. The Belgian artist’s images —Sarah Kirk Hanley from within one of these ribbons, sev- have a paradoxical habit of relinquishing ered from the rest of whatever figure or a great deal of information while simul- Notes: face they belong to. taneously withdrawing and masking an 1. Armin Kunz, “Paper Moves,” in James Siena: The “filmstrip” frames repeat at a dis- equal quantity of detail; he may force us Sequence, Direction, Package, Connection (New tance in the right half of the image, but into close scrutiny of a particular facial York: Dieu Donné, 2014). now resemble city lights, cars on a street, feature even as his desaturated palette or the lit windows of a Mies van der Rohe conceals the subtleties of the subject’s Rob Swainston curtain-wall skyscraper. As viewers, we skintone. These are not purely aesthetic Who Owns the Sky? (03) (2014) are both within the image and above it. exercises—steeped in historical research, Reduction stone lithograph, image 24 x 18, The green ink, creating the blurred effect Tuymans’ work chronicles human brutal- sheet 28 x 22 inches. Edition of 3. Printed of fogged glass, disfigures the scene and ity, from war to imperialism, but does so by the artist, Brooklyn, NY. Published by generates ghostly specters—an anthro- almost surreptitiously. Prints of Darkness, Brooklyn. $400. pomorphic animal head seems to emerge His recent screenprint triptych, Sur- and then retreat, eliciting hallucinogenic render, is therefore unexpected in its open ob Swainston’s recent lithograph self-awareness in the viewer. disclosure and generosity. The image, R is a vertiginous confrontation. In his artist’s statement, Swainston depicting the submission of one naval Its violent light, ambiguous perspec- describes “the printed image as a key con- combatant to another, was borrowed from tive and depth thrust the viewer into a cern in understanding our contemporary the 1968 filmA Twist of Sand. Arranged ver- bewildering whirl, as if one is looking condition.” Through propaganda, mass tically, the topmost print shows a solitary through the windshield of a falling heli- media and the arts, Swainston pursues the figure waving a white flag; in the middle copter on a downward spiral. It is part of a larger body of work in which the artist addresses the advent of mechani- cal flight and aerospace, and with it the human assertion of power over the skies. Other prints in the series convey this same tumultuous energy with visible evidence of the multiple plates and screens used to layer color and form. In this work, however, the chromatic tonalities of the lithograph blend with a smoothness that seems almost photographic. The image is suffused with a vaporous yellow-green; graceful rib- Luc Tuymans, from Surrender (2014).

30 Art in Print March – April 2015 objective photographic reality, but to picture the painterly splashes and abstract blobs that have become markers for subjective painterly expression. In doing so he sets up a game of representation, cognition and pictorial legibility that goes to the heart of how the printed image functions. Each portfolio comprises six lithographs, all featuring a single large silhou- ette in the shape of a splatter of paint, which seems to overlay a background of more varied and nuanced drips and splashes. This background remains the same in all the prints, while the silhou- ette changes from one print to the next, and its color changes from one portfolio to the next. These elements all take shape through halftone screens of different resolutions. The inks are opaque black and red; the gray and pink that appear to the eye are illusions created by the white space between the dots. The special structure of the composition is difficult to resolve. Some elements are built from tiny dots that seem far away, while others employ large dots that appear closer. But the distance implied by the size of the dot does not always align with the order in which the marks seem to have been made: a “distant” dot may be used for a blob that overlays a mark made with “closer” dots. The same size dot pattern may also exist in multiple layers. A similar conundrum affects the pictures’ edges. In Wool’s paintings, the edge of the image and the edge of the object are one and the same. In the prints, however, Wool seems to have given each layer of the composition its own set of Christopher Wool, from Portraits (red) (2014). ©Christopher Wool/ Universal Limited Art Editions. margins. The rectangle of light gray that underlies the other marks is smaller than print, more figures have joined the first; the to the inherent generosity of the edition, the composition as a whole; drops and lowest print shows prone figures, presum- its multiplicity and distribution. dribbles extend beyond it on all sides, but ably gunned down by an unseen enemy. —Elliott Mickleburgh they themselves are abruptly cut off to In this final disturbing image, we wit- form the edge of a larger rectangle, which ness the violence that Tuymans so often Christopher Wool makes way for the pristine paper margins masks with the seemingly innocuous. that run to the edge of the sheet. The use of the triptych format is a candid Portraits (red) (2014) This is an image with a history, Wool gesture: the animation of action across Portraits (b/w) (2014) seems to say—a batch of materials obey- the three frames alludes to the images’ Portfolios of six lithographs each, 27 x ing the laws of physics that was photo- cinematic origin. While Tuymans has fre- 22 1/2 inches each. Editions of 28. Printed graphed, digitized, manipulated on quently relied on photographic resources, and published by Universal Limited Art computer, filtered, separated, trans- their relation to his finished works has Editions, Bay Shore, NY. No longer avail- formed into lithographic plates and usually been left obscure. able. printed in multiple passes. Each of Wool’s Tuymans has long complemented his decisions points in an unexpected direc- work in painting with the production of or more than 130 years the halftone tion: away from gesture and toward prints and multiples, deftly exploiting the Fdot has been the primary vehicle for reproduction, away from the center and aesthetic traits of screenprint and lithog- mass-producing photographic images. In toward the edges, away from cohesion raphy. Surrender goes further, matching his new Portraits portfolios, Christopher and toward the tiny dots from which the the open exposure of process and sources Wool uses halftone, not to document an illusion is built. —Benjamin Levy

Art in Print March – April 2015 31 Prix de Print No. 10 PRIX de Stability Dynamics PRINT by Jeremy Lundquist Juried by Sarah Kirk Hanley

This iteration of the Art in Print Prix a digital age. For Lundquist, printmak- soft-ground. Each new cell covered the de Print has been judged by Sarah ing is a tool with which “to question the remains of those that had gone before. Kirk Hanley. The Prix de Print is a recording and cataloging of informa- The erasures are evident in the ghostly bimonthly competition, open to all tion”; he aligns himself with artists such residue that accumulates on the plate. At subscribers, in which a single work is as Sarah Charlesworth, Trevor Paglen, each state the plate was first printed in selected by an outside juror to be the sub- Walid Raad and Mark Lombardi, who black, then a second time with spot-wip- ject of a brief essay. For further informa- pursue subject matter that “either hasn’t ing in color (four exceptions were printed tion on entering the Prix de Print, please been represented by history and media only once). go to our website: http://artinprint.org/ or… is simply not visible.” He spent more Stability Dynamics is just one of sev- about-art-in-print/#competitions. than two years conducting research and eral works Lundquist made from this considering approaches before deciding much-used plate. The unique installa- Jeremy Lundquist, Stability Dynamics (2013) on a complex etching process that would tion Stability Dynamics: Erosion/Displace- Installation of 20 progressive color etch- reflect—and amplify—the maelstrom of ment consists of 20 proofs of the “erased” ings from a single plate, 88 x 140 inches information in the slide, and comment stage of each transformation. For Stabil- overall (22 x 28 inches each). Edition of 5. on the proliferation and ephemerality of ity Dynamics: Accumulation, the ghost Printed and published by the artist, St. information online. On one sheet of cop- impression of each wiping was printed Paul, MN. $8,000. per, Lundquist drew one section of dia- to a single sheet—for a total of 36 layers gram, printed it in a multitude of ways, of residual ink. Lundquist says he cre- then reworked the same plate with the ated about 40 other unique proofs that next diagram section, and repeated this selectively combine specific sections of tability Dynamics is a multipart etch- process 20 times until the full image had the grid. S ing that employs the medium’s inher- been replicated. The process allows him The project was completed during a ent malleability to comment on the gap to “build up and take away information,” nine-month Grant Wood Arts Colony between the realities of modern warfare he says, “providing the viewer the oppor- Fellowship at the University of Iowa and and its representation. The work is based tunity to consider how policy is con- was shown there in May 2013. In the cata- on a PowerPoint slide titled “Afghani- structed and history is created.” logue that accompanied the exhibition, stan Stability/COIN Dynamics” used in Lundquist began by scanning a picture curator Kathleen Edwards notes the mir- a military briefing on the strategic surge of the slide from the Times (he chose to roring between word and image, process intended to end the war in Afghanistan. start with the newsprint edition rather and concept: First published in a 2 December 2009 blog than downloading the image from the Addressing the military language/ post by Richard Engel of NBC News, the Internet to reflect his intention to slow unclassified document was cited a few the processing of its information). The political rhetoric within the dia- months later in the New York Times as an digital file of the scan was divided into a gram, Lundquist’s titles are another example of the problematic role of digital grid of 20 rectangles, each of which was means by which his print installa- storyboarding in a military context (Elis- identified with alphanumeric coordi- tion utilizes the original diagram as abeth Bumiller, “We Have Met the Enemy nates and printed by a large-format pho- a source for critique. The words “Ero- and He Is PowerPoint,” 26 April 2010). tocopy machine on an 18 x 24 inch sheet. sion/Displacement,” “Accumulation,” The slide was lampooned on The Daily Beginning with a printout of the first cell, “Message Amplification,” “Backlash,” Show and in the Guardian, while critics Lundquist transferred the image to the “Sweep,” “Clear & Hold,” and “Provide of the strategy it represented and of the copper plate by tracing it in soft-ground Relief,” refer also to the techniques the Times coverage emerged online and in the etching, which enabled him to emphasize artist uses to “erode,” “accumulate” media. some texts with the pressure of his pencil. and “amplify” certain features of the Jeremy Lundquist saw the chart as rep- The plate was printed, then scraped and marks on the plate. resentative of a larger issue: the shaping burnished back before the image from This seamless relationship between idea, and dissemination of military strategy in the next cell was traced to it through form and execution is what made System

32 Art in Print March – April 2015 Dynamics such an outstanding project in the eyes of this juror. In conversation, Lundquist mentioned that he often meets students who question the relevance of printmaking today. Stability Dynamics provides a solid answer.

Sarah Kirk Hanley is an independent print curator, writer and appraiser based in the New York area. She writes the INK Blog for the Art in Print website and is a frequent contributor to the journal.

Juror’s note: Jurying the Prix de Print made me wonder whether unbiased selection is an attainable goal. Neutral- ity was forefront in my mind as I combed through the nameless, numbered entries, and I eliminated one artist whose work I had written on. I determined my criterion in advance: a print that made a direct and elegant connection between the artist’s concept and the techniques and materials used; a handful qualified. In the end, I chose a piece about which I felt I could contribute some insight. When Jeremy Lundquist, Stability Dynamics (2013) and detail. I then learned the artist’s identity, I found we had numerous geographical, educational and professional connections in the Midwest. Due diligence [Editor’s note: If the art world is a small place, and encourage artists to enter every two months. suggested I comb through my back correspon- the print world is still smaller. It is inevitable that We have been uniformly pleased with the eth- dence to be certain I had not seen the work in a jurors will come across work they have seen ics and rigor our jurors have brought to the task, press release or announcement. Assured of this, before, sometimes by people they know well. This and with the breadth and quality of the works I moved forward. is one reason we change jurors with each iteration submitted.]

Art in Print March – April 2015 33 EXHIBITION REVIEW Richard Tuttle at Bowdoin By Vincent Katz

“Richard Tuttle: A Print Retrospective” Bowdoin College Museum of Art, Brunswick, ME 28 June – 19 October 2014

ichard Tuttle’s art has consistently R eluded standard categorization. Traditional definitions of medium, installation practice—even, one might say, desired effect—do not apply. He has often worked three-dimensionally, but his structures make even an artist such as Richard Serra seem conventional. He has worked on paper, but again, you would be hard-pressed to call what he does “drawing” in the way the term is commonly used. And the works he calls paintings, often shown in conjunction with more typical paintings by other artists, are neither stretched nor painted. There is a philosophical bent in his thinking that clearly makes its way into his work. One can find many mid-20th-century antecedents, beginning, perhaps, with the experiments and teachings of John Richard Tuttle, In Praise of Historical Determinism I, II, III (1973–74), two lithographs printed in blue, Cage and culminating with the Concep- one screenprint in chrome yellow (set of three). ©Brooke Alexander Inc., New York. tual Art movement, which continues to have powerful repercussions today. Tuttle make sense to look for roots further back plastic, sawdust, silicon, staples, steel came of age in the 1960s and would have in the era that brought fine art into the wool, straight pins, styrofoam, thread, been open to these ideas, yet his work is blinding light of the 20th century. The twigs, velvet and wire mesh. defiantly material. Masked in the deli- experiments undertaken by Picasso, Hidden in this list are some very tradi- cacy of his constructions and the seem- Braque and their colleagues that became tional art-making materials, even if they ing recessiveness of his installations is a known as Synthetic Cubism were revolu- were found objects, as well as things that sturdy belief in material culture that feels tionary in their disavowal of traditional would normally be considered part of the very American. This tendency toward the fine art media and more importantly in mounting surface or installation process. spare, the tough, the workmanlike (or their emphatic embrace of detritus from It is almost as if Tuttle has a devised a sur- workwomanlike, as many of his materi- the real world. Tuttle, not unlike these reptitious way to return to tradition on als and gestures seem to come from the predecessors, evinces a love for the junk his own terms, that is to say untradition- world of “women’s work”) creates a ten- of daily life, transforming it by assembly, ally. All these qualities—his hybridity, his sion with, or adds another level of valence juxtaposition and color into talismanic refusal to work predictably, his desire to to, a Cagean emphasis on emptiness and objects that are art works but also seem get literally inside his media—are found blurring the line between art and life like emblems of some mysterious ritual. in Tuttle’s prints. Predictably for him, he that had its origins in Buddhist philoso- To give an example of the fastidious- started out by deconstructing the param- phy. Rauschenberg should be mentioned ness of his foraging, his 2008 six-section eters by which prints are usually judged. here as well, with his famous “I work in work Compartmentalization contains the Later, however, he returned to something the gap between art and life” statement, following elements, though you would that, in contrast to any perceived associa- but though he worked hand in glove with not necessarily see them as such at first tion with Minimalism, can only be seen Cage and shared an aesthetic, his con- glance: acrylic paint, acrylic yarn, alumi- as a romantic lushness. He did this not by cerns were not rooted in Buddhism but num metallic tape, archival mat board, copying or adapting earlier models, but by rather, perhaps, in a branch of Pragmatist balsa wood, bass wood, birch plywood, applying a vibrant modernist lens. philosophy. canvas, cardboard, glue, graphite, metal, The exhibition organized by the Bow- Collage can be seen as an overarching metal wire, mohair, nails, oil paint, oil doin College Museum of Art in the sum- principle in Tuttle’s work, and it might pastel, paper, papier-mâché, pine wood, mer of 2014 allowed visitors to witness the

34 Art in Print March – April 2015 Richard Tuttle, from Cloth (2002–2005), series of 16 etchings (conceived in groups of four) with aquatint, spitbite, sugarlift, softground, drypoint on fabric collé. ©Brooke Alexander Inc., New York. full range of Tuttle’s graphic production. whelming. As it was, the viewing expe- drawn, reserved piece, but it is in fact a While the experience might have been rience could be as info-heavy or light as subtle yet definite violation of the picture. baffling for some, it ultimately presented the viewer wished, and the possibility of a In the second, larger room, the judi- an opportunity to revise one’s preconcep- fully sensual immersion in the work was cious selection of works and the provoca- tions regarding printmaking, as well as enhanced by the flexible chronology of tive restraint of the installation choices moments of shocking poetry. Given that the installation. gave each work (most of them in series) Tuttle devotes much time to research The opening gallery introduced some added impact. Two vitrines displayed and, in a way, his prints are experiments of Tuttle’s earliest thought-experiments some of Tuttle’s numerous ventures in intended to engage the art historical and of the 1970s but also included the bold book form (to which he sometimes con- critical as much as the sensory faculties, work Step by Step from 2002. In Praise of tributes text as well as image and other it made sense that this exhibition took Historical Determinism I, II, III (1973–74) times collaborates with poets, including place at an educational institution. and Print (1976) appeared decidedly Mei-Mei Berssenbrugge, his wife). The Curated by Christina von Rotenhan Minimalist at first glance. The earlier work hanging on a far wall, Line (2000), in collaboration with Bowdoin curator piece calls for a yellow screenprint to a suite of 13 etchings with woodblock, Joachim Homann, the exhibition was be propped against the wall, while two aquatint and chine collé, is related to the accompanied by a handsome catalogue lithographs of the same size but far more earlier series, The Edge (1998) and Edges with contributions by James Cuno, Susan recessive in coloration hang side by side. (1999), all made with printer Greg Burnet Tallman, Armin Kunz, Chris Dercon and As often with Tuttle, there is a sense of and published by Brooke Alexander. The the artist, in addition to the curators and humor at play: the stodgier lithos looking three sets are part of an exploration—one Bowdoin museum co-director Anne Col- down scornfully at the devil-may-care might say, a quiet deconstruction—of the lins Goodyear. screenprint. It is this quietly subversive mystique of the platemark, among other It is useful to have the catalogue, quality that, from the beginning, sepa- things. A defining aspect of traditional which is beautifully produced and fully rated Tuttle’s work from that of less blithe intaglio technique, the rectangular plate- annotated, after the fact. If one had had adherents to Minimalism’s demands. mark is symbolic of what Tuttle saw as to take the time to read everything about Print is composed of two white sheets, arbitrary aesthetic and social barriers he Tuttle’s processes during the exhibition, with a black, screenprinted bar linking wanted to play with, just as in his sculp- its historicity would have become over- them. Again, this seems to be a very with- tural work he wanted to highlight and

Art in Print March – April 2015 35 diffuse the properties of support ele- with Burnet and Alexander. Cloth is in a ments. In The Edge (13 engravings with way a summation of Tuttle’s concerns in copperplate embossing) Tuttle used two printed work to this point, his Well-Tem- different (one wants to say, “conflicting”) pered Clavier. In each print, a different plate marks: a large square one, mim- type of fabric is included by collaging or icking the paper’s edge, and a smaller chine collé. The fabrics include fiberglass, Purchase irregularly shaped mark, outlining each silk, taffeta and sack cloth. Small, shaped print’s image. In Edges (13 aquatints, plates were used to print brightly colored Back Issues with engraving and drypoint, with cop- shapes. But no amount of detail about the perplate embossing), two platemarks are materials or the printing techniques used of Art in Print. visible, one inside the other, and colors in this masterful series prepares one for are printed inside and outside the inner the astonishing lushness of its imagery. mark. In Line, there are again two plate- The beginning of Tuttle’s career was marks per print, but while the outer mark contemporaneous with the prime of Arte remains static, the inner one varies wildly Povera, the Italian movement that put a in dimension and location, as do the col- premium on using materials from daily ored and linear shapes found in each life—industrial materials, cast-offs from print. building construction or other effects of The next gallery held a number of survival. Despite certain similarities in works produced at ULAE: the Seasons concept, however, Tuttle’s work differs (2005), larger-scale woodcuts with lithog- from that of Jannis Kounellis, Mario raphy, the 11 mixed-media works of When Merz, Marisa Merz and others, through Pressure Exceeds Weight (2012–2013), and its often lighthearted, fanciful approach Other (2009), a huge arc made of hand- to color and materials. Tuttle’s art is not formed pigmented paper pulp, mounted without political implications, but the on two handmade wooden brackets. This way he blends humor into his simple object’s rich orange tonality, coupled with means, and the way his work often seems the bold animal-like quality of the two evanescent, gives it a different ultimate brackets, again introduces an element of effect. Tuttle is like a one-person move- surprising humor that makes one want to ment himself, unusual amid the trends of know more about the motivations behind late 20th- and early 21st-century Ameri- the piece. A commonality can be found can art. The fact that one can identify at between it and the early work In Praise of least one major artist, Jessica Stockholder, Economic Determinism (1973), in which a whose work is clearly indebted to paths hand-drawn arching line droops like an Tuttle has quietly blazed, is testament to Did you know you can inverse of the arc in Other, and two holes his achievement. The print retrospective purchase any issue of in the paper echo the two brackets. at Bowdoin made that achievement pal- Art in Print? When Pressure Exceeds Weight is among pable—and was a delight to witness. several projects making use of handmade paper. Here again, Tuttle continues Miss the New Editions issue? to play with expectations and percep- Vincent Katz is a poet, translator, critic and curator. tions. He challenges the paradigm that, Need the Stanley William in prints, ink is printed on paper. In this Hayter issue for your and other series, Tuttle prints while the library? handmade paper is still wet, obscuring whether color patterns are in the paper, Want to give the Renaissance printed, or a combination of the two. Fur- ther complicating the viewer’s compre- issue to a friend? hension in this set is his decision to use two different presses—a traditional etch- All 15 issues of Art in Print ing press, in which the paper is horizontal are available on MagCloud when printed, and a vertical hydraulic at www.magcloud.com/user/ press—which pushes further the effects established-2011. of wet paper moving, and therefore changing image, in response to pressure. If you have any questions, One was shocked, finally, even after all the surprises in this subtle exhibi- please contact us at tion, to come upon Cloth (2002–2005, 16 [email protected]. etchings with aquatint, spit-bite, sugarlift, soft-ground etching, drypoint, and fabric collé), another series produced

36 Art in Print March – April 2015 EXHIBITION REVIEW “Digital” Printing By Laurie Hurwitz

Installation view: “Matthew Brandt: Woodblocks,” Galerie Praz-Delavallade, 2014.

“Matthew Brandt: Woodblocks” misusing) the tools at hand, he creates Park, for instance, with ink made from Galerie Praz-Delavallade, Paris one-of-a-kind images that are unmistak- ketchup, Kool-Aid, mouthwash or Jello; 15 November – 20 December 2014 ably process-based while also posing con- his Los Angeles starscapes were screen- ceptual and philosophical questions. printed onto black velvet with cocaine. hile studying at UCLA for his Brandt, born in Los Angeles in 1982, Still others convey sadness, like the poetic WMFA degree, Matthew Brandt has produced an eclectic oeuvre that photographs made from crumbled bits of was shooting a series of portraits when includes heliogravures of the fossilized dead bees (victims of “colony collapse dis- a friend posing for him began to cry. skeletons on display at the La Brea Tar order” discovered on a local beach) mixed Brandt, who was fascinated with his- Pits printed in black, sun-cured pitch, as with resin, or the “Lakes and Reservoirs” torical photographic techniques, had a well as gum bichromate prints that repro- series, in which he saved jugs of water “eureka” moment: inspired by the 19th- duce archival images of the demolition from the sites he was photographing, century salt print process, he decided to of New York’s Madison Square Garden, then used it to bathe the large C-prints add his subject’s tears to the chemical printed with dust and grime gathered at until the emulsion began to dissolve, baths he was using to develop the photo- the site. Recalling the work of Vik Muniz, leaving behind limpid, painterly abstrac- graphs. Since then, he has been playfully some of Brandt’s prints integrate unusual tions in vibrant color. experimenting with old methods and ingredients such as peanut butter and His recent inventive, refreshing exhibi- materials, often incorporating physical jelly, Cheez Whiz, chewing gum, sperm, tion—Brandt’s first solo show in Europe— elements of his subject into the work. or chocolate mole sauce; he has made presented three series of woodblock Pushing traditional processes in new, screenprints of archetypal American prints, all made on the artist’s handmade unexpected ways and fearlessly using (or landscapes such as Yosemite National paper with his handmade ink, in frames

Art in Print March – April 2015 37 Matthew Brandt, Woodblock BL, BR, GN, OR, YL, GY, BK 1-3 (2014), color woodblock prints in ink on paper made from pinewood in pinewood block frame, 99 x 54 cm (framed) each. crafted by him from his own matrices. Dillinger) found online, soon gave way to pleasure of the physical process: layers of These works are less philosophical, less another set of subjects—the fingerprints bright, mottled hues of tangerine and about the blurring of subject and material of people who had left their mark on cerulean blue, from seven separate color than many of his former projects. Instead Brandt, from John Baldessari and archi- passes, applied to the textured paper— they celebrate the excitement of making tectural photographer Robert Polidori lovely, faded and worn, like frescoes. things. In the most prominent series, (for whom Brandt worked as an assis- he de-familiarized the familiar: finger- tant in New York) to Jim Shaw and James prints. Simple and decorative, in jazzy or Welling (his UCLA professor). Laurie Hurwitz is a curator at the Maison européenne de la photographie in Paris. pastel hues, they share little with well- The second series consisted of humble, She is Paris correspondent for ARTnews known fingerprint precursors like Chuck shaped woodblock prints carved to depict magazine. Close’s 1981 lithograph of Philip Glass or the grain of the wood used to print them, Robert Morris’s Blind Time series, initi- printed on paper he made by hand from ated in 1973, created blindfolded. the wood. Inspired by the narrow, irregu- Brandt magnified impressions of the lar galley space, and discreetly hung at markings found on a fingertips’s surface, body level near the edge of the walls, they transforming them into abstract patterns created, from certain vantage points, the that looked a bit like zebra-striped area illusion of wooden steps in perspective. rugs. He then hand carved their grooves Hidden in the gallery’s office, the most and ridges on panels made from locally beautiful series consisted of three unpre- available woods (California cedar, red- tentious woodcuts of a slightly deformed wood, pine, spruce, fir) and printed them pine tree. Again, they were printed from with handmade inks ground from local ink Brandt ground by hand from local materials (cinnabar, malachite, smalt or materials and on paper he made from the ground-up cochineal, the tiny insects wood of the tree depicted; as with his fin- used to produce the pigment carmine). He gerprint prints, the woodblocks used to also made the paper, its surface textured make the prints, bearing the colored-ink and uneven, the color of sawdust. His traces, were cut up and made into frames first exploration of the subject, enlarged for the work. There was no gimmick, just versions of the fingerprints of criminals classical compositions that evoked pasto- (Lee Harvey Oswald, Al Capone, John rals by Claude Lorrain and the sheer

38 Art in Print March – April 2015 EXHIBITION REVIEW Mutchler, Urban and Dupuis-Bourret at Atelier Circulaire By Étienne Tremblay-Tardif

“Universal: Leslie Mutchler and Jason Urban” 18 September – 17 October 2014

“La fabrication de l’espace: Andrée-Anne Dupuis-Bourret” 24 October – 21 November 2014 Atelier Circulaire Gallery, Montreal

he Montreal cooperative printshop T Atelier Circulaire kicked off the first complete season of its new exhibition space with two remarkable shows this past fall: “Universal” by the Texas-based duo Leslie Mutchler and Jason Urban, and “La fabrication de l’espace” by Que- bec artist Andrée-Anne Dupuis-Bourret. In very different yet complementary ways, the two exhibitions exploited the glass-walled gallery’s potential for spatial engagement. Mutchler and Urban dou- Installation view: “Leslie Mutchler & Jason Urban: UNIVERSAL,” Atelier Circulaire Gallery, 2014. From bled the glass walls with movable parti- left to right: UNIVERSAL Gate (2014), screenprint, woodcut and lithograph, 24 x14 inches; Softboxes tions that carried an enigmatic series (2014), digital print, 65 x 96 inches; Rock (2014), digital print and acrylic, 10 x 15 inches. of near-identical prints, thus providing sneak peaks of the gallery space before the remaining ground floor spaces will be ripped-off cover of a Bayer monograph letting the viewer inside. Dupuis-Bour- filled with luxury boutiques, videogame in the form of a full-color reproduction ret decided to remove the partitions and design studios, corporate offices or fast- of the designer’s painting Chromatic Gate used the gallery as a display window for food stalls. (1969), which anticipated his monumen- her experiment in spatial relations. tal sculpture of the same name, first The gallery is located in the revamped Leslie Mutchler/Jason Urban: erected in 1975 in Philadelphia and later De Gaspé building between the Mile-End “Universal” moved to Santa Barbara. The artists had and Plateau Mont-Royal neighborhoods, chosen this image as the pivot of a series and its major point of architectural inter- Universal time, universal pictures. of experiments at Artists Image Resource est is the glass corner that opens onto the These were the associations that in Pittsburgh, and while their reasons building’s street-like first-floor corridor. occurred to me when I entered Mutchler are never spelled out, its reiteration sug- It does not look like the typical gallery and Urban’s exhibition. In fact the title gests a disquieting folding of time/space white cube and could easily be converted refers to the typeface designed by Bau- (think, for instance, of the monolith in into a “black box” space with its black haus director of graphic arts Herbert Stanley Kubrick’s 2001: A Space Odyssey). ceiling and grid of pipes from which the Bayer in the early 20th century. Bayer is The exhibition’s affect, however, is a far lighting system and movable walls hang. also the reference point for the cryptic cry from Kubrick’s hallucinatory mode; The aquarium quality imparted by the design—a kind of nested angular arch- a closer comparison might be a Guy de small, exposed space both allows for way—that recurred in various permu- Maupassant fantastique short story, but eccentric projects and imposes a certain tations throughout the show: in three one taking place inside Gropius’ Bauhaus. concision on them. subtle grayscale prints (a photolitho- The viewer wonders: did the hands on Circulaire’s immediate neighbors graph, a screenprint and a woodcut); as that Karlsson clock just move? No, wait, are the well-known artist-run centers a woodblock leaning against the wall; it is a digital print of a Karlsson clock Optica, Dazibao, Occurrence, Diagonale in a photograph of a different but simi- mounted under Plexiglas. What is time? and Clark; others are scheduled to join lar woodblock; and on numerous copies What are pictures? them in the coming year. The building of a newspaper folded, piled and sand- The deliberate placement of objects renovation is far from finished, however, wiched between a Plexiglas plinth and and the atmospheric lighting enable the and Montrealers are wondering whether a chalky rock. It also appeared on the gallery to impersonate the Artists Image

Art in Print March – April 2015 39 Installation views: “Leslie Mutchler & Jason Urban: UNIVERSAL,” Atelier Circulaire Gallery, 2014. Left, from left to right: Spraybooth (2014), digital print and acrylic, 96 x 96 inches; Clock (2014), digital print and acrylic, 12 x 12 inches; Magnesite on Newspaper (2014), magnesite, newsprint and acrylic, dimensions variable. Right, from left to right: Bayer Book (2014), digital print and acrylic, 4 x 24 x 13 inches; Gate II (woodblock) (2014), digital print and acrylic, 24 x 14 inches; Gate (woodblock) (2014), digital print and acrylic, 24 x 14 inches.

Resource studio space in Pittsburgh Andrée-Anne Dupuis-Bourret: tures screenprinted with images of min- where the work shown at Circulaire was “La fabrication de l’espace” eral formations were loosely scattered made and where an eponymous video was along the glass wall alongside black boxes shot. On view in the gallery, its warm, While Mutchler and Urban teased containing paper “sticks” waiting to be yellowish glow and the gray light from viewers with narrow glimpses into the shaped into rings, but most of the space an overcast afternoon provide context gallery from the corridor outside, Dupuis- was dedicated to the fabrication of a for the works nearby. Over the course of Bourret opened the gallery completely on cloud-like structure that hovered in mid- a six-minute-long loop we see the soft- one side to reveal her evolving installa- air. This suspended mist was formed by box lighting kit that also appears in a tion to passersby. The project continued an accumulation of those crimped paper large digital print in the gallery; we see her investigation of modular assemblage rings, some with black streaks on white cropped images of stacks of paper, hands, based on printed monochromatic pat- ground and others with marks on a satu- hinges. We catch reflections of the Pitts- terns. Those patterns, whether hand- rated black ground. They were grouped burgh studio in a thin layer of water left drawn, digital designs or photo-based, in structures of similar shades, then on a photolithography plate—a slowly are often reproduced in large numbers on joined together in multi-ring modules evaporating semi-image. paper sheets that are carefully folded or, that created a troubled volume through These reflection games—gray surfaces as here, freely crimped, rolled and stapled shadows cast on the walls and floor and glares—disrupt the picture plane. to form organic rings of various sizes. At and the interplay of receding planes The close-cropping and angled frames of Circulaire, boulder-shaped paper sculp- of black-on-white and white-on-black. the video provide a lens through which to look back at the images and objects in the exhibition. As viewers, we wait by the side of the artist who remains out- of-frame, our eyes on details of the press bed. The handmade quality of the exhibited prints and objects seems to fall out of sync with the serial quality of printmaking. I became confused as to what I had just seen on the screen: I kept waiting for an event to take place, but was only given a collection of micro-actions and atmospherics. I am not sure whether the loop was the same the second time. This bizarre sense that space and time were slightly offset felt like it might be the result of daydreaming for too long while fanning a photosensitive plate before pulling a print. I was not entirely sure the space I walked back into was the same from which I had entered the small screening room. Did that clock just move? Installation view: “Andrée-Anne Dupuis Bourret: La fabrication de l’espace (Proliferations),” What is time? What are pictures? Atelier Circulaire Gallery, 2014. Photo: Andrée-Anne Dupuis Bourret.

40 Art in Print March – April 2015 Installation view: “Andrée-Anne Dupuis Bourret: La fabrication de l’espace (Proliferations),” Atelier Circulaire Gallery, 2014. Photo: Andrée-Anne Dupuis Bourret.

Black elements clearly defined the back glacial erratics. ing anxieties about the validity and solid- and sides of the installation (as seen Over the course of the exhibition, ity of prefabricated environments. This is from outside the gallery). These served elements on the floor were moved and where her concerns intersect with those as repoussoirs to frame the pictorial depth the cloud contracted and expanded as of Mutchler and Urban, whose array of of the tableau and brought a darker edge rings were assembled and disassembled. discrete objects were only revealed in to the work. The cloud conjured architec- Dupuis-Bourret often treats galleries as pairings or groupings; their meaning tural notions of megastructures (with a extensions of her studio, continuing to constructed through changes in viewing style closer to Yona Friedman than Con- work during the duration of the show angles or sightlines. Both “Universal” and stant Nieuwenhuys) or the Blur Build- in group workshops or extended solo “La fabrication de l’espace” were invested ing of Diller, Scofidio and Renfro. It performances. Thus her art occupies an in the materiality of print processes and had a whimsical quality, like children’s indeterminate place between three para- studio practices while responding inven- room decorations, as well as the prag- digms: a studio where materials, hands tively to the specific gallery space, ener- matic edge-of-department-store display and simple tools (stapler, masking tape, gizing the glass-case exhibition pod. Let scenography. The use of digital photogra- etc.) are deployed; an engineering space us hope Circulaire builds on this promis- phy to capture mineral textures imparted where modules and fragments are col- ing start to take on a renewed role in an uncanny quality to the rocks, whose laged and assembled in ways that question Montreal’s ebullient print ecology.1 surfaces are at once absolutely artificial the status and solidity of art objects; and and yet also perfect imitations of a strati- a gallery where she exploits the formalist fied stone formation. Weirdly, they also legacy of minimalist and post-minimalist Étienne Tremblay-Tardif is an artist, writer and researcher based in Montreal. resembled nicely stuffed cushions. The sculpture to test architectural space as beaten and dented paper took on the site and conceptual object. At Circulaire appearance of fabric: a simulacrum of a she presented the dissolution of the solid, Notes: beanbag projecting the simulacrum of a central object in favor of a relationship of 1. For a detailed survey of the city print scene, see Jason Urban, “Pattern Recognition : A Letter From boulder. (Is that perverse enough?) Placed parts within the whole. Montreal”, Art in Print, September-October 2013, by the side of these ersatz boulders, the Riffing on Henri Lefebvre’s 1974 text, Volume 3, Number 3, p. 23-27. airborne amalgamation of paper rings La production de l’espace, Dupuis-Bourret evoked water cycles and cloud seeding— constructed a modulated and potentially digital clouds pouring over dot-patterned emancipatory space for play, while evok-

Art in Print March – April 2015 41 EXHIBITION REVIEW Memory and Beekeeping in a Tradigital Mode By Mary MacNaughton

“Nancy Macko: Hopes and Dreams and Works on Paper” Thomas Paul Fine Art Ltd., Los Angeles 17 September – 1 November 2014

ancy Macko’s comfort working N in both traditional print and digital domains was evident in her recent exhibition at Thomas Paul Fine Art Ltd. in Los Angeles. In this spacious gallery, Macko displayed three series, including etchings, monoprints and archival digital prints, which showed the breadth of her technical range. (At Scripps College Macko teaches a course known as “tradigital,” in which students combine dis- parate processes to create new images.) Macko plumbs nature’s mysteries in apiary-themed works that fuse myth and science, with images that range from ancient bee priestesses to the molecular makeup of glucose. Another recurring theme is the continuity of women’s experience from past to present. The black- and-white etchings of In the Garden of the Bee Priestess I (2007) conjure the world of the Minoan snake goddesses from the temple of Knossos (ca. 1600 BCE) and the ritualistic representation of fecundity and femininity. Ancient Cretans used honey for food and medicine, and built Nancy Macko, In the Garden of the Bee Priestess I: Sacred Grove 3 (2007), etching, tombs that echoed the domed shape of image 12 x 12 inches, sheet 24 x 22 1/4 inches. Edition of 10. Printed by Mahaffey Fine Arts, the skep, or basket-hive; Sacred Grove 3 LLC, Portland, OR. (2007) visualizes an imaginary space filled with goddesses, bees and hives. conceived of these large-format digital taking the present, as time becomes fluid In the 2009 series, Memory Fade Mono- prints as a visual memoir embodying the and unfixed. Simultaneously, she conveys prints, Macko shifts from flying bees to disorder of her mother’s memory loss. her own sense of loss as her mother slips fleeting thoughts in images that respond Macko’s points of departure are photo- away. A virtuoso of layered digital imag- to her experience of her mother’s decline graphs of her young mother, dressed in ery, Macko joins technique to deeply felt into dementia. Macko layers monoprint, hat and gloves and waiting expectantly emotion, creating images that are them- aquatint and hand-stamping to evoke the on her doorstep. Wearing a joyful smile, selves difficult to forget. appearance and disappearance of memo- she exudes faith in her future. Nearby, ries. The compositional square within a faint fragments of her own letters come Mary MacNaughton is professor of Art History rectangle reflects structure, while the to the surface, along with ghostly images and director of the Ruth Chandler Williamson superimposed rings, which emerge and of the Virgin Mary, hovering as a protec- Gallery at Scripps College. fade, suggest evanescence. Macko rein- tive presence. Serenity remains elusive, forces the idea of transience in such titles however, as space shatters around the as Losing Count and Shade. Sundowning young woman, like memories that no refers to the increased disorientation and longer cohere. confusion that dementia victims often Hopes and Dreams conveys the emo- experience at dusk. tional disorientation of memory loss. In Hopes and Dreams (2010), memory Macko moves inside her mother’s mind to not only fades but fractures. The artist imagine the sensation of the past over-

42 Art in Print March – April 2015 BOOK REVIEW tion, and the history of modernism. collectors it constituted a social duty: At the heart of Iskin’s study is color bibliophile Octave Uzanne asserted, “The lithography, which became the medium collectors of posters… do a useful work par excellence for artistic posters in the and contribute to the growth of the riches Belle Époque. Although lithography had of the national art, because the aston- been used by artists since the beginning ishing archives they form rescue from of the century, many print connois- assured destruction the often incompa- seurs considered color lithography an rable works, created for an ephemeral illegitimate form of printmaking: Iskin destiny, but which, because of their artis- observes, “the poster lacked the pedigree tic expression are worthy of being con- of the black-and-white print, which was served equally to certain frescos of earlier long associated with the interior and with centuries.” Indeed, these collectors pre- collecting”—a fact cunningly visualized served unprecedented documentation of in Pierre Bonnard’s 1897 poster for the the multitudinous facets of everyday life, journal L’Estampe et l’Affiche. Nonethe- and Iskin offers ample testimony to the less, with the vehement support of critics importance of their activities to future such as Roger Marx and André Mellerio, generations. color lithography gained traction among In one of her most surprising and both printmakers and a new breed of col- convincing arguments, Iskin questions lectors. whether posters were in fact margin- Iskin introduces the reader to a new alized in fin-de-siècle Europe. She cites set of actors in 19th-century print cul- the rhetoric of early poster historians ture, among them the iconophile and who lauded the very characteristics that the female connoisseur. The latter is detractors found objectionable: the use of discussed with particular thorough- color lithography, the role of advertising The Poster: Art, Advertising, Design and ness. In her chapter “Toulouse-Lautrec, and public display. Posters were not only Collecting, 1860s–1900s Jane Avril, and the Iconography of the a purview for new print collectors, they By Ruth E. Iskin Female Print Connoisseur in Posters,” were the subject of a host of exhibitions 408 pages Iskin traces the fin-de-siècle visual motif during the Belle Époque. While greater 48 color plates, 140 illustrations of the fashionable, middle-class woman scholarly attention is now given to mass- Dartmouth College Press engaged in examining prints. This sub- produced, ephemeral culture (a shift that Hanover, NH, 2014 ject (initially figured in Lautrec’s cover for is often associated with the “material” $50 L’Estampe Originale) represented a shift or “cultural” turn in art history), Iskin from the familiar image of the male con- demonstrates that close analysis of these noisseur, who was usually seen practic- artifacts has been part of the poster’s dis- ing his aesthetic discernment in interior course since the late 19th century. Popularity, Populism and spaces. The female print enthusiast, on Perhaps most significantly, her exami- the Poster the other hand, was a chic and worldly nation of poster design leads to a broader figure. In representing this modern type, questioning of the narratives of modern By Sarah C. Schaefer poster designers appealed to viewers art history. In his now canonical rumina- and collectors who were not wedded to tions on modern art, Clement Greenberg y posters are not intended for close the famously limited and conservative asserted that artists’ increasing emphasis M or detailed examination,” Jules tastes of traditional print connoisseurs. on pictorial flatness was a way of affirm- “Chéret once remarked. Ironically, Chéret By picturing and promoting the newer ing painting’s particular condition. Crit- is one of the few artists whose posters collectors, artists legitimized both color ics and historians have subsequently have since the 19th century been the sub- lithography and the artistic poster as recuperated some of the most significant ject of careful scrutiny; for the most part avant-garde media. poster designers of the late 19th century they have remained in the shadows of The male print lover is the subject into the history of modernism, usually art historical scholarship, rarely treated of the book’s final chapter, “The Icono- citing the influence of Japanese prints, in any depth. In this new and important phile’s Collecting: Posters as an Ephem- with their bold contours, flat masses of book, however, Ruth E. Iskin contends eral Archaeology of Modernity.” Coined color and decorative patterning. While that the poster was at the center of a con- in 1834, the term “iconophilia” came to Iskin affirms this influence, she questions stellation of cultural developments that denote (often disparagingly) the rabid the teleological appropriation of poster continues to affect visual culture, from accumulation of visual ephemera, not design into the Greenbergian narrative design and production to art criticism merely as a pleasurable, bourgeois hobby, on the basis of one key condition: where and collecting. In addition to consistently but as a self-consciously socially respon- modernist artists sought to separate thought-provoking visual analyses, Iskin sible gesture. Poster collecting served to art from life, fin-de-siècle posters were examines the poster’s history through separate the wheat (artistic posters) from unequivocally immersed in contempo- the lenses of late 19th-century critical the chaff (commercial designs) and pre- rary life and especially mass culture. She responses and contemporary theoretical served the visual minutiae of the present grounds this reassessment of the nature models regarding reproduction, recep- moment. For fin-de-siècle historians and of modern art in what Jacques Rancière

Art in Print March – April 2015 43 Henri de Toulouse-Lautrec, cover for L’Estampe Originale, published by the Journal des Artistes (Album I) (1893), lithograph printed in six colors on folded wove paper, image 56.5 × 65.2 cm, sheet 58.4 × 82.8 cm. Collection of The Metropolitan Museum of Art. has called the “historical modernism” of tors that distinguished particular locales. the late 19th century, which, unlike later A “world history” of the poster is beyond modernist movements, steadfastly com- the parameters of this book, but Iskin bined art and everyday life. As Iskin dem- helpfully acknowledges the domain’s onstrates throughout the book, designers breadth and complexity. and critics were well aware of the par- Iskin navigates a multitude of artists, ticular conditions that determined the locations, and cultural and artistic dis- poster’s identity: its commercial util- courses with dexterity. She has written a ity, ephemeral nature, display in public towering monument to an oft-neglected spaces, and broad audience, all of which subject, which should stand as a model of were embraced by the numerous champi- inquiry into ephemeral visual culture for ons of the medium. generations of print historians. Iskin describes her project as an “integrated cultural history” and successfully unravels the web of historical factors Sarah C. Schaefer is a Core Lecturer in the Department of Art History and Archaeology at surrounding late-19th-century poster Columbia University. production, extending the geographical scope of her inquiry beyond Paris. While acknowledging that France was the locus of many innovations in the history of the poster, Iskin also considers the work of critical innovators throughout Europe and America, including Aubrey Beardsley, Alphonse Mucha and the Beggarstaffs, and investigates some of the societal fac-

44 Art in Print March – April 2015 BOOK REVIEW mastery—as a touchstone, from Amanda Knowles’s futuristic geometries on plastic to J. Catherine Bebout’s romantic citations of cartography and natural history illustration. Sienna Brown articu- lates the link between the personal and the political, examining the social implications of autobiography in the work of artists such as Squeak Carnwath and Karen Oremus. Focusing on nature and the environment, Margaret Matthews- Berenson’s essay offers a bridge between the objective allure of science and the subjective power of individual experience, a topic that accommodates everything from Mary Schina’s gravures of the moonlit Aegean to Monica Furman- ski’s digital remixes of the Costa Rican rainforest and Sylvia Lark’s numinous Women and Print: abstractions. A Contemporary View This is a diverse collection of objects; Amy Ellingson, Untitled #6 (Lilac) (2011), Edited by Mary Davis MacNaughton, perhaps the main area of commonal- pigment print with screenprint, 25 x 20 inches. Edition of 10. with essays by Sienna Brown, Margaret ity is clustered around the intersection Mathews-Berenson and Mary Davis of complexity and specificity. Noth- MacNaughton ing on view is simple and nothing is Complexity—the acknowledgement 120 pages, fully illustrated in color generic. The tension between abstrac- that simplification is inherently a - fic Williamson Gallery, Scripps College, 2014 tion (deducing principles) and observa- tion—is manifest in the printerly, $20 tion (paying close attention to surface layered structures that appear here in detail) is as old as human cognition every technique from woodcut to digital. and has been the source of persistent Even images as spare as Amy Ellingson’s oscillation in visual arts. In his domi- screenprinted grid of nine oval tracks are disrupted by peek-throughs that tell Women and Print neering Discourses on Art, Sir Joshua Reynolds proclaimed, “disposition to us there is more going on than meets By Susan Tallman abstractions, to generalizing and classi- the eye. fication, is the great glory of the human The danger courted by a show of “women’s art” is that of essentializing— s the recent New York Times article mind.” In his own copy of Discourses, interpreting the specimens on view as on the “men of Wellesley” made William Blake retorted: “To Generalize A evidence of some larger demographic clear, gender is a can of worms. Cer- is to be an Idiot; To Particularize is the inevitability (in effect, the “generalizing tainly we get into deep water quickly Alone Distinction of Merit.” and classification” that Reynolds held when we view gender as predictive of Most of the work here seems to side to be our great glory as a species). Are future performance. But art exhibitions with Blake or at least shares a suspicion women artists more interested than men are about past performance, and insofar of generalized, easy answers. The func- in specificity and complexity (or in sci- as art can be understood as the product tion of zoological specimens is to repre- ence, nature or personal narratives)? I of negotiation between an artist’s inter- sent a type, but Sandy Gellis’s exquisite have no idea, and I suspect no one else nal instincts and the external pressures etchings of feathers form an archive of does either. and opportunities she encounters in the individuals. Nancy Friese’s masterful Can one put together a visually fasci- world, gender remains a viable rubric. plein air etchings, made on site in North nating and conceptually engaging exhi- Woman and Print: A Contemporary Dakota’s Red River Valley over the course bition by focusing on women artists? View, an exhibition and eponymous cata- of years, are moving because of the finely Clearly, yes. logue organized by Scripps College last tuned attention they manifest. We may fall, has no political or ideological axe to never have been to North Dakota, but we understand that this is a real place and grind. It makes no argument about how Susan Tallman is the Editor-in-Chief of women’s work differs from men’s, nor that the artist’s decision to record one Art in Print. do the works selected attempt to define detail and exclude another is difficult what it means to be a woman or to be a and costly. Julie Mehretu’s frantic, ele- woman artist. Each of the three cata- gant etchings do much the same thing in logue essays draws a different thematic a schematic realm. Sophie Calle’s stalker thread through a different subset of the document, The Address Book (2009), is included art. Mary McNaughton looks essentially a case study in how the spe- at prints that use science—its schematic cifics of a life make a mess of coherent structures and promises of cognitive narrative.

Art in Print March – April 2015 45 News of the Print World

Selected New Editions

Darren Almond, Digital Red, Digital Green, Digital Blue and Digital Yellow (2015) Lithographs, 100 x 69 cm each. Edition of 50 each. Printed and published by Edition Copen- hagen, Copenhagen. €1,200 each; €4,000 for the James Angel, Temporal Consciousness set. (2014). Aziz, Untitled (2015).

Polly Apfelbaum, Empress Shout (2014) Thomas Bayrle, Flying Home (2014) 48-color woodblock, 25 5/8 x 25 5/8 inches. Artboard UV-inkjet print, seven color coats, Edition of 35. Printed and published by Durham 114 x 84 cm. Unique image. Printed by Salon Press, Durham, PA. Price on request. Iris, Vienna. Published by museum in progress, Vienna. €2,000.

Darren Almond, Digital Red (2015).

Justin Amrhein, Orchid Suite (Vanda Coerulea aka Blue Vanda, Cypripedium Acaule aka Lady Slipper and Psychopsis Padilio aka Butterfly Orchid) (2014) Polly Apfelbaum, Empress Shout (2014). Suite of three 10-color screenprints, 44 x 15 Thomas Bayrle, Flying Home (2014). inches each. Edition of 25. Printed by Kayrock Screenprinting, Brooklyn, NY. Published by Kay- rock Editions, Brooklyn. $575 each; $1,500 for the Frances B. Ashforth, Water Study 15 (2014) Carla Beretta, Silvana Blasbalg, Alicia suite. Waterbase monotype, 30 x 30 inches. Unique image. Printed by Chris Shore at the Center Candiani, Marcela Casals, Hera Chan, for Contemporary Printmaking, Norwalk, CT. Paola Cohen, Cristina Duro, María Guer- Published by the artist, Ridgefield, CT. $2,600. reiro, Anne Heyvaert, John Hitchock, Julie Krone, Alexandra Leeds, Nöel Loeschbor, Nico Mazza, Adriana Moracci, Toni Mos- ley, Santiago Ocampo, Jennifer Pickering, Barbara Putnam, Carlos Scannapieco, Vivi- ana Sierra, Federico Signorelli, Cristina Solía, Laura Tecce and Norma Villarreal CICLOS | CYCLES (2014) Porfolio of 25 prints, various techniques, 15 x 11 inches. Edition of 28. Printed and published by Proyecto' ace, Buenos Aires, Argentina. $2,000.

Frances B. Ashforth, Water Study 15 (2014).

Aziz, Untitled (2015) Justin Amrhein, Vanda Coerulea aka Blue Aluminum etching, 30 x 30 cm. Unique image. Vanda (2014). Printed by the artist, Odense, Denmark. Pub- lished by Fyns Grafiske Værksted, Denmark. CICLOS | CYCLES (2014) €200. James Angel, Temporal Consciousness (2014) Multi-plate photopolymer relief, image 10 x 8 inches, sheet 14 x 11 inches. Edition of 40. Printed by Brent Bond, Scottsdale, AZ. Published by Santo Press, Scottsdale. $80.

46 Art in Print March – April 2015 Sebastian Black, Period Piece Peepers (**) (2015) Jonathan Borofsky, Twister 1-6 (2014) Color etching and aquatint, image 6 x 10 inches, Series of six prints (lithography and/or screen- sheet 11 3/4 x 15 3/4 inches. Edition of 20. Printed print), 45 x 45 inches each. Edition of 35 each. by James Pettengill, Hinsdale, NH. Published by Printed and published by Gemini G.E.L. LLC, Los Wingate Studio, Hinsdale. Price on request. Angeles. $4,500 each.

Kelie Bowman, Reset the Clocks (2014).

Julie Buffalohead, The Trickster Showdown (2015) Lithography and screenprinting, right panel 27 x 34 inches, left panel 27 x 22 inches. Edition of 8. Printed and published by Highpoint Editions, Minneapolis, MN. $2,150.

Jonathan Borofsky, Twister 5 (2014).

Sebastian Black, Period Piece Peepers (**) Richard Bosman, Round Trip 1 (2015) (2015). Woodcut, 33 1/2 x 25 inches. Edition of 30. Printed by Joe Freye, Madison, WI. Published by Tandem Press, Madison. $1,500. Brent Bond, Portrait of a Hermit at Sea (2014) Reduction linocut on archival inkjet with letterpress and shellac, image 11 x 9 inches, sheet 13 3/4 Julie Buffalohead, The Trickster Showdown x 12 1/2 inches. Edition of 20. Printed by Brent (2015). Bond, Scottsdale, AZ. Published by Santo Press, Scottsdale. $275. Sophie Calle, In Memory of Frank Gehry’s Flowers (2015) 11 two-sided plexi-framed color photographs and text, arrangeable in a painted wood, grooved, wall-mounted shelf, glass vase by Frank Gehry and color photograph with hand-cut edge, framed, shelf with photographs 54 1/2 x 9 1/2 x 1 3/4 inches, vase 10 x 6 inches (diameter), photograph 41 1/2 x 54 1/2 x 2 inches. Edition of 25. Printed and published by Gemini G.E.L. LLC, Los Angeles. $38,000. Richard Bosman, Round Trip 1 (2015).

Richard Bosman, Porthole 2 (2015) Monoprint, archival pigment print uniquely Brent Bond, Portrait of a Hermit at Sea (2014). hand painted, 18 7/8 x 20 inches. Unique image. Printed and published by Stewart & Stewart, Bloomfield Hills, MI. $4,000. Jan-Henri Booyens The Heinous Hyena’s from Hell (2014) Monotype, 75.7 x 99 cm. Unique image. Printed and published by Warren Editions, Cape Town, South Africa. R18,000.

Sophie Calle, In Memory of Frank Gehry’s Flowers (2015).

Alicia Candiani, East is My West I and II (2015) Richard Bosman, Porthole 2 (2015). Photolithography and screenprinting, 78 x 118 cm. Edition of 15. Printed and published by Guanlan Original Printmaking Base, Shenzhen, Kelie Bowman, Reset the Clocks (2014) China. $1,500 each. Five-color screenprint, 27 x 40 inches. Edition of Jan-Henri Booyens, The Heinous Hyena's 30. Printed by Kayrock Screenprinting, Brooklyn, from Hell (2014). NY. Published by Kayrock Editions, Brooklyn. $400.

Art in Print March – April 2015 47 Amze Emmons, from The Study of the Rules Jonathan Eckel, German Idealism (2015). Governing Exceptions (2014).

Alicia Candiani, East is My West II (2015). Ida Ekblad, Picture Phosphorescence, Andrea Evans, Siblings (2014) the Pure, Again (2015) Multi-block linocut, image 7 1/2 x 9 inches, sheet Enrique Chagoya, Untitled Four-color screenprint using ink with puff 11 x 12 1/2 inches. Edition of 40. Printed by Brent (The Near Distant Jungle) (2014) additive, 60 x 42 cm. Edition of 75. Printed by K2 Bond, Scottsdale, AZ. Published by Santo Press, Etching, 30 1/2 x 25 3/8 inches. Edition of 60. Screen, London. Published by Counter Editions, Scottsdale. $80. Printed and published by Segura Arts Studio, London. $520. South Bend, IN. $1,200.

Andrea Evans, Siblings (2014).

Steven Ford, Untitled (O0805B) (2015) Unique linocut and collagraph with chine collé, Enrique Chagoya, Untitled (The Near Distant 43 3/4 x 29 5/8 inches. Unique image. Printed Jungle) (2014). Ida Ekblad, Picture Phosphorescence, the and published by the artist, Philadelphia. Avail- Pure, Again (2015). able from Dolan/Maxwell, Philadelphia. $5,000. Gordon Close, A Bird in the Hand (or The Green Couch) (2014) Elmgreen & Dragset, International News Lithograph, image 7 x 9 3/4 inches, sheet 10 x 12 and Classifieds(2014) 3/4 inches. Edition of 23. Printed by Lee Turner, Photo lithographs, 158 x 120 cm each. Edition Newcastle upon Tyne, United Kingdom. Pub- of 48. Printed and published by Edition Copen- lished by Hole Editions, Newcastle upon Tyne. hagen, Copenhagen. Price on request. £275.

Steven Ford, Untitled (O0805B) (2015).

Donald Forsythe, Interior/Exterior (2014) Unique woodcut and collagraph, 30 x 22 1/2 inches. Unique image. Printed and published by the artist, Dillsburg, PA. Available from Dolan/ Gordon Close, A Bird in the Hand (or Maxwell, Philadelphia. $2,500. The Green Couch) (2014). Elmgreen & Dragset, International News and Classifieds (2014). Jonathan Eckel, German Idealism (2015) Linocut, image 8 x 10 inches, sheet 11 x 15 inches. Edition of 5. Printed and published by the art- Amze Emmons, The Study of the Rules ist, Philadelphia. Available from Dolan/Maxwell, Governing Exceptions (2014) Philadelphia. $600. Series of ten unique works–intaglio, graphite, gouache, 18 x 24 inches. Unique image. Printed and published by the artist, Philadelphia. Avail- able from Dolan/Maxwell, Philadelphia. $2,400.

Donald Forsythe, Interior/Exterior (2014).

48 Art in Print March – April 2015 Liam Gillick, Farm Form Firm Forum (2014) Series of three screenprints, 59.4 x 42 cm. Edition of 18. Printed by Luther Davies, Axelle Editions, Brooklyn, NY. Published by Galerie Sabine Knust, Munich. €6,000.

John Kørner, from Beginnings (2015). Christopher Hartshorne, Cages & Clouds III (2015). Paula Schuette Kraemer, Family Portait–Bear and Family Portrait–Moose (2015) Sidney Hurwitz, Conveyor (2015) Drypoint monoprint and monotype, 30 1/2 x Aquatint, 22 x 30 inches. Edition of 25. Printed 30 1/2 inches each. Edition of 5 each. Printed Liam Gillick, from the series Farm Form Firm by Robert Townsend in Georgetown, MA. Pub- and published by the artist at Open Gate Press, Forum (2014). lished by the artist, Newton, MA. Available from Madison, WI. $1,600 each. Stewart & Stewart, Bloomfield Hills, MI. $1,200.

Peter Halley, Prison with Smokestack I (2014) Mixografía® print on handmade paper, 97 x 100 cm. Edition of 25. Printed and published by Mixo- grafia, Los Angeles. $5,000.

Sidney Hurwitz, Conveyor (2015).

Paula Schuette Kraemer, Family Portrait— Anton Kannemeyer, Greetings from South Moose (2015). Africa (2014) Seven-color lithograph, image 45 x 34 cm, sheet 51 Peter Halley, Prison with Smokestack I (2014). x 38 cm. Edition of 40. Printed by Mark Attwood Julian Lethbridge, What the End is For (2014) and Jacky Tsila, White River, South Africa. Pub- Suite of four color relief prints (accompa- lished by The Artists' Press, White River. R4,600. nies What the End is For, a selection of poetry by Peter Halley, Exploding Cell #9 and #11 (2013-14) Jorie Graham, with 16 prints by Julian Lethbridge, Unique hand-painted reliefs—pearlescent acrylic and an introductory essay by Helen Vendler), paint on high density foam carved with a CNC image 14 x 11 1/2 inches each, sheet 18 x 15 inches router, 40 x 40 inches each. Edition of 16 each. each. Edition of 30. Printed and published by Fabricated by Such and Such Design, Cincinnati, The Arion Press, San Francisco. $4,850 for the OH. Published by Carl Solway Gallery, Cincin- suite of prints and the book (must be purchased nati. $18,000. together).

Anton Kannemeyer, Greetings from South Africa (2014).

Peter Halley, Exploding Cell #11 (2013-14). John Kørner, Beginnings (2015) Ongoing series of monotypes, image 82 x 100 cm, sheet 102 x 117 cm. Unique image. Printed Julian Lethbridge, from What the End is For Christopher Hartshorne, Cages & Clouds II and published by Niels Borch Jensen Gallery and (2014). (2015) Editions, Copenhagen. €4,400. Unique reduction woodcut, 26 1/2 x 26 inches. Unique image. Printed and published by the artist, Philadelphia. Available from Dolan/Maxwell, Philadelphia. $1,800.

Art in Print March – April 2015 49 Richard Long, Fingers on Fire (2014) Two-panel carborundum relief print (from The Spike Island Tapes series of 17 monumental carborundum relief prints), 248.5 x 238.5 cm. Edition of 7. Printed by Andrew Smith and Michael Davies, Dorset, England. Published by the Alan Cristea Gallery, London. £18,000.

Elizabeth Peyton, Werther (Jonas Kaufmann) Maser, Stand Up (2014). (2013-14).

Wangechi Mutu, Seanimal I–IV (2014) Jack Pierson, Ohne Titel (2014) Set of four lithographs, 34.5 x 50 cm each. Archival pigment print, screenprint and glass Richard Long, Fingers on Fire (2014). Edition of 30. Printed and published by Edition flocking, 36 x 24 inches. Edition of 25. Printed Copenhagen, Copenhagen. €6,700. by Luther Davies, Axelle Editions, Brooklyn, NY. Published by Galerie Sabine Knust, Munich. Matt Magee, Blue Lichen and Oslo (2014) $3,200. Multi-block reduction woodcuts, images 14 x 7 inches and 7 x 14 inches, sheets 17 1/2 x 10 inches and 12 x 18 inches. Edition of 40 each (Blue Lichen is a variable edition). Printed by Brent Bond, Scottsdale, AZ. Published by Santo Press, Scottsdale. $325 and $300.

Wangechi Mutu, Seanimal I–IV (2014).

Jody Paulsen, Black Bananas (2014) Flat color printing, cutting and collage, 142 x 142 cm. Unique image. Printed and published by Warren Editions, Cape Town, South Africa. Jack Pierson, Ohne Titel (2014). R39,900. Endi Poskovic, Winter Landscape with a Monument (2015) Woodcut in 21 colors from five blocks and ten Matt Magee, Blue Lichen (2014). runs, 20 1/4 x 25 inches. Edition of 15. Printed and published by the artist in Ann Arbor, MI. Avail- able from Stewart & Stewart, Bloomfield Hills, MI. $800. Gerhard Marx, Binocular Skull 1 and 2 (2014) Hard ground etchings, 45 x 54.7 cm each. Edition of 20 each. Printed and published by Warren Edi- tions, Cape Town, South Africa. R9,690 each.

Jody Paulsen, Black Bananas (2014).

Elizabeth Peyton, Werther (Jonas Kaufmann) (2013–14) Lithograph, image 59.5 x 43.5 cm, sheet 71.5 x 54 cm. Edition of 40. Printed and published by Edition Copenhagen, Copenhagen. €3,230. Endi Poskovic, Winter Landscape with a Monument (2015). Gerhard Marx, Binocular Skull 1 (2014).

Maser, Stand Up (2014) Relief, 63 x 41 7/8 inches. Edition of 15. Printed by Bruce Crownover, Madison, WI. Published by Tandem Press, Madison. $2,000.

50 Art in Print March – April 2015 Haleh Redjaian, Untitled (two works), Untitled Richard Serra, Reversals I–X (2015) (Sketch 8-1), Untitled (Black Rectangles), White Hand-applied Paintstik and silica on handmade Square on white paper, Untitled (Grey Corner), paper, 42 x 15 inches each. Edition of 50 each. Golden Square (2015) Printed and published by Gemini G.E.L. LLC, Los Series of seven one-, two- and three-color litho- Angeles. $10,000 each. graphs, one with gold leaf, 47 x 35 cm each. Edition of 15. Printed and published by Keystone Editions, Berlin. €300-550 each; €2,300 for series of seven.

Frank X Tolbert 2, Golden Crown Heron (2014–15).

Richard Tuttle, Looking for Love I–IV (2015) Three- and four-color aquatints, 22 x 30 1/8 inches each. Edition of 28 each. Printed and published by Gemini G.E.L. LLC, Los Angeles. $2,800 each; $10,000 for the set of four.

Haleh Redjaian, Golden Square (2015). Richard Serra, Reversal IV (2014).

Ron Rumford, Untitled (2014) Linocut with chine collé, 18 x 66 inches. Unique Wayne Thiebaud, Canyon Bluffs, Dark Canyon image. Printed and published by the artist, Bluffs, Reservoirand Dark Reservoir (2014) Philadelphia. $3,500. Direct gravures with aquatint and drypoint on gampi paper chine collé, images 25 x 20 inches and 20 x 25 inches, sheets 33 x 27 inches and 28 x 32 inches. Edition of 25 and 20. Printed and published by Crown Point Press, San Francisco. Richard Tuttle, Looking for Love III (2015). Price on request.

Ron Rumford, Untitled (2014). Joan Wadleigh Curran, Untitled (2014) Etching and aquatint, image 16 3/4 x 17 3/4 inches, sheet 22 x 24 inches. Edition of 10. Printed by Jenny Schmid, Here & After (2014) Cindi Ettinger of C.R. Ettinger Studio, Philadel- Four plate, four-color mezzotint, 10 1/4 x 12 phia. Published by the artist, Philadelphia. $900. inches. Edition of 40. Printed by Anna-Marie Settine and Phil Sanders, New York. Published by Robert Blackburn Printmaking Workshop, New York. $300 (pre-production).

Wayne Thiebaud, Canyon Bluffs (2015).

Frank X Tolbert 2, Texas Bird Suite (Black Joan Wadleigh Curran, Untitled (2014). Legged Stilt, Golden Crown Heron, Horned Owl, Ruby Throated Hummingbird, Chicken Hawk, Texas Green Jay, Snowy Egret and Pileated Wood- Max Wolpe, Balkanolgy I and 2 (2015) pecker) (2014–15) Monotypes, 35 x 44.5 cm.. Unique image. Printed Suite of eight color etching, soft ground, white and published by Warren Editions, Cape Town, ground and sugar lift aquatint prints, image 22 x South Africa. R17,100. 30 inches each, sheet 37 x 28 inches each. Edition Jenny Schmid, Here & After (2014). of 24. Printed and published by Flatbed Press, Austin, TX. $12,500 for the suite; individual prints $1,800.

Max Wolpe, Balkanolgy 2 (2015).

Art in Print March – April 2015 51 55 Limited 21 February – 31 May 2015 http://55ltd.net/ Woodblock and intaglio prints by this important Prints by Patrick Fauck. artist, recently given to the museum. And: BRADFORD, uK “Spreading Devotion: Japanese and “Paul Coldwell - Material Things: European Religious Prints” Sculpture and Prints” 4 April – 21 July 2015 13 March – 7 May 2015 Including work from the departments of Prints Gallery II, University of Bradford and Drawings and Asian Art, this exhibition http://www.brad.ac.uk/gallery/whats-on/pro- explores print traditions fostered by devotional gramme/material-things/ practices. A major retrospective of sculpture and prints by the influential London-based artist. CINCINNATI “Modern Voices in Japanese Ceramics CAPE TOWN, SOuTH AFRICA and Prints” “Permanent Culture: Stephen Hobbs” 7 February – 26 April 2015 20 February – 25 April 2015 Cincinnati Art Museum David Krut Projects Cape Town http://www.cincinnatiartmuseum.org/ http://davidkrutprojects.com/exhibitions/ Modern and contemporary Japanese prints permanent-culture-by-stephen-hobbs2015ct paired with ceramics. Drawing on field investigations and archival research, Hobbs’ new etchings and large woodcut prints make use of disruptive patterns and blur- DOyLESTOWN, PA ring to encourage a reading between the built “Spirit of the Everyday: Prints by and the natural. Herbert Pullinger ” 20 December 2014 – 29 March 2015 In Cincinnati: Sato Hiromu, Tower Blue (1957), Michener Art Museum color woodcut, image 29 x 21 1/4 inches, sheet CHICAGO http://www.michenermuseum.org/exhibition/spirit- 31 1/2 x 23 1/4 inches. Cincinnati Art Museum, “Burnishing the Night: Baroque to of-the-everyday-prints-by-herbert-pullinger The Howard and Caroline Porter Collection, Contemporary Mezzotints from the Wood engravings and wood blocks drawn from 1990.921. Collection” the museum's collection. Given by Ann and Mar- 21 February – 31 May 2015 tin Snyder. Art Institute of Chicago Exhibtions of Note http://www.artic.edu/exhibition/burnishing-night- baroque-contemporary-mezzotints-collection FORT WORTH, TX ALBuQuERQuE, NM Mezzotints, books and other works on paper “Audubon’s Beasts” “Foodie: On Eats, Eating, and Eateries” from the museum's permanent collection, chart- 15 January – 2 August 2015 6 March – 15 May 2015 ing the medium’s trajectory from its Northern Amon Carter Museum of American Art Tamarind Institute European origins to its worldwide use today. http://www.cartermuseum.org/exhibitions/audu- http://tamarind.unm.edu/exhibitions/ bons-beasts Lithographs celebrating Albuquerque's food And: Although we know Audubon today primarily for scene. “Eldzier Cortor Coming Home: Recent his devotion to birds, he was more than a chroni- Gifts to the Art Institute” cler of flying creatures. This exhibition features And: “Three Mexican Masters in Printmaking— Charles Barth, Enrique Flores, and Mizraim Cardeñas.” 6 – 28 March 2015 New Grounds Print Workshop & Gallery http://www.newgroundsgallery.com/ Contemporary prints by three leading artists from Mexico.

ATLANTA “Dox Thrash, An American Journey: Georgia to Philadelphia” 10 January – 10 May 2015 High Museum of Art http://www.high.org/Art/Exhibitions/Dox-Thrash. aspx 41 works on paper including relief prints, lithographs, etchings and carborundum mezzotints— a process invented by the artist while working for the WPA in Philadelphia in 1937.

BALTIMORE “On Paper: Spin, Crinkle, Pluck” 19 April – 20 September 2015 Baltimore Museum of Art http://artbma.org/ Eight prints and drawings whose images are the result of a specific action or intention rather than a depiction of the action.

BERLIN In Fort Worth, Texas: After John James Audubon (printed by John T. Bowen), Canis lupus, Linn. “Lovin' Printmakin'!” (Var. Ater.) Black American Wolf (1845), lithograph with applied watercolor, 21 3/16 x 27 7/16 inches. 13 March – 26 April 2015 Amon Carter Museum of American Art, Fort Worth, Texas.

52 Art in Print March – April 2015 http://arts.pepperdine.edu/museum/2014-2015/ chuck-close.htm 70 prints offering a survey of Close's printmaking, from traditional techniques (etchings, engravings, woodcuts, and lithographs) to tapes- try and handmade paper pulp.

MINNEAPOLIS “Entwined: New Prints by Julie Buffalohead” 6 February – 28 March 2015 Highpoint Center for Printmaking http://highpointprintmaking.org/ A member of the Ponca tribe of Oklahoma and primarily known as a painter, Buffalohead's new prints call upon a personal iconography of anthropomorphized animal protagonists. Themes are drawn from Native American leg- end and history, politics, contemporary culture, power, parenting, stereotypes, and identity.

MOSCOW, ID “Attention to Detail, Five Contemporary Printmakers” 13 February – 11 April 2015 Prichard Art Gallery at University of Idaho http://www.uidaho.edu/caa/galleries/prichardart- gallery The exhibit features the work of artists James Bailey, Bev Beck Glueckert, Tim Chapman, Vic- toria Goro Rapoport and John Ford.

MuNICH “Philip Guston: The Complete Printed Works and Last Acrylic Works on Paper” 26 March – 28 June 2015 Staatliche Graphische Sammlung http://www.sgsm.eu/ In La Louvière, Belgium: Luc Tuymans, Valley (2012), screenprint, 71 x 72.5 cm. Printed by Tubbax, This exhibition brings together the artist's entire Antwerp. Courtesy of the artist. printed work with the near-complete series of acrylic paintings on paper he made shortly before his death. some of his greatest depictions of North Ameri- David Hockney, Frederick Hammersley, Beth And: ca’s four-legged animals in their natural habitats. Van Hoesen, John Paul Jones, John McLaughlin, “Insights into the Lithography Workshop: Bruce Nauman, Nathan Oliveira, Raymond Pet- Trial Proofs and First State Prints by KNOXVILLE, TN tibon, Lari Pittman, Ed Ruscha, Wayne Thiebaud Edouard Vuillard” “Somewheres & Nowheres: New Prints and Patssi Valdez. 16 April – 28 June 2015 2014” The sequence of twelve lithographs and a unique 1 – 31 March 2015 LIèGE, BELGIuM array of trial proofs and first-state prints from the Concourse Gallery at the University of Tennessee “10th Biennale Internationale de Gravure 1899 portfolio Paysages et intérieurs. http://web.utk.edu/~sphere/Pages/Exhibition_ Contemporaine” IPCNY.html 27 March – 24 April 2015 NEW BRuNSWICK, NJ Originally organized by the International Print Musée des Beaux-Arts de Liège “Picturing War: Selections from the Center New York, this show is the iteration of http://beauxartsliege.be/10e-Biennale-internatio- Zimmerli Art Museum Collection” IPCNY's New Prints Program, a series of juried nale-de-498 7 February – 5 July 2015 exhibitions featuring prints made within the past A juried selection of contemporary engraving Zimmerli Art Museum at Rutgers twelve months. from more than 450 entries. http://www.zimmerlimuseum.rutgers.edu/voorhees- gallery/picturing-war-selections-zimmerli-art- LA LOuVIèRE, BELGIuM LONDON museum-collection#. “Luc Tuymans—Suspended” “Richard Long: This exhibition of prints, photographs, paint- 7 February – 10 May 2015 The Spike Island Tapes” ings and sculpture undertakes a cross-cultural Centre de la Gravure et de l’Image imprimée 20 February – 2 April 2015 examination of major civil and global wars of the http://www.centredelagravure.be/ Alan Cristea Gallery modern era. This exhibition will present Tuymans' print work http://alancristea.com/ from 1989 to the present. A new series of monumental relief prints by the NEW yORK artist. “Blinky Palermo: Prints” LAGuNA BEACH, CA 7 February – 11 April 2015 “California Printmakers 1950–2000” And: Carolina Nitsch Project Room 11 February – 31 May 2015 “Gillian Ayres: New Paintings and Prints ” http://www.carolinanitsch.com/exhibitions/blinky- Laguna Art Museum 13 April – 30 May 2015 palermo-prints/ http://lagunaartmuseum.org/california-printmak- This show will bring together the Four Prototypes ers-1950-2000/ MALIBu, CA (1970), T (1970), Projection (1971), Five Miniatures Work by Peter Alexander, John Altoon, John “Chuck Close: Face Forward” (1972) and Heinz Gappmayr visual poems (1972), Baldessari, William Brice, Chris Burden, Ron 17 January – 5 April 2015 Solution to wall painting, Hamburger Kunstverein Davis, Tony DeLap, Richard Diebenkorn, Leon- Lisa Smith Wengler Center for the Arts, (1973) as well as a selection of exhibition posters ard Edmondson, Jules Engel, Dirk Hagner, Pepperdine University from the early 1970s.

Art in Print March – April 2015 53 Spring.Ad:Layout 1 2/5/15 1:44 PM Page 1

“Julie Mehretu: Myriads, Only By Dark” And: 12 February – 28 March 2015 “Breaking Barriers: Japanese Women Gemini G.E.L. at Joni Moisant Weyl Print Artists 1950–2000” we’ve moved http://www.joniweyl.com/_exhibitions/current.htm 20 December 2014 – 12 April 2015 A quartet of new monumental prints by this well- Work by five women pioneers of printmaking known artist. in the postwar decades: Minami Keiko, Shinoda And: Tōkō, Yoshida Chizuko, Matsubara Naoko and “Vija Celmins: Selected Works” Oda Mayumi. 12 February – 28 March 2015 Prints by the most poetic of photorealist artists. PRINCETON, NJ “Versailles on Paper” “Life of Cats: Selections from the 13 February – 19 July 2015 Hiraki ukiyo-e Collection” Firestone Library, Princeton University 13 March – 7 June 2015 http://rbsc.princeton.edu/versailles/ Japan Society Gallery This exhibition documents the contemporary http://www.japansociety.org/page/programs/gal- representation of Versailles through prints, Planthouse lery/life-of-cats books, maps, medals, and manuscripts. The exhi- An exploration of the mutual attraction between bition website features an interactive map of the 55 west 28th street cats and people in ukiyo-e woodblock prints of gardens: http://rbsc.princeton.edu/versailles/map. New York NY 10001 the Edo Period (1615–1867). RICHMOND, VA plaNthouse.Net “Kelley Walker” “The Temple of Flora: Prints by 3 March – 18 April 2015 Robert John Thornton and Jim Dine” Paula Cooper Gallery 20 August – 6 July 2015 http://www.paulacoopergallery.com/ Joel and Lila Harnett Museum of Art, University A series of twelve recent screenprinted brick of Richmond paintings by the artist. http://museums.richmond.edu/exhibitions/ Prints byJim Dine coupled with an original edi- “Jim Dine: Tools” tion of the Temple of Flora by the 18th-century 6 February – 28 March 2015 botanist Dr. Robert John Thornton. NEW PRINTS Senior & Shopmaker Gallery http://www.seniorandshopmaker.com/current- And: exhibition/ “Seventeenth-Century Dutch Landscapes: BY An exhibition of early prints and drawings by Museum Studies Seminar Exhibition” Jim Dine. 31 March – 15 May 2015 JAN HENRI BOOYENS The Dutch Golden Age is explored through 17th- century prints from the Harnett Print Study PARIS Center collection and loans from the Virginia JODY PAULSEN “Multiple Art Days” Museum of Fine Arts (VMFA) and private col- 22 – 24 May 2015 lections. La Maison Rouge GERHARD MARX http://www.multipleartdays.com/ The first “Multiple Art Days” event will be held SACRAMENTO, CA 22–24 May 2015 at La Maison Rouge in Paris. “Toulouse-Lautrec and La Vie Moderne” Curated by Sylvie Boulanger, director of the 1 February – 26 April 2015 Centre National Édition Art Image and Michael Crocker Art Museum http://crockerartmuseum.org/exhibitions/toulouse- WARREN EDITIONS Woolworth, director of l’Atelier Michael Wool- CAPE TOWN SOUTH AFRICA worth, the event will feature a panorama of lautrec-and-la-vie-moderne With toulouse-Lautrec as a central focus, this WARRENEDITIONS.COM contemporary editorial practices encompassing [email protected] prints, multiples, zines, books and videos cre- exhibition investigates a generation of artists who sought to shake the constraints of French image | detail of ‘The Devil takes care of His own’ | Monotype by Jan Henri Booyens ated by more than 100 international artists and publishers. This event will also feature a series Academicism. of meetings, artistic performances and discussions on editorial practice in contemporary art SANTA MONICA, CA with artists, graphic designers, directors of pub- “David Hockney: Narrative and lic collections, publishers, collectors, research- Imagination” ers and librarians from around the world. 7 March – 18 April 2015 Leslie Sacks Contemporary “Mario Avati Académie des http://lesliesackscontemporary.com/ Beaux-Arts Printmaking Prize: Featuring drawings and editions from 1963–1998. Christiane Baumgartner” 11 March – 12 April 2015 SILKEBORG, DENMARK Académie des Beaux-Arts “Per Kirkeby: Complete” http://www.academie-des-beaux-arts.fr/actualites/ 31 January – 24 May 2015 This exhibition presents fifteen works including Museum Jorn two large format prints, created in the last thir- http://www.museumjorn.dk/en/exhibitions/current- teen years. exhibitions/per-kirkeby--complete/ This exhibition presents Per Kirkeby's etchings PORTLAND in their entirety, with 1,200 donated by the artist “David Hockney: A Rake's Progress” since 1975. 18 April – 2 August 2015 Portland Art Museum SyRACuSE, Ny https://portlandartmuseum.org/exhibitions/david- “Pushing the Line: American Women hockney/ Printmakers From the Syracuse university The exhibition will feature etchings, drawings, Art Collection” models and watercolors depicting the 1975 opera’s 5 February – 15 May 2015 set design from initial idea to final concept. Syracuse University Art Galleries

54 Art in Print March – April 2015 http://suart.syr.edu/suart-exhibitions/pushing-the- Auctions line-american-women-printmakers-from-the-syracuse-university-art-collection/#.VQEExSj7VGE LONDON More than 30 lithographs, engravings, screen- “British Master Prints” prints, etchings as well as wood and linoleum 29 April 2015 cuts from the galleries’ collection, by artists such Bonhams as Grace Albee, Helen Frankenthaler, Lee Kras- https://www.bonhams.com/ ner, June Wayne, Louise Nevelson, Isabel Bishop and others. “Prints and Multiples” 18 March 2015 TOLEDO, OH “Prints & Multiples” “Gifts on Paper from The Apollo Society ” 22 April 2015 10 April – 31 May 2015 Christie's Toledo Museum of Art http://www.christies.com/ http://toledomuseum.org/ Ten works on paper made possible by the muse- "Modern & Contemporary Prints” um's art acquisition group. 26 March 2015 FRANCES B. ASHFORTH Dreweatts & Bloomsbury Auctions NEW MONOTYPES VIENNA http://www.dreweatts.com/ “Jasper Johns: Regrets” Water Study 9 13 January – 26 April 2015 “Modern & Contemporary Prints” 22 x 22, Waterbase Monotype, 2014 Belvedere Palace and Museum 25 April 2015 francesbashforth.com http://www.belvedere.at/en/ausstellungen/ausstel- Roseberys lungsvorschau/jasper-johns-e183995 http://www.roseberys.co.uk/calendar-and-cata- Originally organized by the MoMA, this exhibi- logues/auction-calendar/ tion premieres John’s most recent body of work and includes paintings, drawings and prints. “Prints & Multiples” 17 March 2015 WATERVILLE, ME Sotheby's “Terry Winters: Printed Matters” http://www.sothebys.com/ 12 February – 10 May 2015 Colby College Museum of Art NEW yORK http://www.colby.edu/museum/exhibition/view/ “Prints and Multiples” upcoming/ 23 – 24 April 2015 With an emphasis on recent editions, the exhi- Christie's bition includes the print portfolio In Blue and a http://www.christies.com/ closely related painting of the same title, marking the first time that they have been exhibited “Prints & Multiples” together. Also featured are Winters’s most recent 28 April 2015 editions, Clocks and Clouds and Atmospheres, as Doyle well as his Notebook collages, hybrid works that http://www.doylenewyork.com/ combine found imagery and drawing in ways that resonate with the layered compositions of “Evening & Day Editions” his prints. 21 April 2015 Phillips WICHITA, KS http://www.phillips.com/calendar “Chipping the Block, Painting the Silk: The Color Block Prints and Serigraphs of “Prints & Multiples” Norma Bassett Hall” 30 April 2015 21 February – 12 July 2015 Sotheby's Wichita Art Museum http://www.sothebys.com/ https://www.wichitaartmuseum.org/ A retrospective of the artist's 25-year career as a “Printed & Manuscript Americana” printmaker. 14 April 2015 “Old Master Through Modern Prints” WORCESTER, MA 29 April 2015 "uncanny Japan: The Art of yoshitoshi” Swann Auction Galleries 28 February – 24 May 2015 http://www.swanngalleries.com/auctions/schedule/ Worcester Art Museum http://www.worcesterart.org/exhibitions/uncanny- ONLINE ONLy japan-yoshitoshi/ “Japanese Prints” Tsukioka Yoshitoshi (1839–1892) was one of the 7 – 21 April 2015 greatest artists of the Japanese woodblock print Christie's at a time when the medium was facing increasing http://www.christies.com/ competition from photography and lithography.

ZuRICH Benefits “Matt Mullican. Prints and Drawings ” 4 February – 29 March 2015 NEW yORK ETH Collection of Prints and Drawings “Printshop Benefit Sale 2015” http://www.gs.ethz.ch/ausstellung/aktuell_f.html 25 February – 15 March 2015 The ETH Department of Prints and Drawings Lower East Side Printshop has been collecting work by Matt Mullican for http://www.printshop.org/web/home.html more than 20 years. This exhibition brings these The Printshop's Benefit Print Sale helps fund res- works together, including the artist's encyclope- idency programs for artists of all creative back- dic project of 554 oilstick rubbings from 1991. grounds, including free access to professional

Art in Print March – April 2015 55 studio space, stipends, master printer support Symposia and career advancement services. LONDON Conferences “Hybrid Practices within Printmaking Symposium” KNOXVILLE, TN 24 April 2015 “SGC International Conference 2015: Edwardian Rooms, Chelsea College of Arts Sphere” http://events.arts.ac.uk/event/2015/4/24/Hybrid- 18 – 21 March 2015 Practices-within-Printmaking New Grounds Print Workshop & Gallery The symposium will explore approaches in which http://web.utk.edu/~sphere/Pages/Home.html ideas and intentions are allied to process and 2015 SGC International Printmaking Confer- technique, resulting in hybrid print practices. ence will include exhibitions, 18 panel sessions, Speakers include Ellen Heck, Annette and Caro- 9 INKubator sessions, exchange portfolios, a line Kierulf, Jo Love, Christian Rümelin and Paul Nothing but the Clouds unchanged: mentoring program, a diverse product-publish- Coldwell. Artists in World War I ers-program fair, the 2015-2018 SGCI Member Edited by Gordon Hughes and Philipp Blom Traveling Exhibition, 22 technical demonstra- Workshops 192 pages, 67 color and 23 b/w illustrations tions, a full day of open portfolio sessions and Published by Getty Publications, Los Angeles, 2014 special projects. $40 NEW yORK “Intro to Screenprinting” Fairs 25 – 29 April 2015 Lower East Side Printshop BALTIMORE http://www.printshop.org/web/Learn/Classes/Cata- “Baltimore Contemporary Print Fair” logue.html 28 – 29 March 2015 Students will explore a wide range of techniques Baltimore Museum of Art in this versatile medium. http://www.artbma.org/PrintFair/2015/index.html 21 vendors representing hundreds of artists will And: participate in the fair, which is open to all. Pro- “Collagraph” ceeds support contemporary acquisitions for the 2 – 23 April 2015 BMA’s collection of works on paper. To date, 170 Lower East Side Printshop objects have been purchased with funds raised http://www.printshop.org/web/Learn/Classes/Cata- from the Print Fair. logue.html Students will explore the possibilities of building Per Kirkeby: Bronze, Drypoint, Wood Edited by Michael Semff, Staatliche Graphische BOSTON images by layering textures such as lace, fabric Sammlung München, texts by Michael Semff, “The Boston Print Fair at AD 20/21” and found objects onto a plate. Poul Erik Tojner and Ulrich Wilmes 26 – 29 March 2015 168 pages, 181 illustrations The Cyclorama at the Boston Center for the Arts Published by Hatje Cantz, Ostfildern, Germany, http://www.ad2021.com/print-fair.html New Books 2014 Fine print galleries, contemporary print publish- €39.80 ers, photography, drawings and other works on Andy Warhol: Death and Disaster paper. Edited by Kunstsammlungen Chemnitz, text by Heiner Bastian, Antje Dallmann, Ingrid Mössinger NEW yORK 136 pages, 89 colored and 32 b/w illustrations “New york Antiquarian Book Fair” Published by Kerber Verlag, Bielefeld, Germany, 9 – 12 April 2015 2015 Park Avenue Armory €39.95 http://nyantiquarianbookfair.com/ More than 200 American and international dealers will exhibit rare books, maps, manuscripts, illuminated manuscripts and ephemera. “New york City Book and Ephemera Fair” 11 April 2015 St. Ignatius Loyola Church http://neantiqueshows.com/nybook.html The Graphic Art of the underground: 60 fine book and ephemera dealers. A Counter-Cultural History Ian Lowey and Suzy Prince PHILADELPHIA "Philadelphia Art Book Fair” 256 pages, 200 color illustrations Bloomsbury Visual Arts, London, 2014 24 – 25 April 2015 $45.99 Center City http://www.phlartbookfair.com/ The two-day event will showcase photography Fotografía y Estampa: del Positivo books, art books and artists books from publish- Analógico a la Plancha de Fotopolímero ers large and small, institutions and individual Juan Carlos Ramos Guadix and Alicia Peláez artists. Camazón 380 pages, 93 illustrations. In Spanish WASHINGTON, DC Entorno Gráfico, Granada, Spain, 2015 “Capital Art Fair ” €20 21 – 22 March 2015 Holiday Inn-Rosslyn Westpark Hotel http://www.capitalartprintfair.com/ Twenty-three exhibitors will show thousands of works on paper spanning a period of more than 500 years.

56 Art in Print March – April 2015 Other News inspired by the 17th-century French painter and engraver Claude Mellan’s print The Sudarium or Call for Papers: Working Women: Veil of St Veronica. Created in 1649, Mellan’s cop- Picturing Female Labor in the Art of per plate engraving owes its fame to the artist’s Europe and the united States, 1850–1914 remarkable use of a single line to engrave a real- istic human face; in a 19th-century appreciation, The 71st annual meeting of the Southeast- writer Charles Sumner notes that in Mellan’s ern College Art Conference (SECAC) will be time, the print was thought to be “inimitable.” held 21–24 October at the Wyndham Grand in During a visit to Close’s New York studio, the downtown Pittsburgh. The 2015 theme, CON- artist proposed a challenge to Magnolia Editions' FLUENCE, aligns the geographic confluence of Donald Farnsworth: could Magnolia Editions the Monongahela and the Allegheny rivers that convincingly recreate the famed technique of form the Ohio river, with the conceptual conflu- one of the great French engravers? The route to ence and fluidity of borders related to art, archi- a successful Phil (Spiral) etching was an indirect tecture, design, education and pedagogy today. one: at first, Close and Farnsworth used a combi- The panel “Working Women: Picturing Female nation of digital engraving tools and algorithms Labor in the Art of Europe and the United States, to generate a series of largely unsatisfactory tests 1850–1914” is seeking submissions for papers that and to roughly identify areas of light and dark explore representations of working women in where the line would need to change shape. Ulti- any media from Europe and the United States mately, the single line making up the print had between 1850 and 1914. Potential topics could to be manipulated and adjusted entirely by hand include: portrayals of factory and agrarian over a period of several months. workers, entertainers, shop girls and domestic laborers, as well as portraits and self-portraits of women artists at work. Submissions are due 20 April 2014. For more information, please visit http://www.secollegeart.org/conference.

Call for Papers: “Impression(s): 1880–1920” On 16 October 2015, the University of Burgundy in Dijon, France, will host a symposium titled “Impression(s): 1880–1920,” organized by their Image-Texte-Langage research center. Schol- ars are invited to submit papers that explore the relationship between art criticism, literary impressionism and printmaking from the late 19th century to the immediate postwar period in Britain. Proposals are due by the end of April 2015. For more information, please go to http:// Chuck Close, detail of Phil (Spiral) (2014), til.u-bourgogne.fr/images/stories/labo/programme/ etching, image 15 1/2 x 11 1/2 inches, sheet 30 CFP%20Impressions%20DEF.pdf. x 22 inches. Edition of 50. Printed and published by Magnolia Editions, Oakland, CA. College Art Association (CAA) announces publication of Code of Best Practices in Ernest F. de Soto (1923–2014) Fair use for the Visual Arts Master printer and artist Ernest Frank de Soto The CAA has published the Code of Best Practices died in his hometown, Tucson, Arizona, on DOMINIQUE LABAUVIE “FRAGANTICA” | DRYPOINT, GAMPI in Fair Use for the Visual Arts, a set of principles December 29th. He was a descendant of the Presi- CHINE COLLE TO SOMERSET, EDITION OF 10, 2014 addressing best practices in the fair use of copy- dio of Tucson, where his great-grandfather served righted materials based on a consensus of opinion as commander in the early 19th century. De Soto developed through discussions with visual-arts may well have been the first Mexican American to BLEU ACIER | WWW.BLEUACIER.COM professionals. The publication is available as a develop a fine art printshop in the United States, free, open-access PDF at http://www.collegeart. surely the first in the post-WWII era. org/pdf/fair-use/best-practices-fair-use-visual-arts. At 17, de Soto enrolled in Chouinard Art Insti- pdf, and will be an important resource for anyone tute in Los Angeles. With the onset of WWII, working in visual arts, including artists, art histo- he enlisted in the Air Force on his 18th birthday rians, museum professionals and editors. to design camouflage. Returning to L.A. after Printer/Publisher/Dealer of Fine Prints Since 1980 the war, de Soto began working with lithogra- www.StewartStewart.com pher Lynton Kistler and resumed his studies at Chouinard (he later also attended the Escuela Richard Bosman de Bellas Artes (in San Miguel de Allende in Janet Fish Guanajuato,Mexico), Case Western Reserve, the Sondra Freckelton University of Guadalajara and the University Jane E. Goldman of Illinois). In the mid-1950s de Soto lived for John Himmelfarb a few years in New York and exhibited at Mar- Sidney Hurwitz garet Lowengrund’s gallery and printed at her Yvonne Jacquette Contemporaries Graphic Arts Center (later Pratt Graphic Art Center). Catherine Kernan In 1965, after teaching for more than a decade, Katja Oxman de Soto returned to Los Angeles from Guadala- Mary Prince jara to earn a Master Printer certificate at Tama- Hunt Slonem rind Lithography Workshop. Two years later he Steven Sorman Chuck Close and Magnolia Editions opened Collectors Press Lithography Workshop Paul Stewart and others Magnolia Editions’ latest edition from Chuck in San Francisco; in 1972 he brought in new Close is inspired by a masterpiece of engraving partners and reopened as Editions Press, but Capital Art Fair • 21-22 March 2015 • Arlington VA created almost three hundred years ago. Phil declining print sales led to Editions Press’ clo- Boston Print Fair • 26-29 March 2015 • Boston MA (Spiral), a portrait of Close’s friend and longtime sure in 1975. Undeterred, de Soto bought much IFPDA subject, the modern composer Philip Glass, was of the shop’s equipment and supplies and opened

Art in Print March – April 2015 57 a third San Francisco shop: Ernest F. de Soto woodcut, monotype, photocopy or digital—in a I clean the horse stalls at 6.30 in the morning. If Workshop (DSW). DSW thrived until 1993, when single composition. While most of her work was the horse is sick, you do something. If the horse de Soto returned to Tucson. self-published, Myers also collaborated with pro- is hungry, you do something.” —Simon Turner De Soto worked with many California-based fessional workshops, including Tandem Press, artists including Terry Allen, Ruth Asawa, Gene and contributed to a number of group portfolios, Davis, Roy DeForest, Richard Diebenkorn, Frank including Colorprint USA: Spanning the States in Lobdell, Manuel Neri, Raymond Parker, Peter 98 (Lubbock TX: Texas Tech University, 1998), Saul and Peter Voulkos. He also collaborated also a traveling exhibition. She received com- often with Mexican, Mexican-American, and missions from several universities (Purdue and Central American artists such as Rodolfo Abular- Wake Forest among them) and dozens of awards, ach, Leonara Carrington, Alfredo Castañeda, José fellowships and grants, including two from the Luis Cuevas, Rudy Fernandez, Gunther Gerzo, National Endowment for the Arts. Luis Jimenez, Gustavo Ramos Rivera, David Myers’ work is included in many public and Alfaro Siqueiros, Rufino Tamayo and Francisco private collections, including the Metropoli- Toledo. Though he printed intaglio and mono- tan Museum of Art; the Museum of Fine Arts, types, de Soto specialized in lithography and was Boston; the Philadelphia Museum of Art; the an expert in litho-etching techniques. Art Institute of Chicago; the National Museum —Peter S. Briggs of American Art, Smithsonian Institution; the Walter A. Liedtke (1945–2015). Courtesy of the Musée des Arts décoratifs; and the Victoria Metropolitan Museum of Art. Keith J. Howard, Jr. (1950–2015) and Albert Museum. The Racine Art Museum, Keith Howard died unexpectedly in his home on located in her hometown, holds the largest body 8 February 2015. For the past 25 years Howard has of her work. Myers lived and worked in the coun- Snite Museum of Art Acquires William and been at the forefront of contemporary non-toxic tryside near Hollandale, Wisconsin, alongside Nancy Pressly Collection of James Barry printmaking research and teaching. Since 1999 her husband, the well-known artist Warrington Prints he lead the Contemporary Non-Toxic Printmak- Colescott, who survives her. The Snite Museum of Art at the University of ing Program at the Rochester Institute of Tech- —Sarah Kirk Hanley Notre Dame recently announced the acquisition nology, where he met his wife Bernice. His efforts of a significant portfolio of 28 prints by Irish art- led the program to be rated as one of the top con- ist James Barry (1741–1806). Included in the port- temporary printmaking programs in America. He folio are many rare, lifetime impressions of the wrote three groundbreaking books on non-toxic Catholic artist's most provocative images skewer- printmaking that sold in over 50 countries. Keith ing British society or weighing in on contentious and his wife have taught well over 100 hands- current events. The collection was built over on non-toxic Intaglio-type courses around the four decades by Nancy and William Pressly, the world inspiring artists to embrace environmen- foremost scholar on James Barry and professor tally friendly practices. Keith was a nurturing and emeritus of 18th- and 19th-century European art challenging professor who took an active part at the University of Maryland. The acquisition of in each student’s development. He was always eighteen of the prints was made possible by a gift thinking in innovative ways, developing new from the F. T. Stent Family with ten additional methods, and finding ways to “build a better prints donated by the Presslys themselves. mousetrap.” With his Australian accent and wry Frances Myers inking a Warrington Colescott wit, he will be warmly and fondly remembered by etching plate for demo in summer 1988 gradu- students, colleagues and family. ate etching class. Photo: Louise Kames.

Metropolitan Museum of Art European Paintings curator Walter A. Liedtke (1945–2015) Commuting back from work on Tuesday 3rd February on the 5:44 p.m. Metro-North train out of Grand Central Terminal to his Bedford Hills home, Walter Liedtke died when the train col- lided with a car at a crossing near Valhalla about 6:30 p.m. He was one of five victims who was sit- ting in the first carriage of the train. The driver of Keith J. Howard, Jr. (1950–2015) the vehicle was also killed. A specialist in Dutch James Barry, King Lear and Cordelia and Flemish art, Liedtke worked at the Met for (1776/1791), etching and engraving, 19 1/2 x 35 years. Among his many publications are the 22 1/5 inches. The William and Nancy Pressly Frances Myers (1936–2014) catalogues Flemish Paintings in The Metropolitan Frances Myers, an internationally acclaimed Collection acquired with funds made available Museum of Art (1984) and Dutch Paintings in The by the F. T. Stent Family, 2015.001.001. artist, printmaker and professor emerita at the Metropolitan Museum of Art (2007). In another University of Wisconsin-Madison, suffered a publication Rembrandt/Not Rembrandt in The stroke on campus and died on 17 December. Metropolitan Museum of Art: Aspects of Connois- The Association of Print Scholars at the A committed teacher as well as a productive art- seurship (1995) Liedtke compared the working Annual Meeting of the Renaissance Society ist, Myers spent more than three decades at UW- procedures and studio practice of Rubens and of America Madison. Her colleague Jim Dennis described Rembrandt. His most notable exhibitions include The Association of Print Scholars (APS) has com- her as “an ardent teacher, right up until the end.” “Vermeer and the Delft School” (2001) and “The piled a list of print-related scholarships at the Myers had studied at the San Francisco Art Insti- Age of Rembrandt” (2007). Most recently, he Annual Meeting of the Renaissance Society of tute and UW-Madison, where she was a pupil of worked on “El Greco in New York,” in collabora- America, which takes place 26–28 March in Ber- Alfred Sessler. tion with the Hispanic Society of America and lin. Visit http://bit.ly/1EYv8Ct to view the spread- Printmaking was Myers’ preferred medium, the Frick Collection. Another book written with sheet. though she also painted and expanded into insight and passion is The Royal Horse and Rider: video and digital photography. Her subjects Painting, Sculpture and Horsemanship 1500–1800 included personal experience, feminist topics published in 1989. It also includes an array of and the architecture of Frank Lloyd Wright. She prints and a remarkable anthology of equestrian was known for her vivid palette, oversized scale art 300 B.C. to 1900 A.D. It comes as no surprise, and her experimental approach, often combin- then, to learn that Liedtke and his wife, Nancy, ing multiple printmaking techniques—etching, together raised horses: “I get up, I go the barn,

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64 Art in Print March – April 2015 Art in Print March – April 2015 65 66 Art in Print March – April 2015 Art in Print March – April 2015 67 Contributors to this Issue

Bill Arning is director of the Contemporary Arts Museum Houston. Previously he was curator at the MIT List Visual Arts Center and director of White Columns in New York City, where he organized the first solo shows of John Currin, Marilyn Minter, Andres Serrano, Cady Noland, Jim Hodges and many other artists. He has written for Artforum, Art in America, Out and Parkett and for museum publications around the world. He is currently working on a survey exhibition, “Marilyn Minter: Pretty/Dirty,” with Elissa Auther and the Museum of Contemporary Art Denver.

Catherine Bindman is an editor and art critic who has written extensively on both old master and contemporary prints. She was Deputy Editor at Art on Paper magazine and lives in New York.

Elleree Erdos is a graduate student at Columbia University and works at Craig F. Starr Gallery in New York. A graduate of Williams College, she 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 Museum of Art.

Elizabeth Finch is the Lunder Curator of American Art at the Colby College Museum of Art where she organizes exhibitions of American and contemporary art, with a special interest in works on paper. Her most recent exhibitions include “Terry Winters: Printed Matters” and “Listen to this page: Works by Bern Porter from Colby College Special Collections.” The book Terry Winters Prints: 1999–2014 is her most recent publication, and she is a contributor to Whistler and the World, a forthcoming catalogue dedicated to the Lunder Collection of works by James McNeill Whistler. Prior to the Colby Museum, Beth was a curator at The Drawing Center, New York.

Sarah Kirk Hanley is an independent print curator, writer and appraiser based in the New York area. She writes the INK Blog for the Art in Print website and is a frequent contributor to the journal. She is also a consulting expert and advisor for several art appraisal services and an adjunct instruc- tor at NYU. Hanley is a member of Phi Beta Kappa, ArtTable, the College Art Association and the Association of Print Scholars. She has held positions at Christie’s, the Milwaukee Art Museum and the Lower East Side Printshop.

Ellen Heck is a printmaker working in Berkeley, California. She studied philosophy at Brown University and painting and printmaking at SAIC. She is currently an artist in residence at Kala Art Institute.

Faye Hirsch is Editor at Large at Art in America, and teaches in the MFA program at SUNY Purchase.

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.

Vincent Katz is a poet, translator, critic and curator. He was the editor of Black Mountain College: Experiment in Art (MIT Press, 2002, 2013), and curator of an exhibition on Black Mountain College for the Reina Sofia Museum, Madrid in 2002. He has written extensively on contemporary art and has published essays on Ghada Amer and Reza Farkondeh, Jennifer Bartlett, Rudy Burckhardt, Francesco Clemente, Red Grooms, Kiki Smith, Beat Streuli and Cy Twombly, among others.

Isabella Kendrick is the News Editor of Art in Print. She is a graduate of the School of the Art Institute of Chicago and works as an artist in Brooklyn, New York.

Benjamin Levy is a Baltimore based curator and printmaker. He is the Curatorial Assistant in the Department of Prints, Drawings & Photographs at the Baltimore Museum of Art and the co-organizer of the Baltimore Contemporary Print Fair.

Mary MacNaughton is professor of Art History and director of the Ruth Chandler Williamson Gallery at Scripps College.

Elliott Mickleburgh is an artist and writer whose work has been exhibited throughout the United States. His most recent writing has been published by the online journal Notes on Metamodernism.

Allison Rudnick is a Ph.D. student in art history at the Graduate Center, City University of New York, where she focuses on printmaking practices in Europe, post-1945. She is a Research Assistant in the department of Drawings and Prints at the Metropolitan Museum of Art.

Gill Saunders is Senior Curator, Word & Image Department, Victoria & Albert Museum, London. Her publications include Apocalyptic Wallpaper (Wexner Center, Columbus, Ohio, 1997), Prints Now: Directions and Definitions (V&A, 2006; with Rosie Miles) and In Black and White: Prints from Africa and the Diaspora (V&A, 2013; with Zoe Whitley). Her recent exhibitions include “Surface Noise” (Jerwood Gallery, London, 2011), “Recording Britain” (V&A, 2012) and a V&A show of prints by Street Artists, which toured Libya in 2012.

Sarah C. Schaefer is a Core Lecturer in the Department of Art History and Archaeology at Columbia University. She received her PhD in 2014 and is currently revising her doctoral dissertation into a book manuscript, Gustave Doré and the Modern Biblical Imagination.

Penelope Smith worked for 20 years as a curator of prints and drawings at the Joslyn Art Museum, where she has originated print exhibitions on a wide variety of topics. She received her bachelor’s degree in history from the University of Nebraska and attended graduate school at the University of Virginia, Charlottesville. Smith is currently cataloguing and curating graphics for El Museo Latino in Omaha.

Étienne Tremblay-Tardif is an artist, writer and researcher based in Montreal. He holds a BA in Film Studies and Art History from the University of Montréal (2006) and a BFA (2009) and MFA (2013) in Studio Arts from Concordia University. His work is concerned with complexity and density within urban social space, critical theory, material culture and spatial practices in art. He is involved in Arprim, an art center dedicated to print-based practices, and his work was featured in the 2014 Biennale de Montréal at the Musée d’art contemporain de Montréal.

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.

68 Art in Print March – April 2015 Back Issues of Art in Print

Volume One / March 2011 – February 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 / March 2012 – February 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 / March 2013 – February 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 / March 2014 – February 2015

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

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