New Editions from Almond to Wright • Sandow Birk • Rashid Johnson • Saya Woolfalk • and More Annual Round-Up • Manet’S One and Only Jeanne • B
Total Page：16
File Type：pdf, Size：1020Kb
US $30 The Global Journal of Prints and Ideas March – April 2019 Volume 8, Number 6 New Editions from Almond to Wright • Sandow Birk • Rashid Johnson • Saya Woolfalk • and more Annual Round-up • Manet’s One and Only Jeanne • B. Wurtz • Brodsky Center’s New Home • Prix de Print • News Bringing in the Ghosts New Work by Jim Hodges Highpoint Editions and the Walker Art Center are delighted to announce the completion of a four-part limited edition set of prints by Jim Hodges. Bringing in the Ghosts, the fourth and fi nal print of the series, is a spectacular seventy-nine color print that suggests the changes that come with the season of fall, which the artist evokes through a multitude of layered materials and colors. Hodges suggests landscape through a rich palette of summer greens, blues and earth tones that fracture, revealing hints of brightly colored metallic foils breaking through the background. To view the entire series visit our website highpointprintmaking.org/editions/jim-hodges. Inquiries: 612 . 871.1326 | [email protected] | highpointprintmaking.org Jim Hodges, Bringing in the Ghosts, 2019, Edition of 28, Seventy-nine color lithograph, screen and pigment print with hand cutting, collage and metallic foils, Image: 43” x 33”, Paper: 43” x 33”. Image credit: David Kern Photography. March – April 2019 In This Issue Volume 8, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Watching the Detectives Associate Publisher New Editions 2019 3 Design Director Reviews A–Z Julie Bernatz New Editions Round-up: 31 Eye to Eye in 2018 Production Editor Kevin Weil Juliet Wilson-Bareau 36 Manet’s One and Only Jeanne... Advertising Manager Lydia Mullin and Guérard’s Later Plate Administrative & Exhibition Review Editorial Assistant Megan N. Liberty 42 Percy Stogdon To Home and Back Again: B. Wurtz at Metro Pictures Manuscript Editor Prudence Crowther Prix de Print, No. 34 44 Juried by Alex Massouras Editor-at-Large The First Time, The Heart Catherine Bindman (First Pulse, 1854; First Flatline, 1870) (2018) by Dario Robleto Interview 46 The Brodsky Center Settles in at PAFA Clint Jukkala and Paola Morsiani speak with Sarah Kirk Hanley News of the Print World 48 On the Cover: William Villalongo, detail of Palimpsest (2017–18), screenprint with laser-cut areas and intaglio collage elements. Printed and published by Graphicstudio Institute for Research in Art, University of South Florida, Tampa. This Page: Enrique Chagoya, detail of Everyone is an Alienígeno (2018), color lithograph with collage. Printed and published by Shark’s Ink, Lyons, CO. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published without the written consent of the publisher. On Watching the Detectives By Susan Tallman his is Art in Print’s eighth annual Chitra Ganesh and Rico Gatson—have TNew Editions issue. The artists who responded with alternative universes Art in Print appear here were selected by nine differ- in which our own cultural hierarchies ent writers, and range from renowned are upended. In a similar way, the fore- Art in Print is a not-for-profit (Jasper Johns, Terry Winters, Francesco grounding of craft and labor in the prints 501(c)(3) corporation, founded Clemente) to emerging (Qiaoyi Shi, of Lisa Anne Auerbach, Amy Cunat, Jacob in 2010. Shivangi Ladha). The youngest is in her Hashimoto and Ikeda Manabu prompts mid-20s, the oldest in her mid-90s. The us to wonder how the ethos of everything Board Members methods and materials they employ are might shift if certain aspects of human similarly wide ranging, from the assert- endeavor were accorded more respect. Julie Bernatz ively high tech (Alex Dodge) to the foun- (A thought that also underlies B. Wurtz’s Catherine Bindman dational (the street-posted woodcuts of exhibition, reviewed in this issue.) Renée Bott A Paper Monument for the Paperless) to All this is evidence of a desire to Nicolas Collins quixotic hybrids of the two (Vanessa “see” things not yet shown. Perhaps this Thomas Cvikota Marsh). Some projects carry five-figure impulse explains the eyes that seem Bel Needles price tags, some are free. Some are as big to erupt in artworks throughout this Robert Ross as walls (Sandow Birk and Elyse Pigno- issue: the anxious eyes in Rashid John- Antoine Rouillé-d’Orfeuil let), many are no bigger than a children’s son’s scrawled faces and Sarah Ball’s Marc Schwartz book. anonymous portraits; the masked eyes Susan Tallman What all of them—abstract or figura- of Lisa Wright’s mysterious figures; the tive, unrestrained or meticulous—share scattered, disembodied eyes in the frag- Editorial Board is rigorous curiosity. mented figures of William Villalongo Richard Axsom There are many reasons for making and Lonnie Holley; the color-coded eyes Jay A. Clarke art, but most artworks fall into one of two in Sara Greenberger Rafferty’s borrowed Paul Coldwell camps: things that are made to say some- gravures. Stephen Coppel thing, and things that are made to figure Appropriately perhaps, given the Faye Hirsch something out. That “something” may be investigative tenor of this issue, the win- Jane Kent formal, or personal, or political, but if the ner of the Prix de Print, selected by Alex- David Kiehl object is a document of discovery, there is ander Massouras, is Dario Robleto’s The Evelyn Lincoln often a lot to look at and think about. If it First Time, The Heart (First Pulse, Flatline) Andrew Raftery was made as a message, there’s little to do (2018), which derives from the earliest Christian Rümelin but read it and walk away. visual recordings of the human heart- Gillian Saunders For every artist in this issue, art is beat, at birth and at death. a space of investigation. Vera Molnar, And in a final flourish of forensic rigor, For further information visit Charles Gaines and Darren Almond use it this issue includes a detective story dat- artinprint.org/about-art-in-print/. to test human perception and the work- ing back to 1882, the year Édouard Manet ings of representation. Stanley Whitney, wrote to a friend suggesting the destruc- Jackie Saccoccio and Victoria Burge chase tion of an etching plate that somehow, a the myriad solutions implicit in seem- dozen years later, was producing post- ingly simple structures. Analia Saban humous editions of the artist’s Jeanne. reconnoiters the array of customary Manet scholar Juliet Wilson-Bareau lays materials and habits. Dana Schutz and out the case and the impact of a recently Dasha Shishkin treat art as a playground discovered proof on our understanding of for unfettered narrative invention. Manet’s oeuvre. The intrusion of political mayhem into Who knows what might happen every aspect of life has provoked many next? artists into desperate and unexpected mashups—as when Sean Scully inserts Susan Tallman is Editor-in-Chief a childish gun amid his poised abstrac- of Art in Print. tions, Enrique Chagoya dispatches ethnic stereotypes by making heads explode, and Teresita Fernández hints at the fire to come. Others—including Saya Woolfalk, 2 Art in Print March – April 2019 EDITION REVIEWS A–Z Darren Almond Amalfi Sketchbook (2018) Portfolio of four photogravures, image 12 1/2 x 10 inches, sheet 23 x 15 inches. Edi- tion of 20. Printed by Courtney Sennish. Published by Crown Point Press, San Fran- cisco, CA. $9500 for the portfolio. Refractive Index I–IV (2018) Series of four color aquatints, image 13 x 10 3/4 inches, sheet 18 3/4 x 16 inches. Edition of 25. Printed by Courtney Sen- nish. Published by Crown Point Press, San Francisco, CA. $3000 each. Refractive Index V (2018) Color aquatint, image 25 3/4 x 21 1/4 inch- es, sheet 34 x 29 inches. Edition 25. Printed by Courtney Sennish. Published by Crown Point Press, San Francisco, CA. $4500 each. Foci I–IV (2018) Four color aquatints, image 15 3/4 x 13 3/4 inches, sheet 21 1/4 x 19 inches. (Foci IV is horizontal so the order of measurements is reversed.) Edition of 15. Printed by Court- ney Sennish. Published by Crown Point Press, San Francisco, CA. $3000 each. arren Almond’s first prints with DCrown Point Press were a revelation of what photogravure could be, not just for viewers, but for the artist: “There’s a different energy breathing through the images than you can get in ordinary photographic printing,” he said. “They feel more sculptural, more like objects.” Darren Almond, #1 from Amalfi Sketchbook (2018). The tension between image and object is something that many artists have fret- photogravures, they were mesmerizing. working by night rather than by day, ted over, of course, but it is particularly Returning to Crown Point after a gap Almond in effect recorded the passage acute for Almond, whose work has been of eight years, Almond has produced two of timelessness. The images were first devoted to parceling the ephemeral (in new sets of work. Amalfi Sketchbook is shown as five-foot-tall Bromide photo- the original sense of time’s unreclaimable another set of photogravures from moon- graphic prints—a presentation rooted passage) into something tangible. The lit photographs, but instead of trekking firmly in the 21st century. The modestly 2010 Crown Point gravures built on the in Uganda, Almond followed the foot- sized gravures, with their sepia-toned body of work for which he is best known: steps of Carl Blechen (1798–1840), a key chine collé grounds, are purposefully night photographs taken in remote loca- figure in German Romanticism, whose more historically ambiguous.