DOCSLIB.ORG

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

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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 Tis 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.
Load more

Recommended publications
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Island Sun News Sanibel 05.29.2015
    PRSRT STD U.S. POSTAGE PAID FT MYERS, FL PERMIT #5718 Postal Customer Read Us Online at ECRWSS IslandSunNews.com NEWSPAPER VOL. 22, NO. 49 SANIBELSanibel & CAPTIVA & Captiva ISLANDS, Islands FLORIDA MAY 29, 2015 MAY/JUNE SUNRISE/SUNSET: 29 6:36 • 8:15 30 6:36 • 8:16 31 6:36 • 8:16 1 6:36 • 8:17 2 6:36 • 8:17 3 6:35 • 8:17 4 6:35 • 8:18 & Education Center. Dates include June Refuge Adds Family Film Series 7, 21; July 5, 19; and August 2. Titles will include The Lorax and Turtle: The To Free Summer Programs Calendar Incredible Journey. For a schedule, visit dingdarlingsociety.org/summer-films. Refuge summer programs begin on National Trails Day, Saturday, June 6. They also include Family Beach Walks, Indigo Trail Walks, and Reading in the Refuge craft activities. For a full schedule with descrip- tions, visit www.dingdarlingsociety.org/ summer-programming. National Trails Day will feature specially scheduled hikes on Indigo Trail and the Wildlife Education Boardwalk plus Reading in the Refuge and Animal Tracking 101 in the Visitor & Education Center, and Animal Olympics on Indigo Trail. Participants who complete the Animal Olympics chal- lenge and return the sheet to the Visitor & Education Center are eligible to win a prize. Summer programming is made possible by support from the “Ding” Darling Wildlife Society-Friends of the Refuge (DDWS). The schedule of weekly activities follows. The inspirational film Turtle: The Incredible No pre-registration is necessary. Journey shows on June 21 as part of the • Reading at the Refuge, every Tuesday refuge’s new bi-weekly Summer Family Film and Saturday at 11 a.m.: Attendees of each Series 45-minute reading-and-crafts session learn Guided hikes along Indigo Trail to the Wildlife Education Boardwalk teach families about about a refuge animal and make a take-home craft related to it.
    [Show full text]
  • Newsletter 6 Spring05final.Indd
    MAGNOLIA EDITIONS Newsletter No.6, Spring ʻ05 New Editions: Hung Liu This Spring Hung Liu created her fi rst piece at Magnolia Editions, a tapestry of her painting Profi le II. Liu found inspiration for this image in a series of photographs called Chinese-types 1869-72, by Scottish photographer John Thomson. Liu, who often paints from old photographs, reclaims this image, and transforms it with her unique aesthetic. She searches for the mythic pose beneath the human fi gure, and combines contemporary techniques with ancient Chinese motifs. Liu’s work is layered with paint, layered in meaning and in history and now layered with interwoven threads. The color of the tapestry is yang, Liu says, deep and strong. William Wiley In his new tapestry, Creative War Map, William Wiley faces the destructive war the US is waging with humor, beauty and Hung Liu in front of her tapestry, Profi le II, 2005 hope. Little sketches referencing the current political climate cotton jacquard tapestry, 78” x 82.5”, Edition of 8 are scattered about the map, some ironic interpretations of real situations, some creative alternatives to the present. Word plays Wiley’s work is an extension of his creative mind. When allow the viewer to experience sorrow with a bit of laughter. he visits Magnolia Editions he has us in stitches with The scroll in the upper corner bears the title of the piece and is a string of his well-crafted jokes. Then he sits down to signed by the justus society, a dotted line marks the boundaries of work with a big grin, completely relaxed and confi dent.
    [Show full text]
  • Name: 00000315
    Contents Board and Committees, 2003-2004 Volume 15,2003-2004 Photography and reproduction credits: Report of the Chairman and Director Copyright © 2005 by The David and Alfred Front cover, frontispiece, and pages 9,19, 21, 22, Smart Museum of Art, The University of 25, 27, 28, 31, 33-35,37, 39, 41, 43: photography Mission Statement Chicago, 5550 South Greenwood Avenue, by Tom van Eynde. Chicago, Illinois, 60637- All rights reserved. http://smartmuseum.uchicago.edu Pages 47-50, 53-56, 57 (FIGURES 2 and 3), 58-61, ISSN: 1099-2413 65, 67, 69: photography by Jim Newberry. Into Practice: Contemporary Artists and Research Universities Editor: Stephanie Smith Page 57 (FIGURE 1): photography by Katherine Laura Letinsky and Stephanie Smith Publication Assistant: Rachel Furnari Mino. Design: Froeter Design Company, Inc. Printing: Lowitz & Sons, Chicago Page 63: photography by Lloyd de Grane. Acquisitions Frontispiece: © for works by E.L. Kirchner by Ingeborg and Dr. Wolfgang Henze-Ketterer, Wichtrach/Bern. Exhibitions Page 19: courtesy of the artist and Jack Shainman Gallery, New York. Publications Page 27: courtesy of Joel-Peter Witkin and Catherine Edelman Gallery. Public Programs Page 30: courtesy ofWalsh Gallery. Contributor and Member Programs Every effort has been made to contact rights holders for all reproductions. Additional rights Sources of Support holders please contact the Smart Museum. Operating Statement Smart Museum Staff 4 Board and Committees, 2003-2004 Report of the Chairman and Director Smart Museum Board of Governors T. Kimball Brooker Marshall J. Padorr Last year was an opportune time to reflect arts. Such programs also provide those outside enterprises took place behind the scenes, as John A.
    [Show full text]
  • The Left Front : Radical Art in the "Red Decade," 1929-1940
    LEFT FRONT EVENTS All events are free and open to the public Saturday, January 18, 2pm Winter Exhibition Opening with W. J. T. Mitchell Wednesday, February 5, 6pm Lecture & Reception: Julia Bryan-Wilson, Figurations Wednesday, February 26, 6pm Poetry Reading: Working Poems: An Evening with Mark Nowak Saturday, March 8, 2pm Film Screening and Discussion: Body and Soul with J. Hoberman Saturday, March 15, 2pm Guest Lecture: Vasif Kortun of SALT, Istanbul Thursday, April 3, 6pm Gallery Performance: Jackalope Theatre, Living Newspaper, Edition 2014 Saturday, April 5, 5pm Gallery Performance: Jackalope Theatre, Living Newspaper, Edition 2014 Wednesday, April 16, 2014, 6pm Lecture: Andrew Hemingway, Style of the New Era: THE LEFT FRONT John Reed Clubs and Proletariat Art RADICAL ART IN THE "RED DECADE," 1929-1940 Mary and Leigh Block Museum of Art Northwestern University 40 Arts Circle Drive, Evanston, IL, 60208-2140 www.blockmuseum.northwestern.edu Generous support for The Left Front is provided by the Terra Foundation for American Art, as well as the Terra Foundation on behalf of William Osborn and David Kabiller, and the MARY AND LEIGH BLOCK MUSEUM OF ART Myers Foundations. Additional funding is from the Carlyle Anderson Endowment, Mary and Leigh Block Endowment, the Louise E. Drangsholt Fund, the Kessel Fund at the NORTHWESTERN UNIVERSIty Block Museum, and the Illinois Arts Council, a state agency. theleftfront-blockmuseum.tumblr.com January 17–June 22, 2014 DIRECTOR'S FOREWORD The Left Front: Radical Art in the “Red Decade”, 1929–1940 was curated by John Murphy undergraduate seminar that focused on themes in the exhibition and culminated in and Jill Bugajski, doctoral candidates in the Department of Art History at Northwestern student essays offering close examinations of particular objects from the show.
    [Show full text]
  • Open Posey Kyle 105Decisiveworks.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMPARATIVE LITERATURE 105 DECISIVE WORKS OF OCCIDENTAL ART BY MICHEL BUTOR (TRANSLATION OF FINAL 50 PAGES) KYLE ANTHONY POSEY SPRING 2019 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Comparative Literature and Art History with honors in Comparative Literature Reviewed and approved* by the following: Dr. Eric Hayot Distinguished Professor of Comparative Literature and Asian Studies Honors Advisor/Thesis Supervisor Dr. Christopher Reed Distinguished Professor of English, Visual Culture, and Women’s, Gender, and Sexuality Studies Faculty Reader * Signatures are on file in the Schreyer Honors College. i ABSTRACT This honors thesis is a translation from French to English of the writer Michel Butor’s art historical survey titled 105 Oeuvres Décisives de la Peinture Occidentale. I have translated the final fifty pages, which roughly covers modern art, beginning with Post-Impressionism. The introduction covers the background to the book, problems of translation, and a note about word- image relationships and what this thesis represents to me. ii TABLE OF CONTENTS LIST OF FIGURES ..................................................................................................... iii ACKNOWLEDGEMENTS ......................................................................................... v Introduction .................................................................................................................. 1 Chapter
    [Show full text]
  • Piolin Bidco Sustainability Report 2019
    Sustainability Report 2019 Piolin BidCo S.A.U. and subsidiary companies Non-Financial Statement, pursuant to Law 11/2018 (Free translation from the original in Spanish. In the event of discrepancy, the Spanish-language version prevails) Versión: Draft- 1.0 Date of Report: 29.03.2020 INTRODUCTION ................................................................................................................................................ 3 ABOUT THIS REPORT ..........................................................................................................................................3 LETTER FROM THE CEO ......................................................................................................................................4 PIOLIN BIDCO AND THE PARQUES REUNIDOS GROUP ...................................................................................... 5 ABOUT US ........................................................................................................................................................5 OUR BUSINESS ..................................................................................................................................................6 ORGANISATIONAL OBJECTIVES AND STRATEGIES ......................................................................................................6 ETHICAL PRINCIPLES - OUR CODE OF CONDUCT .......................................................................................................7 OUR SUSTAINABILITY POLICY ...............................................................................................................................8
    [Show full text]
  • Rise of Modernism
    AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet.
    [Show full text]
  • Hand Papermaking Newsletter #122
    HAND PAPERMAKING NEWSLETTER Number 122, April 2018 Newsletter Editor: Shireen Holman Dear Readers, Columnists: Sidney Berger, Maureen and The identification of local and avail- Simon Green, Donna Koretsky, Winifred able resources and their safe Radolan, Amy Richard conversion into something useful, Hand Papermaking Newsletter is published something needed, is a powerful quarterly. Annual subscriptions are $55 in human activity. I would like to spread North America or $80 overseas, including two the word about The Invasive Paper issues of Hand Papermaking magazine. For Project, which does just that. This more subscription information, or a list of back project is about material exploration issue contents and availability, contact: and community exchange, rather than Hand Papermaking, Inc. an initiative focused on the art and PO Box 50859, Mendota, MN 55150-0859 craft of making paper. Phone: (651) 447-7143 I had been intrigued when a E-mail: [email protected] friend told me that the youth from Web: www.handpapermaking.org the Student Conservation Association (SCA) were removing invasive weeds in Detroit. To me, this “waste” posed both an interesting The deadline for the next newsletter (July 2018) challenge and an opportunity. My research led me to the work of Patterson Clark, who has been is May 15. Please direct correspondence to making beautiful paper and art objects from invasive plants; Julie Johnson, who wrote about her the address above. We encourage letters from our experiences with invasives in Hand Papermaking;1 and of course Helen Heibert, who originally subscribers on any relevant topic. We also solicit taught me papermaking, and whose book Papermaking with Plants2 has been indispensable to me.
    [Show full text]
  • STEVE CIESLAWSKI His Premiere One Man Exhibition
    VGALLERY&STUDIOOL. 5 NO. 1 SEPTEMBER/OCTOBER 2002 New York The World of the Working Artist STEVE CIESLAWSKI His Premiere One Man Exhibition “The Moon Viewing Pavilion” Oil on Canvas 2002 “The Moon Viewing September 6 thru 29, 2002 CFM Gallery 112 Greene Street, SoHo, New York City 10012 (212) 966-3864 Fax (212) 226-1041 Monday thru Saturday 11am to 6pm Sunday Noon to 6pm [email protected] www.cfmgallery.com LANDSCAPE PORTAL 12 SEPTEMBER 13 - OCTOBER 3, 2002 Reception: SEPTEMBER 19, 2002 6-8pm Catharine Lorillard Wolfe Art Club, Inc. 106th Annual Exhibition Gloria Gangotena October 3 - 25, 2002 Stella Ninou Karapavlou Karen Vournakis Preview Reception: Friday, October 4 5:30 - 8:00pm Benefit of Metropolitan Museum of Art 415 West Broadway, 5th Floor SOHO, NY NY 10012 Donation: $20 212-226-4151 / Fax: 212-966-4380 National Arts Club www.agora-gallery.com • www.art-mine.com Tuesday - Saturday 12 - 6 pm 15 Gramercy Park South, New York, NY Call National Arts Club at 212 475 3424 for viewing times THE WEST SIDE ARTS COALITION STEVEN DONO Proudly Presents SYNTHESIS OF STYLE The Ruin of Belief A Fine Arts Exhibit October 17 - 29, 2002 Sculpture CORK GALLERY, AVERY FISHER HALL Lincoln Center - 65th & Broadway, NYC Gallery Hours: Mon-Sat 10am - 11pm / Sun Noon - closing For reception date and time call Joyce Lynn 212 873 8935 October 2 - 26, 2002 The Artists: Reception: Leah Zara-Acevedo • Patrick Antonelle • Carole Barlowe • Meg Boe Birns Saturday Oct. 5, 6 - 8pm Ernesto Camacho • Vija Doks • Lori Weinless Fischler • James Glass • Lee Haber Patricia Hagood • Joey Infante • Thomas Kerwin • Nicholas Kodjak • Beth Kurtz Madi Lanier • Carrie Lo • Joyce Lynn • Harriet Marion • Margo Mead • Jose Morine Elizabeth Moore • Marcia E.
    [Show full text]
  • Arabic Gospels in Italy • Wangechi Mutu • Lorena
    US $30 The Global Journal of Prints and Ideas November – December 2014 Volume 4, Number 4 Arabic Gospels in Italy • Wangechi Mutu • Lorena Villablanca • Vishnu in the Netherlands • Ukiyo-e Heroes David Hockney • Connecting Seas • Yona Friedman • Ed Ruscha • Gauguin at MoMA • Prix de Print • News November – December 2014 In This Issue Volume 4, Number 4 Editor-in-Chief Susan Tallman 2 Susan Tallman On Globalism Associate Publisher Evelyn Lincoln 4 Julie Bernatz Gospel Lessons: Arabic Printing at the Tipografia Medicea Orientale Managing Editor Dana Johnson Zoe Whitley 11 International Geographic: Wangechi Mutu News Editor on Paper, Print and Printmaking Isabella Kendrick Carlos Navarrete 16 Manuscript Editor Everyday and Popular Imagery Prudence Crowther in the Prints of Lorena Villablanca Online Columnist Robert J. Del Bontà 20 Sarah Kirk Hanley Engraving India in 17th- and 18th-century Europe Design Director Skip Langer Christina Aube 26 Navigating Difference, Connecting Seas Editorial Associate Andrew Saluti 30 Michael Ferut Defenders of the Floating World Editor-at-Large Prix de Print, No. 8 34 Catherine Bindman Faye Hirsch Cartier Window by Stella Ebner Reviews Julia Beaumont-Jones 36 The Rake’s Progress Laurie Hurwitz 40 27 Square Meters, 1001 Nights Faye Hirsch 42 Ruscha’s Course of Empire Calvin Brown 45 Gauguin at MoMA On the Cover: Coenraet Decker, detail of Matsya (1672), copperplate engraving from Jaclyn Jacunski 49 Philippus Baldeaus, Afgoderye der Oost- Past Partisans Indisch heydenen (Pt. III of Naauwkeurige beschryvinge), Amsterdam: J. Janssonius v. John Murphy 50 Collective Brilliance Waasberge & J. v. Someren. Elleree Erdos 52 This Page: Wangechi Mutu, detail of The Proof: Lingen—Melby—Miller Original Nine Daughters (2012), series of nine etching, relief, letterpress, digital printing, News of the Print World 55 collage, pochoir, hand coloring and handmade Contributors 79 carborundum appliques.
    [Show full text]
  • ALBERT PALEY SCULPTUM DRA JWN~ Grapmcs & DECORA77VE ARTS
    ALBERT PALEY SCULPTUM DRA JWN~ GRAPmcs & DECORA77VE ARTS Essayby Craig Adcock Florida State University Museum of Fine Arts October 12 - November 18, 200 I Gulf Coast Museum of Art February 15-April 14, 2002 Polk Museum of Art April 27-)uly 23, 2002 Terrace Gallery, City of Orlando January-April, 2003 Florida State University Museum of Fine Arts School of Visual Arts & Dance Albert Paley:Sculpture, Drawings, Grapfiics and DecorativeArts was organized by the Florida State University Museum of Fine Arts with grant assistance from the Florida Arts Council. Educational Programming is supported through the Communiversity Partnership of the City of Tallahassee Cultural Services, Cultural Resources Commission. FLORIDA STATE UNIVERSITY -------------------------------- 2 3 MUSEUMOF FINEARTS THE IMPRIMATUROF ALBERT PALEY TlieMuseum of FineArts offersdeepest gratitude his home, Rochester, New York, to the sive architectural statements that in 1982 to tlie Artist and to liis dedicatedstaff­ interior sculptural ornament of a gilt opera he was selected to win the Award of particularlyEleta Exline and DavidBurdett. Tliis box handle for a Texas cultural complex. Excellence from the American Institute of complicatedproject /ias come toget/iertfirougli The Artist orchestrates a team of profes­ Architects for Art in Architecture, specifi­ tlieirclieerful assistance and goodwill. sionals at the studio he incorporated in cally on the occasion of his PortalGates for On tliis liappy occasion,we liave been 1984 [he has had a substantial studio in the New York Senate Chambers in Albany. privilegedto workwitfi Dr. CraigAdcock wliose New York with a growing team of assistants essay takes on one of t/ie bipolar topics of since 1972).
    [Show full text]