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Home , Atelier 17, Etching revival, Gabor Peterdi, Gerald Laing, Guy Diehl, Julian Trevelyan

September – October 2012 Volume 2, Number 3

Latent Possibilities: the Legacy of • Jasper Johns at Harvard • L’Estampe Originale in Minneapolis Inuit in Winnipeg • Material Assumptions: Paper as Dialogue • Book Reviews • Print Week 2012 • News

September – October 2012 In This Issue Volume 2, Number 3

Editor-in-Chief Susan Tallman 2 Susan Tallman On Stanley William Hayter

Associate Publisher Andrew Raftery 4 Julie Bernatz Genealogies: Tracing Stanley William Hayter

Managing Editor Ann Shafer 10 Annkathrin Murray Hayter: Content and Technique

Associate Editor Julia Beaumont-Jones 17 Amelia Ishmael Studios of Paris: Stanley Jones on Hayter, Paris and Atelier Patris, 1956-58. Design Director Skip Langer Liza Folman 22 Stanley William Hayter and Design Associate Viscosity Printing Raymond Hayen Amelia Ishmael / Susan Tallman 26 Web Associate Stanley William Hayter—Essential Reading Kristina Felix

Management Associate Exhibition Reviews Ashley Clark Susan Tallman Advertising Manager Jasper Johns / In Press: The Crosshatch 28 Pilar Sanchez Works and the Logic of Print L’Estampe originale: A Celebrated Album 30 of Original Printmaking, 1893-95

Courtney R. Thompson Inuit Prints, Japanese Inspiration: 32 Early Printmaking in the Canadian Arctic Material Assumptions: Paper as Dialogue

Book Reviews Mark Pascale 38 Proof! The Rise of Printmaking in Southern California

Julie Bernatz 41 Snapshot: Painters and Photography, Bonnard to Vuillard

News of the Print World 44 Cover Image: Stanley William Hayter, detail of Untitled (no. 6 from The Apocalypse) (1931), Contributors 57 and . Printed by Paul Haasen, published by Editions Jeanne Bucher. The Baltimore Membership Subscription Form 59 Museum of Art. Gift of Mr. and Mrs. Robert Paul Mann, Towson, Maryland. BMA1979.377.6. ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris.

This Page: Stanley Jones, detail of Madron (1970), lithograph. Printed at Curwen Studio, published by Galerie Wolfgang Ketterer, Munich. ©Tate, 2012. ©Stanley Jones.

Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 This issue of Art in Print was www.artinprint.org published with the support of the [email protected] Dedalus Foundation, Inc. No part of this periodical may be published without the written consent of the publisher. On Stanley William Hayter By Susan Tallman

n June 1944, as Allied forces slogged their In this issue of Art in Print, generously I way through Normandy, the exhibition supported by a grant from the Dedalus “Hayter and Studio 17: New Directions in Foundation, we wanted to reassess the Gravure” opened at The Museum of Mod- legacy of Stanley William Hayter. We asked ern Art. It was a show of and writers with different areas of expertise to , as well as plaster reliefs and tem- consider aspects of Hayter’s art and practice plates by 32 artists from North and South from the vantage point of 2012. Ann Shafer America, Eastern and Western Europe and of the Baltimore Museum of Art focuses North Africa. Some were famous—Alexan- on the overlooked content of Hayter’s der Calder, , Joan Miró—most images. Julia Beaumont-Jones of the Tate were not. All of them had worked with the interviews printmaker Stanley Jones about artist Stanley William Hayter, founder of Hayter’s influence on British printmaking the collaborative print workshop and particularly the Curwen Press. Artist and the most influential printmaker of his Liza Folman provides a lucid explanation of generation. Hayter’s innovations, while Hayter was a powerhouse: arriving in Andrew Raftery assesses the breadth and Paris in 1926 after a brief stint as a geo- depth of Hayter’s ideas, down three genera- chemist with the Anglo Persian Oil Com- tions of artists and teachers. Finally, Art in pany, he exerted a kind of gravitational Print staff writers put together an overview pull on his fellow artists; his studio became of essential Hayter reading. a social and creative hub for nascent Sur- Detail from photograph of Stanley William Hayter, As Shafer points out, Hayter’s valoriza- realists, his ideas and techniques became a 1960. Photo: Ida Kar. ©National Portrait Gallery, tion as a technician has come at the expense kind of currency. In the unlikely medium of London. of his reputation as an artist. Art is always a engraving, Hayter found a way to use phys- that such an outcome was possible. But by marriage between ideas and materials, and ics—chemistry, resistance, momentum and that time Hayter’s work—his prints and the manipulation of those materials— conservation—to jolt the artist’s mind and , his technical innovations, the ‘technique’—is all that makes the marriage hand out of their habitual patterns. Relo- productivity of Atelier 17—had slipped to work. In the half-century since “Hayter and cated to New York during World War II, the periphery of art discourse. He had led Atelier 17,” we have become re-habituated Hayter’s influence spread through a second a movement that valued close engagement to the idea that technique can be out- continent. Rothko and Motherwell passed with materials—curiosity leading to mas- sourced: printers, fabricators, engineers, through the atelier on their way to Abstract tery, mastery leading back to curiosity. In the rolodex of the on-the-go contemporary Expressionism; engraved the brochure for the 1944 MoMA show, artist. This is nothing new: Raphael did not plates with looping skeins of line that seem Hayter explained the relevance of print weave his own tapestries, Bernini did not predictive of the drip paintings to come. techniques to modern art this way: “the cast his own bronzes single-handed. It may Hayter knew everyone: the preface to his effect of the graphic and plastic researches be that Hayter’s moment—those mid-cen- manual of techniques was written of modern and sculpture since the tury decades when dirty fingernails were by Sir Herbert Read; the philosopher and nineteenth century had been to set mod- seen as key to new thoughts—was an aber- Wittgenstein scholar Peter Hacker edited a ern artists new problems of technique, and ration. But Hayter’s legacy remains: if rela- major collection of essays on Hayter. Anaïs certain of these problem, notably the inte- tively few artists still use his precise tech- Nin left a compelling portrait: gration of space and object, find a perfect niques of engraving or viscosity printing, medium in methods of line engraving.”2 almost all follow his dictum: “it is the He was like a stretched bow or a coiled Such language, focused on formal prob- importance of the idea (communicated by spring every minute, witty, swift, ebul- lems and technical solutions, doesn’t reso- whatever process), and this alone, that lient, sarcastic. … He always moved nate today, the underlying approach, the determines the validity of the work.”3 about between the students, cyclonic, idea that art objects are artifacts of inquiry, making Joycean puns, a caricature, a does. So does the belief, on which Atelier 17 joke. He was always in motion. I won- operated, that art does not move forward dered how he had ever spent hours bent Susan Tallman is the Editor-in-Chief of through individual acts of isolated genius, over copper plates, delicate, demanding, Art in Print. but through collaborative exchange. And so exacting work. His lines were like projec- does the notion that artists are best trained tiles thrown in space, sometimes tangled not by rigid programs of imitation, but by like antennae caught in a windstorm. assisted adventures of their own design. I never saw him at low ebb or passive, Since his death, the audience that recog- Notes: and even pain, which he was known 1. Anaïs Nin, Diary Of Anais Nin, Vol. 3 (1939-1944), nizes Hayter’s name or his several visual to have, seemed to inspire only a more New York: Houghton Mifflin Harcourt, 1971:125-126. styles has grown ever smaller, even as his 2. Stanley William Hayter quoted in James Johnson desperate aliveness, alertness. A volcanic approaches to teaching, workshop practice Sweeney, “New Directions in Gravure,” Museum of personality.1 Modern Art Bulletin 12.1 (August 1944): 3. and material problem-solving have become 3. Stanley William Hayter, About Prints, London: When Hayter died in 1988, at the age of so pervasive that we no longer think of Oxford University Press, 1962: 104. 86, his friends seemed genuinely shocked them as innovations.

2 Art in Print September – October 2012 Stanley William Hayter, detail of Flight (1946), soft-ground with engraving and embossing on wove paper, 37.3 x 24.8 cm. Museum of Art Rhode Island School of Design, Providence. Gift of Mrs. Murray S. Danforth. 49.395. ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris.

Art in Print September – October 2012 3 Stanley William Hayter, Figure 16. Sharpening the Burin from New Ways of Gravure, 1949. ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris.

4 Art in Print September – October 2012 Genealogies: Tracing Stanley William Hayter By Andrew Raftery

ny artist who has been trained by a A teacher can trace his or her educa- tional genealogy by asking, “Who was my teacher’s teacher?” and continuing from that point. In the United States many painters can claim origins that go back to Eakins and from there to Ingres and David. Perhaps for some the chain could lead all the way back to Raphael and Perugino. But does this really mean anything beyond a pleasant exercise in artistic family trees? Certainly some prominent art teachers of the 20th century have a discernable residu- al influence to the present day. One thinks of Hans Hoffman in painting and Bernard Leach in ceramics. In intaglio printmaking the uncontested common ancestor is Stan- ley William Hayter. Almost every one of us has some Hayter in our printmaking DNA. It is not immediately obvious how Hayter—whose university studies were in chemistry and geology and who had himself few genealogical links to the great printmaking traditions—could come to be the father of us all. The fin de siècle Etch- ing Revival, exemplified in the teachings of Félix Bracquemond in France and Alphonse Legros in , was peaking in the 1920s when Hayter decided to study art in Paris. Yet Hayter’s primary printmaking progeni- tor was the relatively obscure Polish artist Joseph Hecht, who practiced a vigorous style of burin engraving that formed the centerpiece of Hayter’s artistic work and teaching. As Hayter became more profi- cient, people turned to him for instruction, leading him to start the Paris workshop that came to be known as Atelier 17. His own work with the burin drew closer to the idea of automatic championed by the Surrealists, with whom he was closely involved until 1939. Eventually prominent painters, including Picasso and Mirò, came Stanley William Hayter, Flight (1946), soft-ground etching with engraving and embossing on wove paper, plate 37.3 x 24.8 cm. Museum of Art Rhode Island School of Design, Providence. Gift of Mrs. Murray S. to work with Hayter at Atelier 17. Danforth. 49.395. ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris. Hayter’s relocation to New York during World War II extended his influence fur- What made Hayter’s teaching so com- frequented his New York studio. He had ther, as Atelier 17 became a magnet for art- pelling to that first generation of American participated in the Surrealist movement. ists from Reginald Marsh and Isabel Bishop, pupils? Clearly his tremendous personal For printmakers of the 1940s, faced with to Jackson Pollock, and Louise charisma counted for something. In his the dispiriting choice between the expired Bourgeois. Instructional workshops in Phil- introduction to the catalogue raisonné of Etching Revival and fading Social Realism, adelphia, Chicago and estab- Hayter’s prints, Jacob Kainen described the path presented by Hayter pointed the lished outposts throughout the country. him as “the most gregarious of men, an way to full participation in the cutting edge Eventually Atelier 17 alumni took the fran- unforgettable spellbinder interested in of contemporary art. chise to university art departments where everything under the sun except money.”1 That Hayter was highly aware of the generations of artists have been trained in More importantly, he offered direct con- unique contribution of Atelier 17 is attested the methods and techniques introduced by tact to the wellsprings of Modernism. He in his two books, New Ways of Gravure (first Hayter. After Hayter went back to Paris in had worked with the pillars of the School published in 1949) and About Prints (pub- 1950, many American artists went directly of Paris—Picasso, Chagall, Giacometti lished by Oxford University Press in 1962). to the source to learn from the master. and Miro—and famous European artists Both have comprehensive chapters about

Art in Print September – October 2012 5 Atelier 17, the most enlightening being “Methods of Teaching in Atelier 17” found in New Ways of Gravure. Using a tone that might be used to describe Masonic rites, Hayter set the stage for “the initiation of newcomers to Atelier 17”: It is often necessary in the first place to present the idea of an action undertaken experimentally without any intention of producing a work of art, as many of our associates have had no previ- ous experience of such action. It is also sometimes necessary to point out that vague uncontrollable action on a plate is not an experiment in our sense, as the result, if any, can be neither understood nor repeated. It is sometimes difficult to present the idea of a more or less anony- mous operation without a plan and hav- ing no end except to expose the subject to the possibility of discovery. This is the possibility of a real discovery, a discov- ery of things unknown to us and often different from the discoveries of others in similar circumstances.2 With the intention of breaking down the preconceptions of the novice, Hayter pre- sented the plate as an arena for improvisa- tion. The scientific method is alluded to in the reference to repeatability, but the out- come is an unknown that emerges from the process. Hayter dictated a series of opera- tions on the plate and introduced an exer- cise in automatic drawing. The purpose of the plate work and the drawing was to dis- cover what Hayter calls “counterpoint”, a series of compositional and linear concepts described at length in subsequent chapters. The instruction at Atelier 17 offered more than technique or even a lesson in style; it presented methods for arriving at modern art. Most importantly for print- , Slow Ascent (Ascension Lente) (1949), softground etching, engraving and drypoint makers, these methods were integral to the with pochoir on cream wove paper, plate 22.2 x 17.6 cm, sheet 47.4 x 33 cm. Worcester Art Museum, particular techniques and practices of inta- Worcester, Massachusetts, Stoddard Acquisition Fund. Art ©Louise Bourgeois Trust/Licensed by VAGA, glio printmaking. It is no wonder that Hay- New York, NY. ter’s direct pupils embraced his approach with such fervor and were so eager to pass sculpture courses. Although I would not enriched and clarified. Hayter’s under- it on to the next generation. have known the term at the time, it was a standing of engraving was profound and My own relationship to Hayter is that “workshop” in which the instructor pre- his written explanation of the technique of a great-grandson. I was the pupil of two sented techniques through demonstration has never been superseded: printmakers who studied with pupils of and students responded with self-directed Now the line which has just been Hayter. My initiation happened in 1982, projects. In turn, the instructor would sug- engraved was not drawn, it was driven: when, as a junior at Boston University, I gest new methods to enhance the work of the sensation of the engraver in mak- took my first, exhilarating intaglio class each student. This is how I came to learn ing it was one of traveling bodily with with Sidney Hurwitz. After a rich and var- engraving. Hurwitz saw that I liked to orga- the point forward in the position of the ied printmaking education that included nize the lines in my etchings and thought I design. Then owing to the rotation of the close contact with Leonard Baskin, Hur- would take to the burin. His brief engraving plate, another quality is felt. The artist, witz attended Brandeis University where demonstration was my initial point of con- identified with the moving point, must he studied with Peter Grippe, an important tact with Stanley William Hayter. orient himself with relation to the posi- figure at Atelier 17. Later, in the UK, Hur- The first book I checked out of the tions of his design, just as a traveler ori- witz worked with Hugh Stoneman who had library after learning engraving was Hay- ents himself with relation to a position studied with Hayter in Paris. The structure ter’s New Ways of Gravure. In it I found shown on a map.3 of Hurwitz’s etching class was very different a lucid and comprehensive guide to the from the rigidly directed work we did from use of the burin. Everything that Hurwitz It was all very eloquent, but as I read figure models in our drawing, painting and had shown me his in demonstration was through his ideas about engraving, his his-

6 Art in Print September – October 2012 torical analyses and the description of his minded teacher like Sidney Hurwitz and out and colored, a technique described in teaching methods at Atelier 17, I also found not from Stanley William Hayter himself. New Ways of Gravure; the paper cabinet much that disturbed me. When I look back on this state of mind, I was filled with heavy tan wove Murillo I had a hard time accepting Hayter’s can identify with the comments of Lou- paper, a favorite of Hayter’s pupils. Gabor strictures against working from detailed ise Bourgeois. She felt underappreciated Peterdi had retired the previous spring after preparatory . It was obvious to and barely tolerated by Hayter. As she told decades of teaching at Yale. Peterdi had me that most engravings were the result of Deborah Wye, “I exasperated Hayter… he worked closely with Hayter in Paris before thorough planning via drawing. Hayter also was a printer-perfectionist. His impatience World War II and incorporated many of inveighed against working with magnifica- came because very few people had the Hayter’s concepts into his work, his teach- tion. Even with my very clear 20-year-old control of the hand. He wasn’t interested ing and his own printmaking manual.7 eyes, I appreciated the benefits of magni- in beginners. He would shout. He would Almost every painting and printmaking fying glasses when working on my plates. throw things.”6 Yet while at Atelier 17, graduate student at Yale for over 30 years Also, Hayter’s ideas about printing seemed Bourgeois created a major work, her port- had been through his class. Many became hopelessly mired in the subjective roman- folio of nine engravings accompanied by professors at schools throughout the Unit- tic esthetics of the Etching Revival. Hayter printed parables, He Disappeared into Com- ed States. advocated for strong plate tone, claiming plete Silence (1947). Her Atelier 17 engrav- This was the case with Richard Ryan, that it was “possible to print a clear black ings are a supreme masterpiece of the Hay- who had studied with Peterdi as a gradu- line on a background dark enough to con- ter style, with implications that can be seen ate student at Yale, but whose outlook vince most etchers that the plate has been in many of her later works. Clearly Hayter was very much enriched by his contact aquatinted to a middle tone.” The use of was a powerful teacher who could push tal- with Frank Lobdell and Nathan Oliveira at oily inks, hot wiping and the technique of ented students to great heights. Stanford. Ryan began teaching printmak- retroussage is especially evident in Hay- In the fall of 1986, several years after my ing at Yale at the same time I started as a ter’s prints from his American period. He first introduction to Hayter, I walked into graduate student. He was mostly known as abhorred hand-wiping with whiting,4 a the printshop at School of a painter, but he had a deep love of prints, method that to me was clearly the only way Art and found the influence of Atelier 17 seeing them as vehicles for ideas that could to print an engraving so that the dazzling evident everywhere: giant gelatin rollers not be expressed in other media. Techni- brilliance of line characteristic of the tech- for viscosity printing were slowly disin- cal concerns were never foregrounded in nique could be realized. tegrating on their racks; I found slabs of his classes; instead we discussed content, Hayter’s assessment of the history plaster printed from intaglio plates with expression and meaning in contemporary of printmaking was even more upset- odd interlocking biomorphic forms, carved art. Historical art was eagerly explored as a ting. While acknowledging the obvious achievements of Dürer, , Goya and Picasso, Hayter joined William Ivins, author of Prints and Visual Communications (1953), in condemning most engravers from Marcantonio forward as detestable hacks. For Hayter, the use of engraving to describe any surface texture was inimical to the true character of the burin. He dismissed Claude Mellan’s famous Sudarium of 1646 as “an achievement of penmanship rather than engraving, as the copper never shows itself at any point”.5 William Blake was pit- ied for his apprenticeship as a reproductive engraver. Engravers living in Hayter’s own time such as the supremely inventive Cub- ist/Art Deco burinist Jean-Emile Laboureur were damned with faint praise, while his British contemporaries Stanley Anderson and Robert Austin were not even mention- able by name. Hayter’s descriptions of the teaching methods at Atelier 17 outlined a system as rigid as the academic figure painting tech- nique I was learning at BU. Furthermore, the outcomes, as evidenced by the illustrations in the book, seemed much more predeter- mined than Hayter was willing to admit. I struggled to understand why Hayter, who had done so much for printmaking and engraving in particular, irritated me so much. In his writings he came across as a bully, excessively confident in his ortho- doxies. At age 20 I found this virile Mod- ernism threatening and I was glad I had Anne Ryan, The Hunter (ca. 1944), engraving on wove paper, 19.5 cm (diameter). Museum of Art Rhode learned engraving from a gentle and open- Island School of Design, Providence. Gift of James D. and Diane Davies Burke. 2002.119.2. Art in Print September – October 2012 7 and Hayter himself. This past spring at Rhode Island School of Design, I taught History of American Prints in collaboration with the art his- torian and painter Jonathan Weinberg. Each session was split between a lecture providing historical background and time in the RISD Museum printroom for close examination of objects. One class focused on Hayter’s influence in the United States. I presented the idea of educational gene- alogies by making a chart that showed how many faculty members in RISD’s printmak- ing department could trace a path back to Hayter. The implication was that the stu- dents, most of whom were printmaking majors, could consider themselves to be the next generation of Hayter’s descen- dants. Like many ideas I come up with in the hopes of generating lively discussion, this did not go very far, mostly because the students did not really know Hayter’s work. Later, in a room full of prints by Hayter and his followers, the situation improved. We had spent several sessions cover- ing American popular prints of the 19th- Century: Whistler, Cassatt and the Etch- Gabor Peterdi, Heralds of Awakening (1952), etching and engraving with one surface rolled color, ing Revivial; Bellows, Hopper, Sloan and 50.2 x 61 cm. Edition of 35. Smithsonian American Art Museum. Gift of Joan Peterdi. the American Scene, followed by a class devoted to the Social Realist prints of the resource to be mined. In hindsight it is obvi- prints that overlapped and complemented 1930s. The students recognized the pro- ous that we were feeling out a path toward Acton’s research. He had also met many of found break with tradition articulated by Postmodernism in an intuitive way, with- the artists he collected, and obtained first Atelier 17. They also saw strong links to the out much theoretical structure. We realized hand oral histories and documentation past. As art students they are particularly that the pluralism of the moment allowed whenever possible. I was fortunate to visit attuned to how things are made. Looking an endless range of artistic responses of him several times at his home in New York at an impression of Hayter’s Flight made in which the Surrealist abstraction of Hayter, before the Library of Congress acquired 1944 for the MoMA exhibition “Hayter and or even the formalism expounded by many the collection.9 His connoisseur’s passion Studio 17,” [see p. 2 of this issue], they rec- Yale faculty members, were simply options for the work opened my eyes to the beauty ognized that the heavy plate tone, retrous- among many choices. This was still danger- of the Hayter group and made me realize sage and smudges on the borders linked ous territory at Yale in the late 1980s, where I still had much to learn about engraving the print to the signifiers of the handmade narrative art was rejected as illustrative and from Peter Grippe, Anne Ryan, , that were characteristic of the Etching the senior faculty invited Clement Green- berg and Hilton Kramer as visiting critics. Ironically it was the very opening up of ideas about the possibilities of art over the past 25 years that allowed me to make peace with my printmaking great-grandfather, Stanley William Hayter. Once I could view his work in its historical context, I could begin to appreciate the contribution of Hay- ter and his students. This was aided by two important experiences. The first was David Acton’s 2001 exhibition and catalog Stamp of Impulse,8 which presented 100 Ameri- can abstract prints made between 1942 and 1980. In the catalog, every artist, famous or obscure, was represented by a single print and a one-page biography. Acton’s detailed examination of the education of each art- ist provided fascinating insight into the web of influences that shaped the period, with Hayter emerging as a central figure. The second experience was meeting the collector Charles Randall Dean. Dean had assembled a group of American abstract Andrew Raftery, Printmaking Family Tree (2012). Photo: Andrew Raftery. 8 Art in Print September – October 2012 Revival. At the same time, the tortured fig- ural abstraction, the violation of the plate with deeply embossed brilliant white scor- per marks and the anxious emotional tone of the image seemed fresher in 2012 than they had in the mid-1980s. As young art- ists trying to figure out their own work, the students understood the plates of Hayter, Schrag, Grippe, Ryan and Nevelson as sites of struggle and experimentation. I now realize that in my own highly planned and controlled engraving, I retain space for a kind of “micro-improvisation” that to me—as to Hayter—delineates the boundary between a work of art and mindless mechanical engraving technique. Although my reliance on very complete preparatory studies would never have been tolerated by Hayter, my basic attitude toward art making is derived from what I learned from New Ways of Gravure so many years ago. If Hayter continues to influence yet another generation, it will not be through any identifiable visual style nor through a restricted system of pedagogy that demands improvisation and forbids whit- ing. It will be through beliefs that have become so ubiquitous over the last half- century that they are hardly questioned nor identified with an originating author. We tell our students that every decision can be challenged and changed if demanded by the requirements of the work. The vision of an intaglio plate is an arena for experimen- tation has been extended to all print matri- ces, and beyond printmaking to all aspects of art production. Hayter pioneered an integrated approach to instruction, production and criticism that has pervaded all art educa- tion. The recognition that process can be a source of ideas, rather than just a means to a predetermined end, was not unique Karl Schrag, Rain and the Sea (1946), etching and engraving on paper, 57.1 x 45.1 cm. Edition of 30. to Hayter, but he found a way to teach Smithsonian American Art Museum. Gift of the artist. it. (Even at the progressive Art Student’s League in the 1930s a printer actually print- ed the student’s work.) The classroom-as- Notes: workshop has become so widespread that 1. Peter Black and Désirée Moorhead, The Prints we can hardly understand how novel it was of Stanley William Hayter: a Complete Catalogue, Mount Kisco, N.Y.: Moyer Bell Ltd. and London, when introduced by Hayter. 1992: 8. Hayter’s advice on wiping plates may 2. S.W. Hayter, New Ways of Gravure (London: not have changed much in the long run, 50 Oxford University Press, 1966), 219. years on viscosity printers are few and far 3. Ibid., 37. 4. Ibid. 107 - 108. between, but his connection of experimen- 5. Ibid., 187. tal thinking and practical making has 6. Deborah Wye and Carol Smith, The Prints of Lou- changed the way art is taught, understood ise Bourgeois (New York: The /Harry N. Abrams, Inc., 1994), 27. and made. 7. Gabor Peterdi, Printmaking: Methods Old and New (New York, Macmillan, 1959). 8. David Acton, Stamp of Impulse (Worcester: Andrew Raftery is an engraver, print scholar and Worcester Art Museum in Conjunction with Snoek- Professor of Printmaking at Rhode Island School of Ducaju and Zoon, 2001). Design. 9. The Charles R. Dean Collection of Abstract Expressionist prints is viewable on the Library of Congress website at http://www.loc.gov/pictures/ search/?q=LOT%2013998&fi=number&op=PHRAS E&va=exact&co!=coll&sg=true&st=gallery.

Art in Print September – October 2012 9 Stanley William Hayter, detail of Cascade (1959), color intaglio and relief, plate 48.9 x 48.9 cm, sheet 79.4 x 58.4 cm. Edition of 60. Printed and published by the artist. The Baltimore Museum of Art. Purchased as the gift of the Print, Drawing & Photograph Society. BMA2008.112. ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris.

10 Art in Print September – October 2012 Hayter: Content and Technique By Ann Shafer

tanley William Hayter was a 20th- Scentury polymath. Educated as a chemist and geologist, he became a pro- lific and influential printmaker and painter whose work was informed by mathematics, Jungian psychology, and the natural world. Hayter wrote eloquently about his theo- ries and approaches to creativity in many articles and two books, New Ways of Gra- vure (1949) and About Prints (1962). He was the guiding force behind the famous print workshop Atelier 17, and his charismatic presence was credited with the revival of expressive printmaking on two continents. Today Hayter is remembered largely as a technical wizard who reinvigorated burin engraving, promoted the use of cloth and other textures in softground etching, and helped develop simultaneous color print- ing (viscosity printing). Perhaps because the list of Hayter’s accomplishments is so long, historians have focused on these technical contributions at the expense of what he used them to say. But Hayter was equally eloquent about the purpose of his art, “to lead man to a fuller understanding of his terms of existence; to aid people to live more completely and escape from the history of human error; to demonstrate by example that the human mind has unlim- ited capacity to go further and further the more one demands of it.”1 This article will attempt to restore some balance to our view of Hayter, examining several prints from early in his career and one from the late 1950s (all in the collection of The Bal- timore Museum of Art) that bookend his best-known work, and illuminate how the artist pursued meaning through imagery, use of line, and expansion of pictorial space achieved through exploiting the character- istics of intaglio techniques. Hayter was introduced to the technique Stanley William Hayter, Untitled (no. 6 from The Apocalypse) (1931), drypoint and engraving, plate 32.4 x of engraving through the Polish artist 22.8 cm, sheet 52.6 x 39.9 cm. Edition of 60. Printed by Paul Haasen, published by Editions Jeanne Bucher. Joseph Hecht, whom he met when Hay- The Baltimore Museum of Art. Gift of Mr. and Mrs. Robert Paul Mann, Towson, Maryland. BMA1979.377.6. ter first arrived in Paris in 1926. Hecht was ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris. one of very few artists using engraving cre- atively to make original images. In the early trol required, the artist holds the sharp- Jung’s idea of the collective unconscious, 20th-century engraving was mainly associ- tipped burin steady while moving the which posited the existence of archetypal ated with uninspired, fusty, reproductive plate beneath it. Hayter, nonetheless, was forms which carry uniform psychic content book illustration and middle-brow wall drawn to the elegant and crisp quality of for all people.2 The Jungian view dovetailed décor. It was not as accurate as photogra- line in Hecht’s engravings and recognized with Hayter’s belief that the private imag- phy, nor as responsive to personal touch as that in the difficulty and counterintuitive- ery of his own subconscious would reso- etching, nor as pragmatic and colorful as ness of engraving lay a potential window nate with the subconscious imagination of . In etching and lithography an to the subconscious. It was in this struggle his viewers. The best way, he felt, to access artist could draw as if on paper, with famil- between mind, hand, and metal that Hay- these subconscious images was to relax and iar tools and little resistance. In engrav- ter found his métier. let the hand guide itself. Such automatism ing, however, the lines must be carved in Like many of the Surrealists with whom was something that engraving—by its very metal, and to produce the force and con- he associated, Hayter was drawn to Carl difficulty—facilitated. Art in Print September – October 2012 11 Atelier 17 was founded in response to onset ofWorld War II, Hayter re-established In Paris prior to the war, artists who demand from people interested in learn- the studio in New York, where it flourished came to the Atelier to work alongside ing these techniques, but Hayter never from 1940 until 1950 when he returned to Hayter included , David thought of himself as a teacher. He insisted Paris to resume the workshop there. The Smith and , as well as the workshop was a collaborative space and New York Atelier remained open until 1955 Surrealists Joan Miró, André Masson, and that everyone working there was contrib- under several subsequent directors. The . In New York in the 1940s, émi- uting to what he referred to as “research- Paris branch continued after Hayter’s death grés and Americans came together, and the es.” “My approach to art is fundamentally in 1988 and remains in operation today as workshop was frequented by Le Corbusier, experimental,” he remarked in 1973. “I con- Atelier Contrepoint. Newcomers to the ate- Marc Chagall, Salvador Dalí, Isabel Bishop, sider that art… is a means of research or a lier were initiated through a group of exer- Masson, Matta, Jacques Lipchitz, Yves Tan- pursuit of knowledge, rather than a meth- cises, including automatic drawing and the guy, Jackson Pollock and Louise Bourgeois. od of producing objects for pleasure…. Art creation of an experimental plate on which The effects of Hayter’s pedagogy were is an attempt to extend and deepen our the artist could do everything imaginable, mixed. Reginald Marsh and Isabel Bishop knowledge of life and our relations with without concern for the finished product, seem to have been unaffected by their our world.”3 gaining technical knowledge and clearing experiences at Atelier 17 in New York, while Hayter operated Atelier 17 in Paris from the way for creativity. Once this foundation , , and Wil- 1927 through 1939 (the name came from the was mastered, Hayter’s intention was to liam Baziotes quickly moved on from the studio’s original street address). With the leave each artist to his or her own devices. studio.4 Some found Hayter’s dominating presence to be stifling: commented, “… every time I took a breath he was there taking one.”5 For legions of other artists, however, working with Hay- ter was transformative. At Atelier 17, they found a meeting place where ideas and even shapes and themes became common currency; they developed new techniques and exchanged philosophies of art making.6 (Many of these artists went on to estab- lish printmaking workshops or univer- sity departments across the United States. Gabor Peterdi, who worked with Hayter in both Paris and New York, taught at Brook- lyn Art School and before moving to Yale University in 1960, where he remained until 1986. Mauricio Lasan- sky ran the printmaking department at the University of from 1945 to 1985; Misch Kohn taught at the Institute of Design, Chicago and CSU Hayward from 1949 until 1986; and Krishna Reddy was a director of Atelier 17 from 1957-1976, followed by many years at New York University. These artists trained subsequent generations who have continued to spread the legacy of Atelier 17 [see Andrew Raftery’s article this issue].) Hayter thrived on debates about the mechanics of the mind and spirit, as well as current methods of creativity and the power of the imagination.7 For him, there was no higher goal than an exploration of the imagination, but he also believed that mastery of materials and processes were essential to this goal. Hayter commented on the dichotomy between his technical proficiency and his pursuit of unfettered imagination: “there are two elements in the making of a work of art—the unconscious element from which the inspiration comes, and extremely rational control of the meth- ods of execution.”8 In Hayter’s prints of the late 20s and early 30s, made shortly after Hayter began exhibiting with the Surrealists in 1929, this Stanley William Hayter, Cascade (1959), color intaglio and relief, plate 48.9 x 48.9 cm, sheet 79.4 x 58.4 dichotomy takes almost literal form. Hay- cm. Edition of 60. Printed and published by the artist. The Baltimore Museum of Art. Purchased as the gift of ter was particularly drawn to an automa- the Print, Drawing & Photograph Society. BMA2008.112.. ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris. tist practice in which sessions of mindless 12 Art in Print September – October 2012 Stanley William Hayter, La Villette (1930), drypoint and engraving, plate 18.9 x 24.9 cm, sheet 28.3 x 38.1 cm. Edition of 50. Printed by Paul Haasen, published by Éditions des Quatre Chemins. The Baltimore Museum of Art. John Dorsey and Robert W. Armacost Bequest Fund. BMA 2011.159. ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris. drawing were followed by assessment: ink caused by the drypoint burr. (In repro- he exploited the physical properties and which figures, subjects, or doodles repeated duction the opposite seems true; this is one cultural associations of these mark-making themselves? Which asserted psychic per- of those unfortunate cases when the pho- techniques to make a point about the vital sistence? Such figures, attitudes, or poses tographs do not represent the prints well.) presence of subconscious forces in a world that appeared again and again would be In Père Lachaise a dead body, created that may be less substantial than we think. accepted as meaningful. After completing a in drypoint, lies in the street just outside The tension between material real- number of drawings on translucent paper, the wall of the famous Parisian cemetery. ity and psychic interpretation that was the Hayter would take several and superim- The linear contour of a hand, executed subject of the Paysages Urbains was further pose them while holding them up to light, in engraving, is superimposed over the developed in The Apocalypse portfolio (1930- to experiment with composition.9 Hayter deceased everyman, and appears to be 32), a group of six prints made shortly after- contended these types of images would be plucking the man’s spirit from his body. wards and accompanied by verses written more likely to touch the beholder.10 The six In La Villette, a horse wanders a desolate in response to the images by Georges Hug- prints that comprise the portfolio Paysages street. Though in Hayter’s time (in fact net. Here urban landscapes are replaced by Urbains (1930) echo this superimposition until the 1970s) the Parisian slaughter- more overtly Surrealist structures. In the process by layering conflicting landscapes.11 houses were just up the hill from this street sixth plate, the central space is occupied by In each plate, the concrete world of corner, this engraved horse belongs to the a vertical totem whose indentations reveal the Parisian street is depicted in drypoint, dream/spirit world, marked by diagonals it as the negative space within a clenched while the landscape of the artist’s mind’s receding in space. fist. Looping lines around it suggest the eye—the dream image—is completed with It may seem counterintuitive that the forming hand. For this image, Hayter uti- engraving. The distinct physicality of each “real” landscape is executed in the feathery lized drypoint to illustrate the mass formed type of line further enhances Hayter’s mes- lines of drypoint, which seems so suited to by the squeezed hand and engraving to sage: the engraved lines not only appear the ethereal, while the dream imagery is delineate the hand. (Hayter experimented darker, but also they stand proud upon the done in crisp engraving, traditionally used with this form further, creating a plaster surface of the paper. By contrast, the dry- to enhance structure and render concrete cast sculpture of the unseeable interior of point lines barely rise above the paper plane space. Such an inversion of expectation, a clenched hand, now in the collection of and appear lighter because of the bloom of however, served Hayter’s expressive aim: the Museum of Modern Art.) In the print

Art in Print September – October 2012 13 Stanley William Hayter, Père Lachaise (1930) drypoint and engraving, plate 20.8 x 26.8 cm, sheet 28.3 x 38.1 cm. Edition of 50. Printed by Paul Haasen, published by Éditions des Quatre Chemins. The Baltimore Museum of Art. John Dorsey and Robert W. Armacost Bequest Fund. BMA2011.162. ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris. he is able to visualize both the hand and trace of his passage on a sand or mud sur- artists at the Atelier made plaster casts the space inside the hand. Hugnet wrote: face, looking backward from the point at from copper plates (both with and without “when the hand withdraws nothing is left which he had arrived, or from his position ink). Additional carving could be done on but this monument erected to its memory he pointed in a direction in which he pro- the nearly-dry plaster to enhance sculptur- and to the void which has become a stat- posed to go,” indicating its future trajecto- al aspects.15 Exhibitions of works produced ue.”12 The print superimposes two realities ry.13 In New Ways of Gravure Hayter details at Atelier 17, including the important 1944 to depict a visual impossibility. no fewer than twelve types of line of esca- MoMA exhibition, frequently included In works such as these, Hayter relied lating complexity: outline, baseline, plumb such plaster casts and copper plates along- on distinctions of material substance and line, pipe line, a long narrow object like a side prints. Hayter also cut deep grooves in character of line to indicate different states thread, a coiled spring, the edge of a plane the copper plates that would not hold ink, of mind, different modes of interaction (not a line at all), a locus (connecting two but would create an embossed line that with the world: objective/subjective, ratio- points on a graph), an indicator of direc- would rise above the printed line.16 The nal/irrational, passive/active. In these first tionality, a line in combination with other dimensional space of these prints was not decades of his career, Hayter dedicated lines to visually create a shift in value, a line represented illusionistically, it was made himself to the exploration of line, and he combined with others (as in crosshatching) physically. For Hayter, this was critical to devoted an entire chapter in New Ways of to indicate a surface, and a line that con- the work’s authenticity. He said: “My first Gravure to its properties. Humans instinc- nects coordinates to describe volume.14 view of any work of art is: Is it a thing? Is tively see vertical or horizontal lines as sta- Hayter exploited the physical three- it a thing of itself? Is it real? Because unless ble, at rest, and in balance; while diagonal dimensionality lines to make images that you are convinced of that, you have got lines strike us is off balance, subject to grav- were tangible as well as pictorial (he advised nothing.”17 ity, and likely to fall or rise; a curved line readers to think of layers in an image like a In the late 30s, Hayter moved further implies movement, flow, or the tension of stage proscenium). When an intaglio plate toward abstraction, using looping skeins a coil about to spring. Hayter went beyond is printed, the ink that is transferred from of line, and tonal blocks derived from such kinematic readings and delved into the grooves in the plate to the paper sits those lines, to suggest interlocking figures the prehistory of the human psychological above the surface. Exploiting this sculptur- in motion. The prints from the 1940s and relationship to line: a man “observed the al quality of the template, Hayter and other 1950s mark the development of simultane-

14 Art in Print September – October 2012 ous color printing, something that mem- of humankind’s inability to stop time.18 plate to create curves. Working this way, bers of the Atelier had been experimenting Once again, Hayter exploited the physical the artist was constantly looking at the with since the 1930s. Atelier 17’s viscosity properties of particular techniques to carry plate from all sides (and of course working printing technique allowed a multi-color content, but in a very different way than in in left-right reverse from how the printed print to be pulled from a single plate with the engraving/drypoint pairings of his early image would appear). Hayter encouraged one pass through the press. (The tradition- work. newcomers to create all-over designs on al method in which each color is printed To make the image on the plate, Hayter these experimental plates and advocated from a separate plate, with multiple passes dripped bitumen (an acid resist) from a can working with one’s arm extended rather through the press carefully controlled for hung from a compound pendulum. In oth- than resting on one’s elbow.19 These were registration, demands a degree of a priori er words, what appears to be an image of techniques that Pollock came to use in planning that ran counter to Hayter’s phi- cascading liquid was created by the action his painting practice, as did Hayter: both losophy of improvisatory decision-making.) of a cascading liquid; it is both an illusion- painted with the support turned at odd During these years Hayter created a large istic representation and an indexical trace. angles, as well as flat on the floor.20 body of prints focused on mythology and But Hayter did not leave it at that; he went The difference between the two artists figures engaged in conflict. Prints such as back in and further worked the plate with was profound, however. For Pollock, the Cinq Personnages (1946) represent Hayter’s gestural lines made with a Flo-master pen triad of artist, action and object formed a most iconic style – boomerangs and radiant (Hayter had discovered that the ink of these coherent and self-sufficient entity. External webs of color overlaid in off-kilter, dynamic marker acted as an acid resist). Once again, content, such as pictorial allusions to the compositions. Despite the success of these one can see the artist searching for a bal- natural world, were excluded. Hayter, on prints, Hayter’s experimental impulses ance between the natural world of physics the other hand, continued to be concerned pushed him toward a very different set of (outside human control), the subconscious with representation throughout his career, processes and images in the late 50s. world of psychic drives and meanings (only even when portraying the emotive inte- Cascade, from 1959, is one of a group partially within our control), and technical rior of the mind. His art was predicated on of colorful prints with all-over composi- mastery (the small domains in which we finding a bridge between the interior per- tions that initially appear to be completely enjoy total control). ceptions of the mind and the physical pres- abstract. Hayter, however, never accepted Cascade can be seen as echoing the drip ences of the world, joined through experi- abstraction as a meaningful subject, and paintings of Jackson Pollock, who worked mental interaction. this image is one of many inspired by the with Hayter in New York in 1944 and 1945. Hayter believed a successful printmaker appearance of rushing water in a river near Pollock began his tenure at the Atelier 17 needed to be proficient in chemistry and his home in the south of France. For Hay- as everyone did, creating an experimental have mastered the old techniques, but must ter, the force of water was a universal truth plate of burin studies, learning to hold the also be open to new ideas, and have the and its uncontrollability was emblematic tool steady in the hand while turning the confidence to tackle the next problem. His

Stanley William Hayter, Cinq Personnages (1946), color etching and engraving on paper, 51.7 x 67.0 cm. Edition of 50. Smithsonian American Art Museum. Gift of Jacob and Ruth Kaien. ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris. Art in Print September – October 2012 15 delivered in the summer of 1948 are held in the San Francisco Art Institute Archives, and are quoted in Susan M. Anderson. Pursuit of the Marvelous: Stan- ley William Hayter, Charles Howard, Gordon Onslow Ford. Exh. cat. Laguna Beach, CA: Laguna Art Museum, 1990: 24. 9. It is intriguing to consider whether Hayter was familiar with the superimposition pictures being made between 1928 and 1930 by Francis Picabia, who had a similar approach to image-making, though no relationship has yet been identified. 10. This is a classic surrealist strategy. Joann Moser discusses its methodology in her article “The Impact of Stanley William Hayter on Post-War American Art.” Archives of American Art Journal 18:1 (1978): 2. 11. Paysages Urbains was printed by Paul Haasen, and published by Editions Quatre Chemins. Stanley William Hayter. About Prints. London: Oxford Univer- sity Press, 1949: 87. 12. Graham Reynolds. The Engravings of S.W. Hay- ter. Exh. cat. London: Victoria and Albert Museum, 1967: 5. 13. Stanley William Hayter. New Ways of Gravure. New York: Pantheon Books, 1949: 230. 14. ibid: 228-229. 15. Hayter devotes a chapter to plaster and carv- ing in New Ways of Gravure. New York: Pantheon Books, 1949. 146-154. An image of an uninked plaster cast of The Runner (Black/Moorhead 128) appears in New Ways as figure 19 (p. 60), and is now in the collection of the of Art Jackson Pollock, Greyed Rainbow (1953), oil on linen, 182.9 x 244.2 cm unframed. The Art Institute of (Rosenwald Collection 1945.5.78). Chicago. Gift of Society for Contemporary American Art. 1955.494. ©2012 The Pollock-Krasner Foundation / 16. Hayter employed the scorper in many works, the Artists Rights Society (ARS), New York. first of which appears to be Woman in Net (Black/ Moorhead 81). Its use is very clearly displayed in Witches’ Sabbath (Black/Moorhead 239). 17. Stanley William Hayter quoted in Eccentric pedagogy and his art were motivated by the content in the pursuit of something that Orbits: Stanley William Hayter, Charles Howard, same conviction—that working through has not been said quite that way before. Knud Merrild, Kay Sage. Exh. cat. New York: Hirschl issues related to technique would bring & Adler Galleries, 1998: 12. 18. Jacob Kainen, “Stanley William Hayter: An Intro- the artist to an undiscovered place in terms duction.” The Prints of Stanley William Hayter. Eds. Ann Shafer is the Associate Curator of Prints, of content. When asked late in life which Peter Black and Désirée Moorhead. London: Phaid- print gave him the most satisfaction in ret- Drawings & Photographs at The Baltimore Museum on Press Limited, 1992: 16. of Art. rospect, he replied: “The next one I haven’t 19. Stanley William Hayter. New Ways of Gravure. New York: Pantheon Books, 1949: 72. done yet.”21 The author would like to thank Jay Fisher, 20. See Dadi Wirz’s photographs of Hayter in his Hayter and Atelier 17 have been Rena Hoisington, Benjamin Levy and studio in Pierre-François Albert and François Albert. acknowledged as critical forces in the revi- Trudi Ludwig Johnson for their support Hayter Le Peintre. Montreuil: Gourcuff Gradenigo, talization of printmaking in both Europe 2011: 122. and counsel, and the editor for her careful 21. Pat Gilmour. “Interview with Stanley William Hay- and the United States in the mid-20th review. ter,” Print Review 15 (1982): 18. century. They have even—through Pollock and others—been recognized as vital com- Notes: ponents in the development of painting 1. Stanley William Hayter, ”S.W. Hayter at La Tortue and contemporary art in general: Hayter’s Galerie.” Exh. cat. Santa Monica,CA: Tortue Gallery, fearless and unpremeditated confronta- December 11, 1973-February 15, 1964. 2. Jung first spoke of the collective unconscious in tion with the plate was taken to another a 1916 talk given in Zurich. A French translation of level by Abstract Expressionists, and his the talk was published that same year in Archives employment of indirect and counterin- de Psychologie, as well as in an English volume of tuitive processes and collaborative working Jung’s collected works in 1917, as “The Conception of the Unconscious” in Collected Papers of Psycho- environments opened up a space of non- analytic Psychology (London 1917 and New York intentionality that many subsequent artists 1921). have chosen to occupy. 3. Stanley William Hayter, ”S.W. Hayter at La Tortue In recent decades, however, Hayter’s Galerie.” Exh. cat. Santa Monica, CA: Tortue Gallery, December 11, 1973-February 15, 1964. own work seems to have declined in critical 4. Joann Moser. The Significance of Atelier 17 in the estimation. His allegiance to representa- Development of Twentieth-Century American Print- tion made him seem less adventurous than making. Ph.D. dissertation. Madison: University of Wisconsin-Madison, 1976: 210. the New York painters who came through 5. Joann Moser. “The Impact of Stanley William Hay- his studio, and his lifelong fascination with ter on Post-War American Art.” Archives of American technical issues (as well as with harvesting Art Journal 18.1 (1978): 2. the imagery of the subconscious) put him 6. Conversation with the artist quoted in Peter Black and Désirée Moorhead. The Prints of Stanley William out of step with subsequent movements Hayter: A Complete Catalogue. London: Phaidon from Pop to Minimalism to Postmodern- Press Limited, 1992: 36. ism. Close examination of Hayter’s prints, 7. Martika Sawain, in Exile and the Begin- however, reveals an artist who did what all ning of the New York School. Cambridge, MA: The MIT Press, 1995: 155. great artists must do: wed technique and 8. Hayter’s unpublished transcripts from lectures

16 Art in Print September – October 2012 Studios of Paris: Stanley Jones on Hayter, Paris and Atelier Patris, 1956-58. By Julia Beaumont-Jones

tanley Jones MBE, now in his eightieth S year, has enjoyed a rich and lengthy career in painting and lithography, most notably as master-printer for Curwen Stu- dio. Initially educated at Wigan College of Art, he embarked in 1954 on a Fine Art Diploma at London’s Slade School of Fine Art, which brought him into contact with professors and visiting lecturers especially sympathetic to printmaking practice— among these were Ceri Richards, , John Piper, and Stanley William Hayter. His studies were immediately fol- lowed by a scholarship-funded appren- ticeship in Paris at the lithography studio Atelier Patris in Montparnasse, where he learned his metier nearby to Atelier 17. There, for two years, Jones worked with School of Paris artists including Alberto Giacometti, Pierre Soulages, Kumi Sugai and Gino Severini before returning to Eng- land in 1958 to co-found (with Timothy Simon and Robert Erskine) Curwen Studio, an offshoot of the book and poster publish- er Curwen Press. Run along Continental lines as an original print atelier dedicated to lithography, Curwen was the first studio of its kind to be established in England. It marked the beginning of a burgeoning print publishing industry, which by the 1960s included competitors such as Edi- tions Alecto and Marlborough Fine Art.1 In an interview conducted in July 2012 Jones recounts this formative period of his life, marked by the influence of Stanley William Hayter and Parisian workshops. Stanley Jones, Curwen Studio, 1959, working on Ceri Richards lithographic stone. JBJ I am aware that your first face-to-face Tate Archive, TGA 20103. ©Tate, London 2012. contact with Bill Hayter was as a student at the Slade, where he gave a lecture. But succession of tutors there, this influence in the etching department. Discussion you were also acquainted with his methods was in the school. became quite important, particularly with through contact with fellow students—one The work that Hayter had done in New dealers in London who were beginning of whom was Eric Finlay, who tried his York with colour etching he later exempli- to take a keen interest in the promotion technique of simultaneous colour print- fied in a lecture which I fortunately attend- of prints as artists’ images for the public. ing.2 And so would you say the Hayter ed in my second year which gave me great And this is where Robert Erskine, opening influence was there from a young age? hope and aspiration for lithographic devel- his gallery in Cork Street, the St. George’s opment as well. Gallery [specialising in the contemporary SJ The tutors there were well aware of The Slade at that time was full of discus- prints], formed a centre for people to go Bill as a Parisian and American influence in sions amongst which was this new impor- and look at what he brought from Paris or the world of printmaking. I did not meet tance [of printmaking] which was brought commissioned—prints by artists who were John Buckland Wright [professor of etching about somewhat by Professor William not teachers at the Slade but practising at the Slade] who had died I think in 1954, Coldstream who initiated the lithography painters and sculptors. but he was a close friend of Hayter and the department, which was new and had Ceri two worked in Paris together [establishing [Richards] as part of the staff. It formed a JBJ And through your acquaintance with Atelier 17].3 He brought back the influence basis for students to interact about print- the visiting lecturers at the Slade, as well as of Hayter and an interest in the possibili- making. This is where my studies in the Robert Erskine, you were conscious of the ties he was developing as an artist. With the lithography department linked with those fact that to learn your craft as an experi-

Art in Print September – October 2012 17 Atelier Patris, 1957. Gerard Patris, Kumi Sugai, Nono Rheinhold and Stanley Jones. Tate Archive, TGA 20103. ©Tate, London 2012. enced lithographer you would need to leave ateliers specialising in lithography, from the somebody certainly. Are you willing to work England—that there were no ateliers; only most important, like Desjobert and Mour- during the night?”, and I said “yes, of course commercial printing firms, which couldn’t lot, to single practitioners with facilities I am.” He said, “you come to me in a week’s really equip you with the skills to work on who earned their living purely as printers time when you’ve sorted yourself out, and fine art editions. So was Paris the essential for artists. This was something you didn’t you can start. I can’t pay you any money choice for you? get in London at all, and it was in the search until you become more useful to me.” for a suitable candidate that I was appeal- SJ Paris was recommended to me by ing to Bill to recommend me to someone he JBJ Was Hayter’s workshop a particular John Piper who had recently been making would know who would help, and Gerard draw to Paris? lithographs at the house of Mourlot—well- Patris [1931-1990] was the person he knew. famed for the quality of its lithography – Basically he said to me, “he doesn’t care a SJ It was helpful because Bill was a very and he said to me it’s possible that you may damn about anybody but he does know his conscientious person and he said to me find somebody who will have the time and craft, and if you can put up with him—and “come and see me in the studio and meet influence to take you in as a form of trainee, if he likes you—then he will take you on.” whomever’s working there; you can see how whereby you can learn the more intricate I operate.” It [Atelier 17] was a dilapidated art of stone lithography. This seemed at JBJ Did Hayter have any reservations building—an ex-atelier known as Atelier the time to be a highly unlikely event, but about your chance of having opportunities Ranson—and like all these French ateliers in the presence of Hayter at the Slade, and in France? those days, post-war, it had been neglected his recommendation that he would try to considerably. It had leaky roofs and wasn’t help if I chose to go across to Paris to study, SJ He said to me “there are different ways open to a great deal of comfortable living made it seem like a possibility. At that stage of studying. You could go to the École des as a workshop. Although you had assis- the prospects of studying in France were on Beaux Arts but I don’t recommend that. tants, like Krishna Reddy, who was quite the horizon but had to be tackled in my last I’m against art schools of that kind.” He an important part of the studio, you really year as a student—and this was a pretty dif- said “there are printers who might take you had to work your own way through it. And, ficult task because there was no open way on and just keep you at a certain level, and likewise with the lithography studio [Atelier of doing it. that’s a risk anybody would take,” but that Patris], you had to learn their methodologi- the people he knew, like Patris, would be cal way of doing things on a daily basis. In JBJ Hayter recommended the Atelier formative and helpful but difficult, maybe, my case, it was more important because I Patris lithography studio. Why necessarily to work with. Bill typed out for me a letter to became a form of apprentice to Patris, and did he point you in that direction? Patris and he phoned to let him know I was I had to put in a daily appearance and work coming, and I duly arrived with this piece under his instruction. With Bill’s studio, SJ Well it’s an interesting background of Bill Hayter’s script. He read Bill’s apolo- he was taking in people with scholarships because in Paris there were many studios; gia and looked at me and said, “well, I need from America and from England and they

18 Art in Print September – October 2012 were allowed to develop their own ideas; this was Bill’s intention—that they should use his facilities and his advice, if needed, to develop their own image making.

JBJ In your autobiography, you describe Patris from Hayter’s perspective as an “arti- san printmaker” but, as you also mentioned, by the time you left for England to set up Curwen Studio—having been at Atelier Patris for two years—it had become a real hive of activity, a very successful workshop.4 You were by that stage working full time on projects with eminent artists from the School of Paris. With your growing auton- omy, did you feel in many ways responsible for the success of that workshop?

SJ To be modest about it, yes. I think we developed a working partnership with other members of the studio that had really made it a formidable studio to work in, in Paris at that time. And we were able to run it seven days a week because we had people we were training as well as taking in the artists who came from L’Oeuvre Gravé and the Guilde de la Gravure which were our major publish- ing houses, and because they could rely on us and the standard of the work they were quite keen that we show grow as part of the established studios.5 You either made that studio function properly or Patris would be in trouble—there were the competitors, there was his wife; there were all sorts of issues that Patris had to keep an eye on and had difficulty in doing. For me, the most important thing was [working in] a studio. But it should keep ahead—that’s why Patris was keen that I should, with experience, become a helpful part of his entourage.

JBJ Was there much cross-fertilisation between the different workshops in Paris? Stanley Jones, Madron (1970) from Europaeische Graphik VII, lithograph, 60 x 41.9 cm. Printed at Curwen Studio, published by Galerie Wolfgang Ketterer, Munich. ©Tate, London 2012. ©Stanley Jones. Madron, There was some, but not a lot. Patris named after an ancient parish in Cornwall, was inspired by the early years of Curwen Studio, which was SJ initially based in St. Ives. This combination of stone and plate lithography, autographically drawn, was printed took me once to the Atelier Clot. André as part of a wider edition of nine British artists’ prints, the Europaeische Graphik VII portfolio, edited by Clot’s father [Auguste Clot] was an impor- lithograph collector Felix Man and published by Galerie Wolfgang Ketterer, Munich, in 1971. tant influence on Cezanne and the print- makers of Paris at that time. It was he who got all the painters to make prints with SJ One of his great qualities was that was doing—what are you doing on this him.6 So he had a reputation, in a fam- he liked to share experience and informa- and why? What does it do results-wise? So ily of lithography, with important paint- tion, and I’ve always been told by him that you’ve got this exploratory mentality. ers. Around his studio were prints that had information should not be kept; these are been made with Cezanne—a marvellous no secret processes. A lot of the people he JBJ And indeed he referred, at various collection­—and I was bowled over by it. employed he admitted were better print- stages, to originality. Pat Gilmour inter- And I said to Patris, “would Monsieur Clot ers than he was. Krishna Reddy was one viewed him in 1982 when he mentioned mind if I came occasionally to watch him of them.7 Better in the sense that he could that actually nothing is entirely original; it’s work?”. He asked him, and Monsieur Clot handle the plates, or that he could edition something that has existed for some time, said very kindly, “come over.” And so I was prints, or… I don’t think it’s a question one in one form or another, and that it is there able to go and watch him print on stone— can answer but he admitted that there were to be explored and experimented with in only occasionally because of course Patris other people who could do the work bet- different ways; rather than to put yourself said, “you work with me mostly; not him.” ter. But that wasn’t his interest; his inter- forward as the inventor of anything in par- est was in discovery: what was happening ticular…And this informed a very egalitar- JBJ People were quite guarded with their on the plate, for him, found that kind of ian spirit within the studio.8 methods and their teaching. But obviously excitement. And the excitement gave him SJ That’s right. To benefit the artist is Hayter was not so much, was he? this attitude to whatever anybody else what this occupation is all about. I was able,

Art in Print September – October 2012 19 tration and it was not easy for the artists themselves, because there was a language problem often; there were problems with travelling and problems with tax, which had to be paid on prints made abroad… there were all sorts of issues.

JBJ In his book, About Prints, written in 1962, not long after you returned to Eng- land, Hayter included the chapter Litho- graph Workshops in France and England.10 In this he mentioned you quite promi- nently with reference to the new Curwen venture, the fine equipment there, and to a particularly experimental generation of Slade students under your tutelage. His tone seemed excited about lithography’s prospects in England and particularly with reference to you.

SJ It was at the time formative, and because he had this idea that England was a bit of a difficult country aesthetically in terms of printmaking—you had the teach- ers in the art schools, particularly in places like the Royal College, who gained their knowledge from having worked with book illustration printers, with poster printers and so on, and the two Devonish brothers provided the background technology which was satisfactory, but it wasn’t really in most art schools a subject that was treated with much seriousness.11 The Slade had grown towards that end but prior to that there wasn’t much that Bill could point to which reflected what was going on in Paris and later in the School of New York, where they founded their own printmaking studios.

JBJ Were you in touch with Hayter throughout the rest of his life? Stanley Jones, Alesia (1957), lithograph, artist’s proof. Printed by Atelier Patris, Paris. ©Stanley Jones. This lithograph, made at Atelier Patris, references the Rue d’Alésia in Montparnasse, along which Jones would walk to work. There he would sometimes pass Alberto Giacometti, whose studio was situated nearby, on the SJ On and off, because we kept a tel- Rue Hyppolite Maindron. Often working to deadlines throughout the night, Jones would sometimes receive ephonic contact and he came to the [Cur- Giacometti into Atelier Patris in the early hours of the morning. During these unannounced visits Giacometti wen] studio in Tottenham Court Road and would sit and observe activity while drawing on lithographic stones. produced a print—an edition, and a poster for one of his exhibitions here in London.12 through the help of others, to make contin- set up Curwen Studio. You were happily As was his method of working, he put the uous tone printing a studio way of work- ensconced at Atelier Patris at the time and plates on the floor, and he drew on the ing and to introduce it to artists, and if they so you had slight doubts about leaving the plates by hand, because he was using a lin- wanted they could watch it being done. workshop. Erskine rephrased his question ear motif that, had he done it vertically, it And this was so contrary to the kind of atti- by asking whether you could try it out for a would have run and spoiled his work. It had tudes that were apparent in the commercial year. It was Hayter who said “why don’t you to be on a flat surface. world. These printing houses in the 1920s give it a try?” and 30s were sort of family businesses and JBJ Hayter made comparatively few litho- because they really didn’t understand the SJ Yes, I spoke to Bill about this and he graphs, focusing on intaglio for most of his chemistry of what they were doing, if they said, “you know Patris as well as I do. Patris career. But there were several occasions discovered something that really worked can get other people in to fill the gap while throughout his life when he came back to for their sort of company it was almost you try out this idea”—because in England litho, including working with you.13 Did he patented and kept under covers, and the there aren’t lithographic facilities, it would ever discuss these projects? What do you apprentices were sworn to secrecy. be a pity not to help Robert Erskine to form know of his thoughts on lithography or his some basis on which English artists could intentions of working with it? JBJ Hayter helped you at various stages of produce work of the standard which is your early career to seek contacts, and he required.9 Erskine was really compromised, SJ We were very interested in Bill because encouraged you when you were ‘poached’ having to send them [British artists] abroad, of his discoveries in colour printing, and of from Patris by Robert Erskine to come and to Paris, to Rome… For him it was a frus- course lithographically. Had he progressed

20 Art in Print September – October 2012 in lithography further it would have been Could you see a parallel with his JBJ Notes: the colour printing angle that would have painting, in that sense? A closer parallel 1. Robert Wright, “The Quiet Revolution,” The Tatler intrigued him more than anything, because than there might be between painting and and Bystander (November 14, 1962): 440-443. for him in his painting—particularly in the etching? 2. Stanley Jones, Stanley Jones and the Curwen Studio (London: A&C Black, 2010), 38. late work—the interaction of colour, which 3. S.W. Hayter, About Prints (London: Oxford Univer- he brought to his etchings, was really quite SJ Yes. I think so because he could work sity Press, 1962), 96. significant and important. And I think dis- on a large scale. This would be very dif- 4. Stanley Jones, Stanley Jones and the Curwen cussions I had with him were to do with the ficult in etching for him to achieve. You’d Studio (London: A&C Black, 2010), 48. 5. For L’Oeuvre Gravé and the Guilde de la Gravure, qualities of secondary and tertiary colour need particular machinery to do that. And see Pat Gilmour, “Lithography: Developments after printing by whatever means. And I think I think in his own studio he had very basic c.1818,” Grove Art Online (London: Oxford Univer- this is what he felt had come about through machinery, which did the work but it wasn’t sity Press, 2009); also see S.W. Hayter, About Prints developments generally in painting – Euro- exceptionally large in size or in capacity. So (London: Oxford University Press, 1962), 155-156; and Stanley Jones, Stanley Jones and the Curwen pean and American; that the importance of that with lithographic work that could be Studio (London: A&C Black, 2010), 49. colour values had now become crucial to done: a large scale allied itself to his paint- 6. Stanley Jones, Stanley Jones and the Curwen artists. I think this is really what intrigued ing much more immediately than having to Studio (London: A&C Black, 2010), 54. 7. S.W. Hayter, About Prints (London: Oxford Univer- him. He looked at his work as pioneering in work on a fairly small etching scale. sity Press, 1962), 92. colour discoveries. 8. Pat Gilmour, S.W. Hayter Interviewed by Pat Gil- JBJ And what do you feel was Hayter’s mour, Spring 1982, typescript and recording, Tate greatest contribution to printmaking? Archive: TAV 61B. Published as Pat Gilmour, “Inter- JBJ And what do you feel he thought about view with Stanley William Hayter,” Print Review 15 lithography in terms of doing something (New York: Pratt Graphic Center, 1982). new with his language or maybe changing SJ I think his greatest contribution was 9. S.W. Hayter, About Prints (London: Oxford Univer- direction slightly? to make fellow artists conscious of the sity Press, 1962), 157-158. potential of printmaking. And I think that’s 10. Ibid, 105-120. 11. For E.G. Devonish, see Orde Levinson, Quality what he did. Call him a catalyst if you like. and Experiment: the Prints of John Piper. A Cata- SJ I think it gave him the opportunity of Call him a methodical practitioner. All logue Raisonné 1923-91 (London: Lund Humphries, speed of colour change in proofing, where these terms are questionable. But to me he 1996), 59. you could pull proofs in particular colour 12. Interference (1966). Edition of 75. Printed at revealed to fellow artists what printing ranges and over-print them with differ- Curwen Studio. (150 printed as posters for the Gros- mediums could produce, and one admires ent colour ranges and get variations which venor Gallery exhibition.) Hayter Paintings 1957- him for it and the time he spent with other 1967—Cat. 303 in Désirée Moorhead and Peter would take considerable time in etching to artists. Black, The Prints of Stanley William Hayter: a Com- achieve. In other words, it gave him pos- plete Catalogue (London: Phaidon, 1992), 272. sibilities of suggested colour, which would 13. For Hayter’s lithographs see Ibid.—Cat. 14 -17; 30-31; 201; 215; 218; 227; 230; 285; 303; 311-312; carry him on more quickly than it would in Julia Beaumont-Jones manages the Prints and 316-317; 321; 331; 358; 362-363; 367; 385; 391; etching. Drawings Rooms at Tate Britain, London. 400; 430; 434; 437; 440.

Stanley William Hayter at Dolan/Maxwell 2o46 Rittenhouse Square St Philadelphia Pennsylvania 191o3-5621 tel 215 732 7787 DolanMaxwell.com Ron Rumford, Director

Dolan/Maxwell

Night and Day 1952 (Black/Moorhead #203) engraving, softground, screenprint & gauffrage color trial proof between states V & VI

2o46 RittenhouseArt in Print Square September – October St 2012 21 Philadelphia Pennsylvania 191o3-5621 tel 215 732 7787 site DolanMaxwell.com Ron Rumford, Director Stanley William Hayter and Viscosity Printing By Liza Folman

Stanley William Hayter, Witches’ Sabbath (1957-58), copper plate with etching, engraving, and scorper, 49.8 x 64.5 cm. Above: detail; below: entire plate. Museum of Fine Arts, Boston. Lee M. Friedman Fund. 2011.3. Photo: ©September 2012 Museum of Fine Arts, Boston. ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris.

he difference between making a paint- T ing in color and making one in black and grey is just a question of picking a pal- ette, but making a color print is a vastly more complex undertaking. There are several strat- egies: one can paint color in by hand after the initial image is printed; one can ink a single template with different colors in dif- ferent spots (à la poupée); one can create a separate template for each color and print one over the other, in multiple passes through the press, working to make sure they line up exactly right; and finally, one can do all these things in combination. Each of these process- es necessitates a conceptual break between the key template and additive color, and none satisfied the desire of Hayter and his circle for cogent, dynamic color images that arose in a natural way from the artist’s investiga- tion of the plate. (In New Ways of Gravure Hayter referred to etchings printed à la pou- pée as “tinted horrors.”) From the start, art- ists at Atelier 17 experimented with ways to achieve color prints with a single run through the press. From the late 20s onward they com- bined intaglio and relief inking of the same plate—one color would enter the grooves of

22 Art in Print September – October 2012 the plate, while others would be stenciled on the surface; when printed, the ink from the grooves would appear on top of the other colors—but the colors still tended to exist in discrete blocks. By far the most sophisticated solution to this problem was the viscosity printing technique developed by Hayter and Krishna Reddy, which produced unprecedent- ed integration of colors in an image printed from a single plate. It became legendary both for its difficulty and for the intensity and com- plexity it could produce, but few people who were not printmakers themselves understood how it was done. Below, artist Liza Folman takes us through the process step-by-step.

Viscosity Printing Step-by-Step

A viscosity print is a multiple-color print created on a single intaglio plate that has been bitten to create three levels—a deep intaglio level, a middle open-bite level and the plate surface. The term viscos- ity describes the ink’s resistance to flow, and is controlled by the amount of oil it is mixed with. High viscosity ink is stiff (thick, tacky, matte) with little oil added, while low viscosity ink is loose (runny, less tack, shiny) and contains a lot of oil. It is the ability of low viscosity ink to resist ink with high viscosity that allows the colors to remain separate and not mix on the plate.

Preparing the Plate

Areas of open-bite shapes and textures are Stanley William Hayter, Witches’ Sabbath (1957–58), soft-ground etching, etching, engraving and scorper, usually established early so the artist can printed in colors with two surface rolls, plate 49.8 x 64.5 cm. Edition of 50. Above: detail; below: entire print. proof in color as the plate develops. They Museum of Fine Arts, Boston. Lee M. Friedman Fund. 2011.6. Photo: ©September 2012 Museum of Fine can be created by stopping-out negative Arts, Boston. ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris. shapes with ground or by using sugar-lift to make direct, positive marks. The plate is usually bitten for hours until a definite edge is achieved in those areas. The inta- glio elements (line, soft ground and aqua- tint) are then developed on both the open- bite and top surfaces of the plate. This integrates the two levels of the plate and expands the palette created by the rolled colors.

Preparing to Print

Once the plate has been bitten to three levels, a different color is chosen for each level, with each color mixed to a different viscosity. Two rollers of different densities, one hard, the other soft, are used, enabling them to reach the various surface levels of the plate. The intaglio color has the normal viscosity used for inking intaglio plates. The hard roller color (for the top level of plate) has low viscosity and is runny with a lot of oil, while the color on the soft roller (for the open-bite areas) has high viscos- ity, with much less oil and a lot of tack. The greater the difference in ink viscosity Art in Print September – October 2012 23 between the soft and hard rollers, the bet- ter the color separation.

Printing

To print, the plate is first inked and wiped as an intaglio. Next the hard roller with low viscosity ink is rolled out, hitting only the top surface of the plate. Finally, the soft roller with high viscosity ink is rolled on the plate. The oily ink deposited on the top surface of the plate resists this tacky roll, so it is only deposited in the open-bite areas of the plate. The intaglio color mixes into both rolled colors in the tonal elements but retains its own color in the lines, along the edges of the open bite areas and in the smallest shapes, all of which the rollers cannot reach. Artists use stencils and à la poupée inking as well as rainbow rolls to expand their palette.

Observations

Conceptualizing and planning viscosity plates can be challenging due to the divi- sion of the image onto different plate levels, Stanley William Hayter, State IV, Witches’ Sabbath (1957–58), soft-ground etching, etching, engraving; and the plates are more difficult to revise proof before the addition of scorper, plate 49.8 x 64.5 cm, sheet 68.7 x 83.2 cm. Museum of Fine Arts, radically because of the depth of the open Boston. Lee M. Friedman Fund. 2011.4. Photo: ©September 2012 Museum of Fine Arts, Boston. ©2012 biting. In teaching viscosity technique, Artists Rights Society (ARS), New York / ADAGP, Paris. Hayter emphasized the automatic drawing that was essential to his own approach to image development. The technique lends itself particularly well to the abstract work that came out of Atelier 17. When I studied with Hayter in Paris in the 80s, my colleagues at the Atelier ini- tially found it strange when I tried to work representationally using (Hayter did not use aquatint, relying instead on soft ground for tone). In fact, I had to go elsewhere to use an aquatint box, as there was none in the studio. As a professor I have often worked with students who have successfully used viscosity printing to cre- ate more representational work, but it is certainly more challenging for that pur- pose.

Liza Folman is Professor of Fine Arts at The Art Institute of Boston at Lesley University. Folman was awarded a Fulbright Fellowship to study with Stanley William Hayter at Atelier 17 in Paris in the 1980s.

Stanley William Hayter, State V, Witches’ Sabbath (1957–58), soft-ground etching, etching, engraving; proof after the addition of scorper, plate 49.8 x 64.5 cm, sheet 68.7 x 83.2 cm. Museum of Fine Arts, Boston. Lee M. Friedman Fund. 2011.5. Photo: ©September 2012 Museum of Fine Arts, Boston. ©2012 Artists Rights Society (ARS), New York / ADAGP, Paris.

24 Art in Print September – October 2012 The Archaeology of Viscosity: Hayter’s Witches’ Sabbath

itches’ Sabbath is a large and State V [page 24] W important print made as Hayter was moving from the line-dominated composi- In this proof, one can see how those trench- tions of the mid-1950s toward the more spon- es, which would have been carefully wiped taneous (and literally “splashy”) etchings of clean of any ink residue, print as strong white the late 50s and early 60s. It is a significant lines that appear to hover above all the other example of Hayter’s color printing techniques, activity of the composition. The depth of the and one of three plates discussed at length by grooves effectively embosses the paper, so the Peter Black and Désirée Moorhead in the 1992 white lines are in fact raised above the surface catalogue raisonné.1 The Boston Museum of of the rest of the paper. Fine Arts recently acquired a copy of the edi- tioned print, along with two state proofs and Editioned Print [page 23] the engraved and etched plate itself. Together with Black and Moorhead’s close annotations, Hayter made several different color trials with these provide a remarkable opportunity to this plate (the owns one in reconstruct the relationship between process, violet and blue-black). For the edition, how- template and print: an index of how an image ever, he used three colors: black, which was CROWN POINT PRESS is born. rubbed into the lines and crevasses then wiped from the smooth surfaces and wide channels IN ThE gallERy Plate [page 22] gouged by the scorper; alkali blue, which was rolled over the surface of the plate with a hard NEW PRINTS BY In the plate owned by Boston, one can see the roller after the black ink was applied; and many stages—and physical levels—of work phthalo green, rolled over all with a soft roller, SHAHZIA SIKANDER through which the final image ofWitches’ filling in around edges the hard roller could SEPT. 13–OCT. 20, 2012 Sabbath was achieved. Hayter worked the not reach. In the final image, the ink layer plate in stages, beginning with a composi- applied first (black) appears on top of the blue tion of spontaneous engraved lines and loops. and green, but the raised white scorpered lines RICHARD DIEBENKORN These lines were then selectively reinforced, appear virtually to float above the surface. In PRINTS AND PROOFS some made stronger and deeper while others the detail on page 23, the green hugs the edges OCT. 23, 2012–JaN. 5, 2013 were left pale and ephemeral. They can be seen where recessed sections of the plate meet high- in the detail photograph as clean black lines er land, and then merges into the deeper blue. of varying strength. Hayter then used soft Seen in 2012 the effect is suggestive of satellite ground etching (in which textiles and other photographs of current flow and waterways. CROWNPOINT.COM materials are pressed into, and removed from, In fact, Hayter began the plate some two an acid-resistant ground) to create blocks of months after the launch of Sputnik, but the tone and texture. This tonality is visible in first satellite photographs of Earth would not areas like the lower right of the plate detail. be taken for another two years, and color sat- Next an acid-resistant varnish was splashed ellite imagery was almost two decades away. Paupers Press over the plate, which was etched again, pro- As always, Hayter used the verities of physics ducing a liquid splatter effect such as that in and the adventure of imagination to locate the upper right of the detail. It was at this the global within the particular. point in the plate’s development that the proof of State IV was pulled.

Notes: State IV [page 24] 1. Peter Black and Désirée Moorhead, The Prints of Stanley William Hayter: a Complete Catalogue, Even in black-and-white, the complex tonali- Mount Kisco, N.Y.: Moyer Bell Ltd. and London, ties produced by these treatments can be per- 1992: 48, 54-55, 225. ceived as dimensional layers: black line sails across clear white and areas of shadow, but seems to retreat behind the maelstrom of flung dribbles and splashes. Before the final state, Hayter used a a wood- engraving chisel called Mat Collishaw a scorper to gouge deep, wide trenches into photogravure / 70 x 70 cm / edition of 35 the copper. In the plate detail, it is clear that, unlike the engraved lines, these are too open to www.pauperspublications.com hold ink effectively. [email protected]

Art in Print September – October 2012 25 Stanley William Hayter—Essential Reading By Amelia Ishmael and Susan Tallman

A career as long and prolific as that of Stanley “Interview with William Hayter gives rise to a bibliography of Stanley William Hayter” intimidating and unwieldy length. What appears By Jacob Kainen below is not such a bibliography, but a selection Arts Magazine 60, No 5, January 1986 of the most essential and easily accessed material pages 64-67 on Hayter’s art, his philosophy and his impact on In this interview with Jacob Kainen, Stanley Wil- prints and art in general. liam Hayter describes the circumstances that created and propelled Atelier 17’s influence on New York and American Art of the 1940s. Dis- H’ ayter s own words cussed are the interactions and kinships that took place between European and American artists (including Pollock, Klee, Masson, Ernst, Tanguy, Gottlieb, Giacometti, et al.), with some details on the types of projects developed at Atelier 17. Panning back, this interview also pro- vides insights on Atelier 17’s relationships with About Prints the French Surrealist movement, and how the By Stanley William Hayter collaborative workshop methodologies in place London: Oxford University Press, 1962 challenged traditional notions of authorship and Can be found used: $25 and up. encouraged experimentations with intermedia This volume, which Hayter addressed “to the practices. intelligent layman” and penned with acerbic wit, provides an overview of the techniques, work- shops, artists, trade and ideas behind printmak- About Hayter’s Prints ing in the middle of the 20th century. Briskly opinionated and weighted heavily toward Hay- ter’s own world-view (more pages are devoted to intaglio than all other techniques combined), New Ways of Gravure By Stanley William Hayter it captures a particular moment in time: the dis- New York: Pantheon Books, and London: cussion of American printshops, for example, is Routledge & Kegan Paul Ltd, 1949 limited to academe—there is no ULAE, no Tama- Reprinted, London: Oxford University Press, rind, the 1960s transformation of the art land- 1966 scape is yet to come. Of particular interest is his Revised, New York: Watson-Guptill, 1981 analysis of the “five degrees of originality”—from Can be found used: $10 and up. images born of the processes and materials of This was Hayter’s mid-century manifesto: half printmaking to pure photomechanical reproduc- how-to book, half historical argument for the tion. It reveals Hayter’s essential brilliance—in art marriage of personal expression to technical as much as writing—for systematizing nuance. invention. Beautifully written and illustrated with images from Marcantonio to Miro, it links “Interview with cogent instructions with opinionated, philo- Stanley William Hayter” By Pat Gilmour sophical speculation. It offers a cogent state- The Prints of Stanley William Hayter: Print Review 15 ment of Hayter’s world-view. In the book’s brief A Complete Catalogue preface, the critic Herbert Read identified what New York: Pratt Graphics Center, 1982 By Peter Black and Désirée Moorhead may, in the end, prove to be Hayter’s most funda- pages 11-18 Introduction by Jacob Kainen mental contribution to contemporary art meth- Can be found used: $10 and up. 400 pages, 239 color illustrations, ods: “he has revived the workshop conception of On the occasion of Stanley William Hayter’s 259 black and white illustrations the artist—the artist, not as a lone wolf howling 80th birthday, Pat Gilmour interviewed Hay- Mount Kisco NY: Boyer Bell Ltd and on the fringes of an indifferent society, but as a ter in Paris for this special issue of Print Review. London: Phaidon Press Ltd, 1992 member of a group of artists working together, This issue also features the illustrated exhibition $195. pooling their ideas, communicating to one catalogue for “Prints USA 1982” and an interview This definitive catalogue of all of Hayter’s known another their discoveries and achievements.” It with Gabor Peterdi, so appropriately the focus work in print was begun under the artist’s own is remarkable to think that this was written in of the Gilmour/Hayter discussion is Atelier 17’s direction and completed by his widow Dési- 1949, the chronological ground zero of the howl- impact on American printmaking. Their conver- rée Moorhead and print scholar Peter Black. A ing wolf art hero. sation begins with a brief history of the work- model of the thorough, clearly laid out catalogue shop—from Paris to New York, and back again— raisonné, it provides detailed information about, and then diverges with Hayter’s feisty critique and reproductions of, some 450 prints spanning of “factory” print studios focused on producing the entirely of Hayter’s career, as well as cogent merchandise and of New York’s fascination with explanations of his working methods (whose celebrity and art business and its stifling effect improvisatory nature can pose a challenge to on creative energy. Hayter concludes by affirm- standard print documentation methodologies). ing the concepts that Atelier 17 was built upon: the importance of collaboration, communica- tion, artistic development and experimentation, the interdependence of technical and conceptual practices, and good friendships.

26 Art in Print September – October 2012 on New York School painters, especially Pollock; of Atelier 17 in the Development of Twentieth- Jean Lodge on her own experiences working at Century American Printmaking.” Madison: Uni- Atelier 17; and Peter Black on Hayter’s means of versity of Wisconsin-Madison, 1976.) expression.

“Relief Printing and the Development of Hayter’s Colour Method” by Peter Black Print Quarterly vol. 8 n°4, December 1991 pages 404-417 Available as a back issue from Print Quarterly. $49 / €37 / £27. In his discussion of the development of Hay- ter’s techniques for printing in color, Peter Black moves from Hayter’s first attempts at color printing in 1930 to the intaglio-and-surface- The Color Prints of color method represented by Cinq Personnages Stanley William Hayter (1946) some 16 years later, to the late 1950s, By P.M.S. Hacker when, with prints such as Poisson Rouge (1957), The Tamarind Papers, Vol. 14 Hayter accomplished the spatial complexities, Albuquerque: University of New Mexico, 1991 modeling, and color integration that exemplifies The Stamp of Impulse: pages 31-42, 77 his most innovative prints. Rather than focusing Abstract Expressionist Prints $15 from Tamarind Institute. on the interpretative analysis, as Hacker’s article By David Acton Written by P.M.S. Hacker, who organized the above does, Black offers an archeological study 295 pages, 109 color illustrations, Ashmolean Museum’s exhibition of Hayter’s of Hayter’s printing methods and techniques, 43 black and white illustrations oeuvre, this article provides a comprehensive concentrating on prints made between 1957-64, New York: Hudson Hills Press and Worcester: account of Hayter’s developments in mastering which utilized his innovations in deep-etched Worcester Art Museum, 2001 the simultaneous multicolor printing process. plates. Can be found used: $100–$400. Hacker accounts for personal, conceptual, and Acton’s ground-breaking book effectively technical influences that continued alongside “Hayter and Studio 17” debunked the belief that Abstract Expression- key points in the evolution of Hayter’s research Exhibition brochure ist artists were antipathetic to printmaking. (A and developments, and provides detailed inter- The Museum of Modern Art belief fostered in part by statements from the art- pretive analysis of the expressive effects of this Essay by James Johnson Sweeney ists themselves, like Franz Kline’s, “I can’t think method on early works such as Maternity (1940), The Museum of Modern Art Bulletin, about it. I’m involved in the private image.”) The Centauresse (1943), and Cinq Personnages (1946). Vol. XII, No. 1, August 1944 book, which offers detailed one-page biographies Can be found used: $40 and up. of 100 American prints made between 1942 and This thin catalogue, little more than a pamphlet, 1980 alongside full-page reproductions, was is devoted to MoMA’s 1944 exhibition “Hay- as much of a revelation as the exhibition itself. ter and Studio 17: New Directions in Gravure.” Hayter is not one of the 100 featured artists, but James Johnson’s Sweeney’s essay gives a concise he appears everywhere—a catalyst in San Fran- impression of how Hayter’s work was perceived cisco, where he taught sporadically in the 1940s; at a critical moment in the development of mod- a mentor and employer in New York; a gracious ern art, and the New York School in particular. host and instructor in Paris—such that his atti- Hayter’s own, very thorough, explanations of tudes and influence permeate the book. intaglio techniques suggest a world in which museum audiences wished to understand mak- “Hayter’s Legacy in England” ing as well as looking. A complete checklist of the By Duncan Scott exhibition is also included. The Tamarind Papers, Vol. 14 Albuquerque: University of New Mexico, 1991 pages 43-58 H ayter in context $15 from Tamarind Institute. Following the Ashmolean Museum’s 1988 exhibi- tion and the British Museum’s acquisition of “The Impact of Stanley William Hayter Hayter’s archives, Duncan Scott re-evaluates The Renaissance of Gravure: on Post-War American Art” The Art of S.W. Hayter By Joann Moser Hayter’s significant, yet long neglected, influence Edited by P.M.S. Hacker Archives of American Art Journal, on British printmakers. This article surveys the Essays by Peter Hacker, Graham Reynolds, Vol. 18, No. 1 work of five of Hayter’s associates and friends: David Cohen, Peter Black, Bryan Robertson Washington DC: Smithsonian Institution, 1978 John Buckland-Wright, , Antho- and Jean Lodge Downloadable through JSTOR ny Gross, Michael Rothenstein, and Agathe Oxford: Clarendon Press and Oxford An essential summary of Hayter’s impact on art- Sorel. Scott’s position is that Hayter’s Atelier 17 University Press, 1988 ists in New York in the 1940s. Moser provides was not so much a school but rather a workshop; Can be found used: $130-$160. close descriptions of Hayter’s personal working instead of viewing these five diverse British art- Published on the occasion of the Ashmolean methods and of the methods and specific tech- ists as disciples, they are described as indepen- Museum’s 1988 retrospective of Hayter’s prints, niques used to coach artists new to Atelier 17: dent companions. Through the artists’ own this volume includes an annotated catalogue of the experimentalism, the technical facility, the reflections and selected artworks, Scott provides the exhibited works (more than 100, made over broad-ranging intellectual curiosity. She makes a concise account of the decided impact that the six decades), as well as six essays on aspects of a strong case for the influence of Hayter on the innovative approaches, experimental techniques Hayter’s printmaking: the philosopher Peter development of Jackson Pollock’s mature style (a and methods, and research taking place at Atelier Hacker, who edited the volume, also wrote a topic that has been subject to mixed opinions, 17 instigated. general introduction as well as a chapter on the see David Acton, above), while acknowledg- later color prints. The other essays are Graham ing how few significant painters of the period Reynolds on Hayter’s Surrealist years; David also became significant printmakers. (See also Cohen on the impact of Hayter and Atelier 17 Moser’s doctoral dissertation: “The Significance

Art in Print September – October 2012 27 Jasper Johns / In Press: The Crosshatch Works and the Logic of Print By Susan Tallman

Jasper Johns, The Dutch Wives (1975), encaustic and collage on canvas (two panels mounted together), 131.5 x 180.3 x 5 cm. Collection of the artist. Harvard University Art Museum. (Illustration from “Jasper Johns / In Press.”)

he relationships between Jasper Johns’ corporeal experience and the inherently right panel, a thin red line circles a punc- Tprints, paintings, words, and think- tragic human urge to make sense of it all. ture in the canvas, a possible allusion to one ing have bedeviled critics and curators for This is an educational exhibition in the interpretation of the title (“Dutch wife” can decades. Given the recursive looping and best sense of the term: the layout is clear, be a euphemism for a sex doll). The themes nesting of motifs and processes that has the works well chosen, the wall labels clear- identified by the students—newsprint, characterized Johns’ work for 60 years, it ly written, and concisely informative. Both duplication, repetition—pointed toward may seem unlikely that anything definitive the show and its accompanying catalogues1 print, and the breadth of Harvard’s collec- or enlightening could be said within the are, in fact, byproducts of a tutorial orga- tion meant they pursue these ideas by com- confines of a couple of rooms, with fewer nized by Harvard professor Jennifer Roberts parison with real objects, and to pass that than two dozen objects, but that is precisely for four undergraduates: Jacob Cedarbaum, experience on to the viewer. what this brilliantly faceted gem of an exhi- C. Andrew Krantz, Mary Potter, and Phillip The first room lays out the essential bition does. Y. Zhang. The idea was to begin with a single argument: that for Jasper Johns, print marks “Jasper Johns / In Press” focuses on one work and to investigate its themes and con- the juncture between the flat space of the particular period of the artist’s production, nections to other pieces in the university’s picture and the experienced space of bod- the “crosshatch” works of the 70s, whose museums. Roberts chose Johns’ 1975 paint- ies; between the order of the archive and apparently absolute abstraction baffled ing The Dutch Wives (loaned to Harvard by the flux of memory; between the world and viewers familiar with the famous flags and the artist). The Dutch Wives is a diptych in the mind. One of the first works on view is targets. This exhibition successfully teases which two panels of grey hatch marks and Scent (1975), which, like many of the cross- out the printerly thinking embedded in the collages strips of newsprint appear almost, hatch prints, appears at first to be a simple works’ investigation of space, perception, but not quite, to repeat each other. In the rectangle filled with randomly scattered

28 Art in Print September – October 2012 has come before, the viewer is ready to slow down, to seek out and identify the cycling reiterations of works like the great screen- print Usuyuki, only to watch it unfurl itself with inexplicable lyricism. With Johns, unlike Lewitt, the system is always a bit of a feint. In this context, the painting The Dutch Wives becomes literally more visible: we notice the repetition from one panel to the other, we engage with the game of same- ness and difference. We may even notice that beneath the seemingly insouciant paint strokes, the strips of newsprint col- lage are identical between the two sides. Closely viewed, the red ring and hole in the right hand panel begin to suggest not only prurience, but difference and desire, vul- nerability and consolation. In “Jasper Johns / In Press,” Roberts and her students have not simply pointed out parallels between print processes and Jasper Johns, Scent (1976), lithograph, linocut and from four aluminum plates, four linoleum blocks painted image, they have gone some way and four woodblocks on Twinrocker paper, 85 x 122 cm. Harvard Art Museums / Fogg Museum. (Illustration from “Jasper Johns / In Press.”) toward explaining why in the hands of Jas- per Johns the inclusion of such print pro- marks in three colors. A closer look reveals thus revealed as references to the body cesses and artifacts should prove to be so the subtle division into three vertical sec- (most are finger-length, in groups of four unexpectedly poignant. [At the Arthur M. tions, one executed in lithography, one in or five) and as references to printing (the Sackler Museum, Harvard University, Cam- linocut, one in woodcut. The marks behave engraver’s approximation of shadow and bridge, MA from 22 May–18 August, 2012.] in much the same way in all three panels, volume). They allow Johns to toy with the but as material things they are visibly dis- relationship between the flat object of the tinct. It takes very careful looking (or the picture and the space of the real world Notes: guidance of the wall label) to realize that as experienced through our bodies. Knit 1. “Jasper Johns / In Press: The Crosshatch Works and the Logic of Print,” essay Jennifer L. Roberts. the hatch marks are not random, but are together, this turns jigsaw puzzle cleverness 96 pages, 35 color illustrations. Published by Har- patterned in a way that doubles up at the into something profound, a meeting-place vard Art Museums (Cambridge MA) and Hatje Cantz junctures. There is a visual stammer where of mind and body, mediated through print. Verlag (Ostfildern, Germany), and the online publica- tion, “Jasper Johns / In Press: Companion Essays,” the lithograph meets the linocut, where the The second room, under the header containing essays by Jacob Cedarbaum, C. Andrew linocut meets the woodcut, and (though “Sequence, System and Memory,” sets Krantz, Mary Potter, Phillip Y. Zhang, with and intro- this is still more difficult to detect) at the Johns’s strategies and procedures against duction by Jennifer L. Roberts. 88 pages, 21 color right-hand edge of the woodcut and the the cleaner, less ambiguous explorations of illustrations. Published by Harvard Art Museums (Cambridge MA) and Hatje Cantz Verlag (Ostfildern, left-hand edge of the lithograph, so that if conceptual art (given form here by a Lewitt Germany). Free PDF download: http://www.harvard- you rolled it into a tube, all the joins would screenprint from 1971). Prepped by what artmuseums.org/jasper-johns-digital-publication. behave the same way: ABC/CDE/EFA. This explanation of structure is intrigu- ing in a jigsaw puzzle kind of way, but the curators quickly tie this abstract topological game to Johns’ more visceral concerns with the human body: Scent hangs opposite Skin with O’Hara Poem (1965) in which a similar left-right roll was executed by inking up the artist’s own face and hands and leaning into the stone. Hanging on a wall between Skin and Scent, the multipart lithograph Four Panels from Untitled 1972 (Grays and Black) (1975) bridges body parts, crosshatching and cyclical repetition. Historical pedigree is added through the display of three Meso- potamian cylinder seals that employ both hatch marks and rolling repetition, and of Dürer’s engraving of Veronica’s veil, which echoes the acheiropoietic image-making of Skin and stands for the engraver’s use of hatching to evoke three-dimensional form (though Dürer’s marks don’t actually look Jasper Johns, Skin with O’Hara Poem (1965), lithograph from two stones on KE ALbanese Engineer’s much like Johns’s). standard form paper, 55.4 x 85.9 cm. Harvard Art Museums / Fogg Museum. (Illustration from “Jasper The seemingly banal hatch marks are Johns / In Press.”) Art in Print September – October 2012 29 L’Estampe originale: A Celebrated Album of Original Printmaking, 1893-95 By Susan Tallman

in de siècle France is in some ways a F very familiar place—a landscape satu- rated with advertising; consumers obsessed with “originality;” an expanding art world a bit too delighted with its own glittering success; all of it surrounded with masses freshly dispossessed by surging tides of capitalism. It was one of those moments when art’s status as a commodity was ines- capable, for better and worse. The ‘better’ was on view in the Minneapolis Institute of Art’s recent print exhibition, “l’Estampe Originale: A Celebrated Album of Origi- nal Printmaking 1893-1895” (through 9 December 2012). L’Estampe Originale was one of a number of Parisian publishing efforts aimed at middle-class collectors who through subscription would receive what amounted to mini-surveys of con- temporary art in the form of lithographs, etchings and . The prints were not reproductive—they were commis- sioned and created for this purpose. Today they would undoubtedly be marketed as “limited edition, collectible, original art by world-renowned artists.” In fact, many of the artists selected by the publisher André Marti are world- renowned: Gauguin participated, as did Toulouse-Lautrec (twice), , , and . But these illustrious names account for only a fraction of the 95 works Marti published between 1893 and 1895, and most museum-goers are already familiar with their work. The real value of the Minneap- olis show lies not with such glorious outli- ers (most are absent from the show in any case), but in the portrait of a time and place that arises through the manifold efforts of lesser lights. The show opens with Camille Martin’s cover lithograph in which two species of flowering vine wrap themselves ornamen- tally, if inexplicably, around a printing press. Norbert Goeneutte, Femme vue de face (1894), lithograph printed in brown ink, image 53.18 x 25.24 cm, A few feet away hangs Jules Cheret’s wispily sheet 60.01 x 43.5 cm. Collection Minneapolis Institute of Arts. Gift of C.G. Boerner, 2011.58.2. clad, effervescent nymph (christened “Cher- ette”) who floats up the page like a bubble faces are not. All these works are charming, A fresh openness to technical experi- in champagne. Ahead lies a bevy of sinu- though at times it feels as if everyone had mentation can be seen in Pierre Roche’s ous, colorful, pleasant pictures. Some are signed up for the same class— sweet Algues marine (1893), a “gypsotype” airily delicate (Pierre Roche’s salamander a point brought home by the inclusion of printed from a sculpted plaster template, and beetle); some are stolidly straightfor- both Henri Riviere’s Wave, a lithograph and the blindstamped cherry blossoms of ward (Henri-Charles Guérard’s woodcut of working hard at imitating an Ukiyo-e wood- Alexandre-Louis-Marie Charpentier. But two rabbits). Paris itself rarely appears, but cut, and Henri-Gustave Jossot’s Wave, a joke even the rumble of foreboding sounded by Parisians do, or rather Parisiennes—a suc- in which a hapless artist (visible only by his Symbolism remains fundamentally decora- cession of mutton-chop sleeves, slim ankles boots) is about to be overturned by a Hiro- tive: Victor Prouvé’s Oiseaux de proie could and chars; the fashions are specific, the shige-esque great wave. be an etched preview of Hitchcock’s The

30 Art in Print September – October 2012 Birds, and Georges de Feure’s La Source du Mal (1894) articulates the link between Symbolism and psychedelia more clearly than any academic paper could hope to do. Style is everything, and content—so long the industrious schoolmaster of art— has taken a long-deserved holiday. Such decadent disregard for higher moral values was, of course, a serious avant-garde state- ment in its own right. Thirty years after the Impressionists had replaced Roman heroes with music halls and city parks, an art-entrepreneur like Marti could delight in the new confusion between art, design and commercial shilling. The Realist social agenda of earlier decades is present in the laundresses, street pavers, errand girls and peasants of Auguste-Louis Lepere, Henri-Gabriel Ibels, Richard Rauft and Paul Sérusier. The lat- ter, a member of the Nabis and a pioneer of abstraction, also represents the whiff of future change that hangs in the air of this exhibition—a hint that the formal innova- tions borrowed from Japan two decades earlier were about to break open into a new world in which gesture and color would finally divorce themselves entirely from frogs and vines and pretty girls. The role of print in that epochal trans- formation is suggested in a handful of works. Norbert Goeneutte’s lithograph Femme vue de face (1894) is shown against the artist’s working drawing of the image, demonstrating how lithography pushed a competent, if static, drawing into some- thing harder, starker, more rigid­­—like a Munch shipped off to military school. Redon’s — hovers on the very edge of legi- bility, its focal point an inexplicable sphere. Finally, ’s Tigre dans les jungles (1893) could have been made at any time in the last 120 years, equal parts , Raoul Dufy, Zap Comix. A hundred years before Ranson, Wil- liam Blake’s Tyger Tyger Burning Bright was meant to be terrifying, but looked like a large and mournful dog. Ranson’s tiger has all the panache and managed menace of a Cancan dancer. Languid, smug and beauti- ful, it turns terror into a delightful decora- tive distraction. Welcome home.

Above: Paul Ranson, Tigre dans les jungles (Tiger in the Jungle) (1893), color lithograph, image 36.51 x 28.58 cm. Collection Minneapolis Institute of Arts. Gift of Mrs. Patrick Butler, by exchange. P.70.69.

Below: Victor Emile Prouvé, Oiseaux de proie (Birds of Prey), etching and aquatint in olive green ink, image 23.97 x 42.23 cm. Collection Minneapo- lis Institute of Arts. Gift of Mr. and Mrs. Edward A. Foster, 1956. P13,402.

Art in Print September – October 2012 31 Inuit Prints, Japanese Inspiration: Early Printmaking in the Canadian Arctic

By Courtney R. Thompson

n the late 1950s, The West Baffin Eskimo I Co-Operative in Cape Dorset was an exciting place to be in the Canadian East Arctic. Its burst of experimental creativity, its trajectory from single room craft shop to important print studio, and its impact in terms of cultural exchange form the foacus of the Canadian Museum of Civilization’s traveling exhibition, “Inuit Prints, Japanese Inspiration: Early Printmaking in the Cana- dian Arctic.” Curated by Norman Vorano, “Inuit Prints, Japanese Inspiration” pres- ents a historical, three-part, visual juxtapo- sition of Japanese printmaking techniques with Inuit interpretations and adaptations. Integral to this process, and woven into the exhibition itself, is the complex role of James Houston, who Vorano describes as a “cultural broker.” Houston had arrived in Cape Dorset in 1956 after working with Inuit communi- ties across the Canadian Arctic for close to a decade. He was employed by the federal government as the Area Administrator for the South Baffin Island region, and his goal was to generate an infrastructure for Inuit art. The West Baffin Eskimo Co-Operative was born out of Houston’s desire to teach and foster a sustainable artistic trade with a definitive shift towards a graphic Inuit art. Prior to his establishment of the single room co-operative in Cape Dorset, Inuit art production was largely confined to sculp- ture and handicraft. There were some “skin pictures”—seal and caribou skin with appli- quéd images of Inuit motifs such as wild- life, but nothing was produced on a scale large enough to be marketable. The first section of prints in the exhi- Osuitok Ipeelee, Owl, Fox and Hare Legend (1959), stencil, 56.9 x 45.7 cm. Printed by the artist, bition, “A Leap into the Unknown: 1957- with James Houston, Cape Dorset, Canada. 1958,” shows Inuit work from the Co-oper- ative’s first year, when the shop was largely tion, his most transformative artistic train- first two-color block, the print is a portrait considered a craft space for small-scale art ing appears to have come from his three in bold lines, powerfully distinct from his production such as printed cards and wrap- months in Japan, where he studied with lyrical ink and watercolor of an Ainu priest ping paper. Three Caribou (1957), a stonecut Un’ichi Hiratsuka, a prominent member also on display. by Niviasi printed by Kananginak Pooto- of the 20th century sōsaku hanga (creative Houston’s months in Japan were not lim- ogook, was one of the first prints created in prints) movement. Sōsaku hanga artists ited to learning printmaking techniques. the Cape Dorset space. Arctic wildlife was, were noted for their expressiveness and He met with artists such as Shikō Munak- not surprisingly, a popular theme in these for the elimination of outside labor—in ata, Sadao Watanabe, and Yoshitoshi Mori initial experiments, as were igloos and contrast to tradition Japanese printmaking and other key members associated with spear-hunters—familiar motifs from Inuit arrangements, they cut their own wood- the popular and commercially successful carvings. blocks and printed their own prints. In the mingei (folk craft) movement founded by In November 1958, Houston went to second section of the exhibition, “Lessons Yanagi Sōetsu. Houston saw how “tradi- Japan. Although he had studied at the with a Japanese Master: 1958-1959,” the tional” art could be marketed in the con- Ontario College of Art (1938-1940) and influence of Houston’s time with Hiratsu- text of modernism, and perceived a natural the Académie de la Grande Chaumière, ka can be seen in the Canadian’s woodcut symbiosis between the abstracted forms Paris (1947–1948), in light of this exhibi- Kneeling Ainu Priest (1958). Annotated as his and figures of Inuit art and the properties

32 Art in Print September – October 2012 of Japanese printmaking. This connection is visible in the third part of the exhibition, “Japanese Inspiration: 1959-1963,” which includes prints made by Houston and Japa- nese printmakers hung alongside those of Inuit artists of the Cape Dorset area. While this tight presentation captures the energy of transnational exchange, it also highlights some significant differences. Houston returned to Cape Dorset at the end of January 1959 with Japanese tools, washi (handmade paper) and prints from artists associated with the sōsaku hanga movement including Hiratsuka and Kichemon Okamura. From the start, the techniques Houston brought back with him were reconfigured by Inuit art- ists to accommodate local resources. In the beginning of the Co-operative’s devel- opment, simple stencils were cut from sealskin and superfluous X-ray-film. The Canadian Arctic lies entirely above the tree line, so woodblocks were impractical, while stone, tusks, and antlers were easily accessible The imported Japanese tools had to be adapted to the carving of stone; seal- skin replaced bamboo leaves for the baren (rubbing pad), brushes held polar bear fur instead of horsehair and handles were made of caribou antlers instead of wood. The small space of the studio also neces- sitated a more collaborative environment with both men and women contributing at all levels of the printmaking process, coun- ter to the sōsaku hanga artists approach. For example, the now iconic Enchanted Owl (1960) was drawn by Kenojuak Ashevak, but the stone was cut by Iyola Kingwatsiak and was printed by Eegyvudluk Pootoogook. Furthermore, Japanese woodblock prints utilized multiple blocks to achieve color printing, while Inuit stonecuts were pro- Kichemon Okamura, Iyon Nokka (1958), kappazuri stencil, 58.7 x 44 cm. Printed by the artist, Japan.

duced by multiple colors applied to a single tion from color to composition. Owl, Fox stone block. and Hare Legend (1959) by Osuitok Ipeelee, When a small select trial of thirteen which was printed by the artist at Cape prints from the burgeoning Cape Dorset Dorset along with James Houston, invites workshop, chosen by Houston, sold out at association with the nearby kappazuri a Hudson’s Bay Department Store in Win- (stencil prints) of Kichiemon Okamura. Yet nipeg in December 1958, the departments the treatment of negative space and the use of Northern Affairs and National Resources of brushwork to imbue the animal subjects decided to distribute future prints through with a playful and inquisitive tone is quite art galleries rather than department stores. different. Okamura’s thick, bold outlines Taking care not to saturate the market, yield a nearly flat, storybook-like composi- they organized strategic annual releases tion, while Ipeelee’s cast of characters peep beginning in February 1960, a practice that out from varying depths of soft blocks of continues to this day with fall, spring and color. Monochrome prints or sumizuri were special release collections distributed to also prevalent, representing close to a quar- galleries in Canada, the United States and ter of the Cape Dorset studio’s 1959 collec- Europe. tion. Houston himself left Cape Dorset for The exhibition clearly illustrates the New York in 1962 after his relationship with workings of this trans-Pacific influence, but his wife ended, and went on to produce James Houston, Kneeling Ainu Priest (1958), woodcut, 25 x 20 cm. Printed by the artist, Tokyo, closer inspection yields a deeper apprecia- award winning children’s books including Japan. tion for Inuit experimentation and innova- Tikta’liktak: An Eskimo Legend. Art in Print September – October 2012 33 Niviasi [Niviaksiak], Three Caribou (1957), stonecut, 23 x 36.5 cm. Printed by Kananginak Pootoogook, Cape Dorset, Canada.

Though the exhibition is limited to exhibition and film leave room for debate Courtney R. Thompson is a Winnipeg-based writer the late 50s and early 60s, it is worth not- on this point, choosing to celebrate the and arts professional. ing the ongoing legacy of those years: the Inuit artists and the Cape Dorset print stu- 2012 Spring Collection included prints by dio instead. Eleeshushe Parr, Kananginak Pootoogook, The show closed recently at the Winni- Kenojuak Ashevak and Kiakshuk in edi- peg Art Gallery in Winnipeg, Canada. tions of forty-five or fifty with prices start- ing at $1000 and up to $1600 CDN. Even Houston could not have predicted the suc- cess of the single room craft house and the reputation Inuit artists working in Cape Dorset would build. The cultural and economic bond between Cape Dorset and Japan also con- tinues today with washi. Included in the exhibition is the documentary, Threads That Connect Us: Washi-Makers Meet Cape Dorset Artists (2003/2010) by Michael Kahn. Kahn’s subject, the Osaki family and their handmade paper business, have been sup- plying washi through a Canadian distribu- tor to the Cape Dorset region for more than half a century. The documentary follows the family as they make their way to the Canadian Arctic to meet with Inuit communities and demonstrate the process of making paper. While the act of face- to-face cultural interaction comes off as a little heavy-handed at times, the film keeps the exhibition’s theme fresh for a contem- porary audience contemplating the global and local networks of material and artistic exchange while also alluding to the outside Kenojuak Ashevak, The Enchanted Owl (1960), stonecut, 30.4 x 60.8 cm. Stonecut by Iyola Kingwatsiak, roles of cultural brokers. Wisely, both the printed by Eegyvudluk Pootoogook, Cape Dorset, Canada.

34 Art in Print September – October 2012 Material Assumptions: Paper as Dialogue By Courtney R. Thompson

aterial Assumptions” is a provoca- M tion to reconsider paper—specifi- cally handmade paper, and its potential to support, hold and challenge form. The exhibition was developed through an inde- pendent study graduate course at Chicago’s Columbia College led by Jessica Cochran, who with co-curators Elizabeth Isakson- Dado, Hannah King, and C.J. Mace, invited more than a dozen artists to imagine new artworks to be made from abaca and cot- ton paper by graduate students at Colum- bia. These commissioned pieces comple- ment the second part of the exhibition that showcases the work of artists in residence at Dieu Donné, a New York-based non- profit paper workshop that has been pro- viding opportunities for artists to engage with the process of handmade paper since 1976. Ian Schneller’s White Hornlets is a won- derful introduction to the premise of the show. Schneller is the man behind Speci- men Products, a company that originated out of his sculptural work in the early 1980s. As a producer of guitars, amplifiers and speakers, the company is a testament to innovative acoustic aesthetics and exper- imentation in technology and design. Here Schneller’s iconic speaker horns are made from handmade paper, resulting in ethe- real white horns atop acrylic cubed bases. They assert clarity, transparency and puri- ty, conceptually aligning themselves with a criterion of desired sound performance. Additionally, there were intriguing paral- lels between ancient formal histories of the horn as a vessel for sound amplification and paper as a carrier of information. While the form was a familiar one for Schneller, the properties of the handmade paper were new, as the horns are usually constructed out of “recycled newsprint, baking soda, and dryer lint,” and the change of material forced a shift in aesthetics. Ian Schneller, White Hornlet (2012), handmade cotton paper, mixed media, 19 x 19 x 5 inches. For Daniel Luedtke’s Birthday Girl, Mace Photo: Rod Slemmons. and Isakson-Dado provided the artist with a variety of papers and a list of instructions and ideas for how to approach the material. in proximity to the artwork, creating a dou- marked translucent abaca on black cot- The result is a sculptural format enlisting bling that manifested itself visually as a dia- ton) recalls investments in language as an a plethora of media that blur the roles of logue between materials and technology. artistic material and support, a proposition paper as support, construct and surface. A second gallery houses artworks from mirrored in the materiality of paper; while Annica Cuppetelli and Cristobal Mendoza’s the Dieu Donné archive including memo- Kentridge’s Anne (2009) (watermarked cot- Double Interference reveals layers of virtual rable pieces by Mel Bochner, Ian Cooper, ton) is displayed in a lightbox illuminating and physical construction in its process Matt Keegan, William Kentridge, and its normally discreet surface. Both works and execution. Varying widths of the paper Richard Tuttle. Watermarks were an unex- are part of small editions, which led me were laser-cut and affixed across MDF pected thread in a number of works on dis- to consider the watermark as a sign of board. A video projector, camera, computer play and lent marvelous results: Bochner’s authenticity and authority, another inter- and software then respond to movements Language is not Transparent (1999) (water- esting correspondence when considering

Art in Print September – October 2012 35 Annica Cuppetelli & Cristobal Mendoza, Double Interference (2012), handmade cotton paper, MDF, computer, video projector, camera, custom software. 25 1/2 x 4 3/4 x 80 inches. Photo: Rod Slemmons. artworks that are prints or multiples. While many of the Dieu Donné works approach paper as flat surface, there are some exciting sculptural forms that delight in paper as construct. Ian Cooper’s whim- sical Chalice (2010) (handmade denim and cotton papers, commercial papers, fabric, cast paper pulp, trash bags, brush bristles, gloss medium, and jade adhesive) is an over- sized baseball cap with long coarse looking tendrils attached. A rainbow with the word LOVE appears on the hat’s brim. Resting on a vitrine, Chalice appears as a transfor- mative talisman from another dimension, a decorated object that imbues its wearer with unknown mythological powers. The Center for Book and Paper Arts consistently offers informative exhibitions that open up book and papermaking and their related aspects to a wider audience. The curatorial impetus behind “Material Assumptions” is impressive in its effort to create a dialogue not only between artist, artisan and curator, but also between the exhibition and its audience. It provides a platform from which to consider the incredible skill of papermakers as well as the interaction of materiality, content, and artistic practice.

Courtney R. Thompson is a Winnipeg-based writer and arts professional.

Mel Bochner, Language is Not Transparent (1999), watermarked translucent abaca on black cotton, 40 x 30 inches. Edition of 16. Published by Dieu Donné, New York. Photo courtesy Dieu Donné, New York.

36 Art in Print September – October 2012 1–4 NovEmBER 548 WEst 22Nd stREEt E|AB opENINg 1 NovEmBER 6 – 9 pm FAIR 2012 Celebrating our 15th Anniversary

Anartist, NYC; Annual/Up to Art, Paris; artKitchen Gallery, Amsterdam; Aspinwall Editions, NYC; Badlands Unlimited, NYC; Baron/Boisanté and Om from India, NYC; Benefit Print Project, NYC; Black Shamrock Press, Chicago; Booklyn, Brooklyn; Brodsky Center for Innovative Editions at , New Brunswick, NJ; Bywater Bros. Editions, Toronto; Cannonball Press, Brooklyn; Carroll and Sons, Boston; Center Street Studio, Milton, MA; Bernard Chauveau Editeur, Paris; Cirrus Gallery & Cirrus Editions Ltd., Los Angeles; Clay Street Press, Cincinnati; Collaborative Art Editions, St. Petersburg, FL; Derringer Books, Woodbridge, CT; Division Leap, Portland, OR; Evil Prints, St. Louis; Forth Estate, Brooklyn; Fulton Ryder, NYC; Graphic Matter, Antwerp; Highpoint Editions, Minneapolis; Gallery Ernst Hilger, Vienna; I.C. Editions, Inc., NYC; Island Press, St. Louis; Jungle Press Editions, Brooklyn; Karma, NYC; Kayrock, Brooklyn; David Krut Projects, Johannesburg/NYC; Landfall Press, Inc., Santa Fe; Le Neant Editeur, Paris; Lincoln Center Vera List Art Project, NYC; Long Life China Company, Brooklyn; Lower East Side Printshop, Inc., NYC; Luiscius Books, s’ Hertogenbosch; Marginal Editions, Brooklyn; LeRoy Neiman Center for Print Studies, NYC; New West Editions, Seattle; Oehme Graphics, Steamboat Springs, CO; Galeria Moises Perez de Albeniz, Pamplona; The Print Center, Philadelphia; Purgatory Pie Press, NYC; Raina Lupa Ediciones, Barcelona; Revue Noire, Paris; Andrew Roth/PPP Editions, NYC; 6 Decades Books, NYC; Edition Silverbridge, Montreuil-sous-Bois; Solo Impression, NYC; Specific Object, NYC; Studio 339, Hastings-on-Hudson, NY; Kornelia Tamm Fine Arts, Rhinebeck, NY; Cristin Tierney Gallery, NYC; Cade Tompkins Projects, Providence; 20th Century Art Archives, Cambridge, UK; 21st Editions, South Dennis, MA; Western Exhibitions, Chicago; White Wings Press, Chicago; Wingate Studio, Hinsdale, NH; Michael Woolworth Publications, Paris; and Irving Zucker Art Books, NYC.

DANA SCHUTZ, Backstroke, 2012. Three color woodblock with one color photo-litho on Coventry paper, 17.75 by 12.25 inches. Edition of 200.

www.eabfair.com on works made at Tamarind Lithography a reconsideration of local, contemporary Workshop during its tenure in Los Ange- intaglio printing; and a tremendously valu- les. In her essay, she traces the evolution able narrative of ground-level print activity of the Norton Simon holdings through its in non-Anglo communities. This last, writ- pre-history as the Pasadena Art Museum ten by Damon Willick, was thrilling to read and the initiatives for printmaking that but left plenty of room for more in-depth were established there, especially during consideration in subsequent volume. Final- the crucial decade of the 1950s, before the ly, there is a very valuable illustrated chro- establishment of Tamarind and the work- nology constructed by Tom Norris. shops subsequently spawned by its train- David Acton, Curator of Prints, Draw- ing program. The museum’s engagement ings and Photographs at the Worcester Art with contemporary art in the Los Angeles Museum, contributed the chapter on print area predates the creation of today’s better- communities prior to the founding of Tam- known institutions, the Los Angeles Coun- arind. Acton, who has written extensively ty Museum of Art (LACMA, established as about American art and prints, offers an an independent museum in 1961), and The especially important revision of the evolu- Museum of Contemporary Art, Los Ange- tion of screenprinting in the Los Angeles les (LAMOCA, founded 1979). Lehmbeck area. Most histories credit the Federal Art sketches the prevailing intellectual climate Project Poster Division, and particularly Proof: The Rise of Printmaking in in academic, commercial, and cultural Anthony Velonis, as the instigators of cre- Southern California institutions, and the people who fostered Edited by Leah Lehmbeck ative screenprinting. Acton, however, trac- the community interest in prints and print- 256 pp, 200 illustrations, $60 es an earlier confluence in Los Angeles of making. Provocatively, she suggests—and Los Angeles: Getty Publications in association illustrative and commercial applications of others in the volume take up the man- with the Norton Simon Museum, 2011 the process, using an as-yet-unpublished tra—that Los Angeles’ rise to prominence manuscript by a Swiss scholar, Guido Leng- in the art world was fueled in large part by weiler. Acton charts the development of a By Mark Pascale the printmaking workshops and publishers progressive block-out method dating to that became established there after 1960, 1914–15, which allowed printers to create and which fomented interaction between beautiful passages of transparent color, and hough abundantly illustrated, this vol- home-grown talent and art stars from New resulted in highly successful printed rendi- Tume is much more than a souvenir York and beyond. tions of images designed by artists for this of the images exhibited in the eponymous The subsequent essays cover specific purpose (typically, regional landscapes.) exhibition [see exhibition review in Art in aspects of the L.A. printmaking scene: the Acton’s research underscores the axiom Print, Volume 1, Number 6]. Leah Lehm- first 60 years of print communities in South- that progress in print techniques occurs beck, Associate Curator at the Norton ern California; the contributions of uni- initially for commercial/reproductive ends, Simon Museum and organizer of the exhi- versity print programs; an overview of the but produces knowledge that can be adopt- bition, has assembled a group of expert print workshops and publishing ventures ed by artists for more creative uses. The authors who together create a ground- catering to artists who do not print their various enterprises that exploited these breaking portrait of a dynamic period own work (and are often better known); early screenprint processes—including the and place, and to some extent rewrite the accepted histories of 20th-century art. The chronology of contemporary printmaking in Southern California is tremendously useful. Lehmbeck’s approach to the sub- ject incorporates not only the well-known contributions of Tamarind Lithography Workshop or Gemini G.E.L., but those of university art departments and commer- cial printers, specialist printmakers and social activists. As someone who straddles specialties on both sides of the idiom— printing and writing, academic and muse- um affiliations—I always look for balance between coverage of the commercial print workshops and publishers, and of print art- ist specialists. The authors have attended to these intricacies perspicaciously. In her introduction, Lehmbeck pres- ents the broadest overview possible, lay- ing a solid historical basecoat and context for the more specialized essays that follow. Among the challenges Lehmbeck faced was the fact that her museum, the Norton Simon, no longer collects; thus the project Ed Ruscha, Made in California (1971), lithograph, sheet 51 x 71.3cm. Printed by Paul Clinton and Ed was heavily weighted towards museum’s Hamilton at Cirrus Editions, published by Grunwald Graphic Arts Foundation, UCLA. Fine Arts Museums of San Francisco. Museum purchase, Achenbach Foundation for Graphic Arts Endowment Fund. ©Ed Ruscha. existing print collection, focused largely (Illustration from Proof: The Rise of Printmaking in Southern California.) 38 Art in Print September – October 2012 Bruce Nauman, Raw-War (1971), lithograph, sheet 56.8 x 71.8 cm. Printed by Paul Clinton and Ed Hamilton at Cirrus, published by Nicholas Wilder Gallery and Castelli Graphics. Fine Arts Museums of San Francisco, Anderson Graphic Arts Collection. Gift of the Harry W. and Mary Margaret Anderson Charitable Foundation. ©2011 Bruce Nauman/ Artists Rights Society (ARS), New York.(Illustration from Proof: The Rise of Printmaking in Southern California.) most commercial aspects—evolved into art schools, from its first technical direc- civilization.” Breuer enriches the previ- the Naz-Dar Company of Chicago, a name tor—Garo Antreasian, who came from the ously published, high fat stories of print familiar to printmakers, even today, as one Herron School of Art in Indianapolis—to workshops such as Gemini, Cirrus and of the biggest purveyors of screenprinting Clinton Adams, a painter, professor of Tamarind with thorough discussions of the materials. studio art and art history, who continued printers and the complexities of collabora- Jennifer D. Anderson, a print artist and to nurture Tamarind long after it left Los tion.1 Of special note is her elaboration of professor, offers a chapter on the person- Angeles. Most valuably, Anderson reminds the story of Bruce Conner’s turbulent resi- alities and evolving aesthetic history within the reader that Jules Heller published one dency at Tamarind in 1965, which yielded the academies around Los Angeles. As one of the earliest post-war treatises on the one of the most iconic indexical prints of might expect, a great deal of this is traceable creative uses of printmaking with his 1958 all time, his Thumb Print. She also details to the relocation of Stanley William Hay- Printmaking Today: A Introduction to the the efforts of artists such as Sam Francis ter’s Atelier 17 to New York at the beginning Graphic Arts, and was also the editor of and Ed Ruscha, who established or helped of the Second World War, and to the art- Impression, a short-lived periodical focused found small printing establishments where ists who worked with Hayter’s famous stu- on the graphic arts and a model for publica- they could produce their own work, and dent, , at the University tions such as Art in Print. Moreover, Heller also made them available to other artists, of Iowa after the war ended in 1945. The and June Wayne, through their connections underscoring the supportive tendency Hayter legacy strongly influenced the print to the New York art world, were able to cre- among L.A. artists, even those who are curricula at Los Angeles universities in the ate reciprocal connections between the world renowned. If this is an example of 1950s and 60s. Anderson fuses this story coasts and expand awareness of exciting ‘renegade civilization,’ I want in. with the establishment of Tamarind and things happening in Los Angeles. Of all the authors in this volume, the one with the pedagogic practices of somewhat In her essay on intaglio printmaking who has spent the greatest part of her long forgotten artists such as John Paul Jones, in L.A., Karin Breuer alludes to the city’s and illustrious career in L.A. is Cynthia Bur- Ernest Freed, and Jules Heller. Tamarind “frontier ideology,” and quotes Robert lingham. In her essay, she traces the seem- depended on an infusion of personnel from Rauschenberg’s estimation of its “renegade ingly separate aesthetic paths taken by more

Art in Print September – October 2012 39 David Hammons making a body print in his studio, Slauson Avenue, Los Angeles (c. 1970). Photo: Bruce Talamon. (Illustration from Proof: The Rise of Printmaking in Southern California.) recent artist printmakers (peintres-graveurs) subjects, respectively. She generously ends power. And at least one of them used the and publisher/printers in Los Angeles. She her narrative with an examination of Jacob process and its ability to address the public performs a great service by merging the his- Samuel as a printer and business model. in a way that inspired a lasting legacy for torical model that she knows so well from Here is a man who knows how to promote print literacy and advocacy—Sister Corita’s her scholarship with contemporary prac- the use of etching, offering it on site in his model begat Sister Karen Boccalero’s Self- tice (apologies for that word, which always studio or as an itinerant minstrel with his Help Graphics group. implies that the artists haven’t yet gradu- portable aquatint box [see the profile of “Proof: The Rise of Printmaking in ated from “practicing” to accomplishing). Samuel in Art in Print, Vol. 2. No. 1]. The Southern California” was a landmark exhi- Dividing idioms along aesthetic lines, she aesthetic range of Samuel’s publications is bition, and this book is a worthy and lasting compares the intaglio methods encouraged broad, despite the fact that he almost always complement to it. It reveals much that is by Hayter and Lasansky (which she char- produces modestly-sized sets of prints that new about the specific in Los acterizes as deeply etched, heavily inked, can easily be stored, shipped, or hand-car- Angeles over the past several decades and, kitchen-sink variety processes) with those ried. Having visited Samuel, I know that he more broadly, offers insight into the sym- rendered by artists using elemental aspects also achieves remarkable balance between biosis of industry, academe, artists and of the medium in crisply inked impressions. his publishing and personal life—the print printers that is the spawning ground of Among the latter group, she offered as shop is about half-way between his resi- new art, in and out of Southern California. examples the prints made in the late 1960s dence and the ocean, and all are within We should be grateful to Leah Lehmbeck— by Cy Twombly and Barnett Newman at walking distance. He may well have the who was not even a print specialist when Universal Limited Art Editions—intimately smallest carbon footprint of any print pub- she started the project—and her team of scaled etchings made simply from a single lisher with an international reputation. authors for consolidating so much impor- stage drawing on a plate. At a time when Finally, Damon Willick’s important tant and useful information into one vol- some printmakers were busy trying to com- chapter celebrating the “handfuls of cre- ume. pete with the enormous scale of the works ative people” beyond the familiar constel- coursing out of print workshops such as lations of art stars forms an adroit end to Mark Pascale is Curator in the Department of Prints Gemini, here were two eminent artists the essays. Focusing on Betye Saar, David and Drawings at The Art Institute of Chicago and happy to work with plates they could carry Hammons, Charles White, and Sister Cori- Adjunct Professor of Printmedia at the School of the around in their pockets and attend to pri- ta Kent, Willick digs beneath the glittering Art Institute. vately, without the special procedures of the façade of the art world to uncover a more print studio until ready to bite and/or print complete story. What is printmaking, if not the plate. Burlingham writes in detail about a flexible medium that can be broadcast to Notes: 1. See for example Ruth Fine. Gemini G.E.L.: Art and such artists as Bruce Nauman and Richard the masses, or revered for its subtleties—or Collaboration. Washington, D.C.: National Gallery of Diebenkorn, who enjoyed the direct nature both? These four artists exploited all of the Art, 1984; Bruce Davis. Made in L.A.: The Prints of of working in drypoint and/or on an inti- devices for which printmaking is known Cirrus Editions. Los Angeles: Los Angeles County Museum of Art, 1995. Marjorie Devon, ed. Tamarind: mate scale to produce images that echoed and celebrated, and two of them used the Forty Years. Albuquerque: University of New Mexico their sculptural investigations and studio media to make unique objects of great Press, 2000.

40 Art in Print September – October 2012 snapshot photography to the art of the fique in Paris, explains the visual confusion post-Impressionists. (and excitement) that snapshots created for In the course of her doctoral research, the general public. Ms. Easton was given access to the Edouard The chapter “A Sense of Context: Ama- Vuillard family archive where she was teur Photography in the Late Nineteenth shown two envelopes filled with photo- Century” by Clément Cheroux, curator of graphs, “unorganized and undocumented.” the photographic collection at the Cen- These photographs would provide the tre Pompidou, traces the profound trans- spark for the “Snapshot” exhibition. formation brought about by the camera, At the Musée D’Orsay in Paris, Ms. when the word “amateur,” once reserved Easton collaborated with Françoise Heil- for sophisticated autodidacts, was applied brun, head curator of photography, to bring to a burgeoning new group of camera the project to life. After sifting through enthusiasts. more than 10,000 photographic prints in According to Todd Gustavson, the major the museum and other photographic col- turning point for photography was George lections, Easton and Heilbrun chose the Eastman’s invention of a flexible dry emul- seven artists featured in the catalogue: sion film that eliminated the need for a Nabis painters Pierre Bonnard, Maurice studio and darkroom in the production of Denis, Félix Vallotton and Edouard Vuil- photographic prints. Eastman then devel- Snapshot: Painters and Photography, lard, as well as the painter and printmaker oped the iconic portable camera that he Bonnard to Vuillard By Elizabeth W. Easton, with contributions by Henri Rivière, Dutch artist George Breitner would call the “Kodak.” By 1900 Eastman’s Clément Chéroux, Michel Frizot, Todd Gus- and the Belgian Henri Evenepoel. little leather-bound box had over 250,000 tavson, Françoise Heilbrun, Ellen W. Lee, Anne Each of these artists receives a chapter enthusiastic users in France alone. (Tacita McCauley, Saskia Ooms, Katia Poetti, Eliza written by a scholar sensitive to their work- Dean would document the last days of one Rathbone and Hans Rooseboom ing methods, and each essay is illustrated of Kodak’s factory in Chalon-sur-Saône in 234 pp, 248 illus., $50. with both paintings and photographs to her 2006 works, Kodak and Noir et Blanc.) New Haven and London: allow for careful comparisons. Photograph- By handling the film development and Yale University Press, 2011 ic enlargements are rich in detail and tone, printing for his customers, Eastman obvi- and are more than faithful to the originals. ated the need for any technical expertise in In addition to the artists’ profiles, there the production of photographs. By Julie Bernatz are five early chapters that provide histori- In 1897 the Kodak Pocket Camera Series cal background. Todd Gustavson, the cura- was introduced and took this accessibility hile the traveling exhibition “Snap- tor of technology at the George Eastman still further. With its collapsible lens and W shot: Painters and Photography, House in Rochester, New York, details the slim profile, it could slide into a pocket to Bonnard to Vuillard,” recently completed technological revolution behind the cul- be transported on foot or by bicycle (anoth- its international tour, the accompanying tural one in his essay “Innovative Devices: er remarkable 19th-century invention). catalogue offers readers the chance to view George Eastman and the Handheld Cam- Its “quick” exposure times (1/25th of a sec- a rare selection of paintings, photographs era.” Michel Frizot, research director of the ond) meant whole new views of the world and prints by seven post-Impressionist art- Centre National de la Recherche Scienti- became possible. Rigid studio poses were ists who established their reputations at the end of the 19th century. The catalogue reveals strong connections between the traditional fine arts and the exciting new technology of photography, but by focusing on the humble snapshot (instantané photo- graphique), the book presents new and unexpected perspectives on the subject. The impact of photography on the devel- opment of has been much discussed in recent years, with books and exhibitions devoted to the work of Whis- tler, Degas, Caillebotte and others who incorporated photographic ways of seeing into their art. But remarkably, evidence of any direct relationship was not brought to light until the 1960s. And it was not until the 1980s that art historians began to advance credible ideas about photography’s ties to the visual arts. As a graduate student at that time, Elizabeth Easton, the editor and curator of “Snapshot,” began looking into specific links between photography and the Nabis, the group of avant-garde Parisian art- Henri Evenepoel, Self-Portrait in Three-Way Mirror (1898), modern gelatin silver print from original ists formed in the early 1890s. It became negative (2011), 3.8 x 5 cm. Royal Museums of Fine Arts in Belgium, Brussels, Archives of Contemporary Art Ms. Easton’s “resolute desire” to connect in Belgium. (Illustration from Snapshot: Painters and Photography, Bonnard to Vuillard.)

Art in Print September – October 2012 41 The Snapshot catalogue leaves little doubt about the reciprocal influences of fine art and technology, but the personal approach that each artist used is at the heart of each profile in the book. Maurice Denis, as one of the founders of the Nabis group and its articulate spokesman, was able to consider a wider purpose: Art is not simply a visual sensation that we receive, a photograph, however sophisticated, of nature. No, it is a cre- ation of the mind, for which nature is the springboard. Denis produced paintings as well as lith- ographs, book illustrations and set designs during this time. He owned three Kodaks in succession, taking many photos of his first wife Marthe and their seven children. (Marthe made some of the prints herself at home and assembled them in albums to preserve family memories.) Over 2,500 prints including professional enlargements and over 1,000 negatives survive today. Several of Denis’ images reflect the sty- listic tendencies of the Nabis: rich, dap- pled patterns of light and dark, surface textures that appear woven, flat areas of tone, and cropped figures that echo Japa- nese prints. In her essay on Denis, Saskia George Hendrik Breitner, Girl in a Kimono (Geesje Kwak) in the Studio of the Artist on the Lauriergracht Ooms writes, “with his daring composi- (1893), gelatin silver print. Netherlands Institute for Art History, The Hague. tions, off-center framing, close-ups, radi- cal cropping, and inventive perspective, no longer necessary. The action of children efforts. The evidence is scant. Maurice Denis pushed the boundaries of tumbling through frames could be frozen The book shows that all seven of the amateur photography and therefore can be in motion; nuanced expressions and ges- artists did use photography in their work, considered a forerunner of the avant-garde tures could be recorded for the first time. albeit sparingly or even secretly. (Vallotton photographers of the 1920s and 1930s.” Young men in particular clambered for the may have destroyed most of his photo col- Although Denis used many of these photos device to capture private images. It seems lection in response to a complaint that he as “sketches” for his paintings, he criticized that no one was immune to the wonders of copied an image from a magazine.) Artistic such activity in his writings, and by 1919 he the Kodak. integrity was at stake. had abandoned photography completely. Artists piled in, too. Academic studios But the facts show that the camera did Pierre Bonnard also experimented with with their models arranged in “natural” indeed affect the paintings, drawings and Nabis decorative themes, and devoted motion were abandoned for the reality of prints of the time: “rather than transfer- much time to creating moody and erotic the streets and the intimacy of the home. ring photographic motifs onto canvas, narrative images of his lover Maria (Mar- Locomotion studies like those of Ead- these amateurs seemed to consider certain the). Writing about Bonnard’s nude photo- weard Muybridge caught the awkward formal characteristics that are specifically graphs, Anne McCauley points out “What interstices of action that, to 19th-century photographic: optical distortion, the flat- is striking about [Bonnard’s] tiny (1-1/2 x eyes appeared unnatural. In his essay on tening of the image, fragmentation, effects 2 inch) contact prints… is how bad they “The New Truths of the Snapshot” Michel of light and contrast, and high and low are.” The photographs he made of Marthe Frizot observes, “instantaneous photogra- angles.” Compositions produced without in their unkempt apartment and in the phy opened up possibilities; it opened the a viewfinder forced a random aesthetic garden of their country house were ama- eyes to an “invisible” form of reality and unique to the age. (After 1895, a circular teur efforts, but as his sensitivity and skills gave a fixed shape to things that changed reflecting viewfinder provided a dim image improved, he began to understand photo- shape constantly. By doing so, it provoked of the scene, but it would require some graphy’s possibilities. Nonetheless, he also astonishment, and this astonishment at the expertise to use.) abandoned the camera by 1916. ‘photographic’ transposed back into paint- In turn, trained artists imposed a certain Vuillard’s photographic archive contains ing was surely the bust spur to creativity.” structure on the snapshot. Painting offered almost 2,000 images produced over sev- The subject matter of the photos is its unique, visceral capabilities—color, eral decades; some were meant as studies familiar to this day—babies and girlfriends, composition, texture, shadow/chiaroscu- for paintings, some reinforced composi- vacations, prized possessions and proud ro, contre-jour. Lithography, etching and tions and pictorial experiments completed portraits. The delight that accompanied the woodcut provided strong graphic alterna- years before, but many, according to Eliza- sharing and viewing of snapshots seemed tives to the atmospheric subtleties of the beth Easton, have “no equivalent in paint.” to overcome any desire to copy directly diminutive photographic print. Such tech- A Vuillard expert, Elizabeth Easton finds from photographic prints—or perhaps the niques were explored accidentally or on these photos the most intriguing: Vuillard artists simply concealed or discarded these purpose in the instantanés. repeats “the same subject matter—his inti-

42 Art in Print September – October 2012 mate circle… in ways that give no hint of his artistic output.” Although only 20 of Félix Vallotton’s photographs survive, they attest to his nov- el understanding of photography’s poten- tial. Katia Poletti writes that “he abandoned relief, perspective, details, and any confor- mity to reality in favor of flat surfaces and arabesques.” He would gather images from various angles and settings and combine them in painted canvases that appear two- dimensional. In many the figures are turned away and reduced to puzzle-like blocks of color, solidly modern in feel. Henri Rivière was a technically accom- plished printmaker, moving easily from lithography to etching to woodblock. He saw early on that scenes filtered through the small lens of a Kodak could suggest the flattened perspectives of the Japanese woodblock prints he avidly collected. His series Thirty-Six Views of the Eiffel Tower echoes Hokusai’s famous series Thirty- Six Views of the Mount Fuji, but also offers a brand new view of Paris as thrilling as scaling the tower along with him and his Kodak. George Breitner, whose diverse work appears in two chapters of the book, devot- ed 25 years to his photography, focusing first on capturing city scenes in his native Amsterdam. He made many studies with the camera and would allow all kinds of visual “accidents” to occur in the frames— people in motion, blurring, softened sil- houettes, dramatic (even cinematic) per- spectives. He also spent much time staging photos of intimate sexual encounters with black-stockinged models. Trained and sus- tained as a painter, his photos would not be George Hendrik Breitner, Girl in Red Kimono (Geesje Kwak) (1893-1895), oil on canvas, 51,5 x 76 cm. known until 1961. Stedelijk Museum, Amsterdam. Until his early death at 27, Henri Even- poel was perhaps the most promising as an Like a snapshot, this catalogue captures artist-photographer. Eliza Rathbone writes a fugitive moment in the history of art— that “critics extolled him for his spontane- one in which attitudes were in motion, and ity and for his innate gifts as a colorist—a experiment led to exhilarating instability. born painter in immediate possession of It also adds to a growing body of scholar- an intense means of expression.” The cam- ship on the simple snapshot’s relationship era expanded these expressive gifts and to traditional forms of art making. This provided the compositional material for relationship recurs with each generation of many of his vibrant paintings. The black transformative technology, from airplanes and white photo of a boy (André Devis) to iPhones, and redefines the visual stan- dressed in a starched white collar, holding a dards of that age. notched cane and standing on an unfolded Ultimately the book is less about any newspaper (to define his shoes against a particular medium, but about how these dark background?) surely contributed to technical achievements compel new ways the painted portrait titled Albert Devis, but to see the world. it also reflects a personal aesthetic that would have been impossible to conceive of, with or without a photograph—stark and Julie Bernatz is the Associate Publisher of compelling. Art in Print. Ironically the young Evenepoel also understood the sense of loss inherent in a photograph: “I savor them with the slightly sad joy of reflecting that all this good time is past.”

Art in Print September – October 2012 43 News of the Print World

Selections from the Member Newsfeed from the past two months. For up-to-the-minute news, check the Member Site at www.artinprint.org.

Print Fairs

NEW YORK, NY IFPDA Print Fair Thursday, 1 November – Sunday, 4 November 12 – 8 pm Park Avenue Armory 643 Park Avenue at 67th Street Admission: $20 daily, $40 run-of-show www.ifpda.org/content/print-fair

NEW YORK, NY Editions | Artists Book Fair Turns 15 Editions | Artists Book Fair Friday, 2 November and Saturday, 3 November 11 am - 7 pm Sunday 4 November 2012 11 AM - 5 PM. 548 West 22nd St. between 10th and 11th Avenues Free admission. www.eabfair.com

London Multiplied 2012 12-15 October 2012 Friday, 12 October, 9am - 7:30pm Saturday, 13 October, 11am - 7:30pm Sunday, 14 October, 11am - 6pm Monday, 15 october, 9am - 5pm Christie’s 85 Old Brompton Road South Kensington Free admission www.multipliedartfair.com Multiplied returns for its third year, coinciding with Frieze week. This year’s fair features 41 exhibitors from both sides of the pond.

Views of the Editions | Artists Book Fair from 2007, 2010 and 2011. Photos: Editions | Artists Book Fair, NYC. 44 Art in Print September – October 2012 New York Print Week 2012

he first week of November will mark multiples, video, photography, books and a combination woodcut and photo-litho- Tthe 15th anniversary of the Editions | ephemera all qualified. Exhibitors included graph to be published in an edition of 200 Artists Books Fair (E|AB) and the 22nd iter- not-for-profits like the New Museum and and sold for $250. ation of the IFPDA Print Fair. The two fairs White Columns, print publishers like Muse At a time when contemporary art often run almost concurrently (the IFPDA opens X from Los Angeles, and purveyors of art- seems in danger of choking to death on its one day earlier) and a somewhat hackneyed ists’ books like Toronto’s Art Metropole. own glitz, E|AB offers a bracingly pragmatic narrative of sibling rivalry is often trotted Admission was free, most of the art was and genuinely fun alternative—one rooted out to explain their relationship: the IFPDA inexpensive and the overall vibe was “acces- in the old fashioned virtues of the edition: lives uptown and radiates either an assidu- sible.” And if, as one exhibitor put it, they accessibility, conceptual substance, seduc- ous appreciation for historical greatness “didn’t have huge throngs of traffic,” enthu- tive surfaces. The IFPDA Print Fair offers a or dowager sobriety depending on who’s siasm nonetheless ran high enough for the different kind of alternative, one that takes talking; the E|AB hangs out downtown, event to be repeated the following year, and the quiet authority of the printed image welcomes anyone (admission is free), and every year thereafter (apart from a variant seriously, and that makes the visitor slow is either innovative and exciting, or brash millennial year in which an exhibition took down and look closely. Together they con- and likely to give the grown-ups a head- the place of the fair). vey the power of the print—as art; as his- ache. It’s all nonsense of course: both fairs In 2001 the event adopted a more tory; as, in Vito Acconci’s words, “an instru- are chock-a-block with treasures; anyone streamlined title—Editions | Artists Books— ment in the world.” with a serious interest in prints feels lucky and the following year moved to Chelsea, to spend hours in each location, and many a sign of both the shifting center of art exhibitors alternate between the two. world gravity and the expanding size of What is astonishing is that the art world the fair. By 2006 it had 50 exhibitors, cor- of 2012 can support two expansive art fairs porate sponsors, and a calendar stacked dedicated entirely to prints and editions, with events—book signings, lectures, panel when the famously booming print market discussions—taking place in the cavernous of the 1980s had neither. And they exist former nightclub The Tunnel. in addition to the London Print Fair (at Like all art world institutions, E|AB took 27 the oldest living print fair), the more a bit of a punch to the gut in 2008-2009. recent London “Multiplied” fair (report- Though, given that it aims to appeal to a edly inspired by E|AB), and the dozens of less exclusively plutocratic demographic smaller fairs scattered around the globe than most art fairs, that punch was remark- and across the calendar. ably mild: a twenty percent drop in the As the major annual event of the Inter- number of exhibitors in 2009, mostly national Fine Print Dealers Association, made up by 2010. Meanwhile, its energy as the IFPDA fair draws its exhibitors from a an event continued undiminished: in the membership that has been carefully vetted 2008 iteration Mickalene Thomas created for expertise, ethics, and quality of wares. on-site a screenprinted portrait of Michele The origins of E|AB are more quixotic, and Obama; 2009 featured a VendorBar where on the occasion of its 15th birthday, it is Robin Kahn and Kirby Gookin made mul- perhaps worth telling the tale. tiples and sold them from a dim sum cart; this year will feature performative art 15 Years of E|AB making by Dennis McNett; a “Make Your In 1998 the not-for-profit artists’ book Own Artists’ Book” workshop with Esther store Printed Matter and the distinguished Smith; live improvisatory screenprinting by print publisher Brooke Alexander decid- Kayrock studios of Brooklyn, and the live ed to open their spaces (both were on ceramics creation by the publisher Long Wooster Street) for one weekend to some Life China. twenty publishers of prints and artists’ Today E|AB is run by Susan Inglett, books, many of whom did not themselves occupies three floors of the former DIA have exhibition spaces. It was intended building, and continues to be an “event” as as a cheaper, funkier alternative to the much as it is a place for art shopping. (Live stately march of Picassos, and art-making events like those mentioned Motherwells at the IFPDA fair uptown. above have become something of a sig- Originally called the Artists’ Publications nature). Each year propagates a new ben- and Editions Fair, it was the brainchild of efit edition, which helps subsidize the free Carolina Nitsch (then with Brooke Alex- admission—Marcel Dzama, Jenny Holzer, ander Editions), Susan Inglett (I.C. Edi- Barbara Kruger, Vik Muniz, Yoko Ono, Ray- tions), and David Platzker (then of Printed mond Pettibon, Al Ruppersberg, Kiki Smith Matter.) The event’s somewhat clunky and Fred Tomaselli have all contributed moniker expressed the idea that editioned work, almost all of it available for less than art was no longer confined to the old ink- the cost of a basic cashmere sweater. This

on-paper-under-glass print paradigm­— year’s print, Backstroke by Dana Schutz, is NYC. Artists Book Fair, Photo: Editions |

Art in Print September – October 2012 45 Print Conferences Georg Baselitz, Sing Sang Zero I-V (2011) Highpoint Editions, Minneapolis. Sold individually Five etchings and , image 66.5 x 49.5 cm, and as a suite. $17,500 for the suite of five. paper 85 x 64.5 cm. Editions of 12. Printed by Niels Rheine, germany Borch Jensen and Mette Ulstrup, Copenhagen, Guy Diehl, with Yves Klein Blue (2012) SNAP, the 2nd International Printmaking published by Galerie Sabine Knust/Sabine Knust Etching with acrylic, 22 x 25 inches. Edition of 18. Symposium in Bentlage Matthias Kunz, Munich. €3,600 each. Published by . $1200 each. Rheine, Germany 27 – 30 September 2012 Roland Fischer, Façades on Paper IV (2012) www.snap2012.de The 2nd International Printmaking Symposium (SNAP) will address the question, “Is printmaking a dying medium or an upcoming subject of renaissance?” This four-day symposium will discuss the history and future of printmaking, and will function as an international platform for intellectual and creative inquiries regarding printmaking’s aesthetic, philosophical, and cultural relationships—as well as the technical influences, educational strategies, and economics of the medium. Engaging international artists, curators, gallery dealers, educators, collectors, critics and publishers, SNAP’s program includes presentations, demonstration workshops, panel discussions, lectures, workshops for artists and students, a George Baselitz, Sing Sang Zero (2011), product fair with presentations and exhibitions Guy Diehl, Still Life with Yves Klein Blue (2012), etching and drypoint. at various sites in the Münster area and Rheine. etching with acrylic. Speakers include print historian (and Art in Print Editor-in-Chief) Susan Tallman, artist and printer Sebastiaan Bremer, To Joy, suite of four prints (2012) Yasu Shibata of Pace Editions, and Marta Raczek Individual titles: To Joy: Heavenly, Thy Sanctuary; To Portfolio of eight photographic screenprints on and Dr. Wanyura-Kurosad of the Graphic Triennal Joy: Universal Time Machine; To Joy: Nature’s Bosom 2-ply Museum Board, image 29 x 20 inches, paper 35 Krakow among many others. and To Joy: The Good Spirit. Archival inkjet, hand x 25 inches each. Edition of 100 each. Printed and SNAP 2012’s co-partners include Poland’s Graphic painting, and collage, 36 x 36 inches. Editions of 10. published by Durham Press, Durham, PA. $7500 for Triennial Krakow, the UAP Poznan at the University Printed and published by Lower East Side Printshop, the set, or $1200 each. of Arts, the Academy of Fine Arts Krakow, and the New York. $3,000 each. Academy of Fine Arts Katowice, which will each have a strong presence throughout the symposium’s exhibitions and presentations.

Sebastian Bremer, To Joy: The Good Spirit (2012), New Editions archival inkjet with hand painting and collage.

Faisal Abdu’Allah, Family Ties (2012) Willie Cole, Five Beauties Rising, Pigmented inkjet print on photo rag paper, 40 x suite of five prints (2012) 76 inches. Edition of 8. Published by Magnolia Individual titles: Anna Mae, Queen, Fannie Mae, Dot, Editions, Oakland. and Savannah. Intaglio and relief, 63 1/2 x 22 1/2 Roland Fischer, one of Façades on Paper IV inches each. Editions of 9. Printed and published by (2012), screenprint.

Faisal Abdu’Allah, detail of Family Ties (2012), pigmented inkjet print on rag paper.

Georg Baselitz, Sing Sang BDM I (2012) Sugarlift and line etching, 145 x 100 cm. Edition of 20 in different color variations. Printed by Niels Borch Jensen and Mette Ulstrup, Copenhagen, published by Galerie Sabine Knust/Sabine Knust Matthias Kunz, Munich. €6,700. Willie Cole, Five Beauties Rising (2012), intaglio and relief.

46 Art in Print September – October 2012 John Stezaker, Recto/Verso (2012) ZIEH’ DIRN EINI (DOC KUH-MEN-dada, Dünn- Photolithograph, 61 x 51 cm. Edition of 100. Printed PFIFFIKUS, der UN-FRESHmaker)! by Paupers Press, published by Counter Editions. Linocuts, 106 x 78 cm each. Editions of 6. Printed by £420. Lars Dahms and Daniel Vogler, Hamburg, published by Galerie Sabine Knust/Sabine Knust Matthias Allyson Strafella, Spell (2012) Kunz, Munich. €3,000 each.

Sean Slemon, twelve prints (2012) Editions of 12. Printed by Jillian Ross and Talya Lubinsky. Published by David Krut Print Workshop, Johannesburg. Hardground etchings: A Day in the Sun, 27 x 32 cm. $450. Assets, 48 x 36 cm. $600. Holding onto Shadow, 48 x 36 cm. $600. Deborah Freedman, Good Night Irene 7 (2011), Lines of Independence, 36 x 48 cm. $600. monotype. Playing and Owning I, 27 x 32 cm. $450 Playing and Owning II, 27 x 32 cm. $450. Deborah Freedman, Good Night Irene 7 (2011) Powerlines, 27 x 32 cm. $450. Monotype, 22 x 30 inches. Printed and published by Related, 32 x 27cm. $450. VanDeb Editions, New York. $1,200. Tree Shadow, 27 x 32 cm. $450. Soap ground aquatint: Rico Gatson, Hyphens in the Road (2012) Firstlight, 48 x 36 cm. $700. Acrylic paint on pigmented cotton and linen, John Stezaker, Recto/Verso (2012), Secondlight, 48 x 36 cm. $700. 14 x 11 inches. Variable edition of 25. Fabricated photolithograph. Thirdlight, 48 x 36 cm. $700. and published by Dieu Donné, New York. $500. Pigmented cotton and pigmented abaca, 10 1/2 x Hunt Slonem, four series of five prints (2012) Sarah Graham, Salvazana Imperialis (2012) 8 1/2 inches. Variable edition of 25. Fabricated and Series titles: Lunas Study, Fratillery, IO and Color lithograph, 124 x 220 cm. Edition of 25. published by Dieu Donné, New York. $500. Madagaskan (Shiva) Printed on 350g Hahnemuehle paper by Michael Hand-painted monoprints, 28 1/2 x 41 inches Woolworth, Paris, published by Sims Reed Gallery, Gert and Uwe Tobias, series of lithographs (2012) each. Five prints in each series (lettered A through London. £5,050. Lithograph from three stones (black, white, and D). Printed and published by Stewart & Stewart, white); lithograph from three stones (dark green, Sarah Graham, Salvazana Imperialis Bloomfield Hills, MI. $2500 each. purple-black, and white); lithograph from two (black and white) (2012) stones (cream, black, red, and black). Each: Image Lithograph, 112 x 230 cm. Edition of 15. Printed on Kiki Smith, three new tapestries (2012) 39.5 x 34.5 cm, paper 42.5 x 37 cm. Editions of 15. handmade Japon paper by Michael Woolworth, Paris, Printed by Felix Bauer, Cologne, published by published by Sims Reed Gallery, London. £3,850. Galerie Sabine Knust/Sabine Knust Matthias Kunz, Munich. €900 each. Per Kirkeby, Untitled (2012) Monotypes, 220 x 125 cm. Printed by Niels Borch

Jensen, Copenhagen. Published by Galerie Sabine Knust/Sabine Knust Matthias Kunz, Munich. Exhibitions of Note €28.000 each. For complete listings of current print exhibitions David Marell, suite of nine etchings and worldwide see the Art in Print calendar at www. (2012) artinprint.org. Individual titles: Early Man (detail), Early Man, Plovers on the Mara, Kenya, African Elephant, Adelaide, Australia Elephant Family, Ostrich On The Savanna, Zebras In Lidia Groblicka: Black + White The Evening, Cape Buffalo, and Wildebeast Migration. Hunt Slonem, Fratillery (2012), monoprint. Suite of nine etching and aquatints, image 5 x 7 Art Gallery of South Australia inches, paper 11 x 14 3/4 inches each. Printed and published by VanDeb Editions, New York. $3,600 for Individual titles: Underground, Earth, and Sky Through 9 December 2012 suite of nine, or $450 each. Jacquard tapestries, 113 x 75 inches each. Editions of www.artgallery.sa.gov.au 10. Published by Magnolia Editions, Oakland. Curated by Julie Robinson and Elspeth Pitt, this exhibition features sixty years of work by the T.L. Solien, Lander (2012) Polish-born artist Lidia Groblicka, who migrated to Lithography, intaglio, relief, and collage, 21 x 24 5/8 Australia in 1965. Included are her early relief prints inches. Edition of 30. Printed by Bruce Crownover, which diverged from the Social Realism of post-war Jason Ruhl, and Andy Rubin at Tandem Press, Poland, her figurative works made in London and published by Tandem Press, Madison. $2,000. Adelaide which display references to Polish folk art and textile design, and her late works which merge pattern and political satire in quixotic combination.

Boston, MA The Allure of Japan Through 31 December 2012 Museum of Fine Arts www.mfa.org A fascination for all things Japanese swept the David Marell, African Elephant (2012), etching United States in the period around 1900. An influx of and aquatint. Japanese goods and emissaries into America sparked a wave of interest in a foreign culture once seen as impossibly remote. Artists and collectors gathered Jonathan Meese, six linocuts (2012) Japanese objects, studied Japanese traditions, and MEINE FLATRATE-KAULEISTE juckt WIE integrated Japanese styles and techniques into HARTMUTSHAARMUS, IK mi nit on!; WIR haben their own work. The Allure of Japan celebrates DAS EI INITIEIERT im NAMEN von ROHREIFRATZ; this cultural moment with a rich display of rarely GRINS’ DOCH nicht so KULTURELL, sieh’ Fu bläh’!; exhibited American prints, posters, watercolors, and DOKTOR ALLPORN’S neue HITSINGLE: IT’S my decorative arts complemented by a selection from SCHEISS. (Das musste ‘mal raus.); AUGENWEIDI T.L. Solien, Lander (2012), lithography, intaglio, DICK, kannst mich auch DICK-O-MENTE nennen.; relief and collage. Art in Print September – October 2012 47 New Editions: clockwise from above left: Jonathan Meese, MEINE FLATRATE-KAULEISTE juckt WIE HARTMUTSHAARMUS, IK mi nit on! (2012), linocut; Sean Slemon, Lines of Independence (2012); Kiki Smith, Earth (2012), jacquard tapestry; Gert and Uwe Tobias, Untitled (2012), three lithographs; Per Kirkeby, from the untitled series (2012); Rico Gatson, Hyphens in the Road, acrylic and cotton on linen (2012); Sarah Graham, Salvazana Imperialis (2012), color lithograph; Allyson Strafella, Spell (2012), pigmented cotton and abaca.

48 Art in Print September – October 2012 the Museum’s renowned Japanese collections. Boston, MA Manet in Black Through 28 October 2012 Museum of Fine Arts www.mfa.org This exhibition celebrates Manet’s achievements as a printmaker and draftsman. Baudelaire described black as the color of the nineteenth century, and Manet was its master. The 50 prints and drawings on view are drawn primarily from the MFA’s collection and span a variety of Manet’s subjects, techniques and styles as well as related works by Rembrandt and Degas.

Chicago, il Druckworks: 40 Years of Books and Projects by Johanna Drucker Through 7 November 2012 www.colum.edu/Academics/Interarts/events/ In Boston: Edouard Manet, detail of The Races (1866–72), lithograph. exhibitions/ Center for Book and Paper Arts, Columbia College Art theorist, historian, critic, and artist Johanna Drucker shaped the field of artists’ books and poetics with her important essays and her volume Des Moines, IA Foort W rth, TX The Century of Artists’ Books. This survey of her work Hornets’ Nest: on Paper Ruth Asawa: Organic Meditations features over 65 artist’s books, illustrations, prints, Through 23 September 2012 Through 14 October and projects. Des Moines Art Center Amon Carter Museum of American Art www.desmoinesartcenter.org www.cartermuseum.org Chicago, il This exhibition draws its title from Arthur Deshaies’ In the 50s and 60s San Francisco artist Ruth Recent Acquisitions of Contemporary relief engraving and includes 27 works on paper from Asawa’s (b. 1926) crocheted wire sculptures earned Japanese Art the Des Moines Art Center’s Permanent Collections. critical acclaim and a fellowship to the Tamarind Through 28 October 2012 It examines how printmakers sympathetic to the Lithography Workshop in Los Angeles in 1965. Art Institute of Chicago aims of Abstract Expressionism employed new There she created a series of prints based on themes www.artic.edu graphic equivalents and a new spontaneity to cut in nature. Bringing together significant acquisitions from the blocks, engrave plates, and draw on stones. last two years, this exhibition showcases works of contemporary Japanese art, including prints by Detroit, MI artists such as Yoshida Ayomi (born 1958). Picasso and Matisse: The DIA’s Prints and Drawings Cleveland, OH Through 6 Jan 2013 Modern Gothic: The Etchings of Detroit Institute of Arts John Taylor Arms www.dia.org Through 30 September 2012 This exhibition, which features almost all of the The Cleveland Museum of Art works by Picasso and Matisse in the museum’s www.clevelandart.org prints and drawings collections, tells the story of John Taylor Arms (1887–1953) was trained as an the artists’ stylistic progression and artistic range architect, and he spent the majority of his 50-year through more than 100 prints and drawings. career documenting Europe’s Gothic churches Highlights include Matisse’s famous series Jazz and which he believed represented “the most significant Picasso’s etchings for the Dream and Lie of Franco, expression of man’s aspirations.” as well as many linoleum cuts by both artists.

In Fort Worth: Ruth Asawa, Desert Plant (1965), lithograph.

Johannesburg, South Africa AMANDLA! Through 30 September 2012 David Krut Projects www.davidkrutprojects.com Senzo Shabangu’s second solo exhibition consists of linocuts and monotypes created while the artist was in residence at David Krut Print Workshop. Most of these works were editioned by the artist and explore themes of power and the city.

London, UK : The Portfolios Through 16 September 2012 Dulwich Picture Gallery www.dulwichpicturegallery.org.uk This exhibition will feature some of Warhol’s most iconic print portfolios as well as lesser known sets. Portfolios on display will include the the Muhammad Ali Portfolio and the Myths Portfolio produced six years before the artist’s death in 1987.

In Johannesburg: Senzo Shabangu, From the City of Gold (2012), linocut.

Art in Print September – October 2012 49 has explored the immediate and tactile process of lithographic monoprints employing both silk screening and collage. His most recent series, The Dog, reflects on Goya’s Black Paintings and the uncertainty of figure and of ground.

Los Angeles, CA Zarina—Paper Like Skin 30 September - 30 December 2012 Grunwald Center for the Graphic Arts, UCLA, Hammer Museum www.hammer.ucla.edu The first retrospective of printmaker and sculptor Zarina, this exhibition features approximately 60 works dating from 1961 to the present, ranging from woodcuts to three-dimensional casts in paper pulp. Zarina Hashmi was born in Aligarh, India, in 1937 In London: “Robert Motherwell: Prints from the and has lived and worked in New York for the past Artist’s Studio,” through October 6. Above: Robert 35 years. Her work revolves around themes of home, Motherwell, Summer Sign (1990), carborundum dispossession and exile. print. The MIA recently acquired a fine impression of Middletown, CT Dürer’s Melencolia, arguably the greatest engraving Andrew Raftery: Open House ever made. This exhibition is an in-depth look at the 14 September - 9 December 2012 making and meaning of the work. Davison Art Center, Wesleyan Universiy www.wesleyan.edu/dac/ Minneapolis, MN In Los Angeles: Dennis Hollingsworth, The Dog #2 Raftery’s Open House engravings represent a from the series Monads (1998), monoprint. L’Estampe originale: A Celebrated Album of sequence of moments during a real estate open Original Printmaking, 1893-95 house. Impeccably produced and rich with narrative Through 9 September 2012 detail, the series brings into the 21st century the Minneapolis Institute of Arts idea of the engraved narrative cycle made famous by www.artsmia.org L ondon, UK works like Hogarth’s Rake’s Progress. Between 1893 and 1895, French publisher André Renaissance to Goya: Prints and Drawings Marty commissioned artists to produce original from Spain Minneapolis, MN prints for his serial portfolio L’Estampe originale 20 September 2012 - 6 January 2013 Five Beauties Rising: New Works by Willie Cole (The Original Print). Among the contributors were British Museum 14 September—13 October 2012 Maurice Denis, Pierre Bonnard, Eugène Grasset, www.britishmuseum.org Highpoint Center for Printmaking Félix Bracquemond, Henri de Toulouse-Lautrec, Drawn from the British Museum collection, www.highpointprintmaking.org Jules Chéret, Camille Pissarro, Odilon Redon, this exhibition brings together for the first time The tall and narrow ironing boards of Willie Cole’s Eugène Carrière, and many others. Marty’s project important prints and drawings by artists working new prints are each titled with a female name printed marks a confluence of contemporary trends and in Spain from the mid-sixteenth to the nineteenth in relief at the lower edge: Ida Mae, Lula Bell, Rose, theories on art, from and Japonisme century. The exhibition offers new insights into Bessie, Lucy, and Clara Esther. Like much of Cole’s to the philosophical concerns of the Symbolists and the visual culture and history of Spain, whose work, the images allude to the labor of women, of Nabis. graphic arts are less well known that those of domestic servants, and of African Americans in the Italy and France. The exhibition will consider the South. reasons behind the misapprehension that Spanish Minneapolis, MN artists were not interested in drawing, and will Lively Edo demonstrate the distinctive character of Spanish art. Minneapolis, MN Through 28 October 2012 Focus on a Masterpiece: Albrecht Dürer’s Minneapolis Institute of Arts Melencolia www.artsmia.org London, UK Through 11 November 2012 The prints in this exhibition, designed by three Gerald Laing—Prints and Multiples: Minneapolis Institute of Arts popular artists active between the late 18th century Then and Now www.artsmia.org and the mid-19th, show crowds, street life, and 16 October - 8 November 2012 Sims Reed Gallery www.gallery.simsreed.com Laing produced some of the most significant works of British Pop art in the 60s with his screenprinted bikini girls, astronauts, and dragsters. For the first time, these early works will be exhibited alongside more recent works in which he explored contemporary subjects such as .

London, UK Robert Motherwell: Prints from the Artist’s Studio 12 September—6 October 2012 Bernard Jacobson Gallery www.jacobsongallery.com/ Robert Motherwell was one of the few Abstract Expressionist painters to produce a significant body of prints. This show surveys prints made in Motherwell’s own studio.

Los Angeles, CA Monads—Monoprints and lithographs by Dennis Hollingsworth 22 September - 10 December 2012 Cirrus Gallery www.cirrusgallery.com In 1998, Dennis Hollingsworth created a series In London: “Gerald Laing—Prints and Multiples,” through 8 November. Above: Brigitte Bardot (1968), of three lithographs called Hearts and Minds. He screenprint. 50 Art in Print September – October 2012 http://deyoung.famsf.org 2012 marks the 50th anniversary of Crown Point Press, founded by Kathan Brown in 1962. made his first print there, the landmark Keith, 10 years later, initiating a long relationship with the Press. This exhibition celebrates their prolific engagement.

San Francisco, CA The New Century Through 20 October 2012 Crown Point Press www.crownpoint.com Crown Point Press celebrates their 50th year anniversary with an exhibition highlighting 18 artists who began working with the printshop in the last 12 years. Included are etchings by Tomma Abts, Darren Almond, Mamma Andersson, Anne Appleby, John Chiara, Peter Doig, Pia Fries, Julie Mehretu, Susan Middleton, Dorothy Napangardi, Jockum Nordström, Chris Ofili, Laura Owens, Laurie Reid, Wilson Shieh, Amy Sillman, Fred Wilson, and two new print releases by Shahzia Sikander.

San Francisco, CA Fall Collection Through 27 October 2012 Aurobora In New York: “The Master Printer and the Collaborative Process,” through 13 October. www.aurobora.com Above: Kiki Smith, My Blue Lake (1995), etching and photogravure. Featuring new works on paper by Claire Sherman and Michelle Blade along with Andrew Schoultz, Jay seasonal activities in the vibrant city of Edo. Davis, Liat Yossifor and Wesley Kimler. accomplishments over its distinguished forty-year New York, NY history. The illustrated catalogue features an essay Seattle, WA The Master Printer and the Collaborative Process: by Philadelphia native and noted contemporary Annie Bissett: Loaded Conversations from the Print Studio print scholar Ruth Fine. Through 27 October 2012 Through 13 October 2012 Cullom Gallery IPCNY Philadelphia, PA www.cullomgallery.com www.ipcny.org Katie Baldwin: There Are Two Stories Here 14 color woodcuts explore the magic, the promise, This exhibition consists of ten projects with 14 September–17 November 2012 the curse, and the language of money. master printer Craig Zammiello and contemporary The Print Center artists Mel Bochner, Carroll Dunham, Ellen www.printcenter.org Tel Aviv Gallagher, January Hammond, Suzanne Philadelphia artist Katie Baldwin will be exhibiting Encounters in ’s Space McClelland, Chris Ofili, Elizabeth Peyton, a suite of new works utilizing mokuhanga, a Through 10 November 2012 Matthew Ritchie, Kiki Smith, and Terry Winters. traditional Japanese woodcut process. Tel Aviv Museum of Art www.tamuseum.com Northampton, MA San Francisco, CA This exhibition brings together number of Munch Mapping Pattern: Victoria Burge and Chuck Close and Crown Point Press: prints alongside contemporary echoes of Munch’s Louise Kohrman Prints and Processes concerns and visual strategies—including prints by Through 30 September 2012 Through 14 October 2012 Orit Hofshi, Michal Heiman, and Shai Zurim. A.P.E. Ltd. Gallery www.apearts.org This exhibition explores themes of patterned repetition, mapping and structures, detail and obsessive use of pattern, and multiplicity. Both artists work with printmaking techniques, the multiple and serial formats.

Philadelphia, PA Color Motion: Edna Andrade Print Retrospective 14 September–17 November 2012 The Print Center www.printcenter.org The first print retrospective of the Philadelphia- based Op artist Edna Andrade (1917-2008), this show will include more that two dozen prints created in the 60s, 70s, and 80s. An accompanying publication is available.

Philadelphia, PA Full Spectrum: Prints from the Brandywine Workshop Through 25 November 2012 Philadelphia Museum of Art, Philadelphia, PA www.philamuseum.org In 2009, the Brandywine Workshop donated one hundred prints by eighty-nine artists to the Museum in memory of the Museum’s late director Anne d’Harnoncourt. Full Spectrum celebrates In Minneapolis: “Lively Edo,” through 28 October. Above Utagawa Hiroshige, Tagawaya in Front of this generous gift as well as the workshop’s Daionji Temple (1835–42), woodblock print. Art in Print September – October 2012 51 Upcoming Auctions

Bonhams: Modern Prints 19 September 2012 Bonhams, Knightsbridge, London

Sotheby’s: Old Master, Modern & Contemporary Prints 19 September 2012 Sotheby’s London

Christie’s: Prints 19 September 2012 Christie’s, King Street, London

Christie’s: Prints 20 September 2012 Christie’s, South Kensington, London

Swann—19th & 20th Century Prints & Drawings 20 September 2012 Swann Auction Galleries, New York, NY

Swann—Art, Press & Illustrated Books 11 October 2012 Swann Auction Galleries, New York, NY

Swann—Aldine Imprints & Early Printed Books In Tel Aviv, “Encounters in Edvard Munch’s Space,” through 10 November. 23 October 2012 Above: Edvard Munch, Vampire II (1895-1902), lithograph. Swann Auction Galleries, New York, NY

Phillips de Pury—Editions 29 October 2012 £45.00 hardback, £25.00 paperback. Phillips de Pury, New York NY Waterville, ME Remarkably, this book is one of the first to survey Alex Katz: Maine/New York the general history of graphic arts in Spain. Covering Swann—Old Master through Modern Prints Through 30 December 2012 more than two hundred years of Spanish art, it aims 31 October 2012 Colby Museum of Art to show both the artists’ independence from the rest Swann Auction Galleries, New York, NY www.colby.edu/academics_cs/museum of Europe and the regional difference within Spain. Curated by Carter Ratcliff this exhibition focuses on Key works by Berruguete, the Carducho brothers, Swann—Rare & Important Travel Posters the paired perspectives of Katz’s longtime milieus— Murillo, Ribera, and Zurbarán are included, as well 8 November 2012 New York City and Maine. It is drawn from the as extraordinary drawings by Velázquez. According Swann Auction Galleries, New York, NY holdings of the Colby College Museum of Art, the to the museum, the book will feature “over 150 collection of the artist, and selected loans. illustrations from the British Museum’s collection, one of the finest outside Spain, last shown in the New Online 1970s and never before catalogued, alongside key Worcester, MA works from institutions across Spain including the Pilgrimage to Hokusai’s Waterfalls Blog Meets Blog: “Ink“ Talks to Printeresting Museo del Prado.” Its publication coincides with a Through 1 November 2012 The newest edition of Sarah Kirk Hanley’s column major exhibition at the British Museum, which will Worcester Art Museum “Ink” on the PBS Art21 blog features an interview run from 20 September to 5 January. www.worcesterart.org with Printeresting’s founders Amze Emmons, Jason The 1830s were a “golden decade” for the Japanese Urban, and R.L. Tillman. Like Hanley, the three painter and woodblock artist Katsushika Hokusai are alumni of the printmaking (1760-1849), best known for the Great Wave from his Thirty-Six Views of Mount Fuji (ca. 1830-32). Many scholars argue that A Tour of Waterfalls in the Provinces (ca. 1833), a set of eight prints in which Hokusai pioneered inventive ways to depict cascading water, more fully exemplifies his artistic genius and reverence for animistic Shinto and esoteric Buddhist beliefs.

Books of Note

Maurizio Cattelan: Grafiche e Multipli/ Graphics and Multiples By Vittorio Peruzzi 112 pages, with illustrations Published by Vittorio Peruzzi (distributed by La Feltrinelli), June 2012. €29. This is the first catalogue of prints and multiples by Maurizio Cattelan, drawn from the Peruzzi Collection. In Italian and English.

Renaissance to Goya: Prints and Drawings from Spain By Mark McDonald 320 pp, 200 illustrations Published by Lund Humphries in association In San Francisco: “Chuck Close and Crown Point Press,” through 14 October. with the British Museum, October 2012. Above: Chuck Close, Trial proof for Keith (1972) and working proof for Keith (1972), mezzotint. 52 Art in Print September – October 2012 New Appointment for Martha Tedeschi Print curator Martha Tedeschi has been appointed to the new post of Deputy Director for Art and Research at the Art Institute of Chicago. Currently the Prince Trust Curator in the Department of Prints and Drawings, Tedeschi has been with the museum for thirty years. She received her B.A. from Brown University, her M.A. from the University of Michigan, and her Ph.D. from Northwestern University. A specialist in 19th-century British and American prints and drawings, she served as general editor and co-author of the two-volume catalogue raisonné The Lithographs of James McNeill Whistler (1998). She is also the current President of the Print Council of America (2009-2013) and a 2012 Fellow of the Center for Curatorial Leadership. In her new administrative position, Tedeschi will be responsible for the departments described as most closely related to research and scholarship— Conservation, Publications, and Libraries. Tedeschi will be involved with the museum’s eleven curatorial departments, with long-range strategic planning and with the digital publishing of the permanent collection. Martha Tedeschi, new Director for Art and Research at the Art Institute of Chicago. Photo: Art Institute of Barton Lidice Benes Dies at 69 Chicago. Barton Lidice Benes, a mixed-media artist who frequently worked with and in print died 30 May at the age of 69. Benes was known for his program, whose 20th-century allure under Mauricio incorporation of everyday detritus in his work, Lasansky seems to have survived against all odds. frequently in playfully decorative ways, even when Their co-authored responses to Hanley’s questions that detritus spoke of death and disaster. Usually convey the quirky, heterogeneous sensibility that modest in scale and intimate in demeanor, his has made Printeresting.org consistently intriguing. early work evoked both Joseph Cornell and Pop Wildwood Press http://blog.art21.org/2012/08/03/ink-seriously- art. His art became controversial when, in response printeresting-an-interview-with-the-founders/. to the AIDS crisis, Benes began using pills, blood, and cremated remains in his work, and galleries evbaeyer-cabinet, Online Exhibitions refused to exhibit them. Benes has left the contents Jane Hammond evbaeyer-Cabinet is an exhibition platform of his New York apartment, which was filled with associated with the London-based art dealer mementi mori such as a blackened human toe, an Natural Curiosities Emanuel von Baeyer. Each exhibition features a hourglass holding the ashes of two of Mr. Benes’s curated selection of 6-18 works from the gallery, friends, religious relics, tribal masks and a gall stone 2010 which specializes in fine European drawings, rare removed from the actor Larry Hagman (a friend prints, and selected paintings from the 15th to the of the artist), to the North Dakota Museum of Art 19th centuries. Combining Evbaeyer’s specialization in Grand Forks, which was one of the few venues wildwoodpress.us with an interest in Modern and Contemporary brave enough to show his AIDS-related work in artnet.com artworks, recent exhibitions include: “Eduardo the 1990s. The museum plans to build a replica of Paolozzi: Probedrucke aus München,” “Wiebke the apartment and to place the artists ashes in a Loeper: Photography,” and “Four Unusual Summer pillowcase on the bed, as he requested. Guests—Moldovan, Morell, Steinmetz, Griebler.” www. evbaeyer-cabinet.com.

Annex Galleries, Online Exhibition Series— “The Treasure Hunt” “The Treasure Hunt” is an ongoing exhibition project hosted by the Annex Galleries in San Francisco. “The Treasure Hunt” was launched in June 2012 and recently launched its fifth installment. Each exhibition features 25 prints from their inventory and is curated under themes such as American color woodcuts, architecture, and women printmakers. The strength of the project lies within its exploratory pairing of well-known prints with the unexpected. http://annexgalleries.wordpress.com

Other News

Printed Matter Announces Artist Awards Printed Matter has announced the winners of their 4th annual Awards For Artists. The award is meant, “to offer both a bit of financial support and a bit of confidence for artists doing exemplary work in the field.” The five winners—Agnes Prammer, Christopher Schulz, Micki Watanabe Spiller, Beriah Please submit announcements of Wall and Ofer Wolberger—received prizes of $2,000 exhibitions, publications and each. They were selected by AA Bronson, Chrysanne other events to Stathacos and David Horvitz from the pool of candidates nominated by twenty peer artists. The [email protected]. award is made possible by the support of Sikkema Jenkins Co. and Thea Westreich & Ethan Wagner. Art in Print September – October 2012 53 Know That You Are Lucky TABLE OF CONTENTS a memoir by Kathan Brown 1. INTRODUCTION: Hold on Lightly • 7

2. THE FAMILY STORY: Go as Far as You Can See • 13

3. JOHN CAGE: No Dawdling • 21

4. THE FIFTIES AND SIXTIES: Do It Right • 33

5. : Do It Well • 45

6. THE EARLY SEVENTIES: Put One Foot in Front of the Other • 53

7. PAT STEIR AND AGNES MARTIN: No Pretensions • 71

8. TOM MARIONI: Know Where You Are and What Is Going On • 85

9. THE MIDDLE SEVENTIES: Construct a Life • 95

10. THE LATE SEVENTIES: Attempt What Is Not Certain • 109

11. CROSSING INTO THE EIGHTIES: Escape Now and Again • 125 12. THE EARLY EIGHTIES: Don’t Try It Alone • 139 13. RICHARD DIEBENKORN: Search for Something Else • 157

OCTOBER 2012 14. THE MIDDLE EIGHTIES: Tell the Truth • 171 CROWNPOINT.COM 15. THE EARTHQUAKE: Know That You Are Lucky • 189 16. THE BUILDING: Beware Delusions of Grandeur • 216

AMAZON.COM 17. THE NINETIES: Make Sense of What You Are Doing • 233

18. AND ED RUSCHA: Do the Things You Want to Do • 267

19. THE NEW CENTURY: Keep Searching for What You Need to Know • 277

20. SOL LEWITT: Leap to Conclusions That Logic Cannot Reach • 309

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54 Art in Print September – October 2012 Dieter r oth Prints

Diane Villani eDitions at the iFPDa Print Fair

november 1 – 4, 2012

SUrTSeY, 1973/74 Portfolio of 18 images collotype printing (1-8 colours) on white paper on cardboard 19 5/8 x 25 5/8 inches ed: 70 In cooperation with Hauser & Wirth Gallery Ltd.

285 lafayette street 212.925.1075 www.villanieditions.com new york ny 10012 [email protected]

27.-30.9.2012

Register at www.snap2012.de

International Bentlage Printmaking

Symposium Rheine Germany

Is printmaking a dying medium or an upcoming subject of renaissance ?

Art in Print September – October 2012 55 The Master Printer and the Collaborative Process: Conversations from the Print Studio

September 8–October 13, 2012 Opening Reception: September 13, 6–8pm An exhibition featuring projects made at Two Palms and ULAE by master printer Craig Zammiello in collaboration with ten contemporary artists: Mel Bochner, Carroll Dunham, Ellen Gallagher, Jane Hammond, Suzanne McClelland, Chris Ofili, Elizabeth Peyton, Kiki Smith, Matthew Ritchie, and Terry Winters.

New Prints 2012/Autumn

October 20–November 17, 2012 Print Week Opening Reception: October 30, 6–8pm Extended hours during Print Week!

Jane Hammond, Tabula Rosa, 2001. Pigmented inkjet print on handmade Japanese paper, 75.5 x 30.25 inches. Edition of 43. Printed by Craig Zammiello, Brian Berry and Vanessa Viola. Published by Universal Limited Art Editions. © Jane Hammond/Universal Limited Art Editions, 2001

International Print Center New York 508 West 26th Street 5th Floor NYC 10001 212-989-5090 • www.ipcny.org • Tues-Sat, 11-6

56 ArtArt in Printin Print ad.indd September 1 – October 2012 8/9/12 3:01 PM Contributors to this Issue E MANUEL V O N BAEYER CABINET

Julia Beaumont-Jones manages the Prints and Drawings Rooms, Tate Britain, London, specialising in works on paper. In addition to the bequest of JMW Turner, and works by William Blake and the Pre-Raphaelites, the Print Rooms hold modern and contemporary British and international prints, including substantial gifts from Curwen Studio, Kelpra Studio and Tyler Graphics, and also feature the work of Stanley William Hayter. Emanuel von Baeyer London Julie Bernatz is the Associate Publisher of Art in Print. She received her MFA in is pleased to announce Printmedia from the Art Institute of Chicago in 2010. Prior to this she was the the redesigned website dedicated director of production for a range of print and digital publishing endeavors in New to multiple online exhibitions York, San Francisco and Los Angeles. www.evbaeyer-cabinet.com

Liza Folman is Professor of Fine Arts at The Art Institute of Boston at Lesley University. She received her BFA from SUNY Buffalo and MFA from Boston University. Folman was awarded a Fulbright Fellowship to study with S.W. Hayter at Atelier 17 in Paris. She has had residencies at the MacDowell Colony and MICA’s Rochefort-en-Terre Artist’s Residency Program in Brittany. Her work has been exhibited nationally and abroad, and is in several public and private collections, including the Museum of Fine Arts in Boston, the De Cordova Museum, the Boston Public Library and the Bibliothèque Nationale in Paris.

Amelia Ishmael is the Associate Editor of Art in Print. Her recent projects include writing the monthly column “Transmissions” for Art21.com, co-editing the Black Metal theory journal Helvete, and curating the traveling exhibition “Black Thorns in the White Cube.” She received a BFA in Photography and New Media from the Kansas City Art Institute and an MA in Modern Art History, Theory, and Criticism from the School of the Art Institute of Chicago.

Mark Pascale has been active in the Chicago art world for more than thirty years, as a lithographer, curator, researcher, and teacher. Currently, he is Curator in the Department of Prints and Drawings at The Art Institute of Chicago and Adjunct Professor of Printmedia, School of the Art Institute. His exhibitions and Kiki Smith: Born, 2002 publications include the catalogues Contemporary Drawings from the Irving Stenn Lithograph in color printed on Arches paper

Jr. Collection, Marks from the Matrix: Normal Editions Workshop, Right to Print and Edition size of 28. Signed and numbered 13/28. Jasper Johns: Gray. Currently, he is working on a retrospective exhibition focused on Printed and published by ULAE. the prints and drawings of Martin Puryear. Kornelia Tamm Fine Arts www.tammfinearts.com [email protected] | 845.489.2000 Andrew Raftery is an engraver and print scholar. As Professor of Printmaking at Rhode Island School of Design, he often collaborates with the RISD Museum on exhibitions and educational programs, recently as consulting curator for The Brilliant Line: The Journey of the Early Modern Engraver at the RISD Museum and the Block Museum at Northwestern University.

Ann Shafer is the Associate Curator of Prints, Drawings & Photographs at The Baltimore Museum of Art. She received her BA from The College of Wooster, her MA from Williams College, and has worked at the Whitney Museum of American Art, the Williams College Museum of Art, and the . She has curated the exhibitions “Front Room: Jim Dine and Taking in the View: English Drawings and Prints,” both in 2008, “On the Mark: Contemporary Works on Paper Get the Latest News on the in 2010,” and the annual Baker Artist Awards in 2011 and 2012. She also organized the 2012 Baltimore Contemporary Print Fair. Art in Print Members’ Site.

Updated daily with reports on Courtney R. Thompson is an arts professional recently transplanted to Win- nipeg, Manitoba. She has contributed to Artslant Chicago and previously worked at new print editions, new book the Art Institute and School of the Art Institute of Chicago. publications, and print events from around the world. 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 Go to www.artinprint.org contemporary art. to subscribe now.

Art in Print September – October 2012 57 Back Issues of Art in Print

Volume 1 Volume 1 Volume 1 Number 1 Number 2 Number 3

In This Issue In This Issue In This Issue Susan Tallman / On Art in Print Susan Tallman / On Substance Susan Tallman / On the Corner Paul Coldwell / Christiane Baumgartner Between States Catherine Bindman / Odilon Redon: Prince of Dreams Gill Saunders / Street Art: Prints and Precedents Deborah Wye (interview) / Embracing the Whole Story: (1840–1916) Charles Schultz / A Matrix You Can Move In: Thirty-One Years at the Museum of Modern Art Susan Tallman / Dreaming in Company: Redon and Bresdin Prints and Installation Art Adam Lowe / Messing About With Masterpieces: Andrew Raftery / Drawing and its Double: Selections from the Heather Hess / Changing Impressions: New Work by Giambattista Piranesi Istituto Nazionale per la Grafica, Rome Wiener Werkstätte Prints and Textiles Suzanne Karr Schmidt / Printed Bodies and the Susan Tallman / Jane Kent and Richard Ford Go Skating Jay Clarke / The Politics of Geography and Process: Materiality of Early Modern Prints John Ganz / Sturm and Drang on 53rd St. Impressions from South Africa, 1965 to Now Book Reviews Kristyna Comer / Christopher Cozier and Printmaking: Book Reviews Investigating the In-Between Charles Schultz / Nicola López: Structural Detours Book Reviews

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In This Issue In This Issue In This Issue Susan Tallman / On Partisanship Susan Tallman / On Plenty Susan Tallman / On Anarchy Getting the Joke: Historical Satire in Print New Editions / 50 Reviews A – Z Sarah Kirk Hanley / Visual Culture of the Nacirema: Constance C. McPhee / How Napoleon Became Katrina Andry • Polly Apfelbaum • Ida Applebroog • Birk & Pignolet Enrique Chagoya’s Printed Codices an Emblem • Chakaia Booker • Enrique Chagoya • Robert Cottingham • David Ensminger / The Allure of the Instant: Nadine M. Orenstein / Two Mysteries—One Solved Dorothy Cross • Amy Cutler • Richard Deacon • Carroll Dunham • Postscripts from the Fading Age of Xerography Kristina Volke / Serving the Cat: Traditional Woodcut R.M. Fischer • Tony Fitzpatrick • Mark Francis • Anne-Karn Furunes Catherine Bindman / Looking Back at Looking Back: Printing in Modern Vietnamese Society • Frank Gehry • Adriane Herman • Daniel Heyman • Carsten Höller Collecting German Romantic Prints Jill Bugajski / Artful Coercion: The Aesthetic Extremes • Jasper Johns • Jacob Kassay • Kakyoung Lee • Christian Marclay • M. Brian Tichenor & Raun Thorp of Stencil in Wartime Chris Martin • Josiah McElheny • Julie Mehretu • Annette Messager • Proof: The Rise of Printmaking in Southern California Charles Schultz / Sigmar Polke: Photoworks 1964–2000 Dave Muller • Chunwoo Nam • Enoc Pérez • David Shapiro • Susan Tallman / IPCNY New Prints 2011 / Autumn Book Reviews Stan Shellabarger • Kiki Smith • Bob & Roberta Smith • Tom Spleth Sarah Andress / Annesas Appel • Superimpose portfolio • Wayne Thiebaud • Carolyn Thompson • Book Reviews Rirkrit Tiravanija • Diane Victor • Rachel Whiteread • Terry Winters News of the Print World • Karl Wirsum • Jonas Wood • Richard Woods • Zachary Wollard • Annual Directory Witho Worms • Anton Würth Book Reviews

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Art in Print September – October 2012 59 ifpda printfair 201 2

The International Art Fair for Fine Prints and Editions Old Master to Contemporary

November 1 – 4 Park Avenue Armory, New York

Opening Night Preview Wednesday, October 31 TICkETs: $75. Proceeds benefit the IFPDA Foundation

Collectors & Curators Breakfast Thursday, November 1, 11 am sponsored by Chubb Insurance and Masters Coverage Corp. Register at printfair.com

Announcing The Champion & Partners Acquisition Prize in honour of Richard Hamilton

Information www.printfair.com Group Arrangements: 212.674.6095 Book accommodations at www.turontravel.com

Presented by The International Fine Print Dealers Association www.ifpda.org

show managed by sanford L. smith & Associates, Ltd.

Art in Print_Sept_2012_bleed.indd 1 9/10/12 10:38 AM ifpda printfair 201 2

The International Art Fair for Fine Prints and Editions Old Master to Contemporary

November 1 – 4 Park Avenue Armory, New York

Opening Night Preview Wednesday, October 31 TICkETs: $75. Proceeds benefit the IFPDA Foundation

Collectors & Curators Breakfast Thursday, November 1, 11 am sponsored by Chubb Insurance and Masters Coverage Corp. Register at printfair.com

Announcing The Champion & Partners Acquisition Prize in honour of Richard Hamilton

Information www.printfair.com Group Arrangements: 212.674.6095 Rembrandt van Rijn, Woman Sitting Half-Dressed by a Stove (detail), etching, drypoint & engraving, 1658. Estimate $60,000 to $90,000. Book accommodations at www.turontravel.com At AuCtION Presented by The International Fine Print Dealers Association www.ifpda.org Old Master Through Modern Prints show managed by sanford L. smith & Associates, Ltd. OCtObER 31

Specialist: Todd Weyman • [email protected]

Visit our website for catalogues, previews and auction times 104 East 25th St, New York, NY 10010 • tel 212 254 4710 SWANNGALLERIES.COM

Art in Print_Sept_2012_bleed.indd 1 9/10/12 10:38 AM 0407_ArtInPrint_Sept-Oct2012.indd 1 8/20/12 5:31 PM Upcoming Issues of Art in Print

“Images of Substance: Material Considerations in Early European Prints” November – December 2012

New Editions 2012 January – February 2013

Art in Print is grateful to The Samuel H. Kress Foundation for its generous support of the November – December issue.

We are currently accepting submissions and advertising for these issues. Please contact us at [email protected] for more information.

Image credits: Albrecht Dürer, detail of Rhinoceros (1515), chiaroscuro woodcut; Nicole Eisenman, Contagion (2012), etching and aquatint. Courtesy Harlan & Weaver, New York.