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The Global Journal of Prints and Ideas March – April 2014 Volume 3, Number 6

Artists Against Racism and the War, 1968 • Blacklisted: William Gropper • AIDS Activism and the Geldzahler Portfolio Zarina: Paper and Partition • Social Paper • Hieronymus Cock • Prix de Print • Directory 2014 • ≤100 • News New lithographs by Charles Arnoldi

Jesse (2013). Five-color lithograph, 13 ¾ x 12 inches, edition of 20.

see more new lithographs by Arnoldi at tamarind.unm.edu March – April 2014 In This Issue Volume 3, Number 6

Editor-in-Chief Susan Tallman 2 Susan Tallman On Fierce Barbarians

Associate Publisher Miguel de Baca 4 Julie Bernatz The Geldzahler Portfoio as AIDS Activism

Managing Editor John Murphy 10 Dana Johnson Blacklisted: William Gropper’s Capriccios Makeda Best 15 News Editor Twenty-Five Artists Against Racism Isabella Kendrick and the War, 1968 Manuscript Editor Prudence Crowther Shaurya Kumar 20 Zarina: Paper and Partition

Online Columnist Jessica Cochran & Melissa Potter 25 Sarah Kirk Hanley Papermaking and Social Action

Design Director Prix de Print, No. 4 26 Skip Langer Richard H. Axsom Annu Vertanen: Breathing Touch Editorial Associate Michael Ferut Treasures from the Vault 28 Rowan Bain Ester Hernandez, Sun Mad Reviews Britany Salsbury 30 Programs for the Théâtre de l’Oeuvre Kate McCrickard 33 Hieronymus Cock Aux Quatre Vents Alexandra Onuf 36 Hieronymus Cock: The Renaissance Reconceived Jill Bugajski 40 The Art of Influence: Asian Propaganda Sarah Andress 42 Nicola López: Big Eye Susan Tallman 43 Jane Hammond: Snapshot Odyssey On the Cover: Annu Vertanen, detail of Breathing Touch (2012–13), woodcut on Maru Rojas 44 multiple sheets of machine-made Kozo papers, Peter Blake: Found Art: Eggs Unique image. Printed and published by the artist, Imatra, Finland. Photo: Jussi Tiainen. <100 45 News of the Print World 46 This Page: Nomi Silverman, detail from Living Rough (2013), a portfolio of five litho- International Directory 2014 55 graphs and a title page in a hand-made paper Contributors 66 portfolio. Printed by James Reed/Milestone Graphics, Bridgeport, CT. Co-published by Guide to Back Issues 67 Milestone Graphics and the artist, Glenville, CT. The series “Treasures from the Vault” Art in Print was made possible with the generous 3500 N. Lake Shore Drive support of the IFPDA Foundation. Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. On Fierce Barbarians By Susan Tallman

rints, we are often told, are political screenprint Sun Mad employs the graphic P animals. If knowledge is power, then dynamism of agit-prop posters, but as the distribution of knowledge through Rowan Bain reveals, it is simultaneously printed images is a redistribution of the personal statement of a Chicana art- power, which is what political rebellion ist raised by farmworkers, a Pop parody is all about. Paul Revere’s The Bloody of falsely folksy corporate branding and Massacre, with its perps in uniform and a call to attention on the issue of pesti- victims on the ground, its incendiary cides and human health. The works in couplets, mass-market circulation and the Geldzahler Portfolio, de Baca points impassioned “speaking truth to power,” out, make no overt political arguments; is an archetypal “political print.” Con- their political content exists in elegiac ferences, catalogues and exhibitions representations of loss—both public and have established the form’s contours: a private—and their implicit critique of the repeatable image that aims to expose indifference and homophobia of the sur- an injustice, right a wrong or instigate a rounding society. change of power. (Though Robert Nan- Art is a social agent, and the print teuil’s engraved celebrations of the ancien especially so. The Renaissance print pub- Paul Revere after Henry Pelham, The Bloody régime’s high and mighty are certainly Massacre Perpetrated in King-Street Boston lishing house Aux Quatre Vents, the prints and are clearly political, they are on March 5th 1770 by a Party of the 29th subject of a recent expansive exhibition rarely categorized as political prints.) The Regt. (1770), hand-colored engraving, and catalogue (reviewed here by Kate fact that Revere stole his composition in 11 1/4 x 9 1/2 inches. McCrickard and Alexandra Onuf, respec- its entirety from the artist Henry Pel- tively) was not a political endeavor; it ham, or that the three years following its Unhappy BOSTON! see thy Sons deplore, did not even have a social agenda to the publication actually witnessed a decline Thy hallowe’d Walks besmear’d with extent of the Geldzahler Portfolio. Instead in colonist-redcoat conflict, has done lit- guiltless Gore: it was the heterogeneity and accessibility tle to diminish the print’s standing as an While faithless — and his savage Bands, of its publications that expanded knowl- icon of American liberty. (Its standing as With murd’rous Rancour stretch their edge and experience and changed the art is a different question.) bloody Hands; face of Europe. Suffice it to say, the social This issue of Art in Print looks at mul- Like fierce Barbarians grinning workings of print extend far beyond tiple strategies through which art serves o’er their Prey, what musters under the flag of “the pol- political ends, ranging from purpose- Approve the Carnage, and enjoy the Day. itical print.” built propaganda (the British Muse- The artist William Kentridge put it um’s Art of Influence: Asian Propaganda, this way: “I am interested in a political reviewed by Jill Bugajski), to community art, that is to say an art of ambiguity, reconciliation through papermaking but also its ability to bring home the contradiction, uncompleted gestures and (Jessica Cochrane and Melissa Potter), to bacon: Gropper’s lithographs were sold uncertain endings, an art (and a politics) intimate, subjective responses to political by subscription to supporters at a time in which optimism is kept in check and events (Shaurya Kumar’s case for Zarina’s when all other avenues to making a living nihilism at bay.”3 quiet paperworks as a visceral reaction to were denied him; Twenty-Five Prints and Prints may argue for change or stasis, the partition of India). Geldzahler were designed to raise money or they may simply put things on the table The portfolio as a tool of social change for specific causes. This does not say any- to say, “look—there is this too.” Patriots, is at the core of three articles. William thing in particular about the quality of redcoats and a small confused dog. Gropper’s Capriccios (1953–56), surveyed the work (most art is made to be sold), by John Murphy, is the cri de coeur of a but it indicates a strategic awareness of Susan Tallman is the Editor-in-Chief of blacklisted artist destroyed by the anti- the print as, in Vito Acconci’s words, “an Art in Print. Communist witch-hunt of Senator instrument in the world.”1 Joseph McCarthy. Makeda Best rediscov- The painter Franz Kline once dis- ers Twenty-Five Prints For Artists Against missed printmaking as concerned with Notes: 1. Acconci in interview with Robin White, View 2, Racism and the War, a Boston-based con- “politics and a public… Like the Mexi- nos. 5–6 (October–November 1979): 18. tribution to politico-art events in 1968. cans in the 1930s; printing, multiply- 2. Kline in Thomas B. Hess, “Prints: Where His- Miguel de Baca examines the more gilt- ing, educating. I can’t think about it. I’m tory, Style and Money Meet,” Art News (January 1972), 29. edged Geldzahler Portfolio, produced 30 involved with the private image.”2 These 3. Kentridge in William Kentridge: Drawings for years later in the midst of the AIDS crisis. days we tend to see public and private Projection, Four Animated Films (Johannesburg: All these projects exploited not only the as interpenetrating fields that cannot Goodman Gallery, 1992), np. print’s potential to broadcast a message be so neatly divided. Ester Hernandez’s

2 Art in Print March – April 2014

The Geldzahler Portfolio as AIDS Activism By Miguel de Baca

Fig. 1. Dennis Hopper, Andy Warhol, Henry Geldzahler, David Hockney and Jeff Goodman from “Out of the 60’s” (1997), lithograph, 50 x 75 cm. Harvard Art Museums/Fogg Museum, Margaret Fisher Fund, M23965. Photo courtesy Imaging Department ©President and Fellows of Harvard College.

he Geldzahler Portfolio is a collec- hoods of artists with HIV or AIDS, many of cancer in 1994, was a major figure in T tion of 11 artworks—ten prints and them gay, and therefore an especially mar- the New York art world for nearly three one film-to-video transfer—by prominent ginalized group. In that sense, the Portfo- decades, and his namesake portfolio com- contemporary artists, published in 1998 to lio called greater attention to the fight for memorates both his professional and generate funds for the Estate Project for AIDS awareness and the closely entwined charity work. He was a curator of Ameri- Artists with AIDS, an organization estab- issue of gay liberation. Second, though can Art at the Metropolitan Museum of lished to promote the artwork and legacy there is no overt political content in the Art and a founder of its Department of of artists with AIDS.1 The Estate Project Portfolio, a close study of its constituent Contemporary Arts (later renamed the is resolutely not a political organization, prints reveals allusions to the argot of gay Department of 20th Century Art). In 1977 but dissent is nonetheless at the heart of iconography and HIV/AIDS protest, con- he left the museum for city government, the Geldzahler Portfolio. It can be read as verting otherwise innocuous imagery into assuming the post of New York City Com- an activist gesture in two ways: first, the an engaged social critique.2 missioner of Cultural Affairs. Geldzahler proceeds from its sale promoted the liveli- Henry Geldzahler, who died of liver was a unique figure: he had an affinity for

4 Art in Print March – April 2014 artists and was a friend of the downtown scene—unusual among curators and public officials at the time. During the 1980s he saw many of his artist-colleagues die of AIDS. Openly gay, Geldzahler devoted significant time to the Estate Project, which espoused causes close to his community and his profession.3 Five of the works in the Portfolio are portraits of Geldzahler, either literally or symbolically. Francesco Clemente’s inkjet print offers a linear rendering; Den- nis Hopper’s whimsical photolithograph shows Geldzahler smoking with his bud- dies Andy Warhol, David Hockney and Jeff Goodman, all in the prime of their youth (Fig. 1). In Warhol’s film Henry Geldzahler (1964), we can watch the subject puff on a cigar for 90 minutes, while Hockney’s etched depiction of Geldzahler’s white fedora on the seat of an empty chair con- veys poignant absence. James Rosenquist’s playful and provocative color lithograph Henry’s Arrival on the Art World Causes Gravity depicts a phallic red-hot meteor whizzing through outer space, landing on a dimple in a pillowy mesh. The remaining six prints have no apparent thematic unity. Frank Stella’s Coxuria is a color screenprint of playful, dynamic shapes. David Salle’s color aquatint Paper Lanterns enigmatically juxtaposes two square lanterns above a drawn reproduction of the crisp white shroud from Raphaelle Peale’s Venus Rising from the Sea—A Deception (1822). Roy Lichtenstein, who died of pneumonia shortly before the Portfolio was published, contributed the screenprint Still Life, rendered in colored dots and bold outlines consistent with his late style. The lithograph Flower in the For- est by Louise Bourgeois is a spare delinea- tion of a plant with exposed roots, each of its six stems tipped with a faint blue blossom. In Jasper Johns’ untitled aquatint, architectural floor plans underlie a contour drawing of a soldier raising his Fig. 2. sword. Two thick black circles in the top Silence=Death Project, Silence=Death (1986), offset lithograph poster, 22 1/4 x 34 inches. Image courtesy Avram Finkelstein. center of the composition resemble quick, drippy shots from a spray paint canister. Ellsworth Kelly’s White Curve is a starkly tized by Geldzahler—and to do so not sim- The Geldzahler Portfolio parallels the lim- nonobjective lithograph containing one of ply by representing it but by raising money inal social position of its namesake, posi- his characteristic geometric forms: a pie- to help artists living with AIDS settle their tioned between uptown and downtown, shaped shard of white surrounded by gray. estates and archive and preserve their art- between Christie’s and Christopher Street, Despite the diversity of subject matter works for posterity. AIDS activist groups between Right and Left. represented in the portfolio, the inten- typically lacked access to influential allies In the 1980s and early ’90s, the activ- tions of its contributors are deeply con- and political power, but Geldzahler was ist culture surrounding HIV/AIDS was nected. Each artist seeks to preserve the an out public figure who, against all odds, diverse and prolific. Even today, a men- memory of an artist subculture that suf- was favored by the traditionally conservation of the movement might conjure the fered and fought against homophobic tive Met and the moderate administration iconic, wheat-pasted “SILENCE=DEATH” public discourse—a subculture emblema- of Mayor Edward Koch in New York.4 poster (Fig. 2) with its upturned pink

Art in Print March – April 2014 5 Fig. 3 . David Wojnarowicz, Untitled (Buffalo) (1988–89), gelatin silver print, 11 x 14 inches. Courtesy of the Estate of David Wojnarowicz and P.P.O.W Gallery, New York. Photo courtesy Museum of Contemporary Art, Chicago. triangle—defiantly liberated from its gallop toward the edge of a cliff. Group as complex articulations of dissent (Figs. 4, origins in Nazi persecution and resur- momentum propelled the herds off the 5). At first glance, the iconography of Johns’ rected as a symbol of gay pride in the edge, and the meat was then harvested print seems too hermetic to be relevant, 1970s.5 By including the triangle, the from the carcasses below. Wojnarowicz’s but the suggestively doubled architectural Silence=Death Project graphic artists’ cropped photograph shows a detail of a floor plans and spray dots constitute a collaborative aimed to create a mutual buffalo jump diorama the artist saw at starting point through which to compre- identity between gay liberation and the the Smithsonian’s National Museum of hend its resonant themes of resistance. emerging AIDS movement.6 This alliance Natural History in Washington, DC. The Johns has, of course, used doubling, mir- was further cultivated by the subsequent image of plummeting animals succinctly roring and repetition throughout his and abundant print culture of the AIDS captured the disillusionment many Ameri- career, in both painting and in print. As Coalition to Unleash Power (ACT-UP). can liberals felt in light of the weak federal early as 1964, he told Time, “I paint the The similar slogans “IGNORANCE=FEAR” response to the AIDS crisis. Wojnarowicz things the mind already knows,” suggest- and “ACTION=LIFE” are well-recognized evokes the sense that persons with HIV/ ing the importance of re-presenting and features of HIV/AIDS agitprop. AIDS were sent to their inevitable death by reworking images that already exist in cul- Other powerful images produced a government that refused to address the ture.8 Printmaking, which is inherently a within the movement relied on implicit crisis quickly enough, while some conser- medium of reproduction and subtle varia- political content rather than explicit vative Christians blamed these dead for tion, naturally appealed to Johns, who slogans. David Wojnarowicz’s Untitled their own destruction.7 made his first print, a lithograph, in 1960. (Buffalo) (1988–89) (Fig. 3) is one such art- The Geldzahler Portfolio contains no His painterly and “printerly” practices work: lyrical, but simmering with rage. logos, no pink triangles, no messages of evolved together over time, with many Buffalo jumps were ancient indigenous desperation like Wojnarowicz’s. However, formal and metaphorical links established hunting grounds where runners disguised two prints—Jasper Johns’ aquatint and between the two media.9 As the art histo- as wolves drove herds of buffalo at full Ellsworth Kelly’s lithograph—can be read rian Jennifer Roberts has recently argued,

6 Art in Print March – April 2014 the meaningful image repetition—and its correlative mirroring, symmetry and sequencing—that is ubiquitous in Johns’ larger oeuvre is a consequence of working in print, and serves his conceptual explo- ration of likeness and difference.10 In terms of his subject matter, Johns’ career travels in an arc from the self- effacing gestures of the 1960s to the more personal and revelatory ones today. In the ’60s and ’70s, Johns’ prints included the targets, flags and maps that are now iconic of his early achievements in painting. These readymade designs refused the expressive, individual authorship that had held sway over modern art for the previous generation, replacing it with the artist’s seeming impartiality and restraint. In the 1980s, however, Johns began to integrate additional elements of personal iconography into his pictures. He told Vanity Fair in 1984: “In my early work, I tried to hide my personality, my psychological state, my emotions… but it eventually seemed like a losing battle.”11 Most recently, the incorporation of family photographs into some of Johns’ works signals an overt autobio- graphical connection to his imagery that was absent half a century ago. A number of writers have called attention to the coded authorial presences that are and were always present in Johns’ art. Jonathan Katz has argued that Johns’ strat- egy of aesthetic self-effacement derived from the risk of self-exposure as a gay man in the 1950s, and that Johns and Robert Rauschenberg cultivated an “interpicto- rial dialog” of coded references that both revealed and blurred the evidence of their relationship.12 The architectural drawings that began appearing in Johns’ work in Fig. 4. Jasper Johns, Untitled (1998), etching, 45 x 30.2 cm. Harvard Art Museums/Fogg Museum, the 1980s—the same ones included in the Margaret Fisher Fund, M23962. ©Jasper Johns/Licensed by VAGA, New York, NY. Photo courtesy Geldzahler print—can be seen as invok- Imaging Department ©President and Fellows of Harvard College. ing this earlier system of hermetic shared signs developed in a homophobic era. Though the artist has explained that the enfranchisement. Since 1982, Johns has The double black dots are similarly plans record the layout of his grandfather’s worked with the motif drawn from a detail assertive. These smoldering focal points house in South Carolina where he lived as of the Roman guards in the Soldiers Guard- fix the viewer’s gaze, two side-by-side a boy, this does not foreclose other associ- ing Christ’s Tomb at the Resurrection of hotshots, nearly identical but significantly ations.13 Defining a relationship between Matthias Grünewald, part of his image in different. Doubled circular forms can upstairs and downstairs, they could also his masterwork Isenheim Altarpiece (1512– be found elsewhere in Johns’ oeuvre, refer to the two lofts in which Johns and 16). In his excerpt, Johns focuses tightly on frequently bearing erotic connotations. Rauschenberg lived in lower Manhattan the pagan Romans and ignores the deified For instance, in the painting The Dutch in the 1950s.14 Johns’ explanation of the Jesus. He mirror-reverses and tips upright Wives (1975)—a title denoting either a sex blueprints’ origin further prompts a play Grünewald’s recumbent warrior, who doll or a glory hole—the right one of the on the word “grandfathering” to mean appears to charge forward, toward the left two nearly identical panels contains a a legal compromise that accommodates side of the image, rather than to have been punched hole encircled in red for empha- new ways of governing while preserving felled by Christ’s explosive glorification as sis.15 The two spray dots in the Geldzahler the existing order. in the original. Johns effectively empowers print are comparably direct allusions. While the floorplans may evoke a mem- figures that appear passive and marginal in When viewed in the close visual context ory of repression, the warrior suggests the host image. of the Roman warrior’s priapic sword, the

Art in Print March – April 2014 7 relationship, but that runs counter to the process by which the print was made. In lithography, the artist draws or paints on the matrix to define the zones that will be ink-receptive during printing. The shape that was drawn—and that appears in ink on the paper—is the gray “negative” shape; the white wedge is unprinted. Such a sug- gestion of absence is not a feature of Kelly’s paintings, which overall emphasize the tangible, material presence of his abstractions and do not contain shapes of plain canvas. White Curve demonstrates a particular printerly blankness. Moreover, the equilateral format of this print forces the viewer’s attention to the shard of empty paper at its center. Like Johns’ sprayed dots, Kelly’s wedge is like an opening: not one of sexual jouissance, but rather one of inscrutable void. Why is Kelly’s careful withholding meaningful, and for whom? White Curve solicits the beholder into a relationship with absence, establishing grief as the tone of the image. In the Portfolio, Hockney’s elegiac Hat on Chair signifies Geldzahler’s specific death through the metonymy of his personal effects. Kelly does not represent absence; he produces it, as it were, in the body of the print. The effect of his Fig. 5. Ellsworth Kelly, White Curve (1997), lithograph, 42.2 x 42 cm. Margaret Fisher Fund, M23967. gesture is devastating. In Kelly’s hands, ©Ellsworth Kelly. Photo courtesy Imaging Department ©President and Fellows of Harvard College. the printer’s technology of reproduction is paradoxically one of eradication. This black sprays appear as both recessive holes The radius on the right is longer than the approach to materials fits within the larger (suggesting penetration) and viscous pres- one on the left; thus if the shape pertains motif of witnessing death, not uncom- ences (conveying emission).16 These splat- to a whole circle, it is oblique to the pic- mon to 20th century art, but made freshly tered dots can also be seen as marking ture plane. Despite its graphic simplicity, poignant in the late 1980s and ’90s in the the unpictured stigmata of Grünewald’s it is an evasive shape. As Yve-Alain Bois context of AIDS. To my way of thinking, resurrected Christ, the canonical symbol has put it, “There’s no smoke without Kelly’s White Curve is strangely aligned of redemptive death. It is significant that fire, as the saying goes; Kelly does not with Félix González-Torres’ candy spills Johns convenes such sexually energized deny this, but he is solely interested in the and bedroom billboards in affording the imagery in the aftermath of the AIDS cri- smoke, and couldn’t care less about the viewer a formidable experience of loss.18 sis. Within his intricately knotted webs of fire, as he prospects this illogical object, And to return to Bois’ formulation, smoke signification, we find buried allusions to a an index without a referent.”17 If we place is not only the index of a fire but also its wide range of experiences of gay men at emphasis on the “illogic” in Bois’ con- aftermath. the end of the 20th century. struction, Kelly’s uncommunicativeness is Kelly’s dedication of this print to the When compared to Johns’ abundant pointed. His refusal to be legible implies Estate Project helps us understand the references, Ellsworth Kelly’s print seems an opposition to the ideological channels role of the Geldzahler Portfolio in memo- exceptionally laconic. Looked at another (logic, language) through which meaning rializing the tragedy of AIDS and its atten- way, however, opacity is the key to its is regularly imparted. dant political concerns. Memorials are oppositional nature. The artist’s larger Naturally, the decentralization of summons to mourning and solidify com- body of work is recognized for its appeal expressive intent is consistent with a munity identity. The Portfolio mourns the to distantly reminiscent geometries trans- range of practices among artists of Kelly’s loss of Geldzahler himself, an irreplace- ferred from cast shadows, silhouetted generation—practices Henry Geldzahler able figure in the art world, and more forms and memories of the man-made helped validate. But the apparent vacancy broadly, the many artists who died of environment. White Curve is a lithograph of the central shape in Kelly’s print actu- AIDS, impoverishing the arts and culture in gray-on-white wove paper measuring ally reverses some of the expectations at large. The tide of public opinion has about 16 1/2 inches square. At first glance, prompted by his painterly practice. It changed in the last 20 years, but at the it is entirely representative of Kelly’s sig- might seem reasonable to describe the time of Geldzahler’s death, the gay com- nature irregular shapes: an irregular, pie- wedge in White Curve as a white shape on a munity and persons living with HIV/AIDS shaped wedge set on a bias at the center. gray ground, signaling a figure and ground were marginalized groups, subject to dis-

8 Art in Print March – April 2014 crimination, harassment and worse. Par- York City politics, but liberal relative to President Art, 1992), 22. ticipation in the Portfolio was a conscious Ronald Reagan’s federal administration. Koch did 18. See Peggy Phelan’s discussion of AIDS rep- statement marking the cultural legacy of not spearhead a coordinated response to AIDS in resentations in Mourning Sex: Performing Pub- the early years of the epidemic, and as a result, lic Memories (London: Routledge, 1997). The AIDS as a fixture in contemporary art his- he became the target of AIDS activists’ scorn. politicization and queer affiliation of memorializing tory and opposing institutionalized dis- Koch vigorously denied his own homosexuality in AIDS is further elaborated in Monica B. Pearl, crimination in all its forms. public, which additionally fueled the anger against “American Grief: The AIDS Quilt and Texts of Wit- The Geldzahler Portfolio is most reward- him. ness,” Gramma: Journal of Theory and Criticism ing when understood from the perspective 5. The inverted pink triangle derived from the 16 (2008): 251–272. of the Estate Project that it benefitted and badges worn by homosexuals in Nazi concentra- tion camps to identify them to prison guards as the larger HIV/AIDS awareness move- sexual deviants. Later, gay rights activists appro- ment. The little that has been written priated the symbol to give it the new meaning of about the Portfolio is mostly concerned solidarity and political resistance. with the market, discussing recent prices 6. The six artists are: Avram Finkelstein, Brian of its constituent artworks. Its activist Howard, Oliver Johnston, Charles Kreloff, Chris aims depended on its monetization—it Lione and Jorge Soccaras. Maxine Wolfe, “This Is about People Dying: The Tactics of Early ACT-UP was politically effective precisely because and Lesbian Avengers in New York City,” interview it was for sale. A benefit collection, how- with Laraine Sommella, Queers in Space: Commu- ever, risks settling into social complacency nities, Public Places, Sites of Resistance (Seattle, after the artwork is sold. While The WA: Bay Press, 1997), 407–437: 411. Republished Geldzahler Portfolio does not possess the with annotation on the ACT-UP website: http:// www.actupny.org/reports/silencedeath.html. raucousness that characterized political 7. Claire Grace, “David Wojnarowicz, Untitled protest at the height of the AIDS epidemic, (Buffalo), 1988-89,” in This Will Have Been: Art, it remains a powerful statement. Its elo- Love & Politics in the 1980s, exhibition catalogue quence resides in the potential to reverse (New Haven, CT: Yale UP for the Museum of the direction of normative thinking—a Contemporary Art, Chicago, 2012), 393–395. 8. Jasper Johns, quoted in “His Heart Belongs to mission as urgent in the face of AIDS as it Dada,” Time, 4 May 1959: 58. is in the face of cultural acquiescence. 9. Riva Castleman, Jasper Johns: A Print Ret- rospective, exhibition catalogue (New York: Museum of Modern Art, 1986), 14. Miguel de Baca is the Kenneth and Harle 10. Jennifer Roberts, “The Printerly Art of Jasper Montgomery Assistant Professor in the Johns,” in Jasper Johns/In Press: The Crosshatch Humanities at Lake Forest College, where he Works and the Logic of Print, exhibition catalogue is chair of the American Studies program and (Cambridge, MA: Harvard Art Museums, 2012), Assistant Professor in the Department of 33. Art and Art History. 11. Jasper Johns, interview with April Bernard and Mimi Thompson, “Johns on…,” Vanity Fair, Feb 1984, 65. Notes: 12. Jonathan Katz, “Lovers and Divers: Interpic- 1. “Exhibits, symposium look back at the Pop art torial Dialog in the Work of Jasper Johns and of the Sixties,” Yale Bulletin and Calendar 27, Robert Rauschenberg,” published online: http:// no. 25 (Mar 1999), 22–29, http://www.yale.edu/ www.queerculturalcenter.org/Pages/KatzPages/ opa/arc-ybc/v27.n25/story6.html; “Geldzahler’s KatzLovers.html. Honor,” On Paper: The Journal of Prints, Draw- 13. Carolyn Lanchner, Jasper Johns (New York: ings, and Photography 2 (1998): 7–8. For more Museum of Modern Art, 2009), 37. information about the Estate Project for Artists 14. Jonathan Katz, “The Art of Code,” in Significant with AIDS, see http://www.artistswithaids.org/. Others: Creativity and Intimate Partnership, Whit- 2. My thinking about the historical effects of ney Chadwick and Isabelle de Courtivron, eds. AIDS activism and queer radicalism has been (London: Thames & Hudson, 1996), 191–192. informed by Rebecca Dolinsky, “Emotional 15. Jennifer Quick, entry on The Dutch Wives, in Memories Stemming from a Crisis: A Snapshot of Jasper Johns/In Press: The Crosshatch Works AIDS Activism in Washington, DC (1981–1986),” and the Logic of Print, exhibition catalogue (Cam- Journal of Homosexuality 60, no. 12 (2013): bridge, MA: Harvard Art Museums, 2012): 58. 1666–1694; and Deborah Gould, “Rock the Boat, 16. The art historian Richard Meyer has written Don’t Rock the Boat, Baby: Ambivalence and the about the ways in which repetition and difference Emergence of Militant AIDS Activism,” in Passion- in Andy Warhol’s screenprints mobilize themes of ate Politics: Emotions and Social Movements, ed. homoerotic desire, and the literary critic Jonathan Jeff Goodwin, James M. Jasper, and Francesca Flatley has elsewhere connected affect and dupli- Polletta (Chicago: University of Chicago Press, cation in Pop Art and Minimalism. Richard Meyer, 2001), 135–157. Outlaw Representation: Censorship and Homo- 3. Paul Goldberger, “Henry Geldzahler, 59, Critic, sexuality in Twentieth Century American Art (Lon- Public Official, And Contemporary Art’s Cham- don: Oxford UP, 2002), 93–109; Jonathan Flatley, pion, Is Dead,” New York Times, 17 Aug 1994: “Like: Collecting and Collectivity,” October (Spring 1–2; Calvin Tomkins, “Profiles: Henry Geldzahler,” 2010), 71–98. New Yorker, 06 Nov 1971: 58–60. 17. Yve-Alain Bois, “Ellsworth Kelly in France: 4. Ed Koch was a fractious political figure with Anti-Composition in its Many Guises,” in Ellsworth respect to gay liberation and AIDS. He was a Kelly: The Years in France, 1948–1954, exhibition lifelong Democrat, conservative relative to New catalogue (Washington, D.C.: National Gallery of

Art in Print March – April 2014 9 Blacklisted: William Gropper’s Capriccios By John Murphy

r. Gropper, the first question is: “ M Are you a member of the Commu- nist Party?” William Gropper—painter, political cartoonist, writer and social activist— appeared before the Senate Permanent Subcommittee on Government Opera- tions headed by Joseph McCarthy in May 1953.1 He had been subpoenaed to account for his painting William Gropper’s America, Its Folklore (1946), a whimsical geography of the country’s folk heroes, from Johnny Appleseed to Rip Van Winkle, prints of which had been distributed in U.S. Infor- mation Services libraries abroad. Because these libraries fell under the purview of the State Department, McCarthy’s reach extended to anyone with a published book, document or—in Gropper’s case— print included in a library’s collection. At the height of the 1950s Red Scare, Gropper earned the distinction of being one of only two visual artists to fall afoul of McCar- thy’s infamous Communist witch hunt.2 Gropper pleaded the Fifth Amendment to the first question, “on the grounds that I might bear witness against myself.”3 A committee counselor then asked if he were the “William Gropper who has prepared various maps?” The wording (devaluing Gropper’s well-established reputation as a painter and printmaker) implied that Gropper was some kind of covert cartographer for the Soviet Union. Although linking the innocuous Folklore painting to espionage was less Orwellian than Swiftian in its comical incongruity, McCarthy had in fact good reason to sus- pect Gropper of Communist sympathies. The Folklore “map” gave McCarthy a con- William Gropper, Politico from the portfolio The Capriccios (1953–56), lithograph, image 14 x 10 venient excuse to extract testimony from inches, sheet 16 1/4 x 12 1/4 inches. Image courtesy the Mary and Leigh Block Museum of Art, arguably the highest-profile artist of the Northwestern University, Gift of Evelyn Salk in memory of her husband, Erwin A. Salk, 2001.21.43. American Left.

The Rebel Worker A 1935 caricature of Japan’s Emperor Hiro- tion, militarism and racism, and vicious hito for Vanity Fair caused an international caricatures of bourgeois capitalists, By 1953 Gropper had been for almost scandal; copies were impounded in Japa- power-drunk cops and blowhard con- three decades an ink-dripping thorn in the nese ports.4 Gropper was equally contro- gressmen—brought him to the attention side of the “ruling class,” puncturing and versial in his prolific, though less lucrative, of the FBI, which opened a file on Grop- deflating the egos of politicians, capital- career as a cartoonist for radical leftist jour- per in 1941.5 He had been involved since ists, dictators and emperors. Gropper had nals such as Liberator, Freiheit (Freedom), the 1920s with organizations categorized achieved commercial publishing success Rebel Worker and New Masses. by the FBI as potentially “subversive”—the in the 1920s and ’30s with regular illustra- His work for these publications— John Reed Club, the Artists’ Union and tions in Vanity Fair, Vogue and The Nation. scathing indictments of worker exploita- the American Artists’ Congress—which

10 Art in Print March – April 2014 intensified the bureau’s scrutiny of him through World War II and into the Cold War. “I have the honor of being the first artist to have been blacklisted by McCarthy in 1953,” Gropper wrote to a friend over ten years after his subpoena. He described the impact of the blacklist on his life and career:

The blacklist was officially published in a little box on the front page of the NY Times the first week of May 1953, and although it is now more than ten years, I am still blacklisted. I suppose for life, which means that I cannot get a job as teacher or janitor in any school, institution, or government building. I cannot receive an award, or have any of my work exhibited or commissioned. Neither is any of my work to be sent on international shows. Of course, with it goes the concentrated effort to keep my name out of publications, books, or work of any kind, and believe me they do a thorough job.6

Gropper was not exaggerating. The consequences of the blacklist were imme- diate and devastating: friends abandoned him, galleries returned his work, com- missions dried up and previously sched- uled exhibitions were canceled.7 A small cadre of supporters rallied, however, when Gropper asked for $500 subscriptions to fund the time and materials to produce a portfolio of lithographs. He chose for the series an appropriate inspiration: “Like Goya, who was moved to create a set of Capriccios etchings of his times,” Gropper wrote in the same letter, “I devoted in soli- tude, for three years (1953–1956) to express William Gropper, Piece Work from the portfolio The Capriccios (1953–56), lithograph, image 14 x 9 myself on the Inquisitions of our times.” 5/8 inches, sheet 16 3/16 x 12 inches. Image courtesy the Mary and Leigh Block Museum of Art, Northwestern University, Gift of Evelyn Salk in memory of her husband, Erwin A. Salk, 2001.21.41. The Capriccios Gropper’s invocation of Francisco de series. Instead he pays homage through accessible to working-class audiences, Goya, the patron saint of artists invested his use of print’s expressive powers and his essential to Gropper’s goal of democratiz- in print as a political medium, suggests the blistering critique of institutional abuses ing the distribution of art. The Capriccios scope of his ambition. The eighty etchings and injustices. His Capriccios offer a vivid, shows Gropper testing the limits of his of Goya’s Los Caprichos (1797–1799) skew- historically specific response to McCarthy- chosen medium. Leftist artist Louis Lozo- ered the aristocracy, the clergy, the vani- ism, “the Inquisition of our times,” as he wick, a longtime friend of Gropper’s and ties of women, the worldly pride of men put it. himself a brilliant printmaker, wrote that and the superstitions of the common peo- From the beginning of his career in the in the Capriccios: ple, los pueblos. In his free interpretation of early 1920s, Gropper had used lithography Goya, Gropper drew a provocative paral- to generate quick, flexible visual responses Gropper took advantage of all the lel between inquisitorial Spain and 1950s to contemporary events. For Freiheit (a technical resources of the lithographic America: in both places hearsay, sham communist-oriented, Yiddish newspa- medium: he worked directly on the trials, false witness and abuses of power per) alone he produced thousands of stone, utilized the full range of tonal- ruined reputations and destroyed lives. political cartoons between 1924 and 1935.8 ity from the softest grays to the deep- Excepting the occasional maja or witch, Lithographs could be produced relatively est blacks, created sharp contrasts of Gropper seldom refers explicitly to Goya’s cheaply and in enough quantity to remain chiaroscuro, white and black lines in

Art in Print March – April 2014 11 Left: William Gropper, Playmates from the portfolio The Capriccios (1953–56), lithograph, image 14 1/8 x 10 inches, 16 1/4 x 12 1/4 inches. Image courtesy the Mary and Leigh Block Museum of Art, Northwestern University, Gift of Evelyn Salk in memory of her husband, Erwin A. Salk, 2001.21.42. Right: William Gropper, Informers from the portfolio The Capriccios (1953–56), lithograph, image 14 x 10 inches, sheet 16 1/4 x 12 1/4 inches. Image courtesy the Mary and Leigh Block Museum of Art, Northwestern University, Gift of Evelyn Salk in memory of her husband, Erwin A. Salk, 2001.21.28.

endless combinations. As a result the shop. Workers hunch over their machines, early 20th century to educate the working emotional impact of the Capriccios parceled out in a long line. Gropper’s classes, Gropper found a ferment of labor is pervasive and at times gripping, experience as a cartoonist accounts for activism and socialism with ties to the incisively conveyed by the draftsman’s the print’s loose, wrist-flick draftsman- anarchists Emma Goldman and Alexan- virtuosity.9 ship, distorted perspective, and height- der Berkman. Lozowick remembered the ened expressivity. The contorted limbs school as an “indiscriminate fraternity” of The Making of a Radical and exaggerated features of his figures, in “‘wobblies,’ bohemians, sailors on leave, tandem with the charged social criticism, society women, hoboes, fanatical idealists, That emotional impact is due not only call to mind George Grosz and the influ- and unscrupulous self-seekers.”11 Visitors to technical virtuosity but to intensely ence of Germany’s Neue Sachlichkeit on and guest lecturers included John Reed, personal content. Gropper refers, for American leftist artists in the 1920s and “Big Bill” Haywood, Jack London, Mar- example, to New York’s Lower East Side ‘30s. Throughout the Capriccios, however, garet Sanger and Upton Sinclair. Marcel in the early 20th century—the crucible of Gropper reserves his Grosz-like savagery Duchamp dropped in occasionally to play poverty and exploitation in which his radi- for depictions of generals, politicians, chess. calism was forged. Born in 1897 to Jewish judges and robber barons (as in Patrio- There, Gropper studied with members immigrants from Romania, Gropper grew teers, which features a torch-wielding of the Ashcan School of painting such as up in a grim, ghettoized world of tenement lynch mob of Groszian cowboy sheriffs Robert Henri and George Bellows. Their housing and sweatshop labor. His mother, and war veterans). His pieceworkers, by insistence that art should engage with a seamstress, worked long hours for little contrast, are given poignantly specific contemporary urban life can be seen in pay in the garment industry. As Gropper physiognomies. Gropper knew these men Gropper’s career-long commitment to later wrote, “The sweatshop gave us our and women well; he himself had worked documenting the world around him. His livelihood but robbed us of our mother.”10 as a “bushel boy,” a child laborer shuttling working-class upbringing and exposure This early conviction that his mother was fabric between the warehouse and home to radical ideas at the center forged his a victim of oppression and profit-monger- workshops. political consciousness and drew him into ing shaped his future politics. At Manhattan’s Ferrer Center, one of Communist circles. Censorship soon fol- Piece Work depicts just such a sweat- the “Modern Schools” established in the lowed. In 1919, two years after the Bol-

12 Art in Print March – April 2014 shevik Revolution in Russia, Gropper was forced to resign from his job as the New York Herald Tribune’s staff cartoonist for having contributed caricatures to Rebel Worker, the organ of the International Workers of the World.12 Several of the Capriccios reveal his cartoonist’s knack for summarizing complex social injustices through succinct, laden narrative. Playmates is a hauntingly cyni- cal song of innocence and experience. The scene initially appears benign: three children climb a tree on which a pair of lovers has carved their heart-framed initials. Closer inspection reveals these are rather malicious-looking children, with shaded eyes and expressions of malignant glee. The print discloses its secret through a disquieting punctum: a severed rope tied to a branch. In the 1930s Gropper, along with his comrades on the Left, contributed anti-lynching images to socialist journals and campaigned on behalf of the Scottsboro Boys. The dangling rope signals Gropper’s view of social relations in the United States—lynching gave the lie to the country’s claim to equal status for its citizens. In such prints Gropper expresses the grotesquerie of human social relations— the hypocrisy, ambition, resentment and envy that characterize everyday interac- tions under capitalism. It was only a short step from a lynching tree to the Ladder of Success, an allegory of cannibalistic career climbing. A whirling vortex of figures, teeth bared and eyes flaring, scratch and claw their way toward the ladder—which remains ironically flimsy and out-of-reach. William Gropper, A New Dawn from the portfolio The Capriccios (1953–56), lithograph, image Capitalism’s failures are also invoked 13 7/8 x 10 inches, sheet 16 1/4 x 12 5/8 inches. Image courtesy the Mary and Leigh Block Museum in his desolate Graveyard lithograph, of Art, Northwestern University, Gift of Evelyn Salk in memory of her husband, Erwin A. Salk, 2001.21.3. which recalls the early years of the Great Depression, when there was no social at the time you made that painting?” of freefalling whistleblowers and gossip- safety net to catch the victims of economic The question may have prompted ers, their mutual finger-pointing a vicious devastation. Gropper to recycle the theme and compo- cycle of envy and spite. A witness for the sition for Politicos, which bites deeper than Senate Subcommittee, Harvey Matusow, Politicos the earlier painting. The subject is no lon- claimed the Communist journal Daily ger a pot-bellied windbag surrounded by Worker had employed Gropper directly (in In other lithographs Gropper focuses feckless work-shirkers: now the pyramid fact they often reprinted his political caron institutionalized abuses of power— of senators in the print’s right-hand corner toons without paying him). Matusow later cruelty and self-serving ambition as a appear furtive and conspiratorial. Grop- wrote an autobiography, False Witness, in structural component of the whole system per has fitted them all with opaque glasses which he confessed that he had been paid rather than personal vices. Politicos is an or depicted their deep, eyeless sockets, so to testify against defendants against Grop- adaptation of Gropper’s 1935 painting The that the positive ideal of “blind justice” is per and other defendants.13 Senate, in which a bald, bloviating senator twisted into sightless cruelty. His theme addresses a half-empty room of indiffer- has shifted from the Senate’s impotent A New Dawn ent colleagues; one reads a newspaper, indifference to its complicity in the injus- another props his feet on a desk. McCar- tices of the McCarthy era. Like Goya, whose airborne witches and thy must have felt personally affronted by In another print derived from the art- winged creatures defy earthbound reality, the image since he asked Gropper, “Were ist’s personal experience, Informers depicts Gropper frequently suspends the laws of you under orders of the Communist Party a malevolent spirit hovering over a circle gravity to depict a world without founda-

Art in Print March – April 2014 13 tion, a terrifying rule-free void: bodies fly, answer to reactionary Soviet Social Real- housed at the Smithsonian’s Archives of Ameri- flail or float, caught up in a maelstrom. ism, Gropper’s socially conscious hom- can Art. Steinberg quotes the letter in her intro- Tornado and Uprooted convey his sense of age to Goya’s Caprichos was aesthetically duction, 1–2. a nation cut loose from its ethical moor- unfashionable and politically untenable. 7. I am indebted to Steinberg for her thorough chapter covering Gropper’s trial and the produc- ings, tossing helplessly on social and polit- Today the portfolio stands as a vital tion of the Capriccios, “American Inquisitions,” ical currents. In his youth Gropper had primary source for understanding 116–158. had faith in the power of the “masses” to McCarthyism from the inside, as experi- 8. Patricia Phagan (PhD dissertation), William rise up and demand equality and justice; enced by an artist who throughout his Gropper and “Freiheit”: A study of his political car- in Capriccios he shows them buffeted by career held the machinery of justice and toons, 1924–1935 (City University of New York, 2000). forces beyond their control. democracy accountable. The righteous 9. Lozowick, Gropper, 61. The titles Awakening and A New Dawn fury fueling his vision of a corrupt socio- 10. Quoted in Lozowick, ibid., 25. seem to promise a fresh start, but it may be political system taps into contemporary 11. Lozowick, Gropper, 9. the “clean slate” scrubbed fresh by catastro- angers and resentments, while exposing 12. As Lozowick phrases it, “Naturally he was phe. The sun of A New Dawn is blotted out the historical complicity of the American fired—or as Gropper prefers to put it, he fired the Tribune.” Lozowick, Gropper, 27. by clouds; a Boschian fish fixes its claws to government in propagating fear and fail- 13. Harvey Matusow, False Witness (New York: a branch while a wolfish pig, skewered by ing to protect free speech. As an act of Cameron and Kahn, 1955). a knife and fork, howls and a witch shrieks artistic witness, the Capriccios is not only a 14. See Serge Guilbaut’s seminal study, How across the post-apocalyptic landscape. An bracing condemnation of injustice, it is New York Stole the Idea of Modern Art: Abstract egg nestled in a leafless tree hatches three the summit of Gropper’s career: a fierce Expressionism, Freedom, and the Cold War, trans. Arthur Goldhammer (Chicago: The Univer- baby-like humans whose scowling rage mix of social criticism, political satire and sity of Chicago Press, 1983). recalls the three tree-scampering chil- bleak pessimism. dren in Playmates. Through these Goya- esque grotesques, Gropper condenses the existential threat of nuclear holocaust. John Murphy is a PhD candidate in Art History One of the most powerful and disturbing at Northwestern University. images from the portfolio is Nuclear Gods, in which he allegorizes nuclear warfare as Notes: hovering piranhas transformed, Godzilla- 1. The Executive Sessions of the Senate Perma- like, into monstrous apparitions. nent Subcommittee on Investigations of the Com- These forlorn prophecies crystal- mittee on Government Operations were made lize the most profound yet telling loss in available to the public in 2003–4 after a fifty-year the Capriccios; Gropper abandoned his gag order. An edited version is available online in PDF format through the website of the United mordant wit. His best political cartoons States Senate: http://www.senate.gov/artandhis- tempered indignation with humor, how- tory/history/common/generic/McCarthy_Tran- ever bleak or bitter. The lithographs, on scripts.htm. William Gropper’s testimony belongs the other hand, are united by despair, as to the records of the Senate Subcommittee’s First if the blacklist had crushed his fighting Session of the 83rd Congress (May 1953), 388– 392. Quotations from Gropper’s questioning are spirit as well as his career. This may be the from these records. portfolio’s most damning verdict on the 2. The other artist targeted by McCarthy was McCarthy era: that it could turn a rebel Rockwell Kent. His testimony also appears in the and activist-artist into a fatalist, his vision records of the Senate Permanent Subcommittee unrelieved by hope. on Investigations. 3. Despite his far-left political views, Gropper was not a member of the Communist Party. So why Conclusion did he plead the Fifth? Something often misunder- stood about the McCarthy hearings is that it was Even without Gropper’s characteris- not actually illegal in the U.S. to be a Communist; tic humor, the Capriccios is a powerful it was illegal not to be officially registered as one. act of protest, and constitutes the art- McCarthy aimed to purge the country of insidi- ously “secret” Communists. Though Gropper was ist’s most sustained and ambitious state- not a party member, it would not have been dif- ment in printmaking. Yet the portfolio ficult for McCarthy to link him to a variety of Com- has been unjustly neglected, relegated to munist organizations, publications and activities. some scattered private collections and 4. Louis Lozowick, William Gropper (Toronto: museum storerooms, unstudied and vir- Associated University Presses, 1983), 33. tually unseen. The blacklist only partially 5. The most complete scholarly account of Grop- per’s career-long battle with censorship and sur- explains Gropper’s fate. The triumph of veillance is Norma Steinberg’s PhD dissertation, Abstract Expressionist painting in the William Gropper: Art and Censorship from the Cold War era swept aside a generation 1930s through the Cold War Era (Boston Univer- of artists like Gropper steeped in Marx- sity, 1994). ism and committed to a partisan social 6. Gropper to Jane Sorell in 1964, the director of the A.C.A. Gallery in Rome, one of the few gal- 14 viewpoint. In a time when abstraction leries that exhibited his Capriccios portfolio in the was trumpeted as a progressive American mid-1950s. The letter is in the Gropper papers

14 Art in Print March – April 2014 Twenty-Five Prints for Artists Against Racism and the War, 1968 By Makeda Best

n Arnold Trachtman’s 1968 lithograph I Untitled, an African American male in a white shirt stands within a crumbling structure, arms up, as police approach with bayonets raised. A road sign reading “One Way” points down a flight of stairs. Soldiers dangling long ammunition belts hover at the upper right. At the edges, three nearly identical, bureaucratically suited men mime “see no evil, hear no evil, speak no evil.” Trachtman uses lithographic tone to strengthen his message: authority is conveyed through the solid black of the police uniforms and business suits; the same color envelops and frames the struggling central figure whose raised arms convey innocence and evokes the political and social abyss into which he sinks. The soldiers, silhouetted in mottled gray, are less commanding; narrow and stiff like bowling pins, they appear tobe controlled by unseen powers. Arranged in a broken formation, they seem less con- vinced of their power than the police who lean back in order to land their blows with maximum impact. Trachtman frames his scene within a thin black line. Officers and soldiers erupting into the picture suggest the magnitude of the forces the central figure confronts. Despite the display of power and victimization, Trachtman’s attention to bodily poses and features remind the viewer of the complex human emotions that define the encounter. Trachtman’s print is included in Twenty-Five Prints For Artists Against Rac- ism and the War, a portfolio coordinated by Boston’s Artists Against Racism and Arnold Trachtman, The Fifteen Days of May: Untitled (1968), lithograph. Collection of the Harvard 1 the War (AARW) in the spring of 1968. Art Museums/Fogg Museum, Gift of Impressions Workshop, M15042. Photo courtesy Imaging Around the country, artists were organiz- Department ©President and Fellows of Harvard College. ing to protest the intensifying war in Viet- nam and to respond to the riots that had engulfed American cities. In Los Angeles, in Vietnam).2 They also produced a ben- interdisciplinary AARW sought nontra- the Artist Protest Committee had been efit portfolio, Artists and Writers Against ditional venues for staging artistic re- mobilized in 1965 following the Watts riot. the War in Vietnam (1967).3 The summer sponses to political conflict, and saw print- By the end of 1966, over 280,000 Ameri- of 1967 saw violence in Boston, Newark, making as a critical instrument to connect can troops were stationed in Vietnam. In Chicago, Rochester, Detroit and other cit- art and activism. early 1967 a New York group, Artists and ies, as people took to the streets to rage Twenty-Five Prints features work by art- Writers Protest Against the War in Viet- against joblessness, job discrimination, ists from Boston and elsewhere in New nam, organized street theater, films and unequal schooling, and social prejudice. England; its focus was resistance to the exhibitions as part of Angry Arts Week (or As artist groups had done in Los Angeles war in Vietnam and “to the indifference Week of the Angry Arts Against the War and New York, Boston’s interracial and to the critical issues in the black com-

Art in Print March – April 2014 15 cofounders and served, along with Tracht- man, on its coordinating committee.7 When a fire damaged the First Unitarian Church where the group met, they moved to Impressions. In Boston, Harvard Uni- versity’s Fogg Museum had long been an important showcase for historical prints, but Impressions had made Boston a center for contemporary print production.8 Founded in 1959 by the lithographer, poet, publisher and teacher George Lock- wood, Impressions was one of several new American workshops that helped spark the “Print Revival” in contemporary art over the subsequent decade. Across Amer- ica, more people began collecting prints, and more artists were turning to print for both its formal qualities and its ability to introduce new paths of critical inquiry into their work.9 In his “Art Notes” column for the Boston Globe, Edgar J. Driscoll chronicled the rise in local printmaking throughout the ’60s, covering openings, artists and the market. In his 1966 article “Printmaking No Longer Humble Art for Devout,”10 Driscoll observed that, in the 15th century, prints “served as a humble means of reproducing an image in quantity for the devoted. But there’s nothing lowly about printmaking today”—technical innovations had extended the capaci- ties of graphic art and “top drawer artists” were now working in the medium. At Impressions, where students and professional artists alike worked closely with presses, Lockwood fostered technical experimentation and a commitment to community, twin precepts that were shared by the artists involved with Twenty- Five Prints.11 Lockwood, an accomplished Richard Marshall Merkin, The Fifteen Days of May: Silent Barriers (1968), screenprint. Collection wood engraver, was particularly interested of the Harvard Art Museums/Fogg Museum, Gift of Impressions Workshop, M15037. Photo courtesy in the historical form of the broadside— Imaging Department ©President and Fellows of Harvard College. the popular print format of the 18th and 19th century combining image and text on munity.”4 The portfolio formed a major Reformers,” “provides a regional case his- a single inexpensive sheet. (The broadside component of Fifteen Days in May, the tory that may trigger a new cross-country most familiar to Americans is probably AARW’s wide-ranging program of murals, trend: groups of urban artists have com- Paul Revere’s The Bloody Massacre, itself poetry readings, exhibitions and perfor- mitted much of their time and creative a response to social injustice and vio- mances. Modeled after Angry Arts Week, effort to community causes.” In her explo- lence on the streets of Boston.) Lockwood AARW envisioned its activities, especially ration of artists’ social engagement and the sought to revive the form by commission- its printmaking, as catalysts for critical pragmatic demands of professional prac- ing New England poets and artists to pro- discussion, but Boston artists’ contribu- tice, Holtz Kay focused on the history of duce broadsides in lithography, etching or tion to this era of dissent has received less institutional support for socially-minded woodcut, in editions of 150 or less.12 These scholarly attention.5 art. She missed the distinct contribu- activities attracted artists such as Mazur, In a special 1969 edition of Art In Amer- tion of printmakers to coordinating and who came to Impressions to train with ica devoted to the political turn in Ameri- responding to contemporary crises. Lockwood. Exhibitions such as “Printmak- can art, critic Jane Holtz Kay said AARW’s In Boston, artists associated with the ers at Work” at the Boston Public Library activities demonstrated “not a new social printmaking center Impressions Work- in 1967 offered institutional corrobora- protest art form, but a new social energy shop and Gallery were vital to the creation tion of this resurgence of printmaking. and alliance” in the Boston art scene.6 of AARW and to its portfolio. Printmaker In an April 1968 column with the That scene, she wrote in “Artists as Social Michael Mazur was one of the group’s headline, “Artists Get Involved in Race,

16 Art in Print March – April 2014 Left: Dana Chandler, The Fifteen Days of May: Black People Break Free... (1968), lithograph. Collection of the Harvard Art Museums/Fogg Museum, Gift of Impressions Workshop, M15043. Photo courtesy Imaging Department. ©President and Fellows of Harvard College. Right: Gyorgy Kepes, The Fifteen Days of May: Untitled (1968), lithograph. Collection of the Harvard Art Museums/Fogg Museum, Gift of Impressions Workshop, M15038. Photo courtesy Imaging Department ©President and Fellows of Harvard College.

War Issues,” Driscoll reported the forma- African-American Roxbury neighborhood, black-and-white lithograph Black People tion of AARW, whose members described tensions remained high. Break Free shows a muscular black arm, themselves as “sensitive to the problems The “25 artists” who donated their fist clenched, bursting out of the center of facing Boston and our country.”13 Hun- work to the portfolio included professors a giant egg. Pieces of jagged shell float in dreds of artists, actors and musicians from and veterans, native-born Bostonians and the air. Chandler’s bold composition and the greater Boston area joined to effect immigrants. The project was coordinated choice of medium recall lithographs made “real and meaningful protest against the by Stephen Andrus, Impressions’ new for early 20th century socialist-leaning Vietnam War and racist crimes continu- owner and director, and the works were publications such as The Masses. ally perpetrated within this country.”14 all printed there, many of them by Herbert P.C. Madsen Conant’s The Great Such activism was new: Mazur observed, Fox, the center’s Tamarind-trained master Society offers a broader indictment of “[before 1968]… we never had angry arts lithographer. (Fox also built and donated American political ideals and public here in Boston.”15 a press to the group Boston Negro Art- policy. An inverted flag forms the back- AARW’s inclusion of the word “rac- ists.)17 Andrus observed, “artists today drop for a pantheon of borrowed icons: ism” in its name was timely. When plan- have a lively conscience. They’re feeling Uncle Sam points his finger at the viewer ning began for “Fifteen Days,” Dr. Martin some of the pain of living.”18 Printed in an while Pablo Picasso’s tortured mother Luther King Jr. had just been assassi- edition of 50, the portfolio cost $35 (about from Guernica screams in grief; an eagle nated. Fearful of a repeat of the previous $250 today).19 gripping bombs labeled “napalm” and summer’s violence, the federal govern- The participating artists asserted that “war” in its talons takes flight. Exe- ment convened a meeting of social pol- the project’s primary function was to cuted as a gypsograph, a rarely used fin icy experts, who predicted that unrest show “how we feel as artists about these de siècle technique using a bas-relief plas- would continue unless legislators acted to great issues,” and political sentiment, ter template to create a three-dimensional improve social welfare and jobs programs, rather than visual style, is what unifies image, Conant’s print encourages tactile particularly in urban areas.16 A similar the prints.20 Many address the anger and perception of each of these symbolic ele- conference at Boston College sought disillusionment of the portfolio’s his- ments within the pictorial space.21 local solutions. In Boston’s predominately torical moment. Dana C. Chandler, Jr.’s Other artists avoided a didactic tone.

Art in Print March – April 2014 17 The smeared ink of Untitled, a nonrepre- uted. An installation designed by Mazur sentational lithograph by Gyorgy Kepes, called the American Way Room was pre- could be interpreted as blood or as a sented in a storefront in Cambridge’s Cen- ravaged landscape. Rich swaths of yel- tral Square: photographs in incremental low and red dominate Lockwood’s wood sizes depicting Vietnamese peasants were engraving, The Wasp and His Victim, and affixed to the floor over which visitors heighten the viewer’s perception of the walked, while photos on the wall showed hovering insect. Art Wood’s The Com- battles, bombings and picnics. Other mercial—along with the Lockwood print, exhibitions were mounted in other store- one of just seven works in the portfolio fronts; painters, poets and actors drove that employ color—features dozens of trucks to various neighborhoods and con- small squares containing snippets of body ducted workshops; musicians held free parts and drawings of television screens, concerts, and filmmakers screened their some showing fragments of news images work. There was a gallery walk, a mime accented in brown or highlighted in pink troupe performance, folk dancing and and green. The juxtaposition critiques painting demonstrations.22 media obsession with the sexualized body Prints worked alongside these partici- and its simultaneous apathy toward the patory events. In addition to the Twenty- suffering of other bodies. Barbara Swan’s Five Artists portfolio, AARW produced Barbara Swan, The Fifteen Days of May: Untitled (1968), etching. Collection of the Harvard Art untitled etching depicts two nearly iden- Peace Feelers, an anthology of 15 broad- Museums/Fogg Museum, Gift of Impressions tical women. The glowing empty space at sides produced in an edition of 80.23 Penny Workshop, M15028. Photo courtesy Imaging the left of the composition and the drap- Poems were mass-market versions of these Department ©President and Fellows of Harvard ery of the women’s clothing makes them broadsides: 6 x 4 inch photocopies on col- College. seem otherworldly, visitors to Earth who ored paper that were distributed for free at witness and weep. poetry readings.24 The Twenty-Five Artists ists live in a world of their own.”25 In the “Fifteen Days” between 10 and 25 portfolio was exhibited at Arlington Street AARW initiated few collective actions May 1968, AARW presented a variety of art Church and at George Sherman Union after May 1968, but the group helped events: there were rotating exhibitions at Gallery at Boston University. Driscoll foster a number of interracial, politically- skating rinks and public housing, poetry declared 1968 to be a high point “in terms minded art initiatives in Boston, includ- readings and musical performances. Post- of involvement by artists in the issues of ing the Boston Center for the Arts, which ers and leaflets were created and distrib- today”—“no longer can it be said that art- emphasized diverse and affordable arts programming. Many of the artists involved in AARW participated in the citywide community arts program Summerthing, which received significant municipal support,26 and joined political groups, such as Artists for McCarthy or the artists’ rights organization Studio Coalition.27 Impressions continued to collaborate with artists, producing benefit prints and portfolios in support of causes such as improving race relations.28 AARW demonstrated that collective artistic actions were not limited to Los Angeles and New York. Against the threat of more violence in Boston, its artists worked to create other means of raising awareness about, and reacting to, social injustice. The printmaking community played a key role in supporting, conceptu- alizing and directing these activities. In an era that saw prints emerge as a force within the art market, the city’s printmakers sought to claim the print’s role as a vehicle of community engagement and political dissent.

P.C. Madsen Conant, The Fifteen Days of May: The Great Society (1968), gypsograph. Collection Makeda Best is an Assistant Professor in the of the Harvard Art Museums/Fogg Museum, Gift of Impressions Workshop, M15035. Photo courtesy Visual Studies Program at the California College Imaging Department ©President and Fellows of Harvard College. of the Arts.

18 Art in Print March – April 2014 Notes: 1. The participating artists were: Robert Birme- lin, Aubrey Schwartz, George Lockwood, Mirko Basaldella, David Bumbeck, Michael Mazur, Steven Trefonides, Juliet Kepes, John Wilson, Barbara Swan, Sante Graziani, Gary Rickson, Edward Koren, Laliberte, Art Wood, Sigmund Abeles, P.C. Madsen Conant, Harold Tovish, Richard Marshall Merkin, Gyorgy Kepes, Varujan Boghosian, Arthur Polonsky, Ros Barron, Arnold Trachtman and Dana Chandler. 2. AARW’s lack of visibility in the historical record is partly due to the fact that, unlike the groups in Los Angeles and New York, its members did not produce statements, nor was Boston a major media market. Outside of local press, AARW was not widely known until it was featured in Jane Holtz Kay, “Artists as Social Reformers,” Art in America, January/February, 1969. For more on Artists Protest Committee, Artists and Writers Protest, and Angry Arts Week, see Francis Fras- cina, Art, Politics and Dissent—Aspects of the Art Left in Sixties America (Manchester: Manchester University Press, 1999) and Mathew Israel, Kill for Peace—American Artists Against the Viet- nam War (Austin, TX: University of Texas Press, 2013). AARW was also not included in Deborah Wye’s landmark Museum of Modern Art survey of political prints from the 1960s. See Deborah Wye, Committed to Print (New York: Museum of Mod- ern Art), 1988. 3. Wye, Committed to Print, 64, and Israel, Kill for Peace, 6. 4. Edga r J. Driscoll, “Artists Get Involved in Race, War Issues,” Boston Globe, 10 April 1968, 64. 5. Los Angeles’ Artists Protest Committee and New York’s Artists and Writers Protest continue to receive more scholarly attention, as most recently demonstrated in Israel, Kill for Peace. In surveys of the political art and printmaking of the era, AARW also receives scant attention, with the exception of Michael Mazur’s photographic installation The American Way Room. 6. Holtz Kay, “Artists as Social Reformers,” 45. 7. Oral history interview, 12 Jan 1993–3 Feb 1995, Archives of American Art, Smithsonian Institution, Washington, DC. 8. Edgar J. Driscoll, “The Art World—Printmaking George Lockwood, The Fifteen Days of May: The Wasp and His Victim (1968), wood engraving. No Longer Humble Art for Devout,” Boston Globe, Collection of the Harvard Art Museums/Fogg Museum, Gift of Impressions Workshop, M15021. 5 June 1966, A_19. Photo courtesy Imaging Department ©President and Fellows of Harvard College. 9. Among others were: The Contemporaries Graphic Art Centre (later Pratt Graphics Center, 1955); ULAE (1957); Tamarind Lithography Work- 19. Proceeds from sales went toward supporting 24. James Donal Sullivan, On the Walls and in shop (1960); and Crown Point Press (1962). AARW activities. the Streets: American Poetry Broadsides from the 10. “January No Longer Humble Art for Devout,” 20. Bay State Banner, 18 Apr 1968. 1960s (Urbana: University of Illinois, 1997), 66. Boston Globe, 5 Jan 1966. 21. The gypsograph was invented by sculp- 25. “The Art World—Quite a Year,” Boston Globe, 11. Edgar J. Driscoll, “Many Changes Seen In tor Pierre Roche, a student of Auguste Rodin, 28 Dec 1968, A_31. Boston Galleries,” Boston Globe, 2 Dec 1962, 46. in 1895. The print is created by pressing damp 26. Boston’s Mayor Kevin White recognized the 12. Emily Weston, “‘Broadside’ Printer Links Two paper into a reverse mould of plaster containing contribution creative expression could make to Arts,” Christian Science Monitor, 2 Feb 1967, 15. colored inks. See Elizabeth Prelinger, “Pierre easing tensions and supported Summerthing, 13. Edgar J. Driscoll, Jr., “Views of the Street,” Roche and the ‘belle gypsographie’,” Print Quar- which was hugely popular and continued into the Boston Globe, 12 May 1968, 22A. terly 10, no. 2 (June 1993). 1970s. Thomas H. O’Connor, The Hub: Boston 14. Ibid. 22. Some events had to be cancelled due to rain: Past and Present (Boston: Northeastern Univer- 15. Holtz Kay, 46. Edgar J. Driscoll, “Drizzle Fizzles Gallery-Go- sity Press, 2001), 241. 16. Robert Geiger, “‘68 Race Riots Built In, Says Round,” Boston Globe, 13 May 1968, 21. 27. Artists for McCarthy was begun in the spring Expert on Jobs,” Boston Globe, 1 Jan 1968, 36. 23. The contributing poets to Peace Feelers were of 1968 and the Studio Coalition was begun in 17. Holtz Kay, 47. The Boston Negro Artists’ Helen Chasin, William Corbett, Sam Cornish, early 1969. The Studio Coalition became the Bos- Association (which became the Boston African Arthur Freeman, Sidney Goldfarb, Paul Hanni- ton Visual Artists Union in 1970. American Artists’ Association) was the driving gan, Fanny Howe, Ron Loewinsohn, Gail Mazur, 28. Edgar J. Driscoll, “Artists Fight ‘Gallery Sys- force behind Boston’s mural movement (1968– Geoffrey Movius, Yvonne Reulas, Kathleen Spiv- tem,’” Boston Globe, 1 Jan 1969, 30. 1974). ack, Richard Tillinghast, Andrew Wiley and Ruth 18. Holtz Kay, 47. Whitman.

Art in Print March – April 2014 19 Zarina: Paper and Partition By Shaurya Kumar

Zarina Hashmi, Wall (1969), relief print from collaged wood, printed in burnt umber on Indian handmade paper, sheet 55.9 X 71.1 cm. Edition of 10. Whitney Museum of American Art, New York; purchase, with funds from the Print Committee 2011.10. ©1969, Zarina Hashmi, courtesy of the artist and Luhring Augustine, New York. Digital Image ©Whitney Museum of American Art, New York.

Why ask where I come from, arina is a printmaker, sculptor and France before moving to the United O dwellers of the East, Z a poet, an Indian-born artist who States in 1975. For her, the question of Knowing my homelessness after decades of working in relative identity—as an Indian, a woman, a Mus- you laugh as you taunt. obscurity has recently been the focus of lim and an immigrant—has always been Delhi that was once considerable attention.2 The first major integral. The abstract and minimalis- a select city in the world, museum survey of her work in the United tic aesthetic, simplicity of the mate- Where only the chosen States was organized by the Hammer rial and understated elegance of her lived of every trade; Museum in Los Angeles in 2012, and works on paper are relatively easy for Then the heavens looted it traveled to the Solomon R. Guggenheim most people to respond to on aesthetic and left it desolate, Museum in New York and to the Art Insti- grounds, but there is a dark history I am a citizen, tute of Chicago in 2013. that undergirds her art to which most of that ruined place. Born in India during the peak of its Western audiences might be oblivious. struggle for independence, Zarina lived My aim in this article is to reflect on —Meer Taqi Meer1 also in Thailand, Japan, Germany and this history and to provide the socio-

20 Art in Print March – April 2014 political and cultural framework that inspires and defines Zarina’s work. In August 1947, after a nearly 90-year struggle, India emerged from the Brit- ish imperial yoke. A two-century-old colonial regime was decimated and a new sovereign socialist republic was born. Like many other post-colonial nations, however, India paid an enormous price for its freedom. Millions were uprooted, imprisoned or lost their lives. India, whose riches once earned it the designation “Golden Sparrow”3 and “Crown Jewel of British Empire,”4 was left bankrupt and mutilated. Partitioned into two separate nations, India and Pakistan, this vast and ethnically diverse region headed into a spiral of violence and political tumult. The line of partition, drawn by British civil servant Sir Cyril Radcliffe, demar- cated the Muslim-dominated areas in the Northwest and the East, which became East and West Pakistan (separated from one another by 1,372 miles); the remaining Hindu-dominated region formed India. The Radcliffe Line ran through the middle of farms, villages, irrigation systems and even individual houses. What followed was one of the biggest migrations in modern history: more than 14 million people relocated across the new border within the first three years of partition.5 Muslims fled to Pakistan while Hindus and Sikhs headed to India. In the ensuing chaos and violence more than one million died.6 Salman Rushdie described the partition as “something of colossally horrible proportions.”7 G.D Khosla, in his book Stern Reckoning: A Survey of the Events Leading Up to and Following the Partition of India, wrote one of the earliest accounts: Zarina Hashmi, Memory of Bangkok (1980–2011), cast paper with raw sienna pigment and surface sizing with sumi ink and gold powder, 67.3 X 53.34 X 3.8 cm. Courtesy of the artist and Luhring Decrepit old men, defenseless women, Augustine, New York. helpless young children, infants in arms, by the thousands, were brutally By that time, Zarina was married to Democracy, freedom, art, literature— done to death by Muslims, Hindu and a diplomat and moving from posting to these are not tea parties, you know? Sikh fanatics… Madness swept over posting around the world, but on her These are turbulent, brawling, argu- the entire land, in an ever-increas- frequent returns she found herself torn ing, abrasive things. I’ve always seen ing crescendo, till reason and sanity between Pakistan, where her family now the work of the imagination and the left the minds of rational men and lived, and India, which she still felt was world of the intellect as being tur- women, and sorrow, misery, hatred, her home. On one side of the national bulent places. And, you know, out of despair took possession of their souls.8 border was the country she loved and turbulence come sparks, which are Zarina was ten years old at the time of on the other side were the people.9 Like sometimes creative and sometimes partition and lived in Aligarh, a midsize many of her generation, she could never not. But without that turbulence, in a town 90 miles southeast of Delhi. Her obliterate the memory of the united coun- calm sea, nothing happens.10 father was a professor of medieval Indian try in which she had grown up. She was history at the Aligarh Muslim Univer- never whole. Though entirely abstract, works such sity, which had been the epicenter of the The agony of geographical and emo- as Wall (1969), Cage (1970) and Struc- Muslim separatist movement before inde- tional separation propelled Zarina’s cre- ture I & II (1968) remind us of barriers pendence, and chose to move to Pakistan ativity and imagination. Rushdie once imposed and the brutality of separation. in 1959. observed: The images were relief-printed on hand-

Art in Print March – April 2014 21 conflicts and ethnic violence between India and Pakistan. The countries have had three official wars since 1947, terrorist attacks are not infrequent, Kashmir continues to be a flashpoint, and violations of the border ceasefire occur on a regular basis.12 In the years following the 1971 war between India and Pakistan (which led to the formation of Bangladesh, formerly East Pakistan), Zarina made a series of works in which she used a sewing needle to perforate paper in patterns that are sometimes organic and sometimes grid-like. The pinpricks resemble tiny bullet holes or shrapnel scars, but these are bullet holes viewed from the back: the paper is shown with the exploded fibers aimed forward, toward the viewer. These quietly violent marks incorporate both absence (the hole) and aggression, echoing the blistered landscapes left in the wake of forced migrations. They activate the space between the object and the viewer, implicating the audience as countries, the 1999 Kargil War, was the inspiration for her print Dividing Line (2001). In it, Zarina recreates the Rad- cliffe Line, but instead of engraving the line itself into the woodblock she pains- takingly carved out the land on either side, leaving only the divider standing—a hard, harsh line that crackles through the paper. An alternative interpretation would be that Zarina is suggesting that only an arbi- trary, man-made line separates two lands that share the same origin: a second, unified image could be easily made by chisel- ing out the dividing line. Following the Kargil War, her dis- may was compounded by the 2002 riots between Hindus and Muslims in Gujarat, the western state of India, where more than 1,000 people were killed.13 This new intercommunal violence pushed her into a heightened consciousness of her Muslim heritage.14 The political unrest and coerced migrations faced by Mus- Zarina Hashmi, Dividing Line (2001), woodcut printed in black on Indian handmade paper and mounted lims globally became the stimulus for on Arches Cover white paper, image 40.6 x 33 cm, sheet 65.4 x 50.2 cm. Edition 20. UCLA Grunwald the portfolio, These Cities Blotted into the Center for the Graphic Arts, Hammer Museum. Purchased with funds provided by the Friends of the Wilderness (Adrienne Rich after Ghalib) Graphic Arts. Courtesy of the artist and Luhring Augustine, New York. (2003). Each of the nine woodcuts in the set is titled after the city whose street plan it made khadi paper (produced by one of her distrust of politicians who, in the face represents—Grozny, Sarajevo, Srebrenica, the cottage industries Gandhi revived of continued religious segregation and Beirut, Jenin, Baghdad and Kabul among in the 1930s) with lightly inked pieces of conflict, deceptively project an image of others. Together, they represent a diaspora discarded wood, pieced together to form India as a successfully democratic and of suffering spread across two continents fractured wholes. The images can be read secular state;11 one can view these works, and seven centuries. As in Dividing Line, as flat geometric abstractions, but the with their shambolic structures and sliver- the harsh black shapes portray a reality pronounced knots and grain of the wood prone surfaces, as allusions to the mislead- imposed by man upon himself. suggest rough-hewn gates or improvised ing façade erected to disguise the horrific Much of Zarina’s art and poetry cen- barriers. The wood seems to have been result of the partition. ters on the valorization of a place called scoured, stripped naked to reveal a deeper, The chronology of Zarina’s work can be “home” and on the metaphor of protec- more violent truth. Zarina has discussed aligned with the history of riots, political tive shelter. She has remarked, “Home is

22 Art in Print March – April 2014 Left: Zarina Hashmi, House with Four Walls (1991), portfolio of seven etchings and text printed in black on Arches Cover white paper and chine collé on Nepalese handmade paper, image 22.9 x 20.3 cm, sheet 41.9 x 74.9 cm. Edition of 25. Courtesy of the artist and Luhring Augustine, New York. Right: Zarina Hashmi, Homes I Made / A Life in Nine Lines (1997), portfolio of nine etchings and one cover plate printed in black on Arches Cover white paper, chine collé on handmade Nepalese paper, image 35.56 x 33.02 cm, sheet 54.6 x 48.3 cm. Edition of 20. Installation view, “The Ten Thousand Things,” Luhring Augustine, New York, 2009. Courtesy of the artist and Luhring Augustine, New York. the center of my universe; I make a home ‘home’ (ghar) to a process of abstraction tion is ancient—Delhi has a continuous wherever I am. My home is my hiding that invites us to ask the most fundamen- history of at least 5,000 years—but the place—a house with four walls, some- tal questions about how we conceive of pressure for rapid social and economic times four wheels.”15 It is a subject she has origins, displacement, and the possibility progress has pushed this legacy to the revisited time and again in series such of return.”16 This constant reinterpreta- periphery of emotional and psychologi- as House with Four Walls (1991), Homes I tion and reconstruction echoes the obser- cal consciousness. A recent report by the Made / A Life in Nine Lines (nine etchings, vation of William Kentridge, that “the job Comptroller and Auditor General of India 1997), Home is a Foreign Place (36 wood- of the artist is to fight against entropy— notes that 92 historic monuments have cuts with Urdu text, 1999), Mapping the to keep on taking these fragments and gone missing and are ”not traceable.”18 Dislocation (2001), and Letters from Home say, ‘What can they become?’ To take Zarina captures this marginalization (eight woodcuts and metal cuts, 2004) the fragments and construct something of history in cast paper sculptures such as among others. provisionally new. And that’s the link Memory of Bangkok (1980–2011), in which The catalogue of residences that is built from memory, to fragments, to the activ- she symbolizes the history that was once through these works implies dislocation— ity of making.”17 rich and glorious but is now fractured there are so many different “homes.” For Much has changed in India since and forgotten. The paper pulp, dyed with instance, House with Four Walls is a set of the Partition: in recent years, India has raw sienna and sumi ink, mimics the seven etchings with images printed on one enjoyed tremendous social change and worn appearance of ancient monuments. side and her poem printed on the other. economic and infrastructure growth. Sky- Though the sculpture lacks the specific- Each presents a simple abstract image in scrapers, malls and cybercafés now mark ity of a particular site, the minimal use black—a rough pattern of parallel lines, a the urban landscape, while ancient tem- of gold powder conjures the monument’s sea of rough dots, a large branching stalk, ples, monasteries, forts and royal man- long-lost luster, its glory and exuberance. etc.—that serves to animate the memo- sions, or havelis, sit in ruins, engulfed in Though its tangible presence suggests ries that she constantly revisits. Aamir R. the overgrown ephemera of wires, lights, solidity and permanence, the sculpture Mufti writes that the portfolio “subjects billboards and hoardings. India’s civiliza- remains just paper—organic and friable.

Art in Print March – April 2014 23 Zarina examines and reexamines Poem originally written by Meer Taqi Meer the complexities of identity and home- (1723–1810), translated by S. Kalidas and Sohail New Prints land; she depicts the mutilated bonds of Hashmi; S. Kalidas, “Radiant transits of Zarina belonging, severed by choice or chance; Hashmi,” The Hindu (New Delhi, India), 6 Feb 2011. by Brian Cypher and she recuperates wholeness through 2. Her given name at birth was Zarina Hashmi, the images, motifs and myths of her own but she prefers to be addressed only by her first memory. To quote Rushdie once more: name. 3. S.P. Agarwal, J.C. Aggarwal, “India Since Inde- No matter how great the storm, if that pendence,” in Information India 1994–95 & 1995– plunges me into the contradiction and 96 (New Delhi: Concept Publishing, 1997), 124. paradox, so be it; I’ve lived in that 4. Thomas F.X. Noble, Western Civilization: messy ocean all my life. I’ve fished in Beyond Boundaries (Boston: Houghton Mifflin, it for my art. The turbulent sea was the 2008), 741. 5. Prashant Bharadwaj, Asim Khwaja, Atif Mian, sea outside my bedroom window in “The Big March: Migratory Flows after the Parti- Bombay. It is the sea by which I was tion of India,” Economic & Political Weekly (Mum- born, and which I carry with me where bai, India), 30 Aug 2008, 39. I go.19 6. Ibid. 7. “A Land of Plenty,” Time, 11 Aug 1997. Zarina, like Rushdie, travels with her 8. Khosla, Stern Reckoning, Vol. 1 (New Delhi: baggage of reminiscences. She has car- Bhawnani, 1989), 3; reprint of 1949 edition. ried her idea of home throughout her life 9. “The Garden of Dark Roses: Zarina in Conver- and has mourned its loss through dark ink sation with Sandhini Poddar,” in Allegra Pesenti, Zarina: Paper Like Skin, exhibition catalogue (Los stains and stiff-lined floor plans. Unlike Angeles: Hammer Museum; Munich, London, Rushdie, however, she is private and New York: Delmonico Books Prestel, 2012), 168. avoids the explicit. Unlike her contempo- 10. “A Conversation: Bollinger & Rushdie,” raries such as Satish Gujaral and Anupam Columbia Magazine (Columbia University, New Sud, who turned to figuration, Zarina’s York), accessed 16 July 2013, http://www.columbia.edu/cu/alumni/Magazine/Fall2003/aconversa- language is abstract, poetic, intimate and tion.html. metaphorical, and it leaves generous room 11. Poddar in Zarina: Paper Like Skin, 168. for subjective interpretation. 12. “Pakistan accuses India of firing, shelling She probes the status quo of nations across LoC,” The Express Tribune, 25 Oct 2013, and the intentions of their leaders, but http://tribune.com.pk/story/622293/loc-violation- indian-firing-injures-three-in-sialkot/. she does so through works whose affect is 13. Sanjoy Majumder, “Narendra Modi ‘allowed’ delicate, reclusive and almost polite. Her Gujarat 2002 anti-Muslim riots,” BBC, 22 Apr art does not name names; it elucidates 2011, http://www.bbc.co.uk/news/world-south- an empty center—a home that was dese- asia-13170914. crated, divided and finally lost to the spells 14. Poddar in Zarina: Paper Like Skin, 167. 15. In Geeti Sen, “A Conversation with Zarina,” in of time. She mourns its loss as she nestles Zarina: Paper Houses, exhibition catalogue (New against its memory. Delhi: Gallerie Espace, 2007), 13. Zarina’s art is personal, social, political 16. Aamir R. Mufti, “Zarina’s Language Question,” and philosophical at the same time— in Zarina: Paper Like Skin, 158. specific to her time and experiences, and 17. “New Acquisition: William Kentridge’s ‘Draw- universal. Anyone who has ever felt pangs ing from Tide Table’,” Fine Arts Center (Colorado Springs) Blog: Thinking Outside the Square, of separation, of a contested identity or a 25 Sept 2012, http://blog.csfineartscenter. torn allegiance can identify with her work org/2012/09/new-acquisition-william-kentridges. and find solace in the poetic yet unequivo- html. cal impressions with which she has built 18. “Performance Audit of Preservation and an architecture of survival and resistance Conservation of Antiquities,” Report No. 18 of 2013, accessed 13 Feb 2014, http://saiindia.gov. in the face of history. in/english/home/Our_Products/Audit_Report/ Brian Cypher: Flow Tether, (detail) 2014 Government_Wise/union_audit/recent_reports/ Etching, edition of 20, 32 ½” x 19” union_performance/2013/Civil/Report_18/ Published by Manneken Press. Shaurya Kumar is an artist who shows his work Report_18.html. internationally. He currently teaches in the 19. “A Conversation: Bollinger & Rushdie,” Department of Printmedia at the School of the Columbia Magazine (Columbia University, New www.mannekenpress.com Art Institute of Chicago. York), accessed 16 July 2013, http://www.columbia.edu/cu/alumni/Magazine/Fall2003/aconversa- [email protected] tion.html. Notes: phone: (309) 829-7443 1. Kya bood-o-baash poochho ho poorab ke saakino; / hamko ghareeb jaan ke hans hans 1106 E. Bell Street pukaar ke. / Dilli jo ek shahar tha aalam mein Bloomington, IL 61701 intakhaab; / rahte the muntakhib hi jahan rozgaar ke. / Usko falak ne loot ke veeran kar diya; / ham rahnewale hein usi ujare dayar ke.

24 Art in Print March – April 2014 COMMENTARY Papermaking and Social Action By Jessica Cochran and Melissa Potter

ocial Paper,” our exhibition at the “ S Center for Book and Paper Arts in Chicago, seeks to document what we see as a fundamental relationship between hand papermaking and social engagement through the work of 16 artists. These sculptures, installations, prints, books and ephemera, have been produced through a variety of paper-based strategies that link the act of making to social change. Crafts such as papermaking have been embedded in the history of progressive social programs since the early 20th century, when the Arts and Crafts movement led to the establishment of craft communities as alternatives to the “alienation” of industrial labor. Jane Addams, who won a Nobel Prize for her work with low-income urban dwellers at Hull House in Chicago, believed that handicraft could restore the psychological well-being eroded by the hardships of overwork. Lucy Morgan’s Penland School of Craft in North Caro- Julia Goodman, Guissipina Calgari (2012). Image courtesy the artist. lina was founded as what we would now call a micro-industry initiative to enable conflict to make paper, working through local women to sell their weavings to a Melissa Potter is a multi-media artist and one another’s narratives in a sometimes national audience. Subsequently, Penland writer exhibiting and publishing internationally. difficult space of understanding and dif- has trained generations of papermakers to She is currently an Associate Professor and ference. Meanwhile, the physical materials Director of the Book & Paper Program in the consider hand papermaking as a medium out of which paper can be made allow for Interdisciplinary Arts Department of Columbia of both community involvement and visceral representations of time, place and College Chicago. artistic production. Across the world and experience, as when the Combat Paper over many decades, papermakers worked Jessica Cochran is curator of exhibitions and Collective in the United States works with in locations from the Venezuelan rainfor- programs and acting assistant director at the veterans to make paper from pulped com- est to the rice terraces of the Philippines. Columbia College Chicago Center for Book and bat fatigues. Kiff Slemmons has spent two Paper Arts. She is also an independent curator In the 1960s and 70s, papermaking was decades working with the papermakers of and writer. further promoted as a medium of artistic Arte Papel in Oaxaca, establishing an art- expression through certain academic art based micro-industry. departments, such as Cranbrook in Michi- Projects such as these raise critical ques- gan, the founding of workshops such as tions about the role of specific media in the Dieu Donné Papermill and the Women’s realm of socially engaged art. It is our hope Studio Workshop in New York, and initia- that “Social Paper” will spark further dis- tives at Columbia College Chicago, Pyra- cussion of this movement, which has never mid Atlantic in Maryland, and elsewhere. been properly researched and documented, Further energized by the postwar Ameri- and of the ways in which work, art and can Studio Craft movement and the more works of art interact recent DIY movement, papermaking is . now pursued by a broad range of artists. The collaborative nature of the papermaking process, however, makes it a particularly effective medium for group engagement: Nick DuBois’ Fabric of War, for example, brought together 20 Pal- estinian and Israeli women bereaved by

Art in Print March – April 2014 25 Prix de Print No. 4 PRIX de Annu Vertanen: Breathing Touch PRINT Juried by Richard H. Axsom

The Art in Print Prix de Print is a bi- made my way with great pleasure The artist wrote that she wished to monthly, open, juried competition.1 I through all the submissions for the suggest the physical act of inhaling and Entries are submitted digitally along fourth Prix de Print competition. Though exhaling, and in an enlightened decision, with an optional artist’s statement. They aware, as previous jurors have been, of she angled Breathing Touch away from are reviewed by an invited outside juror the limitations of digital imagery when the wall. Allowing air to circulate freely who is given no identifying information assessing the full sensuous worth of a through the screen and light to pass about the artist. print, I did not feel entirely stymied. Aes- through the translucent papers bring This iteration of the Prix de Print has thetic strategies of formal design, expres- greater luminosity of color, spatial depth, been judged by the eminent print curator sion, idea and historical resonance could and a slight rustling of the sheets that Richard Axsom. An “inverterate mod- be mine to judge. Success was measure- enliven the linear designs—effects that ernist,” as he notes in his essay, Axsom able. Although an inveterate modern- would be lost if the work were installed is an expert on the work of Jasper Johns, ist, I enjoyed seeing boundaries pushed on or against a wall. Ellsworth Kelly, Claes Oldenberg, Frank beyond the stand-alone print to the Eye, mind and body are caught up in Stella, Andy Warhol and Terry Winters. contemporary incorporation of printed the complex lyricism of this monumental A revised and updated edition of his 1987 images into other media and formats. I woodcut. The movement of the sheets catalogue raisonné of Kelly’s prints was wanted to be surprised by the unfamil- and apparent animation of design, and published in 2012, along with a compan- iar, to be told what a print could be while the tactile appeal of the fibrous papers ion volume, Letters to Ellsworth. We are keeping within the realm of tradition. warrant the title Breathing Touch. Yet, if honored to have his precise and consid- A Janus-faced print would do the trick. base perception and bodily engagement ered eye brought to bear on the Prix de Most of all, I wanted to be moved. sound the essential argument of this Print. As I worked toward a short list of print, it trails art-historical associations contenders, I kept returning to the wall- that lend other expressive dimensions, Breathing Touch (2012–13) scale woodcut, Breathing Touch. Built from Shoji screens to Robert Rauschen- Woodcut on multiple sheets of machine- from superimposed layers of woodblock- berg’s Hoarfrost Editions of 1974, with made Kozo papers, 118 x 212 in. (330 x printed “curtains” of diaphanous Japa- their gauzy layers of screenprinted sheets 540 cm.) Unique image. Printed and nese paper, each layer consisting of nine of silk chiffon and taffeta. The meeting of published by the artist, Imatra, Finland. separate sheets, all attached with super- geometry with organic color and light in magnets to a trellis-like wooden struc- Breathing Touch recalls the sensibilities of ture, the whole affair declared itself as an such artists as Agnes Martin and Terry intricate screen of grand proportions (no Winters. less than 10 by 18 feet). Since the Prix de Print competition The imagery is composed of linear spi- judging is done blind, I knew the artist rals in a rainbow of pastel colors. When only as #1253, but from the work’s know- vertical, these computer-generated heli- ing blend of control and sensitivity, and cal springs call to mind Roman swags; its material use of woodcut and Japanese when bent, they look like nothing so papers, I suspected it had an East Asian much as metal Slinkys. The marks are link. Upon declaring my choice, I learned simultaneously painterly and linear; the it had been made by Annu Vertanen, who forms are warm and cool, sweet and edgy is Finnish but has studied woodblock in the delicate haze of pastels playing off printing in Japan. Her attraction to Japa- the metallic feel of the geometric coils. nese art strikes me as personal and cul- Overlapping in three layers, these tubular tural. Simplified graphic design, assertive patterns confound one another. color, and bold patterning characterize

26 Art in Print March – April 2014 Annu Vertanen, installation view of Breathing Touch (2012–13). Photo: Jussi Tiainen. both Japanese and Finnish aesthetics. Describing her approach to woodcuts as “wallpapering,” she invokes in her printmaking a tradition of fine Finnish domes- tic design exemplified by Arabia, Iittala and Marimmeko. In a world wired for instant communication and global awareness, it would seem that contemporary art has become a fully international language. But one may still perceive national dialects: in its allusions to Finnish design as well as to frosted glass, snowflakes and the undu- lating veils of the aurora borealis, Breath- ing Touch suggests qualities at once regional and universal. I wanted to be touched by what I discovered through the Prix de Print; the contemplative beauty of Vertanen’s remarkable woodcut is all I could have hoped for.

Richard H. Axsom is curator at the Madison Museum of Contemporary Art and professor emeritus of art history, University of Michigan. Detail of Breathing Touch.

Notes: 1. There is no entry fee, but entries must be associated with an active Art in Print subscription.

Art in Print March – April 2014 27 Treasures from the Vault 5 Ester Hernandez: Sun Mad By Rowan Bain

first-generation Chicana, Ester which was coined in the late 19th cen- In response to the African-American A Hernandez is a key figure in the tury to describe the fusion of European Civil Rights Movement of the late 1950s Chicano civil rights art movement that immigrants into a common American and early ’60s, Mexican-American groups emerged in America in the late 1960s. culture, “salad bowl” describes a melange also organized to fight for social and Her most famous image, the screen- of ethnic groups tossed together while political change. Unfair labor practices, printed poster Sun Mad, was first cre- retaining their separate identities. In the voting restrictions and housing discrimi- ated in 1981 and expresses her anger at 1960s, the term “Chicano” was adopted nation were common experiences for the human and environmental cost of by people of Mexican descent living in the Chicanos and Mexican immigrants in pesticide use in commercial grape grow- United States who had become politicized America. For the many Mexican-Amer- ing in California. A second edition of the by their experience. Chicano art was, ican migrant workers, the formation screenprint, printed in 1982, has recently from its very beginning, an art of protest, of the United Farmworkers of America been acquired by the Victoria and Albert connected to social politics and the labor (UFWA) was a critical development. From Museum and will feature in the forth- movement and concerned with creating 1965 the UFWA, led by César Chávez and coming exhibition “A World to Win: Post- distinctive work that reflected the Mexi- Dolores Huerta, organised a series of suc- ers of Revolution and Protest.”1 can experience in the United States. cessful strikes and boycotts against major Making or displaying a poster is often During the Great Depression, Her- American grape growers, demanding bet- a political, sometimes even a danger- nandez’s grandparents immigrated to ter wages and employment rights. The ous act, and for many social and political California from Mexico to work on com- boycotts thrust the issue of conditions movements poster production has been an mercial grape farms. Having been forced for farmworkers onto the dinner tables important form of cultural output. As the to cut short their own educations, her par- of America. Hernandez became involved repository of the UK’s national poster col- ents were determined that their daughter with the UFWA, which, along with with lection, the V&A holds an impressive range finish high school. After graduating, she her engagement in the politically charged of political posters, about 70 of which will moved to the San Francisco Bay Area, got Berkeley community in the 1970s, con- be represented in the exhibition. Produced married and had a son. In her late twen- firmed her sociopolitical artistic identity over the course of a century, from the ties she went back to school, eventually and commitment to activism. Votes for Women campaign to the recent enrolling at the University of California, Against this backdrop Hernandez Occupy movements, these images were Berkeley, to study anthropology. During learned that pesticides used on the grape created to mobilize, educate and organize her studies she shifted her focus to the farms surrounding Dinuba had leeched people to produce change. Hernandez’s visual arts, working with emergent Chi- into the ground and contaminated the print is important as a vibrant example of cano artists, and later joined the Mujeras town’s water sources. Concerned for her Chicano political art (not broadly repre- Muralistas, a group of female artists cre- family and friends and feeling a respon- sented in the UK), an early dramatization ating large-scale murals depicting the sibility to speak up for those who could of environmental awareness and a potent social concerns and everyday life of the not speak up for themselves, Hernandez subversion of corporate branding. Mexican community in San Francisco’s created Sun Mad in 1981. She chose Sun- Born in 1944, Hernandez grew up in Mission District. In the post-1968 era Maid Growers of California, a privately Dinuba, a rural town in California’s San of grassroots activism, posters became held cooperative, as her target because the Joaquin Valley, sometimes described tools of empowerment. They were used, raisin grapes harvested in her hometown as “the salad bowl of America.”2 While for example, to publish images of black went to the cooperative for processing. much of the country’s produce is grown power and beauty, or of women daring to One of the most memorable company in this area, the metaphor has another revolt. Like many Chicano artists, Her- emblems ever created, the Sun Maid connotation, pertinent to understanding nandez was drawn to screenprints, which embodies a vision of California sunshine how Hernandez and many other Chicano are inexpensive, can be reproduced and and prosperity. As the official company artists identify themselves. Unlike its circulated easily, and suit her bold use of history tells us, the original Sun Maid semantic forebearer, the “melting pot,” graphics and color. was Lorraine Collett, a California fruit

28 Art in Print March – April 2014 Although Hernandez and other Chi- cano artists identify as part of an artistic movement rooted in cultural difference, many have extended their concerns and political outrage by creating protest posters for a wide range of causes including the Vietnam War, apartheid and Palestinian rights. Sun Mad points to the plight of farmworkers but also calls attention to the risks 5 to consumers. Hernandez has been cred- ited with creating one of the first images to link the plight of farmworkers to effects on consumers and the environment.3 In 1982, when Hernandez first printed Sun Mad, no one took much notice of it.4 Due to her growing reputation as an artist, however, and following its inclusion in a number of seminal exhibitions and publications on Chicano art, Sun Mad has gained her more attention.5 With the growth of the environmental movement, its cautionary message about over-reliance on pesticides continues to resonate as consumers have increasingly demanded to know what goes into their food. Sun-Maid has never publicly com- mented on the work. In recent decades, as artists have responded to the traumas of economic globalization, the poster has become a way to undermine corporate media dom- inance: artists hijack big brands, alter logos and manipulate company slogans or straplines. Sun Mad is an early example of such “subvertised” posters, and a particularly powerful one.

Rowan Bain is Assistant Curator of Prints at the Victoria and Albert Museum, London. Ester Hernandez, Sun Mad (1982), screenprint, 26 x 20 inches. Edition of 53 (second edition). Printed by Ester Hernandez, San Francisco. ©Ester Hernandez. Notes: 1. The exhibition opens at the V&A on 1 May packer who was discovered by company neted figure bearing grapes. But in place 2014. The exhibition looks at the defining features representatives in 1915. Her image is so of a friendly young face looking out from of protest graphics produced by individual artists, established in American popular culture, beneath the oversized red bonnet we find graphic designers and print collectives. in 1988 Collett’s original red bonnet was the leering face of death. The poster’s 2. http://ceres.ca.gov/geo_area/bioregions/San_ acquired by the Smithsonian Institution small print explains the Sun Maid has Joaquin_Valley/about.html. See also Alex Van Tol, Dolores Huerta: Voice for the Working Poor (Hove, in Washington and now forms part of its been poisoned by “insecticides, miticides, UK: Crabtree Publishing Company, 2011), 14. permanent collection, alongside Dorothy’s herbicides, fungicides.” 3. Maria X. Martinez, “The Art of Social Justice,” red shoes from The Wizard of Oz and the Hernandez’s skeleton dramatizes the Social Justice 34, no. 1 (2007), 9. tattered flag that prompted Francis Scott lethal consequences of pesticides and at 4. Email correspondence from Ester Hernandez Key to pen “The Star-Spangled Banner.” the same time firmly locates the print in with the author, 20 January 2014. 5. For a list of exhibitions and publications see Packaged in small, child-sized boxes, the tradition of Mexican printmaking dat- http://www.esterhernandez.com/. Sun-Maid Raisins have been a staple in ing back to José Posada, whose calavaras school lunch boxes for generations; as a (skull) illustrations satirized Mexican soci- result, many people associate them with ety at the end of the 19th century. Posada’s the innocent pleasure of childhood. Her- work has influenced many Mexican artists nandez reproduced the familiar raisin and has come to define the visual imagery box composition, with its tomato-red associated with Day of the Dead festivities, background, yellow disk of sun and bon- which are celebrated around the world.

Art in Print March – April 2014 29 EXHIBITION REVIEW Staging Symbolism: Programs for the Théâtre de l’Oeuvre By Britany Salsbury

“Staging Symbolism: Programs for the Théâtre de l’Oeuvre” Zimmerli Art Museum, Rutgers University 14 September 2013 – 2 February 2014

ounded in 1893, the Théâtre de F l’Oeuvre produced and encour- aged experimental theatre, making this alternative entertainment available to a broader Parisian public than ever before. The Zimmerli Museum’s exhibition “Staging Symbolism: Programs for the Théâtre de l’Oeuvre” presents a selection of their theatrical programs, illuminating the connections between performance and printmaking in that artistically adventurous historical moment. The works on display are culled from the Zimmerli’s notable collection of 19th-century French works on paper, initiated in the 1980s by Phillip Dennis Cate (now director emeri- Henry Bataille, Annabella —Théâtre de l’Oeuvre (1894), lithograph, 9 3/4 x 12 3/4 inches. tus) and housed in the institution’s Morse Collection of the Zimmerli Art Museum at Rutgers University. Research Center for Graphic Arts. Within the space of a single gallery, this small but between this vanguard institution and which was established by the critic and fine exhibition presented 20 printed pro- fin de siècle printmaking through the historian Camille Mauclair; the writer, grams, each shown unfolded and framed, prints commissioned as programs, how- actor and director Aurélien Lugné (who highlighting the dual status of these works ever, has remained less examined. adopted the pseudonym Lugné-Poe, after as functional objects and artworks. As a The works included in “Staging Sym- the American writer Edgar Allan Poe) and group, the programs convey the aesthetic bolism” span from 1893, the Théâtre’s first the artist Édouard Vuillard—the latter two concerns of the Théâtre while demon- year, to 1898, the year before it was tempo- both pupils at the Lycée Condorcet as well strating the diverse uses of printmaking as rarily closed. With few exceptions the art- as founding members of the Nabi circle. both a promotional tool for, and an artis- ists employed lithography, working with Their ambition was to promote innovative tic complement to, dramatic productions. preeminent printers, such as Auguste Clot, plays that employed experimental narra- Most scholarly accounts mention the at a time when the medium was shedding tive and psychological interest as an alter- Théâtre in passing and only for its rela- its commercial associations and being native to the predictable, often moralizing tionship to Post-Impressionist artists, embraced for its expressive potential. content of most entertainment. Like the including Henri de Toulouse-Lautrec Most of the prints are shown as horizontal leaders of many avant-garde periodicals and Maurice Denis as well as some whose sheets, meant to be folded in the center, and exhibition societies of the day, Lugné- prominence has waned in interven- though some are vertically oriented with Poe had an international outlook, with a ing decades, such as Henry Bataille and a design that suggests they might have particular interest in emerging Scandina- Charles Léandre. The central role that the doubled as flyers or small posters. The vian playwrights such as Henrik Ibsen and Théâtre’s organizers, writers and stage uncreased condition of the works on view August Strindberg. itself played in paintings by these artists suggests they were understood even in The Théâtre’s cultivation of pan-Euro- was documented in the Musée d’Orsay’s their own day as objects of collection. pean content can be seen in the number of 2005 exhibition and catalogue “Le Théâtre The desire to break from artistic tradi- programs commissioned from foreign art- de l’Oeuvre (1893–1900): naissance du tion and flout contemporary social codes ists: the Italian Alfredo Müller, the Belgian théâtre moderne.” The relationship forged was the founding principle of the Théâtre, Théo van Rysselberghe and the Dutch

30 Art in Print March – April 2014 Joseph Kaspar Sattler, Brand—Théâtre de l’Oeuvre (1895), color lithograph. 32.6 x 43.8 cm. Image courtesy National Gallery of Art.

Jan Toorop, among others. “Staging Sym- of associations invoked by this print sug- lithographer and customer clearly sug- bolism” features Joseph Kaspar Sattler’s gest the important role that printmaking gests that the work they view—and, by lithograph for the Théâtre’s June 1895 pro- played in circulating the Théâtre’s literary connection, the printed program itself— duction of Ibsen’s drama Brand. Designed and artistic agenda to an interested public. are of consummate quality. by a German printmaker to illustrate the “Staging Symbolism” also sheds light In addition to lithographs, the Théâtre work of a Scandinavian writer produced on the overlap between theater and the de l’Oeuvre permitted artists to pursue at a French venue, it reflects the interna- periodicals, galleries, print publishers and more experimental printmaking tech- tional character of late-19th century cul- cultural institutions that nourished print niques, such as the 1895 gypsograph proof tural networks. The low cost and large culture in Paris at the time. Félix Vallot- impression (before lettering) of a program editions enabled by lithography made ton’s program for an 1894 production of by the now-obscure French printmaker it easy for adventurous work to travel, Strindberg’s Père, like Sattler’s for Brand, Maurice Dumont. Gypsography (also further contributing to these networks. is divided into parts illustrating the play know as glyptography) was a dimensional Sattler’s cover portrays the play’s title fig- and announcing another publication, print technique, much discussed in jour- ure, a priest prepared to martyr himself though here the sections flow together. nals such as Pan, that employed an inked, for his faith. The spindly lithographic At left, a vignette depicts the family whose bas-relief plaster mold impressed on lines resemble those of the Norwegian conflict is summarized in Strindberg’s dampened paper. In Dumont’s striking Edvard Munch, who also received com- drama; on the right another group of fig- print, a female figure strolls through an missions for Théâtre programs. The left ures, arranged in similar poses, includes a expansive forest, enveloped in robes and side of the sheet—which would serve as printer standing before a press, pulling a carrying a harp and flower; the delicacy of back cover when folded—shows a promi- lithograph to show to an interested ama- line recalls medieval manuscript illumina- nent advertisement for Pan, a Berlin-based teur. It is an advertisement for L’Estampe tion and mirrors the subject’s appearance. arts journal that brought contemporary Originale, a short-lived but influential Viewed alongside a broad range of litho- French art and reviews of avant-garde publication of original prints (see Art in graphs and even photomechanical prints, theater to a German public. The variety Print Vol. 2, No. 3). The rapt attention of Dumont’s print suggests the Théâtre’s

Art in Print March – April 2014 31 Maurice Dumont, Carmosine—Théâtre de l’Oeuvre (1897), gypsograph (glyptograph), 4 3/4 x 7 1/2 inches. Collection of the Zimmerli Museum at Rutgers University.

commitment to printmaking in all its Britany Salsbury is a PhD candidate in Art Notes: manifestations.1 History at the Graduate Center, City University 1. For an example of contemporaneous writ- “Staging Symbolism” expands our of New York, where she focuses on print culture ing on the medium, see Roger Marx, “Die Glyp- understanding of the role of Théâtre de in late 19th-century France and Germany. She tographieen,” Pan 1, no. 1 (1895): 41–42; Loÿs l’Oeuvre in the cultural life of its time, illu- is a Research Assistant in the Department of Delteil, “La Gravure et couleurs et la gypsogra- minating its contributions to the graphic Drawings and Prints at the Metropolitan phie,” L’Estampe et l’Affiche 1, no. 4 (June 15, Museum of Art. 1897): 117; and Noël Clément-Janin, “Un artiste arts. More broadly, the exhibition reveals inventeur,” Revue des Arts Décoratifs 20 (1900): that, like public performances, prints 383–87. played a pivotal role in making vanguard art available to a growing and interested audience in fin de siècle Paris.

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32 Art in Print March – April 2014 EXHIBITION REVIEW Hieronymus Cock Aux Quatre Vents By Kate McCrickard

“Hieronymus Cock: The Renaissance in Print” Institut Néerlandais, Paris1 18 September – 15 December 2013

he Renaissance in Print” celebrated “ T the Low Countries’ star print publisher Hieronymus Cock (1518–1570) and his editioning house, Aux Quatre Vents (At the Sign of the Four Winds), which thrived from 1548 to 1606. Organized jointly by four institutions (M - Museum Leuven, the Royal Library of Belgium, Illuminaire Center for the Study of Medieval Art at KU Leuven and the Fondation Custodia, Collection Frits Lugt, Paris) and accompanied by an encyclopaedic catalogue (see review in this issue of Art in Print), the exhibition made an ambitious claim for the centrality of Northern Europe and of printed images to the triumph of Renais- sance culture. The Paris show opened with portraits of Cock and his wife, Vol- cxken Diericx, by Johannes Wierix from Pictorum aliquot celebrium Germaniae inferioris effigies, a 1572 publication from Aux Quatre Vents that constituted the first attempt to determine a Northern canon of painting, perhaps in reply to Vasari’s famous Vite, published just 14 years earlier. (Diericx, who took over the running of the business after her husband’s death, commissioned his portrait posthumously.) The show also closed with prints from the Pictorum, which acted as quotation marks enclosing an intricate, fascinating and ultimately convincing argument.2 Frans Huys after Pieter Bruegel the Elder, A Dutch Hulk and a Boeier from Sailing Vessels The more than 150 prints and drawings (ca. 1565), engraving, 13 1/4 x 10 1/4 inches. Image courtesy National Gallery of Art. were organized across the Institut’s six rooms in chapters that documented the exhibited here, were engraved by Joannes and Cock’s discovery, Pieter Bruegel the breadth of Cock’s achievement: the revival and Lucas Doetecum and printed from Elder, dominated the exhibit. (The 64 and imitation of antiquity, the fantasies of plates more than two meters long. Geor- prints Cock published after Breugel draw- Bosch and Bruegel, architecture and orna- gio Ghisi’s 1550 engraving after Raphael’s ings helped cement the artist’s reputation ment, explorations of landscapes both The School of Athens—the first print to in the 16th century and even now.) grand and local, the mapping of the wider reproduce the fresco in its entirety— In sections V and VII (The Fantastic world. Major pieces grabbed attention in appeared in section III (Italy on the Banks Universe of Bosch and Bruegel; Bruegel each section. Section II (Ancient Rome) of the Scheldt). Lured to Antwerp by Cock, and the Flemish Landscape), Pieter van included a rare impression (on loan from Ghisi arrived with bundles of drawings by der Heyden and Philips Galle’s engrav- London’s Royal Academy) of Sebastiaan or after Italian masters under his arm. His ings after Bruegel’s The Seven Virtues van Noyen’s The Baths of Diocletian: Cross- complex, nuanced engraving techniques (1559–60) and The Seven Deadly Sins and sections of the Reconstruction (1558). The six, greatly influenced the house style at Aux The Last Judgment (1558) filled a specially large fold-out prints, two of which were Quatre Vents, and Ghisi, along with Cock constructed interior room, making for a

Art in Print March – April 2014 33 Pieter van der Heyden after Pieter Bruegel the Elder, Avaritia, from the series The Seven Deadly Sins and The Last Judgment (1558), engraving, 22.3 x 29 cm. National Gallery of Art, Rosenwald Collection. vivid lesson in the moral reckonings of ated when rendered by the hard edges of Was Cock trying to cash in by linking the the time. Behind this room hung Frans Cornelis Cort’s engraving, turning flesh younger artist to his more famous pre- Huys’ depictions of sailing vessels, accu- cartoonish and unreal. In a Joannes and decessor? In section X (Architecture and rate portraits of types of ships drawn by Lucas van Doetecum engraving after Flo- Ornament), Jacob Bos’ engravings after Bruegel. These individual studies were ris’ Resurrection of Christ (1557), however, Cornelius Floris’ Designs for Decorative displayed around the impressive Huys/ the painter’s pleasure in decoration—the Tableware (mid-1550s) satisfyingly mirrored Breugel Naval Battle in the Straits of Mes- way the clouds and draperies framing the their preparatory drawings, emphasizing sina (1561) like a flotilla. Huys’ incised line ascending Christ ripple like a mollusc’s the symmetry inherent in ornament and transforms Bruegel’s ships into sculp- folds—leads to exquisitely ordered pas- in the printing process. A plate believed tures: softly billowing sails become curved sages of abstraction in the print. to have been engraved by Johannes Wierix shields reflected in the stiff waves below, Bruegel’s innovations in the develop- after Martin Schongauer’s Christ on the as starchy as meringue peaks. ment of the Weltlandschaft as a pictorial Cross between Mary and John (1563) sat In section IV (The Netherlandish mode were evident in the unprecedented below an impression of the original Schon- Artists of the Renaissance), the North- Large Landscapes (c. 1555, also engraved by gauer. This is one of the three remaining ern response to the Italian Renaissance the van Doetecum brothers): a cloaked fig- plates of the more than 1,600 produced by yielded more uneven results. Displays ure on horseback perched on a rocky out- Cock’s workshop: a print made after a print of anatomy, bodily contortion and ver- crop draws the eye into a sweeping alpine in a further step of removal. tiginous perspective learned from Italian valley tidily dotted with trees and ani- Throughout the show, design drawings models tended toward repetitive bas-relief mals; a tiny silhouetted figure framed by were exhibited alongside the prints pulled effects on the plate. The astounding mus- a rock arch pulls the epic panorama into after them, inviting comparisons across culature painted by Frans Floris in his intimate focus. Nearby hung Bruegel’s media, between ink on paper and stylus on Labours of Hercules cycle of paintings, famous engraving Big Fish Eats Little Fish plate. To modern eyes, which tend to favor for example, becomes absurdly exagger- (1557), published under the name “Bosch.” the incipient thought and swift expres-

34 Art in Print March – April 2014 Cornelis Cort after Frans Floris, from The Labors of Hercules (1563), eight engravings from a series of ten, preceded by a dedicatory page, 23.2 x 28.7 cm. Image courtesy of the Rijksmuseum, Amsterdam. sion of pen and ink, even prints such as to the dissemination of the art of the Ital- stacked with an unprecedented wealth of Bruegel’s delicate Rabbit Hunt (1560) can ian Renaissance. His influence was wide, images—pictures of worlds known and feel a little formal when hung alongside his publications sought after. After his unknown—and to be asked to select at the initial drawing. The engraver’s adroit, death, the studio continued to flourish will something entirely new. tightly-sealed surfaces, however, hold for 30 years under Diericx’s direction. their own beauty. The translation of a The third print a visitor to the Paris show painting or drawing into the language of encountered was Joannes and Lucas van Kate McCrickard is an artist and writer copper plates required enormous artistry Doetecum, after Hans Vredeman de based in Paris. and intelligence—dynamic color relation- Vries, Imaginary View of a Street with the ships had to be recast as weighted densi- House Aux Quatre Vents, from the series ties of black line; editorial excisions were Scenographiaesive perspectivae (1560). It Notes: 1. The exhibit opened in 2013 at the M - Museum necessary to maintain visual momen- describes a corner house with Cock Leuven, Belgium, and ran from March 14 to June 9. tum at reduced scale; tone and sfumato standing in the doorway and his wife 2. Most of the works were on loan from Brussels, required sleight-of-hand linear decep- behind a counter backed by shelves of with contributions from the Amsterdam Rijksmu- tions—these were the skills of Cock’s prints. It is difficult in our visually satu- seum and the Fondation Custodia. principal studio masters. rated world to imagine how rare a treat In his production of etchings and pictures were in early modern Europe. engravings, Cock upheld a rigorous stan- Leaving “The Renaissance in Print,” how- dard of publication, strategically building ever, one had a sense of how extraordi- a market for the print as art. A skilled art- nary it must have been to enter that house ist with a businessman’s acumen and an in Antwerp, perhaps to be greeted by eye for a winning image, Cock was central Diericx as she stood by those shelves

Art in Print March – April 2014 35 BOOK REVIEW Italian engraver Giorgio Ghisi, whom together from the start, and while most Cock brought to Antwerp, and discovered of the works discussed in the catalogue and nurtured homegrown artistic talent, were published during Cock’s lifetime and including the young and as yet unknown bear his name, a handful were produced Pieter Bruegel the Elder. Their initiative by Diericx after Cock’s death. In fact, she and enterprise helped build the founda- maintained Aux Quatre Vents for an additions of print culture and shape the con- tional 30 years—longer than Cock himself. tours of the Renaissance. While production slowed and concen- Organized by the scholars Jan van der trated more on cheap devotional prints, Stock (Illuminare, KU Leuven), Joris van Diericx also continued to print from Grieken (Royal Library of Belgium) and the huge stock of plates the couple had Ger Luijten (Fondation Custodia, Paris), amassed over the decades. After her death, the exhibition is the first in a quarter cen- these plates were sold to eager publishers tury to be dedicated to Cock. In the cata- who continued to print them in Antwerp, logue, the curators are joined by a host of Amsterdam, Paris and elsewhere right experts in the many areas in which Cock through the 17th century. made his mark. The book’s eight essays Several essays explore the counterpoint focus on Cock’s biography (van der Stock), between Cock’s fascination with ancient his commercial practices (van Grieken), Rome and contemporary Italian art along- his relationship to Italian printmakers and side his cultivation of a specifically Neth- publishers (Luijten), his architectural and erlandish artistic idiom. The book displays Hieronymus Cock: The Renaissance in Print ornament prints (Peter Fuhring), his inter- the high quality and technical accomplish- Edited by Joris van Grieken, Ger Luijten, ests in antiquity and archaeology (Krista de ments of Cock’s Italian and Italianate and Jan van der Stock, with essays by Jonghe), his development of a wide range prints, with a section devoted to prints Jan van der Stock, Joris van Grieken, of landscape types (Manfred Sellink) and after Italian artists that were engraved Ger Luijten, Peter Fuhring, Krista de his substantial cartographic output, one of by both Italian and Northern printmak- Jonghe, Manfred Sellink, Wouter Bracke the least studied aspects of Cock’s career ers, and another showcasing prints after and Pieter Martens (Wouter Bracke and Pieter Martens). These Northern artists working in the Italian 416 pages, 320 illustrations are followed by 109 catalogue entries orga- manner. While art history in general still Published by Mercatorfonds nized into nine thematic groups; together Distributed by Yale University Press, 2013 they offer a wealth of information and new $95 insights that will be as valuable to experts in the field as to scholars of the Renais- sance and prints more generally. The Renaissance Van Grieken’s close analysis of the printshop’s commercial operations explicates Reconceived the intersections of art and commerce, By Alexandra Onuf showing how savvy entrepreneurship was the foundation of Cock’s success and he name Hieronymus Cock key to shaping the artistic landscape of T(1518–1570) might not be familiar the period. Van Grieken carefully parses to all Renaissance scholars or historians inventories and financial records to deter- of printmaking, but it ought to be. The mine the value, range and quantity of splendid new catalogue Hieronymus Cock: prints published by Aux Quatre Vents. The Renaissance in Print, published in con- Counter to prevailing wisdom, he demon- junction with a major exhibition in Leu- strates that in addition to the prestigious, ven (M - Museum Leuven), Belgium, and high-quality prints produced for an inter- Paris (Institut Néerlandais), makes it clear national clientele, the shop also printed why. In 1548, Cock and his wife, Volcxken cheap images in bulk. These prints, which Diericx, established Aux Quatre Vents were neither signed nor dated, most likely (“At the Sign of the Four Winds,” a name served the devotional needs of local audi- that signals the publishers’ global ambi- ences and institutions. Van Grieken shows tions), which the catalogue presents as the how these mass-market prints provided a single most important print publishing steady income to support more ambitious operation of the 16th century. The remark- and risky ventures the couple undertook. It ably vast and diverse range of prints that is a pity the catalogue doesn’t include any issued from their presses in Antwerp was of these; it would be fascinating to com- instrumental in disseminating ideas and pare them to the “officially” issued prints. Johannes Wierix, Portrait of Hieronymus Cock, images throughout Europe and beyond. Van Grieken also illuminates Volcxken from the series Pictorum aliquot celebrium Along the way, they employed famous Germaniae inferioris effigies (1572), engraving Diericx’s importance to operations at Aux and letterpress, 15.5 x 11.9 cm. Image courtesy and experienced artists, among them the Quatre Vents. Husband and wife worked the Rijksmuseum, Amsterdam.

36 Art in Print March – April 2014 midst of expansive landscapes, his delicate The moral current running through etched lines modulated to create a sense Ruins connects the series to the many of atmospheric space and depth. Cock other moralizing prints Cock published, deployed these landscapes, traditionally most notably the Seven Deadly Sins and considered a Northern specialty, to aug- Seven Virtues series after designs by Pieter ment and transform the presentation of Bruegel. The catalogue places these Neth- ancient ruins. Landscape would emerge as erlandish Bruegelian inventions together a major artistic genre as a result of Cock’s with the Italianate moralizing prints after publications, which included maps, city Maarten van Heemskerck and Maarten de views, and real and imaginary landscapes. Vos, emphasizing both the continuities of These are assessed in the final section of theme and the variety of styles to be found the catalogue and in Manfred Sellink’s fine in Cock’s publications. essay. Appearing not just as independent In some cases, antique models took on works but also as settings in a wide range unprecedented and entirely new forms of images, landscapes are prominent in under Cock’s direction, as in the architec- many Aux Quatre Vents prints, and thus tural perspective views he published after offer a unifying thread throughout the Hans Vredeman de Vries, which incorpo- catalogue. rate classical forms into a modern—North- Cock also invites a moral reading of ern—architectural language. Vredeman de Johannes Wierix, Portrait of Volcxken Diericx (1579), engraving, 15.9 x 12.4 cm. Image the ruins’ dilapidated forms. Van Grieken Vries felt a similar freedom to interpret courtesy the Rijksmuseum, Amsterdam. assesses the series: and elaborate on ancient forms in three books of designs based on ancient archi- Unlike Italian printmakers and pub- tends to privilege the Italian Renaissance as tectural orders. Vredeman de Vries himself lishers, who depicted the famous mon- paradigmatic of the period as a whole, this explained that the series was intended for uments of Rome in reconstructions, book demonstrates that prints published “ingenious builders, masons, stone carvers Cock chose to preserve every trace of in northern Europe were instrumental in and other admirers of antique architec- decay… Admiration for the enormous disseminating the Italian approach. North- ture,” but clarified that they should feel free buildings and colossal statues of Rome ern artists often equaled their Italian coun- to pick and choose from among his motifs was tied to amazement at the loss terparts in cultivating and advancing this and to adapt and substitute his ideas as of this rich ancient civilization. The idiom, which blossomed from a regional to desired.2 This intended flexibility was typi- decayed remains also provided a cau- an international style through the dissemi- cal of Cock’s publications, which sought to tionary exemplum of the transitory nation of their work. Frans Floris emerges expand and diversify the artistic and the- nature of earthly glory.1 as a primary figure in this conversation. matic range of artists and collectors alike. Edward Wouk’s catalogue entries on his drawings and the prints made after them elucidate the artist’s pictorial sophistica- tion, his nuanced interpretation of ancient and contemporary Italian art, and the relationship of his work to the humanist interests of the time. In short, thanks to Cock’s printmaking enterprise, the “Ital- ian” Renaissance style expanded beyond its geographic borders to become far richer and more influential than it otherwise would have been. As the catalogue moves from prints of ancient Roman subjects, to contemporary Italian prints, to Italianate prints that echoed and expanded the Netherland- ish tradition, the categories of Italian and Netherlandish art come to seem less distinct and more like a continuum of artistic possibilities, all freely explored in Cock’s prints. To take one example of his complex negotiations between antiquity and modernity and between north and south, the section of the catalogue on antiquities opens with the Large Book of Ruins (1551), etched by Cock himself. Rather than isolat- Hieronymus Cock, Ruins of the Colosseum, A Vaulted Corridor, from the series Praecipua aliquot ing the ruins like specimens, as Italian art- Romanae antiquitatis ruinarum monimenta vivis prospectibus, known as The Large Book of Ruins ists tended to do, Cock situates them in the (1551), etching and engraving, 22.7 x 28.5 cm. Image courtesy National Gallery of Art, Ailsa Mellon Bruce Fund.

Art in Print March – April 2014 37 Cornelis Cort after Frans Floris, Hercules and the Pygmies (1562), engraving, 32.2 x 46 cm. Image courtesy the Rijksmuseum, Amsterdam.

De Jonge’s essay argues that the period’s with title pages. This practice, borne of the engineer Sebastian van Noyen. Granvelle’s adaptive reimagining and reformulation desire to give coherence to nonnarrative connection to the Habsburg court and of the antique “might be directly indebted sequences of prints, became standard prac- his antiquarian interests also put Cock in to Cock’s publications,”3 describing how tice among print publishers. contact with humanists, artists, theorists, actual antique fragments and newly cre- Beyond illuminating Cock’s formal, engineers and wealthy patrons from across ated “antiquities” were incorporated into technical and pictorial innovations, the Europe. This led to major projects for the building decorations in the Netherlands, catalogue masterfully elucidates the vast Habsburgs, most notably the Funeral Pro- at the same time that they employed what network of Cock’s colleagues and patrons, cession of Charles V (1559), a joint publica- Vredeman de Vries called “modern antiq- making clear the publisher’s international tion of Cock and Christopher Plantin that uity” in their structural form.4 reach and reputation. Among his acquain- was financed at least in part by Margaret Fuhring highlights the innovations in tances and business partners were promi- of Parma, regent of the Netherlands, and Cock’s ornament print series, which are nent humanists, antiquarians, publishers, Pierre de Vernois, an officer in Philip II’s linchpins of Renaissance design. Cock’s artists, printmakers and high-ranking mem- service. Operating in the midst of this very first venture into print publishing was bers of the church and the court, who often illustrious and far-reaching network, Aux a series of ornamental tableware designs had a considerable impact on some of his Quatre Vents was uniquely placed to shape after Cornelis Floris in 1548. He followed most ambitious projects (see especially De the artistic and intellectual culture of the these prints with others designed by Cor- Jonghe’s essay). The catalogue is careful to Renaissance. nelis and his brother Jacob Floris, as well connect publications to specific contribu- Cock moved easily between “artistic” as Vredeman de Vries and Benedictus Bat- tors and patrons wherever possible. For works and those of primarily topical or tini. These series were groundbreaking in instance, The Baths of Diocletian (1558), a political interest, like maps and siege views. content, format and organization. Cock monumental series of etchings that offered When Bracke and Martens write, “Cock’s championed “a wholly new form of orna- the first scientific printed record of a major production remained that of a publisher of ment consisting of scrollwork”: complex, ancient building, was dedicated to Cardi- prints,” they are confirming the idea that illusionistic devices that look like sculp- nal Antoine Perrenot de Granvelle, former Cock thought of maps as images first and tural scaffolds for a profusion of grotesques bishop of Arras and counselor to Emperor foremost.6 He issued maps, even very large and other ornament.5 Cock arranged these Charles V. Granvelle was instrumental to multi-sheet ones, with the intention they be prints systematically in standardized sets this undertaking, introducing Cock and the viewed as single unified images. He never

38 Art in Print March – April 2014 compiled them into an atlas, as was increas- flourish and shared it with many others. Archaeology and Architecture from Italy to the Low ingly common among publishers of the time. Aux Quatre Vents in a nutshell.”8 This mag- Countries,” 49. Cock borrowed and copied extensively from isterial catalogue ensures that Cock and 4. This puts one in mind of Christopher Wood’s recent Forgery Replica Fiction: Temporality of existing maps, and others in turn often cop- Diericx’s great accomplishments will now German Renaissance Art (University of Chicago ied his—the authors describe these complex once more be shared with many others. Press, 2008), which in addition to highlighting paths of production and reproduction in many instances of this sort of creative invention detail. The speed with which this transfer of of new antiquities also explicates the fundamen- Alexandra Onuf is an Assistant Professor in the information and imagery could take place is tal role of prints and print culture in shaping the Art History Department at the University of Hart- Renaissance. striking. Cock published a map of the siege ford, UK. 5. Peter Fuhring, “Hieronymus Cock and the of Malta, for instance, just a few months Impact of his Published Architectural and Orna- after its original publication in Rome.7 mental Prints,” 279. Notes: The book is lavishly illustrated. Rather 6. Wouter Bracke and Pieter Martens, “A New 1. Joris van Grieken, “Establishing and Market- View on the World: The Cartographic and Cho- than showing just a single print from a ing a Publisher’s List,” in Hieronymus Cock: The rographic Publications of Hieronymus Cock,” 62. set, several series are reproduced in their Renaissance in Print, 89. All subsequent page 7. Ibid., 65. entirety. In many instances title pages and citations refer to the catalogue. 8. Joris van Grieken, Ger Luijten, and Jan van der dedication pages are also included, so the 2. P. 303. Stock, “Challenging Talent and Letting It Grow: 3. Krista de Jonge, “Hieronymus Cock’s Antiquity: Aux Quatre Vents, 1548-1600,” 11. reader gets the added advantage of seeing how these prints were visually and intellec- tually framed. Many preparatory drawings related to the prints are reproduced, some as catalogue entries that show the designers’ methods of communicating pictorial ideas to printmakers. Many rare prints appear, among them a map that has never before been mentioned in the literature on Cock (cat. 104), raising the tantalizing prospect that there are yet more prints from Aux Quatre Vents out there awaiting discovery and identification. The illustrations con- tradict the expectation that Renaissance prints are necessarily black and white; many of the impressions reproduced are luxury exemplars that were hand-colored or printed in colored ink or on colored paper. The book is a rich visual feast and a delight to peruse, its beautiful reproduc- tions and engaging texts integrated into an elegantly and coherently organized whole. Indeed, the volume deserves its nomination for Belgium’s Cutting Edge award for best- designed book of 2013. I am hard-pressed to levy any criticism of this exceptional book. The few infelici- tous translations and typos and scattered across 416 pages are truly trivial errors. One is struck rather by the smooth flow and continuity of the text, a considerable feat in a volume with so many contributors. In addition to the consistent quality and tone, the book is unified by the authors’ shared premise: the quality and scope of Cock and Diericx’s initiatives as print publishers were unmatched in the Renaissance, and the prints that issued from Aux Quatre Vents were instrumental in shaping art and culture for decades, if not centuries. As Luijten, van Grieken and van der Stock put it: “It cannot be denied that art is inspired by genius, but there have also been, over and Johannes and Lucas van Doetecum after Cornelis Floris, Title Page with Scrollwork Decorations over again, men and women who have chal- with Figures, from the series Veelderleij niewe inuentien van Antijcksche Sepultueren… Libro lenged genius to higher things, enabled it to Secundo (1557), etching and engraving, 30 x 20.7 cm. Image courtesy the Rijksmuseum, Amsterdam.

Art in Print March – April 2014 39 BOOK REVIEW how the historically fraught term “propa- by the urgencies of political and military ganda” applies to this project, and provides conflict, which were not separate from a summary of key events and images across everyday life but part of its fabric. Many 20th-century Asia. (Ginsberg, a specialist in of the objects shown here were meant to Chinese art, focuses particularly on Sino- serve as a cohesive, constructive or didac- Japanese conflicts.) She then builds a coher- tic force in times of upheaval. Ginsburg ent story through the 68 catalogue entries tries to recapture an earlier, pre-WWI broken into eight chapters: “Revolutionary definition of propaganda as ethically Inspirations” and “A Century of War and neutral—activist in purpose but diverse in Revolution” are followed by smaller the- aims and methods. She sees the main goal matic groupings on everyday life, the uses of such images as the creation of involved of tradition, symbolism, heroes and vil- actors, writing, “art is an agent of change lains, women and children, and protest. A everywhere.”3 Acknowledging that all brief essay introduces each chapter. Every cultural activity is driven by some degree catalogue entry is well-researched and of socially contingent ideology is a help- enlivened by a captivating story, a full-page ful way to break through the prejudice color illustration and a wealth of footnotes against “propaganda.” and scholarly sources. Ginsberg’s reframing creates a sense of “A Century of War and Revolution” lays openness between “art” and “propaganda,” The Art of Influence: Asian Propaganda the historical groundwork for interpreting terms that some might consider antonyms. By Mary Ginsberg these objects. Ginsburg opens with two Challenging the clichéd parameters of 192 pages, 130 color illustrations prints depicting the Chinese Boxer Rebel- propaganda in this way, she is able to Published by the British Museum Press lion: a Chinese-made woodcut (c. 1900) address many facets of life, not only those £19.99 showing the strength of Chinese forces that are government-driven. Popular, rising up against foreign settlements in mass-market prints pepper the text, as do “The Art of Influence: Asian Propaganda” what is now Beijing and Tianjin; and a more conceptual works. Kazi in Noman’s The British Museum, London Japanese-made color lithograph (dated 23 Land (2008), a paper sculpture by Naeem 30 May – 1 September 2013 July 1900) in which the foreigners aggres- Mohaiemen, is one such unconventional sively trounce the Chinese (closer to his- choice. Mohaiemen is a London-born torical fact). All the images in this volume contemporary artist who works in Dhaka were created with a political agenda and and New York, and his postage-stamp The Art of Influence: the objective of swaying the “hearts and sculpture reveals how similar images of the minds” of their audience. The juxtaposi- celebrated Bengali poet Kazi Nazrul Islam Asian Propaganda tion of these Boxer Rebellion prints illus- (1899–1976) have been used in the national By Jill Bugajski trates just how subjective the utility of imagery of India, Pakistan and Bangladesh. these messages can be. Employment of the same icon for official Although she uses it in her title, Gins- government materials by three historically rawn primarily from the British berg writes of her ambivalence toward the adversarial nations suggests both the flex- D Museum’s extensive holdings, the word “propaganda.” She cites the defini- ibility of symbolic images and the fragility 100 objects included in the exhibition tion crafted by Garth Jowett and Victoria of unmoored symbols. This piece, which is and catalogue The Art of Influence: Asian O’Donnell in their 1999 text Propaganda essentially contemporary art about propa- Propaganda span the 20th century and and Persuasion: “the deliberate, systematic ganda, helps clarify the book’s viewpoint. extend into the new millennium with attempt to shape perceptions, manipulate Ginsberg’s emphasis on “creating involve- work as recent as 2008. Familiar sources cognitions, and direct behavior to achieve ment” rather than “persuasion” encour- such as China and North Korea are a response that furthers the desired intent ages the inclusion of meditative or critical refreshingly complemented by other of the propagandist.”1 Propaganda is often art. Further, it invites the viewer to con- countries often passed over in discussions interpreted as government-driven, inten- sider a broader spectrum of political art of political art, such as Bangladesh, Viet- tionally manipulative and thus sinister, a and its motivations. Thinking through the nam, Cambodia, Indonesia and the Philip- perspective that Ginsberg suggests is par- choices of socially engaged artists today pines. While this breadth comes at the cost ticularly shaped by audiences’ experience may yield new methods with which one of some depth, the catalogue is a robust of how images were malevolently manipu- can reexamine the politically motivated contribution to the field, offering many lated during World War I. Ginsberg sees practices of the past. previously unpublished artworks, imagi- propaganda more broadly. She writes, The book is further enriched by objects native groupings and a firm theoretical “the main goal of propaganda—and pro- other than posters—currency, textiles, backbone. It will undoubtedly provide paganda art—is to create involvement… ceramics, stamps, pins—which demon- new ideas and directions for readers eager inspire action and belief in a common strate how persuasion can permeate every- to learn about political visual culture cause… It informs as well as persuades; day life during times of political strife. across Asia. promotes and admonishes; includes, Their presence is a reminder of the goal In her substantive introduction, cura- excludes and shapes identity politics.”2 In of large-scale propaganda projects to be tor Mary Ginsberg offers a synthesis of Asian countries during the 20th century, gesamtkunstwerks—all-encompassing sen- recent scholarship in the field, evaluates visual communication was often driven sorial experiences—which can be obscured

40 Art in Print March – April 2014 when their artifacts are viewed in isola- of Ewing & Co. textile labels made for the tion or in medium-specific exhibitions. Indian market. The museum also owns a WARREN EDITIONS The British Museum holds more than 350 large number of Vietnamese war draw- stamped aluminum pins dating from the ings6 and recently acquired a collection of Chinese Cultural Revolution of the 1960s.4 Chinese wartime drawings and cartoons.7 Notwithstanding the current fashion Indeed, it appears that London was among private collectors for the material gripped by revolutionary fervor in 2013: relics of socialism, it is gratifying that the “The Art of Influence” was accompanied museum offers a thoughtful context for by the British Library exhibition “Propa- the display and evaluation of such things. ganda: Power and Persuasion” (17 May – 17 Ginsberg also addresses the techni- September 2013; catalogue by David cal and social histories of printed images, Welch), and “Mexico: A Revolution in Art, including color lithography and wood- 1910–1940” (6 July – 29 September 2013, block, and demonstrates the variety of text by Adrian Locke) at the Royal Acad- aesthetic strategies employed across Asia. emy. Given the mass of material still There are the familiar color-saturated unpublished, we can hope these shows posters of the Chinese Cultural Revolu- portend more pathbreaking evaluations of tion, but also papercuts, scroll paintings, political art to come. lithographs and stunning woodblocks made by Li Hua and Liu Lun in China in the 1930s and 40s. Jill Bugajski is a historian of American art whose Ginsberg insightfully charts the evo- research addresses propaganda, cultural lution of Asian artistic practices in the exchange, reception and diplomacy between the United States and the Soviet Union in the 20th context of international dialogues, show- century. ing how Soviet revolutionary art, the Ger- man printmaker Käthe Kollwitz and art responding to the 1789 French Revolution Notes: influenced Asian artists’ style and iconog- 1. The Art of Influence, 13. raphy. These transnational currents open 2. Ibid., 14. up a space for considering more recent 3. Ibid., 14–15 4. Many of these were gifts of the law firm and work, such as that of Mohaiemen or Nam art collectors Simmons and Simmons at the end June Paik. Ginsberg begins the section of the 1980s. “Revolutionary Inspirations” with the lith- 5. The Art of Influence, 7, 16. ograph Robespierre from Paik’s series Evo- 6. The Vietnamese collection has been previously lution, Revolution, Resolution (1989), which published in: Jessica Harrison-Hall, Vietnam Behind the Lines: Images from the War 1965–75 depicts French 18th-century personnages (London: British Museum Press, 2002). recast as television-robots. Around the 7. The preface credits an unnamed donor, the Robespierre robot Paik wrote, “Does the assistance of collector and author Stefan Lands- revolution justify the violence?” Drawing a berger, and Marien van der Heijden at the Interna- connection from the French Revolution to tional Institute of Social History in the Netherlands. Landsberger’s previous publications include Chi- the upheavals of 1989 via Paik is an exam- nese Propaganda Posters: From Revolution to ple of Ginsberg’s inspired choices. Placing Modernization (Armonk, N.Y: M.E. Sharpe, 1995) Paik’s print first suggests that its critical and Chinese Posters: The IISH-Landsberger Col- NINA KATCHADOURIAN lections (Munich; New York: Prestel, 2009). and historically reflective tone is indicative Whisker Prints of the project. Studying how and to what ends these images are mobilized at various moments is more illuminating than debat- ing whether or not an object fits the con- ventional definition of propaganda. The Art of Influence represents the first concentrated examination of the British Museum’s holdings of this material; many of the entries are new acquisitions that have not been displayed or published before.5 Ginsberg describes the scope of the collection as “exceptional and rare,” and makes tantalizing reference to 200 prints acquired by an employee of the British embassy in China, drawings assem- bled by cartoonist and journalist Jack islandpress.samfox.wustl.edu Chen in the 1930s, and a unique collection

Art in Print March – April 2014 41 EDITION REVIEW Nicola López: Big Eye By Sarah Andress

Big Eye (2013) Woodcut, 43 1/2 x 39 1/2 inches. Edition of 14. Printed by Andy Rubin, Madison, WI. Published by Tandem Press, Madison, WI. $4000.

icola López’s prints, drawings and N installations lay bare the bones and arteries of industrial places and imagined cities. Integrating infrastructure and embellishment, they are both precise and fantastic, appealing to the imagination as well as the intellect. In her recent woodcut with Tandem Press, a large, white, framed rectangle stands at an angle to the picture plane—a billboard perhaps, or projection screen. Behind and beneath it a tattered industrial matrix of broken beams and crossbars suggests architec- tonic support, and also the trailing lines of swift cartoon movement. (The artist frequently depicts the urban fabric cracking and tipping, not in a disastrous way, but simply to reveal its surging energy.) The shattered and disconnected gird- ers appear in pointed contrast to the smooth, bright swath of the empty sign. Supported only by illusion, the billboard hovers insistently, craning its neck to announce… nothing. Material and subject matter are inter- woven here: this picture of wood and paper is made of wood and paper. The slight undulations along the left and right Nicola López, Big Eye (2013). edges of the sign announce its substance; the surface of the sign is not in fact blank, but printed in white ink: this not a blank slate awaiting a message—it is the message. Without words the sign’s blazing void seems to shout, “look at me,” even as its title suggests the sign is looking back at us. It both glares and beckons. Like Dr. Eckleburg’s eyeglass billboard in The Great Gatsby, Big Eye is material metaphor—an eerily animate artifact, man- made and alive.

Sarah Andress is the former Managing Editor of Art on Paper magazine and has contributed articles to FlashArt, TimeOut London and artlog.

42 Art in Print March – April 2014 EDITION REVIEW Jane Hammond: Snapshot Odyssey By Susan Tallman

Snapshot Odyssey (2014) 12-color lithograph and pochoir with digital printing, chine collé and collage on white Rives BFK, Thai Mulberry, Mokume and metallic papers. 30 x 39 1/2 inches. Edition of 45. Printed and published by Shark’s Ink, Lyons, CO. $4000.

or decades Jane Hammond has made F art by collecting isolated bits of visual detritus like shells on a beach and placing them—in crowds—where they don’t belong. Previous print projects include a five-foot-tall pseudo-Egyptian sarcopha- gus covered in ballerinas, sea turtles and teacups (Spells and Incantations, 2007); a life-size self-portrait in which her body is tattooed with insects, clowns, dice and other emblems (Tabula Rasa, 2001); and a celestial chart filled with constellations in the shapes of Sumo wrestlers, lobsters and wishbones (My Heavens, 2002). Her work succeeds in being more than quaintly cacophonous because her arma- Jane Hammond, Snapshot Odyssey (2014). tures are usually rich with the promise of cogency—she likes the sort of visual structures that come with a legend off to found snapshots in the artist’s collec- people to play his geopolitical wall-hung the side. In Hammond’s work, though, tion, offer surreal reassignments of fig- board games, equipped them with indi- that promise is betrayed by the com- ures and locations: two little girls in vidual parts and magnetic surfaces.) plete inability of the pictorial bits and bunny costumes crouch on either side For Hammond, the print’s putative schematic frameworks to align. As Faye of a dangling elephant trunk; two little playability is one more baffle—it seduces Hirsch has pointed out, once we remem- boys swap records on turntables in front us with the lure of clear outcomes, even ber that real stars don’t picture Sumo of the striding pharaohs of Luxor; and so as it reminds us that the ability to master wrestlers1, it’s just a short hop to realizing on. Capturing these photographs is the the rules is precisely what separates that they don’t picture big dippers either; stated goal of the game, but in a psycho- games from life. the maw of uncertainty opens before us. logical sense these absurd images elude Hammond’s new print, Snapshot Odys- capture: we will never understand what sey, adopts the homey identity of a board is going on in them. Susan Tallman is the Editor-in-Chief of game—not the open-ended inquiry of Unlike celestial maps, games do not Art in Print. strategic games like chess or go, but the pretend to offer certain knowledge of the dopey winding path of kiddie games like cosmos, but they do provide the reassur- Notes: Candy Land. The path in Hammond’s ance of a rule-driven domain: you may Faye Hirsch, “In the Forest of Signs: Jane Ham- print is clunkily convoluted, like some- not know who will win or lose, but you do mond’s Prints and Photographs,” in Paper Work, thing made from spare bits of lumber know where you are, why you are there, ed. Marianne Doezema (Collegeville: Penn found in the shed (a quality reinforced and what structures will determine the State University Press and Mount Holyoke Art by the wood-grain paper on which it is outcome. Snapshot Odyssey, however, is Museum, 2007), 18. printed). As it meanders over the sur- really just a picture of a game. You could face of the print, it wraps itself around play it, but you would have to take it off ten black-and-white photographs, six of the wall and lay it on a table or use Post- which must be “captured” by landing on its to mark your place on a vertical sur- the right place to win the game. face. Neither solution is very practical. These images, digitally collaged from (Oyvind Fahlstrom, who really did want

Art in Print March – April 2014 43 EDITION REVIEW Peter Blake: Found Art: Eggs By Maru Rojas

Found Art: Eggs (2013) Digital inkjet print with screenprinted glazes. 122 x 85 cm. Edition of 25. Printed by Coriander Studio, London. Published by CCA Galleries, London. £2500.

ir Peter Blake’s new series, Found S Art, extends the artist’s infatuation with appropriation and popular culture. Reusing images salvaged from a bygone era, they feature illustrations of clowns, the cover of a “one-dime novel,” old but- ton sets, and a chart of eggs, designed by Adolphe Millot for the 1871 edition of the Nouveau Larousse Illustré (1897–1904). Found Art: Eggs, like the six other works in the series, is an inkjet print that has been retouched with glazes. The digital printing captures the muted inks and warm paper tones of an antiquated lithograph, while still preserving the original illustration’s fine detail, while the glazes allow for hand- picked features to subtly be brought forth. The reproduced page takes up the print’s entire surface, the lack of margins enhancing the desire to look at the image up close. The elaborate arrangement doc- uments various types of eggs, numbered and linked to a legend at the bottom that provides the common French names of the relevant species. The delicate rendering of the specimens by Millot coupled with the visual hunt of linking image to species pulls the viewer in. Enlarged to the scale of a poster, Eggs may initially suggest an abstract composition of soft pastels and varying sheens, irregular patterns. As in his other Found Art prints, Blake has recast a historic object through radical rescaling (the print is nearly four times the size of the Peter Blake, Found Art: Eggs (2013). original encyclopaedia). The strategic glazing has an editorial as well as an aesthetic function. The screenprinted glazes affect the outcome Maru Rojas is a writer, artist and art facilitator from Mexico currently based in London. so discreetly they almost go unnoticed, preserving the concept of appropriation and re-presentation common to this series while altering pictorial qualities of texture, color and composition. Blake makes us look at the familiar with fresh eyes. What we knew is not what is.

44 Art in Print March – April 2014 Artists’ Editions available for under ≤100 $100 / €100 / £100

Armelle Caron Yann Lestrat Le monde rangé (The World Tidy) (2012) Sans Titre (Untitled) (2013) One-color offset, 70 x 100 cm. Edition of 500. Four-color offset, 70 x 100 cm . Edition of 500. Printed and published by Lendroit Éditions, Printed and published by Lendroit Éditions, Rennes, France. €30. Rennes, France. €30.

Anna Hellsgård and Christian Gfeller Chris Stain Untitled 21 (2013) Up the Beach (2013) Multiple-color screenprint, 80 x 60 cm. Edition Screenprint and spray paint, 15 1/2 x 25 inches. of 20. Printed and published by Re: Surgo!, Edition of 23. Printed and published by the Berlin. €65. artist, New York. Available from Just Seeds, Pittsburgh, PA. $30. Katie Kaplan Work Pants (2013) Three-color screenprint, 16 x 26 inches. Edition of 25. Printed and published by the artist, New York. Available from Just Seeds, Pittsburgh, PA. $35.

Clockwise from top left: Katie Kaplan, Work Pants (2013). Anna Hellsgård and Christian Gfeller, Untitled 21 (2013). Chris Stain, Up the Beach (2013). Armelle Caron, Le monde rangé (The World Tidy) (2012). Yann Lestrat, Sans Titre (Untitled) (2013).

Art in Print March – April 2014 45 Ennui (or, The Endless Conversation) (2013) News of the Softground, flatbite, spitbite, aquatint, drypoint Annie Bissett, Secret Code Words of the NSA: and burnish, 23 1/2 x 20 inches. Edition of 25. Accordian (2013) Printed and published by Paulson Bott Press, Mokuhanga woodblock, 6 x 6 inches. Edition of 20. Print World Berkeley, CA. $2000. Printed and published by the artist, Northampton, MA. $50. Selected New Editions The Rosy Tenant and The Previous Tenant (2013) Softground, soap ground, drypoint, flatbite and Arturo Araujo, Cienega de la Virgen, burnish, 21 x 17 inches each. Edition of 20 each. The Swamp of the Virgin (2013) Printed and published by Paulson Bott Press, Achival digital print, woodblock, stamp, silk- Berkeley, CA. $1500 each. screen and gouache, 39 x 16 inches. Edition of 2. Printed and published by Inside River Studio, San Nocturnal Feeders (2013) Francisco. $1800. Softground, spitbite, soap ground, sugar lift, drypoint and aquatint, 28 1/2 x 22 inches. Edition of 25. Printed and published by Paulson Bott Press, Berkeley, CA. $2000.

Annie Bissett, Secret Code Words of the NSA: Accordian (2013).

Elisabeth Bond, Waiting (2013) Woodcut, 12 1/4 x 9 inches. Edition of 25. Printed and published by the artist, London. £180.

Hernan Bas, Ennui (or, The Endless Conversation) (2013).

Ulysses Belz, Phrenic (2013) Engraving, image 30 x 40 cm, sheet 47 x 56 cm. Edition of 50. Printed and published by Arturo Araujo, Cienega de la Virgen, The Druckgrafik Rössler, Krostitz, Germany. $400. Swamp of the Virgin (2013). Elisabeth Bond, Waiting (2013).

Janet Best Badger, Theresa Bond Zelazny, Belinda Casey, Veronica Ceci, Eleanor Droll, Alice Leora Briggs, La Ventana (2013) Carol Hayman, Lynne Hubner, Biddy Hudson, Chine collé, woodcut, image 60 x 30 3/4 inches, Anna Kinbar, Deborah McLouth, Sharon sheet 63 1/2 x 39 3/4 inches. Edition of 10. Printed Navage, Ruthie Powers, Susan Randle, Cara and published by Flatbed Press, Austin, TX. Price Beth Stevenson and Melanie Wade Leslie on request. Women Printmakers of Austin Annual Portfolio: Journeys (2013) Portfolio of fifteen prints (various mediums), 11 x 15 inches. Edition of 19. Printed by individual Ulysses Belz, Phrenic (2013). artists. Published by Women Printmakers of Austin, Austin, TX. $1900. Christine Beneman, High Line Reflections (2013) Monotype, 22 x 30 inches. Unique image. Printed and published by the artist at Peregrine Press, Portland, ME. $600.

Susan Randle, Sonia (2013), from the Women Printmakers of Austin Annual Portfolio.

Hernan Bas, Comus in a Drunken Stupor (2013) Softground, spitbite, soap ground, flatbite, Christine Beneman, High Line Reflections Alice Leora Briggs, La Ventana (2013). aquatint and unique inking, 42 x 35 inches. (2013). Edition of 25. Printed and published by Paulson Bott Press, Berkeley, CA. $3000.

46 Art in Print March – April 2014 Brian Cypher, Flow Tether and Barbara Duval, Untitled (2013) Antje Hanebeck, Radiant (2013) Last Mass (2014) Etching with chine collé, 22 x 30 inches. Edition of Portfolio of 11 heliogravure prints, 30 x 30 cm each. Soft ground etching and spitbite aquatint and 10. Printed and published by the artist, Charleston, Edition of 40. Printed and published by East Wing, hardground etching, aquatint and spitbite SC. $500. Doha, Qatar. €8000. aquatint, image 27 1/2 x 14 inches, sheet 32 1/2 x 19 inches. Edition of 20 each. Printed and published by Manneken Press, Bloomington, IL. $600 each.

Barbara Duval, Untitled (2013). Antje Hanebeck, Radiant (2013). Georgina Gratix, Bad Feminist (2013) Five-color aquatint, spitbite aquatint and bur- nishing, image 69 1/2 x 49 cm, paper 103 1/2 x 76 cm. Edition of 15. Printed and published by Warren Marcelle Hanselaar, Editions, Cape Town, South Africa. 6500 S.A. Rand. The Bookseller’s Daughter (2013) Etching and aquatint, 20 x 25 cm. Edition of 30. Printed and published by the artist, London. £330. Brian Cypher, Last Mass (2014).

Stanley Donwood, Wait here we will come for you (2013) Laser engraving, image 51 x 37 cm, sheet 65 x 55 cm. Edition of 6. Printed and published by CFPR Editions, Bristol, UK. £500.

February Holloway (2013) Laser engraving, image 55 x 40 1/2 cm, sheet 67 x 55 cm. Edition of 6. Printed and published by CFPR Editions, Bristol, UK. £500. Marcelle Hanselaar, The Bookseller’s Daughter (2013).

Georgina Gratix, Bad Feminist (2013). Ellen Heck, Woodcut Color Wheels with Additions and Redactions: Sunset (2014) Takuji Hamanaka, December (2013) Woodcut plate rotated 90 degrees four times, Woodblock, gampi collage, 26 x 23 1/2 inches. copper plate drypoint, ink, watercolor, acrylic Unique image. Printed and published by Man- on nine panels, 45 x 45 inches. Unique image. hattan Graphics Center, New York and the artist, Printed and published by the artist, Berkeley, Brooklyn, New York. $2500. CA. Available through Arc Gallery, San Francisco. $5000.

Stanley Donwood, Wait here we will come for you (2013).

Valentina DuBasky Cliff Site with Red Heron (2013) Monotype, 26 1/4 x 45 1/2 inches. Printed and published by Tandem Press, Madison, WI. $4000.

Ellen Heck, Woodcut Color Wheels With Additions and Redactions: Sunset (2014). Takuji Hamanaka, December (2013).

Valentina DuBasky, Cliff Site with Red Heron (2013).

Art in Print March – April 2014 47 Cassandra Hooper, Playground (2013) Nichole Maury, Some Semblance Kate McQuillen, Detonator (2013) Lithograph on Japanese paper, 27 x 27 inches. of Order #11 (2013) Collaged monoprints with cut paper overlay, Edition of 5. Printed and published by the artist Collaged printed matter and inkjet, 30 x 30 81 x 42 inches. Unique image. Printed and at the Center for Editions, Purchase College, inches. Unique image. Printed and published by published by the artist, Chicago, IL. $7200. SUNY. $1800. the artist, Kalamazoo, MI. $800.

Cassandra Hooper, Playground (2013).

Janice Kerbel, Revolutionaries (2013) Pigment print on photo rag paper, 23 1/2 x 18 inches. Edition of 50. Printed and published by Nichole Maury, Some Semblance of Order #11 (2013). READ Books, Emily Carr University of Art + Design, Vancouver, BC. $500. Kate McQuillen, Detonator (2013).

Peter Th. Mayer, Artist I (Sabine) (2014) Sarah Pike, 3 Figures in 10 Colors (2013) Aquatint, drypoint, à la poupée, image 8 x 8 inches, Color lithograph and screenprint, 12 1/4 x 16 3/4 paper 20 x 20 inches. Edition of 55. Printed and inches. Edition of 4. Printed and published by the published by 55 limited, Berlin. $75. artist, Bennington, VT. $250.

Janice Kerbel, Revolutionaries (2013).

Anthony Kirk, Stilled Lives (2013) Engraving and aquatint, 9 x 24 inches. Edition of 40. Printed and published by the artist, NY. Available from Jim Kempner Fine Art, NY. $800.

Peter Th. Mayer, Artist I (Sabine) (2014).

Sarah Pike, 3 Figures in 10 Colors (2013).

Craig McPherson, ET2 (2013) Anthony Kirk, Stilled Lives (2013). Mezzotint (hand rocked), 25 5/8 x 39 7/8 inches. Senzo Shabangu, Vusumuzi, Mandlakayise (2013) Edition of 50. Printed and published by the artist, Linocut, image 35 x 24 inches, paper 41 x 29 (near) Orlean, VA. Available through Forum inches. Edition of 10. Printed and published by Tamás G. Kovács, Revelations 3 (2013) Gallery, New York. $5000. David Krut Workshop, Johannesburg. $1200. Linocut and stencil, image 35 x 50 cm, sheet 50 x 70 cm. Edition of 25. Printed and published by the artist, Budapest, Hungary. $300.

Craig McPherson, ET2 (2013).

Senzo Shabangu, Vusumuzi, Mandlakayise (2013). Tamás G. Kovács, Revelations 3 (2013).

48 Art in Print March – April 2014 Nomi Silverman, Living Rough (2013) Portfolio of five lithographs and a title page in a handmade paper portfolio, 12 x 10 inches each. Edition of 10. Printed by James Reed/Milestone Graphics, Bridgeport, CT. Co-published by Milestone Graphics and the artist, Glenville, CT. $600.

Chuck Webster, Houses Under the Sea (2013).

David Whiteside, Shaft (2013) Monotype with India ink and pastel, 21 x 18 inches. Hank Willis Thomas, Blow the Man Down (2013). Unique image (series of 8). Printed and published by the artist, Montreal. Available through Atelier Circulaire, Montreal. $475. Tobias Till, Oranges & Lemons (2013) Linocut print, 112 x 229 cm. Edition of 50. Printed by the artist, Towcester, UK. Published by TAG Nomi Silverman, from the portfolio Living Fine Arts, London. £3000. See below for image. Rough (2013). Jason Urban, Forest File, Forest Fire (Winter) Justine Smith, Money Map of the World (2013) (2013) Inkjet with pearlized screenprinting, 92 x 150 cm. Digital output on cardboard, 60 x 72 x 16 inches. Edition of 90. Printed by Coriander Studios, Unique image. Printed and published by the London. Published by TAG Fine Arts, London. artist, Austin, TX. Available through Natalie £1600. Kates Projects. $8000.

David Whiteside, Shaft (2013).

Sue Williams, Talk 2 Me (2013) Series of six lithographs, 18 x 22 inches each. Edition of 10. Printed and published by Hole Editions, Newcastle upon Tyne, UK. £1350 for set of six, £250 each.

Justine Smith, Money Map of the World (2013).

Annie Stromquist, Flight from the Jason Urban, Forest File, Forest Fire (Winter) Memory Loss series (2013) (2013). Ink, watercolor, paraffin, relief, screenprint on Chuck Webster, Houses Under the Sea (2013) paper, 12 x 12 inches. Edition of 8. Printed and Three-color etching with sugarlift and spitbite published by the artist, Long Beach, CA. $850. aquatint, image 35 1/2 x 30 inches, sheet 48 x 43 inches. Edition of 15. Printed by Peter Pettengill, Hinsdale, NH. Published by Wingate Studio, Hinsdale, NH. $1800. Sue Williams, from the Talk 2 Me series (2013).

Annie Stromquist, Flight from the Memory Loss series (2013). Hank Willis Thomas, And I Can’t Run and Blow the Man Down (2013) Screenprint, retro-reflective mounted on aluminum, 18 x 26 3/4 inches and 26 3/4 inches x 18 inches. Edition of 8 each. Printed and published by Lower East Side Printshop, New York. $4500 each. Tobias Till, Oranges & Lemons (2013).

Art in Print March – April 2014 49 Exhibitions of Note www.mfa.org/exhibitions/creative-process-modern- “Social Paper” japanese-printmaking 10 February 2014 – 5 April 2014 This exhibition showcases the MFA’s holdings Center for Book and Paper Arts, ALBUQUERQUE, NM of 20th-century Japanese prints, including Columbia College “400 Years of Remembering and Forgetting: both shin hanga (prints made by the traditional www.colum.edu/Academics/Interarts/events/ The Graphic Art of Floyd Solomon” collaborative method) and sōsaku hanga (those exhibitions/index.php 8 February 2014 – 17 May 2014 produced by a single artist working alone). This makes a case for papermaking not simply as University of New Mexico Art Museum Accompanying the finished prints are preliminary a means of art production, but as a therapeutic www.unmartmuseum.org/ drawings, woodblocks, artists’ proofs and variant community endeavor with economic, spiritual, Floyd Solomon (1952–2008) was an artist of impressions, revealing the interplay of creativity and social outcomes. Laguna and Zuni heritage who grew up at Laguna and technique. Pueblo, and whose art was deeply influenced by “The Left Front: Radical Art in the ‘Red the stories he heard as a child, including dark Decade,’ 1929–1940” ones about the arrival of the Spanish in the 16th BRADFORD, UK 17 January 2014 – 22 June 2014 century. “The Artists Folio: as a Site of Inquiry” 7 February 2014 – 15 June 2014 Mary and Leigh Block Museum of Art, Northwestern University “Melanie Yazzie: Geographies of Memory” Cartwright Hall www.blockmuseum.northwestern.edu/view/ 8 February 2014 – 17 May 2014 www.bradfordmuseums.org/whatson/event_detail. exhibitions/current-exhibits/the-left-front.html University of New Mexico Art Museum php?ID=673 This exhibition revisits a moment in American www.unmartmuseum.org/ This exhibition curated by Paul Coldwell history when visual artists joined forces to This exhibition of work by printmaker and presents folios from the city’s print collection, form a radical “left front.” In the wake of the sculptor Melanie Yazzie includes monotypes, including works by Sonia Boyce, Chris Ofili, Hew 1929 Wall Street Crash and at the start of the woodblock prints, lithographs and etchings that Locke for the Rivington Place Print Portfolio; Great Depression, John Reed Clubs (JRC) were draws on the artist’s Navajo/Diné heritage. both versions of A Rakes Progress (Hogarth and founded across the nation, involving such Hockney); William Rothenstein’s 1921 drypoints ‘Landscapes of War’; Glen Baxter’s humorous artists as Isabel Bishop, Stuart Davis, William ANDOVER, MA lithographs and Patrick Caulfield’s boldly- Gropper, Rockwell Kent and Chicagoan Morris “An American in London: Whistler and colored screenprints. Topchevsky. the Thames” 1 February 2014 – 13 April 2014 DES MOINES, IA Addison Gallery of American Art, Phillips Academy BRUSSELS “Etchasketchathon” www.andover.edu/Museums/Addison/Exhibitions/ “Allen Ruppersberg” 17 January 2014 – 18 May 2014 WhistlerThames/Pages/default.aspx#3 16 May 2014 – 17 August 2014 Des Moines Art Center This exhibition brings together paintings, prints, WIELS Contemporary Art Centre www.desmoinesartcenter.org/exhibitions/ and drawings by James Abbott McNeill Whistler www.wiels.org/en/exhibitions/568/Allen- Etchasketchathon.aspx from the 1860s and 70s, when he immersed Ruppersberg A recently acquired portfolio of 31 heliogravure himself in the urban life of London, with Rupperberg’s installation No Time Left To Start etchings by Jake and Dinos Chapman. particular focus on the bustling neighborhood Again/The B and D of R ‘n’ R is a sweeping survey surrounding Battersea Bridge. of American vernacular recorded music, from folk to rock, and from gospel to blues. It appears DOHA, QATAR alongside a selection of the artist’s earlier works. “Radiant” ATLANTA 15 January 2014 – 29 March 2014 “Paper & Ink: New Print Acquisitions from Museum of Islamic Art the High Museum of Art” CAMBRIDGE www.mia.org.qa/en/whats-on/radiant 18 January 2014 – 15 June 2014 “La Grande Guerre: French prints of the Eleven handmade photogravure prints by High Museum of Art First World War” German artist Antje Hanebeck, each responding www.high.org/Art/Exhibitions/ 20 May 2014 – 28 September 2014 to the space and architecture of the museum’s 31 prints from among the 450 prints acquired Fitzwilliam Museum significant I.M. Pei-designed building. over the past five years. Works on view include www.fitzmuseum.cam.ac.uk/ Dürer’s famous Master Engraving St. Jerome in his La Grande Guerre is a series of color lithographs and Study (1514) alongside prints by Ellsworth Kelly, wood engravings illustrating the first seven months EUGENE, OR Sarah Sze, Dox Thrash and others. of World War I. Battles, sieges and airstrikes “Emancipating the Past: Kara Walker’s are interspersed with scenes of British soldiers Tales of Slavery and Power” drinking tea and a Hindu regiment at prayer. 25 January 2014 – 6 April 2014 BOCA RATON, FL ASARO—Asamblea de Artistas “Fascination: The Love Affair Between French Revolucionarios de Oaxaca and Japanese Printmaking” CHARLOTTESVILLE, VA 12 February 2014 – 27 April 2014 11 January 2014 – 13 April 2014 “Jasper Johns: Early Prints from the Collections of Jordan Schnitzer Museum of Art, Boca Museum of Art Jordan D. Schnitzer and His Family Foundation” University of Oregon www.bocamuseum.org/ 17 January 2014 – 19 May 2014 http://jsma.uoregon.edu/ Drawing on the museum’s collection of French Fralin Museum of Art, University of Virginia The Assembly of Revolutionary Artists of Oaxaca lithographs and Japanese woodblock prints, this www.virginia.edu/artmuseum/exhibition/johns/ (ASARO) is an eight-year-old artists’ collective exhibition looks at the “cult of Japan” in fin de Beginning with a rare monoprint from 1954, committed to social change, and drawing on the siècle France. this exhibition surveys the first two decades of printed work by one of the most important living long tradition of politically oriented graphics in artists, and one of the most influential thinkers in Mexico. BOSTON the world of print. “Elegant Contortions: Renaissance Prints” FORT WORTH, TX 9 July 2013 – 30 March 2014 “Enriching the Collection: Gifts from Joan Museum of Fine Arts CHICAGO and John Richardson” www.mfa.org/exhibitions/elegant-contortions “Christopher Wool” 19 April 2014 – 24 August 2014 40 engravings, etchings and chiaroscuro woodcuts 23 February 2014 – 11 May 2014 Amon Carter Museum of American Art from the museum’s collection, including works by Art Institute of Chicago www.cartermuseum.org/exhibitions/current Giorgio Ghisi, the school of Fontainebleau, Dutch www.artic.edu/exhibition/christopher-wool 17 prints and drawings by American artists, given engravers such as Hendrick Goltzius, and the This second stop of the Christopher Wool to the museum by Joan and John Richardson. Mannerist printmaker Jacques Bellange of Lorraine. retrospective that was seen at the Guggenheim last fall. While it includes photographs and works “The Creative Process in Modern Japanese on paper, the bulk of the more than 90 works are GREENSBORO, NC Printmaking” Wool’s large, slick (literally) word and pattern “Imprint” 21 December 2013 – 17 August 2014 paintings, which—no matter what they are made 31 January 2014 – 27 March 2014 Museum of Fine Arts Boston out of—are all about print. Greenhill

50 Art in Print March – April 2014 www.greenhillnc.org/ encompass the full scope of Hamilton’s work, NEW BRUNSWICK, NJ Four artists—Mathew Curran, April V. Flanders, from his early designs of the 1950s to his final “‘Never Such Innocence Again: Picturing the Mark Iwinski and Indrani Nayar-Gall—who use paintings of 2011. This exhibition explores his Great War in French Prints and Drawings” printmaking to build three-dimensional work. relationship to design, painting, photography 8 February 2014 – 31 July 2014 and television, as well as his engagement and Zimmerli Art Museum, Rutgers University KERIKERI, NEW ZEALAND collaborations with other artists. www.zimmerlimuseum.rutgers.edu/ “Paul Coldwell–Printed Matter: Postcards, On the 100th anniversary of the beginning Screenprints and Bookworks” “Germany Divided: Baselitz and of World War I, this exhibition shows artistic 20 March 2014 – 13 April 2014 his Generation” responses to its unprecedented carnage by Art at Wharepuke 6 February 2014 – 31 August 2014 Theophile-Alexandre Steinen, Hermann-Paul, www.art-in-newzealand.co.nz/ The British Museum Raoul Dufy and others. This exhibition features the work of Paul www.britishmuseum.org/whats_on/exhibitions/ Coldwell selected from a number recent projects. germany_divided.aspx NEW YORK Featuring over 90 drawings and prints, this “No/Future: Mike Taylor” LAKE FOREST, IL exhibition explores how six key post-war 18 January 2014 – 30 March 2014 “No Such Agency” artists redefined art in Germany on both sides Booklyn Artists Alliance 27 February 2014 – 31 March 2014 of the Iron Curtain. These works on paper, http://booklyn.org/events/nofuture/ Durand Art Institute, Lake Forest College on public display for the first time, are on loan The artist’s first solo exhibition in New York www.lakeforest.edu/calendar/#event_id/476262/ from the private collection of Count Christian includes narrative paintings, drawings, prints and view/event Duerckheim. Half are by Georg Baselitz, with the three new artists’ books published exclusively for Kate McQuillen looks at the impenetrable nature remainder by Markus Lüpertz, Blinky Palermo, this exhibition. of the NSA through visual metaphors of light as A.R. Penck, Sigmar Polke and Gerhard Richter. knowledge and data as environment. “Locust Jones: Burn Freeze” LOS ANGELES 6 March 2014 – 26 April 2014 LAWRENCE, KANSAS “Tea and Morphine: Women in Paris, David Krut Projects “Albert Bloch: Prints and Drawings” 1880 to 1914” www.davidkrut.com/exhibitions.html 25 January 2014 – 18 May 2014 25 January 2014 – 18 May 2014 Australia-based artist Locust Jones’ exhibition Spencer Museum of Art, University of Kansas Hammer Museum consists of new drawings and prints including www.spencerart.ku.edu/exhibitions/albert-bloch. www.hammer.ucla.edu/ a new ten-meter long ink drawing and a suite shtml 100 works—including prints, books and of prints created during a residency at the Albert Bloch (1882–1961) was the sole American ephemera—demonstrate the fin de siècle David Krut Print Workshop (DKW) in artist affiliated with the critically important Blaue fascination with women, for better and worse. Johannesburg. Reiter group in Munich before World War I. They are pictured engaged in activities from demurely sipping tea to drug addiction and “Modern Furies: The Lessons and Legacy LONDON debauchery. of World War I” “Richard Hamilton: Word and Image, 21 January 2014 – 12 April 2014 Prints 1963-2007” MADISON, WI Galerie St. Etienne 14 February – 22 March 2014 “Marginalia in cARTography” www.gseart.com/ “Michael Craig-Martin: Objects of Our Time” 28 February 2014 – 18 May 2014 Works by Max Beckmann, Otto Dix, George 28 March 2014 – 3 May 2014 Chazen Museum of Art Grosz, Erich Heckel, Kathe Kollwitz, Oskar Laske, “Master Prints selected by Michael Craig-Martin” www.chazen.wisc.edu/visit/events-calendar/event/ Egon Schiele and others. 28 March 2014 – 3 May 2014 marginalia-in-cartography/ “Ben Johnson” This exhibition looks at maps and the artistic “Drawings and Prints: Selections from the 9 May 2014 – 7 June 2014 inventions inscribed in their margins. These Permanent Collection” Alan Cristea Gallery marginalia illuminate the content and purpose of 11 February 2014 – 28 April 2014 www.alancristea.com/ the maps, their authors and patrons, and on the Metropolitan Museum of Art historical period when they were made. www.metmuseum.org/exhibitions/listings/2014/ “Hockney, Printmaker” drawings-and-prints-february-rotation 5 February 2014 – 11 May 2014 MINNEAPOLIS, MN In honor of spring, this exhibition features a Dulwich Picture Gallery “Pop Art and Beyond” selection of works on paper that use the color www.dulwichpicturegallery.org.uk/exhibitions/ 7 February 2014 – 29 March 2014 green in their compositions, including a pastel now_on_show/hockney,_printmaker.aspx “Constructed Intimate Landscapes: of a ballerina by Edgar Degas, a colorful pochoir Timed to coincide with the 60th anniversary New Prints by Pamela Carberry” design with butterflies by E. A. Séguy and a of the artist’s first print this show celebrates 7 February 2014 – 28 March 2014 lithograph depicting emerald-toned squares by David Hockney’s long and fruitful career as a Highpoint Center for Printmaking Josef Albers. printmaker. www.highpointprintmaking.org/ “Alibis: Sigmar Polke 1963-2010” “Richard Hamilton at the ICA” MONACO 19 April 2014 – 3 August 2014 12 February 2014 – 6 April 2014 “Richard Artschwager!” www.moma.org/visit/calendar/exhibitions/1407 Institute of Contemporary Arts 20 February 2014 – 11 May 2014 The Museum of Modern Art presents the first www.ica.org.uk/whats-on/richard-hamilton-ica Nouveau Musée National de Monaco comprehensive retrospective of Sigmar Polke, The ICA presents two installations, Man, Machine Villa Paloma encompassing Polke’s work across all mediums, and Motion (1955) and An Exhibit (1957) by Richard www.nmnm.mc/index.php?lang=en including painting, photography, film, drawing, Hamilton to coincide with Tate Modern’s Traveling exhibition originally organized by prints, and sculpture. retrospective. Almost six decades after the artist the Whitney Museum in New York, featuring presented these works at the Institute’s original more than135 sculptures, paintings, drawings, “Medium as Muse: Woodcuts and the location in Dover Street, they will be re-staged to photographs, and prints by the droll and Modern Book” reflect the artist’s close relationship with the ICA profound Richard Artschwager. 21 February 2014 – 11 May 2014 throughout his career. The Morgan Library & Museum MUNICH www.themorgan.org/ “Richard Hamilton” “Reconnaissance: Landschaft, Mythos und Figur” The art and craft of the woodcut was a source 13 February 2014 – 26 May 2014 20 February 2014 – 27 March 2014 of inspiration for a small, influential group of Tate Modern Galerie Sabine Knust European and American artists whose work www.tate.org.uk/whats-on/tate-modern/exhibition/ www.sabineknust.com/ helped shape the modern book in the decades richard-hamilton Work by Herbert Brandl,Per Kirkeby, Markus immediately preceding and following the turn Tate Modern presents the first retrospective to Lüpertz, Paul Morrison and Markus Selg. of the 20th century. Works on view, drawn

Art in Print March – April 2014 51 from the Morgan’s collections, survey illustrated 31 August 2013 – 13 July 2014 TALLINN, ESTONIA publications from 1890 to 1935, contextualizing Virginia Museum of Fine Arts “The 16th Tallinn Print Triennial: Literacy – them within their idealized past—in touchstones www.vmfa.state.va.us/exhibitions/ Illiteracy” of medieval and Renaissance book design—and 7 February 2014 – 1 June 2014 mapping potential trajectories in experimental SAN FRANCISCO Kumu Art Museum animation, the fine press, and works by graphic www.triennial.ee/ artists today. “Codex” 23 January 2014 – 29 March 2014 The 16th Tallinn Print Triennial looks visual art, “Women’s History Month Show” CCA Wattis Institute for Contemporary Arts text and language in the 21st century, and the 1 March 2014 – 24 April 2014 www.wattis.org/ conflict between digital reality and longing for VanDeb Editions This exhibition-manifesto by the French artist tactility. www.vandeb.com/index.html Pierre Leguillon is a salon-style installation of more than 40 photographs, drawings and prints. TORONTO, ONTARIO “Ten Portfolios” It is inspired by the book form, but contains no “O.W.N. (Object Work Notation)” 14 February 2014 – 29 March 2014 books. 21 February 2014 – 29 March 2014 Carolina Nitsch Project Room Open Studio www.carolinanitsch.com/ “Current: Bridging Post Digital Technologies” www.openstudio.on.ca/ Work by Anish Kapoor, Josh Smith, Damien 24 March 2014 – 30 March 2014 Last year, Open Studio invited Richard Sewell, Hirst, Spencer Finch, Richard Prince, Raymond Gallery 112, Cannery Galleries, Academy of Art one of the organization’s co-founders, to curate Pettibon, Thomas Schütte, Jeff Koons, Jack www.academyart.edu/student_galleries/index.html an exhibition based on submissions received Pierson and Sherrie Levine. A selection of artists who integrate laser from Open Studio member artists, in response engraving/cutting technologies with their print to a thematic call of Sewell’s choosing. O.W.N. is “Terry Winters: Clocks and Clouds” practice. Sewell’s response. 27 February 2014 – 12 April 2014 Gemini G.E.L. at Joni Moisant Weyl “Matisse and the Artist Book” VERO BEACH, FL www.joniweyl.com/ 11 January 2014 – 12 October 2014 “Jasper Johns: Shadow and Substance” Clocks and Clouds is a series of six new lithographs Legion of Honor 8 December 2013 – 30 April 2014 by Terry Winters, his first collaboration with http://legionofhonor.famsf.org/legion/exhibitions/ The Gallery at Windsor Gemini G.E.L.. The complex sequencing of matisse-and-artist-book www.windsorflorida.com/gallery-exhibitions/ these prints investigates the intersection of Henri Matisse was 60 years old when he began jasper-johns-2013 representation and abstraction, reflecting to create original illustrations for livres d’artistes. This exhibition presents a collection of Winters’ interest in graphic information and He went on to produced prints for 14 books, lithographs and etchings created by Johns at symbolic languages. several considered 20th-century masterpieces, Universal Limited Art Editions (ULAE) from the including Poésies (1932) and Pasiphaé (1944). 1980s to the present. NORWALK, CT “Branching Out: Trees, Leaves, Blossoms SOTTEVILLE-LÈS-ROUEN, FRANCE VIENNA and More” “Bibliology: Artists’ Books and Editions in the “Eric Fischl: Friends, Lovers and other 9 February 2014 – 6 April 2014 Frac Haute-Normandie Collection” Constellations” Center for Contemporary Printmaking 25 January 2014 – 20 April 2014 13 February 2014 – 18 May 2014 www.contemprints.org/ccp-exhibitions Frac Haute-Normandie Albertina More than 50 hand-pulled prints by members of www.frachautenormandie.org/ www.albertina.at/ the Center for Contemporary Printmaking. This The exhibition, devoted to Bibliology—a term A survey of Eric Fischl’s graphic works including year’s theme, “Branching Out: Trees, Leaves, defining the “science of books”—pays tribute to glassine and chrome coat paper, bathing and Blossoms and More” is dedicated to the memory artists’ editions and books. beach scenes and several bronze sculptures that of Bryan Nash Gill, a talented and innovative complement the drawn figures. artist and printmaker and member of the Center for Contemporary Printmaking. ST. LOUIS WASHINGTON, DC “Dear Nemesis, Nicole Eisenman 1993–2013” “Modern German Prints and Drawings from PHOENIX, AZ 24 January 2014 – 13 April 2014 the Kainen Collection” “Rufino Tamayo: Master Printmaker” Contemporary Art Museum St. Louis 23 February 2014 – 29 June 2014 21 September 2013 – 6 April 2014 www.camstl.org/exhibitions/ National Gallery of Art Phoenix Art Museum Featuring more than 120 works, this mid-career www.nga.gov/content/ngaweb/press/exh/3835.html www.phxart.org/exhibition/current survey charts Nicole Eisenman’s development Starting with a foundation of works from the Rufino Tamayo was an accomplished and prolific across painting, printmaking, drawing, and 18th and 19th centuries and culminating with printmaker as well as a painter. The works in this sculpture over the last 20 years. contemporary works from the 1960s and 1970s, exhibition demonstrate Tamayo’s strategies for this exhibition maps the development of modern creating abstract human forms that nevertheless STANFORD, CA German art. retain ties to figuration. “‘Her Story”: Prints by Elizabeth Murray, 1986–2006” WORCESTER, MA RICHMOND, VA 22 January 2014 – 30 March 2014 “‘Works in Process: from Proof to Print” “Notebooks: Prints by Matt Mullican” “Mapping Edo: The Social and Political 7 December 2013 – 5 April 2014 21 August 2013 – 29 June 2014 Geography of Early Modern Japan” “Majicolor Prints by Majima Ryoichi” Joel and Lila Harnett Museum of Art, University 21 August 2013 – 20 July 2014 5 February 2014 – 30 November 2014 of Richmond Cantor Arts Center, Stanford University Worcester Art Museum museums.richmond.edu/exhibitions/museum-of- www.museum.stanford.edu/view/exhibition_sched_ www.worcesterart.org/Exhibitions/majicolor-prints- art/Matt-Mullican.html new.html majima-ryoichi/ Matt Mullican has created a body of work that focuses on systems of knowledge, meaning, SYRACUSE, NY ZÜRICH language, and archetypal symbols. This “Ukiyo-e to Shin Hanga: Japanese Woodcuts “Small is Beautiful” exhibition features selected works from an from the Syracuse University Art Collection” 15 February 2014 – 17 May 2014 untitled portfolio of ten screenprints and 64 5 September 2013 – 11 May 2014 Parkett Space etchings based on 20 years of notebooks. Syracuse University Art Galleries www.parkettart.com/zurich-exhibition-space www.suart.syr.edu/ A selection of 80 works made by artists for “Clare Leighton: From Pencil to Proof to Press” This exhibition draws from the University’s Parkett since 1984, many smaller than a hand and 19 October 2013 – 6 April 2014 collection of over 300 Japanese woodblock prints, rarely larger than a Parkett page. “Catching Sight: The World of the British ranging from 18th century ukiyo-e prints to 20th- Sporting Print” century Shin Hanga work.

52 Art in Print March – April 2014 “Erik Steinbrecher: Books & Prints” NEW YORK Upcoming Auctions 19 February 2014 – 13 April 2014 Advanced Printmaking Intensive Swiss Federal Institute of Technology 27 May 2014 – 3 July 2014 LONDON www.gs.ethz.ch/ausstellung/current.html LeRoy Neiman Center for Print Studies, “The Grosvenor School and Avant-Garde Erik Steinbrecher is an artist and architect who Columbia University British Printmaking” designs public spaces, sculptures and photo www.columbia.edu/cu/arts/neiman/ 15 April 2014 installations, as well as videos, prints and artist’s A six-week intensive course in printmaking for Bonhams books. students at all levels. Build a new body of work www.bonhams.com/ under the guidance of master printers Tomas Benefits Vu-Daniel and Craig Zammiello. Visiting artists “Prints and Multiples” from past Intensives include Carroll Dunham, 16 April 2014 Terry Winters, Shahzia Sikander, Nicola Lopez, NEW YORK “Vintage Posters” and Kiki Smith. Benefit Print Sale 2014 21 May 2014 27 February–16 March 2014 “Printed Books & Manuscripts” Intro to Screenprinting Lower East Side Printshop 21 May 2014 4 March 2014 – 8 April 2014 www.printshop.org/web/Collect/Exhibitions/ “Fine Printed Books & Manuscripts” Lower East Side Printshop benefit/benefitHome.html 29 May 2014 www.printshop.org/web/Learn/Classes/Catalogue. The Printshop’s Benefit Print Sale helps fund Christie’s html residency programs for artists of all creative www.christies.com/calendar/ Topics will include screen preparation, color backgrounds, including free access to professional separation for multi-screen prints, correct color studio space, stipends, master printer support, NEW YORK mixing, registration, screen monoprinting, and career advancement services. “Printed & Manuscript African Americana” editioning, and basic methods of printing onto 27 March 2014 t-shirts. “Printed & Manuscript Americana” Fairs 8 April 2014 SAN FRANCISCO “Modernist Posters” ARLINGTON, VA Summer Workshop: Etching or Photogravure 24 April 2014 Capital Art Fair 9 June 2014 – 13 June 2014 “Old Master Through Modern Prints” 5–6 April 2014 16 June 2014 – 20 June 2014 29 April 2014 Holiday Inn-Rosslyn Westpark Hotel Summer Workshop: Advanced Etching “Early Printed, Medical & Scientific Books” www.capitalartprintfair.com/ 23 June 2014 – 27 June 2014 1 May 2014 Crown Point Press “Art, Press & Illustrated Books” BOSTON www.magical-secrets.com/content/welcome_ 7 May 2014 Boston Print Fair crown_point_press_workshop_page Swann Auction Galleries 27–30 March 2014 www.swanngalleries.com/ Cyclorama, Boston Center for the Arts STEAMBOAT SPRINGS, CO http://ad2021.com/print-fair.html Summer Workshop “The John James Audubon Collection 11 August 2014 – 15 August 2014 from the Indiana Historical Society” COPENHAGEN Oehme Graphics 1 April 2014 One Thousand Books Art Book Festival www.oehmegraphics.com/workshops Sotheby’s 10–13 April 2014 Oehme Graphics workshops will touch upon www.sothebys.com/ Carlsberg multiple aspects of monoprinting, copper www.lodretvandret.com/otb/one-thousand-books/ etching, collograph and solar plate etching, “Prints and Multiples” among other topics, and participants will have 24 April 2014 LONDON ample time on our two presses. Impressionist & Modern Works on Paper London Original Print Fair 7 May 2014 24–27 April 2014 Conferences Christie’s Royal Academy of Arts www.christies.com/calendar/ www.londonprintfair.com/ SAN FRANCISCO “Evening & Day Editions” MAASTRICHT, NETHERLANDS “42nd SGC International Printmaking 28 April 2014 TEFAF Maastricht Conference” Phillips 14–23 March 2014 26 March 2014 – 29 March 2014 www.phillips.com/ Maastricht Exhibition & Congress Centre www.sgcisanfrancisco.org/ The SGC International will host its 42nd annual http://www.tefaf.com/ PARIS conference in the San Francisco Bay Area, the “Livres Anciens, Livres D’Artistes first West Coast conference in the organization’s et Manuscrits” Workshops history. The conference theme is Bridges: 30 April 2014 Spanning Tradition, Innovation, and Activism. HOMBURG AM MAIN, GERMANY Christie’s Summer Academy Homburg am Main www.christies.com/calendar/ 9 August 2014 – 21 August 2014 sgC i nternational ConferenC e March 26 – 29, 2014 s an f ranC isC o Bay a rea www.sommerakademiehomburg.de/ SAN FRANCISCO This year, the Summer Academy celebrates its 5th “Prints and Multiples” anniversary! Classes take place in a castle dating 22 April 2014 from 15th century high above the river Main Bonhams spanning www.bonhams.com/ with a gorgeous view of the hillside vineyards tradition and in the old paper mill Homburg, also now a innovation & activism museum for the traditional craft of papermaking. Classes include: papermaking, experimental drawing, “paper magic,” letterpress printing, 3-D with paper and cardboard, “intervention with paper” and experimental printing techniques. Scholarships are available for young participants.

Art in Print March – April 2014 53

work will be acquired for the Clifford Chance New Publications Richard Diebenkorn At Work: art collection and funds provided for continued Two Weeks in January, 1986 research in a print studio. A History of Screen Printing: How an Art DVD: 35 minutes Evolved Into an Industry Published by Crown Point Press, San Francisco, 2013 Guido Lengwiler $10 Edvard Munch Works Gifted to 484 pages, full color illustrations Harvard University Published by Published by ST Books, Cincinnati. In December 2013, Lynn Straus gifted 15 prints English version distributed by ST Publications, and two paintings by Edvard Munch Harvard Cincinnati. German version distributed by Niggli Art Museums, given in memory of her late Publications, Sulgen, Switzerland, 2013 husband, Philip A. Straus. The works in this gift $104.50 add to Harvard’s significant collection of prints by Munch—many of which formerly belonged to the Straus family. Over the past 30 years, Lynn and Philip Straus have given the museums 51 prints by Munch.

16th Tallinn Print Triennial On Thursday, 6 February, the 16th Tallinn Print Triennial: Literacy—Illiteracy opened at the Contemporary Art Gallery on the fifth floor of the Kumu Art Museum in Tallinn, Estonia. The triennial’s curator is Maria Kjær Themsen John Cage at Work, 1978-1992: (Denmark). The Triennial will be open through A Film in Four Parts 1 June 2014. DVD: 45 minutes The 16th Tallinn Print Triennial Literacy— Published by Crown Point Press, San Francisco, 2013 Illiteracy deals with the relationships between $10 visual art and literacy, text and language in the 21st century, a relationship characterized by intense competition between digital text and a Prints and Drawings 1450-1900, 1933-2000 traditional book format. At the Triennial, these 160 pages, 113 illustrations subjects will be examined by Nordic, Baltic and Published by Emanuel von Baeyer, London, 2013 international artists. Sent on request. The winners of this year’s triennial are Viktorija Rybakova (Lithuania), KIWA (Estonia), Officin/ Louise Hold Sidenius (Denmark), Cia Rinne (Sweden/Finland/Germany), Raul Meel (Estonia), Daria Melnikova (Latvia), Arnas Anskaitis (Lithuania) and Jirí Thýn (Czech Republic). The jurors were Deborah Cullen (USA), Maria- Kristiina Soomre (Estonia), Maija Rudovska (Latvia) and Valentinas Klimašauskas (Lithuania).

Other News

Kelmscott Press Sold by Christie’s, New York William Morris’s floor model Albion Press No. 6551 handled the monumental task of printing his masterpiece, Chaucer’s Works, in 1896. Purchased by Morris in 1894 for £52.10, No. 6551 was one of the three full-sized Albions he was to Low Tech Print: Contemporary own at the Kelmscott Press. Morris chose this Hand-Made Printing Albion for the formidable task of printing the Caspar Williamson Kelmscott Chaucer and had the press reinforced Katja Novitskova, Approximation XV (2014), 224 pages, 500 illustrations with iron bands to keep the staple from cracking Published by Laurence King, London, 2013 digital print on aluminium dibond. Courtesy of under the extra pressure required to print the the artist. $29.95 heavy forms of this monumental book. The press sold at Christie’s Fine Printed Books & Manuscript Including Americana Sale on 6 December 2013 for $233,000.

Emma Stibbon Awards Clifford Chance Printmaking Purchase Prize to Victoria Ahrens The artist Emma Stibbon, recently elected to the Royal Academy of Arts, selected the recipient of the Purchase Prize at Clifford Chance’s annual Postgraduate Printmaking 2013 survey exhibition, Please submit announcements of which was held 28 October – 6 December 2013 in exhibitions, publications and London. Emma Stibbon awarded the Purchase other events to Prize to Victoria Ahrens, impressed with the quality of her print installation. Through the [email protected]. Clifford Chance Purchase Prize, the artist’s

54 Art in Print March – April 2014 Antoine Masson, Rembrandt Harmensz van offers editioning services, private tutorials, International Rijn, James McNeill Whistler, Anton Würth, artist walk and talk events, annually hosts Adrian Zingg 5 exhibitions and 75 workshops, and has C.G. Boerner was founded in Leipzig, Ger- an Artist-in-Residence program. Studio Directory 2014 many, in 1826 and trades exclusively in works rental is available to members. Each year The International Directory is a listing of on paper, prints and drawings from the 16th the MONOTHON fundraiser and Mys- Professional Members of the Art in Print to the early 20th centuries. C.G. Boerner has tery Print program offer opportunities for community. offices in Düsseldorf and New York. collectors to acquire original prints of distinction.

Aspinwall Editions 315 W. 39th St., #600 Dealers in Fine Art since 1826 New York, NY 10018 www.aspinwalleditions.com Artists represented: Karl Bohrmann, Victo- Carolina Nitsch ria Burge, Ilya Kabakov, Jane Kent, Yasu Shi- 534 West 22nd Street, New York, NY 10011 bata, Ann Aspinwall www.carolinanitsch.com Aspinwall Editions is a fine art print pub- Published projects by: Ai Weiwei, Dar- Center Street Studio lisher, dealer and print studio with facili- ren Almond, Richard Artschwager, Louise PO Box 870171, Milton Village, MA 02187 ties in New York City and Rheine, Germany. Bourgeois, Vija Celmins, E. V. Day, Richard www.centerstreetstudio.com Founded in 2012 by Ann Aspinwall and Knut Dupont,William Eggleston, Tracey Emin, Artists represented: Michael Beatty, Gerry Willich, Aspinwall Editions offers contract Inka Essenhigh, Peter Fischli/David Weiss, Bergstein, Nell Blaine, Bernard Chaet, Mark printing services and collaborations with Robert Gober, Douglas Gordon, Richard Cooper, Aaron Fink, Andy Freeberg, Teo Gon- artists, as well as residencies at Kloster Bent- Hamilton, Jenny Holzer, Donald Judd, Jas- zalez, James Hansen, Anne Harris, Chuck lage in Rheine. per Johns, Martin Kippenberger, Guillermo Holtzman, Lester Johnson, Markus Linnen- Kuitka, Vera Lutter, Christian Marclay, brink, Judy Kensley McKie, Todd McKie, Keith Baron/Boisante Editions & Om from India Bruce Nauman, Ernesto Neto, Olaf Nicolai, Monda, Carrie Moyer, James Ovid Mustin 300 East 33 Street, New York, NY 10016 Gabriel Orozco, Blinky Palermo, Jorge Pardo, III, David Ortins, Robert Parkeharrison, Jeff www.baronboisante.com Raymond Pettibon, Gerhard Richter, Dieter Perrott, Charles Ritchie, Richard Ryan, Kelly www.omfromindia.com Roth, Ed Ruscha, Carolee Schneemann, Sherman, Laurel Sparks, James Stroud, Bill Artists represented: Curtis Anderson, Don- Thomas Schütte, Alyson Shotz, Laurie Sim- Thompson, Roger Tibbetts, John Walker, ald Baechler, Brian Belott, Jennifer Bolande, mons, Kiki Smith, Hiroshi Sugimoto, Rich- Rachel Perry Welty, George Whitman, John Louise Bourgeois, Michael Byron, Sandrine ard Tuttle, Jeff Wall, William Wegman, Terry Wilson, Janine Wong, Bill Wheelock Guerin, Dan McCarthy, Sigmar Polke, Salva- Winters, Christopher Wool Center Street Studio was established in 1984 tore Scarpitta, Rosemarie Trockel, Not Vital Carolina Nitsch specializes in drawings and by artist and master printer James Stroud Baron/Boisante Editions has been a pub- editions, including prints and monotypes, who publishes print projects in etching, lisher of prints and multiples since 1985. Om multiples, photographs, artist books and woodcut and monotype with established and from India deals in 19th- and early 20th-cen- installations. We actively publish editions emerging artists. tury Hindu mythological lithographs with with a growing roster of international art- one of the world’s most important and com- ists, ranging from traditional etching on China Print Art Gallery prehensive collections of early Hindu God paper or silkscreen to large installations. 798 Art District, No.2 and Goddess prints. While we are a member of the IFPDA, the Jiu Xian Qiao Road, Chao Yang District International Fine Print Dealers Associa- Beijing, China Bleu Acier Inc. tion, our aim in publishing is to encourage www.chinaprintart.cn/indexen.html 109 West Columbus Drive the artist to explore new possibilities that Artists represented: Gu Yuan, Yan Han, Tampa, Florida 33602 stretch the boundaries of printmaking per se Li Hua, Yang Keyang, Li Qun, Chao Mei, www.bleuacier.com and thus we work with many different print- Liao Shiou Ping, Song Yuanwen, Fang Lijun, Artists represented: Dominique Labauvie, ers and fabricators to achieve the most inno- Chen Qi, Yu Chenyou, Hu Kun, Huang Kai Pierre Mabille, Ulf Rungenhagen, Max Neu- vative and original quality. Furthermore, we and many others mann, Hervé DiRosa, Joe Fyfe, Gregg Per- publish editions annually for institutions China Print Art Gallery (CPAG), located kins, Sylvie Eyberg, Steve McClure, Voshardt/ including the New Museum of Contempo- in 798 art district in Beijing, has focused Humphrey, Vicky Colombet, Françoise Saur rary Art and the Whitney Museum of Ameri- on promoting original fine art prints since Bleu Acier is a fine art print publisher and a can Art. 2004. As founder of Beijing’s New Year Fine collaborative and contract atelier owned and Art Print Festival in 2008, CPAG continues operated by Erika Greenberg-Schneider. We to work closely with local galleries, fine art specialize in small hand-printed editions in academies and international institutions to intaglio, photogravure, direct gravure, stone make the event a highly anticipated annual lithography, relief and monotype. Center for Contemporary Printmaking celebration of printmaking. So far, more 299 West Ave than 300 artists’ works have been exhibited, Norwalk, CT 06850 and thousands of students and art lovers www.contemprints.org have tried their hands in the workshops and Original prints available in our online gallery seminars. Academic and market forums have by: Jack Boul, Charles Cajori, Charlie Hewitt, been attended by major publishers, lead- Robert Kipniss, Will McCarthy, Bryan Nash ing artists and scholars. Mainstream media Gill, Liliana Porter, Katia Santibanez, John including China Central Television and Chi- Shearer, Eve Stockton, Julio Valdez, Diane na Daily, have reported on the event, effec- C.G. Boerner Victor, Michael Ziga tively promoting awareness and collecting of 23 East 73rd Street, New York, NY 10021 The Center for Contemporary Printmaking prints in China. www.cgboerner.com is the only nonprofit organization between Artists represented: Jacques Bellange, New York City and Boston solely dedicated George Bellows, Mary Cassatt, Léon Dav- to the art of the print, including printmak- ent (the Master LD), Albrecht Dürer, Gior- ing, papermaking, book arts, digital pro- gio Ghisi, Childe Hassam, Edward Hopper, cesses and related disciplines. The Center

Art in Print March – April 2014 55 Crown Point Press Davidson the organizing dealers for the Ink Miami Art 20 Hawthorne Street, San Francisco, CA 313 Occidental Avenue South Fair and served as president of the IFPDA 94105 Seattle, Washington, 98104 from 2007 to 2009. She now serves as a direc- www.crownpoint.com 206-624-6700 tor on the Board of the newly formed IFPDA www.magical-secrets.com www.davidsongalleries.com Foundation, which was created to expand Artists represented: Tomma Abts, Darren Artists represented: Michael Barnes, Paula the Association’s grants and educational Almond, Mamma Andersson, Anne Appleby, Barragan, Ben Beres, Frank Boyden, Ian Boy- programs and as a member of the IFPDA’s Robert Bechtle, Brad Brown, Chris Bur- den, Peter Brauninger, Daniel Carrillo, Sean Membership Committee. She also serves on den, Daniel Buren, John Cage, John Chiara, Caulfield, Konstantin Chmutin, Michael the Board of Directors for the Fred Sandback Francesco Clemente, Chuck Close, Robert Dal Cerro, Robert Connell, Oleg Denisenko, Foundation and is a member of ArtTable, Colescott, Richard Diebenkorn, Peter Doig, Lockwood Dennis, Tallmadge Doyle, Stu- a professional organization for women in Pia Fries, Mary Heilmann, Sol LeWitt, Brice art Duffin, Mary Farrell, Tony Fitzpatrick, the arts. Marden, Tom Marioni, Julie Mehretu, Susan Kevin Fletcher, James Groleau, Jean Gump- Middleton, Jockum Nordström, Chris Ofili, per, Art Hansen, Stephen Hazel, Ellen Heck, Laura Owens, Ed Ruscha, Shahzia Sikander, Seiichi Hiroshima, Wuon Gean Ho, Sidney Amy Sillman, Kiki Smith, Pat Steir, Wayne Hurwitz, Peter Jogo, Jonelle Johnson, Kurt Thiebaud, Richard Tuttle and William T. Kemp, Eunice Kim, Robert Kipniss, Amanda Wiley. Knowles, Michael Krueger, Karen Kunc, Lee Dolan/Maxwell Publisher of fine art limited-edition etch- Chul Soo, Martin Langford, Carrie Lings- 2046 Rittenhouse Square ings and woodcuts by major contemporary cheit, Janet Lowry, Robert E. Marx, Barbara Philadelphia, PA 19103 artists. Mason, Frederick Mershimer, Mark Meyer, www.dolanmaxwell.com Peter Milton, Hibiki Miyazaki, Ben Moreau, Norman Ackroyd, Morris Blackburn, Peter Brooke, Lynne Clibanoff, Steven Ford, Stan- Hiroki Morinoue, Briony Morrow-Cribbs, ley William Hayter, Paul Keene, David Kelso, Gordon Mortensen, Barry Moser, Julie Nis- Thomas Lias, Judith Rothschild, David Shapiro, kanen, Barbara Noah, Chris Papa, Robert Benton M. Spruance, Donald Teskey, Shelley Patierno, Martha Pfanschmidt, Kathleen Thorstensen, Dox Thrash, Cheryl Warrick Rabel, Matt Rebholz, Rosalyn Richards, Dealers in distinguished Modern and Con- Jenny Robinson, Barbara Robertson, Arte- temporary prints and works on paper. mio Rodriguez, Judith Rothchild, Tomiyuki Sakuta, Francesca Samsel, Jenny Schmid, C. R. Ettinger Studio Arne Bendik Sjur, Timothy Smith, Charles Durham Press 2215 South Street Spitzack, Carol Summers, Seiko Tachibana, 892 Durham Rd, Durham, PA 18039 Philadelphia, PA. 19146 Akiko Taniguchi, Francisco Toledo, Shigeki www.durhampress.com www.crettinger.com/ Tomura, Kouki Tsuritani, Mikio Watanabe, Artists represented: Hurvin Anderson, Polly www.duenorth2014.com/ Carol Wax, Art Werger, Cleo Wilkinson, Apfelbaum, Roland Fischer, Chitra Ganesh, Artists represented: Astrid Bowlby, Emily Jennifer Worsley, Paul Wunderlich John Giorno, Emil Lukas, Michael Heizer, Brown, Victoria Burge, Enrique Chagoya, Davidson Galleries presents the largest Beatriz Milhazes, James Nares, Tom Slaugh- Don Colley, Dufala Brothers, Danielle inventory of original antique, modern and ter, Lisa Stefanelli, Alison Elizabeth Taylor, Dimston, David Fertig, Daniel Heyman, contemporary works on paper in the Pacific Mickalene Thomas, Leslie Wayne, Stephen Marilyn Holsing, Virgil Marti, Sarah Northwest region. The gallery is a member of Westfall and Ray Charles White McEneaney, Serena Perrone, Bruce Pollock, the Seattle Art Dealer’s Association (SADA) Durham Press is a fine art publisher and Celia Reisman, Bill Scott, Neil Welliver and a charter member of The International workshop that specializes in large-scale Contract edition studio specializing in etch- Fine Print Dealers Association (IFPDA) based multi-media prints with emphasis on wood- ing and relief printing collaborating with in New York. block and screenprint. Artists work at the artists since 1982. Press by invitation in collaboration with owner Jean-Paul Russell and a group of high- David Krut Projects, New York / ly skilled printmakers and woodworkers. Johannesburg / Cape Town We are members of the International Print 526 W. 26th Street, #816, New York, NY 10001 Dealer’s Association. www.davidkrut.com/ Artists represented: William Kentridge, Diane Villani Editions Diane Victor, Christopher Cozier, Chakaia 285 Lafayette Street, New York, NY 10012 Booker, Stephen Hobbs, Senzo Shabangu, www.villanieditions.com Vusi Khumalo, Faith 47, Deborah Bell, Artists represented: Ida Applebroog, Mel Locust Jones, Séan Slemon, Joe Hart and Bochner, Melissa Brown, Red Grooms, Jiha Kate McCrickard Moon, Juan Logan, Alison Saar, Sean Scul- David Krut Projects is an alternative arts ly, Paul Henry Ramirez, Dieter Roth, Fred institution dedicated to encouraging an Sandback, Fatimah Tuggar, Julia Jacquette, Edition Jacob Samuel awareness of and careers in the arts and Suzanne McClelland, Nicola Tyson, Amy Santa Monica, CA related literature and media, and to promot- Wilson www.editionjs.com ing contemporary culture in a dynamic, col- Diane Villani is a contemporary publisher Artists represented: Marina Abramović, laborative environment. In addition to the and private dealer in prints and editions. The John Baldessari, Miroslaw Balka, Chris New York exhibition and project space, we business is concentrated on contemporary Burden, Dan Graham, Helen & Newton have arts bookstores and print workshops art and primarily prints. In 1972 she joined Harrison, Mona Hatoum, Roger Herman, located in South Africa at Parkwood and Arts the Martha Jackson Gallery, and in 1980 Arturo Herrera, Rebecca Horn, Cristina on Main, the major new arts hub adjacent to she founded Diane Villani Editions, a move Iglesias, Anish Kapoor, Jannis Kounellis, downtown Johannesburg. which enabled her to work more closely with Guillermo Kuitca, Jonathan Lasker, Wil- artists and to commission new works as a liam Leavitt, Barry Le Va, Rita McBride, publisher of prints. Diane Villani Editions Josiah McElheny, Barry McGee, Matthew has been a member of the IFPDA since 1990. Monahan, Meredith Monk, Ed Moses, Dave She has chaired the IFPDA’s Print Fair Com- Muller, Matt Mullican, David Musgrave, mittee which sponsors the Association’s Wangechi Mutu, Gabriel Orozco, Giuseppe Annual Print Fair in New York, was one of Penone, Nancy Rubins, Ed Ruscha, Julião

56 Art in Print March – April 2014 Sarmento, Robert Therrien, Gert & Uwe GEMINI G.E.L. AT JONI MOISANT WEYL was Siena, Kiki Smith, Mark Strand, José Antonio Tobias, Juan Usle’, James Welling, Christo- established in 1984 as the New York gallery Suárez Londoño, Stanley Whitney pher Wool, Andrea Zittel exhibiting and representing the publications Harlan & Weaver is a printer and publisher Publishing small-format etchings in series. of the Los Angeles-based artists’ workshop, of fine art prints, located in the Lower East Gemini G.E.L. The gallery shows new edi- Side since 1985. The collaborative workshop Emanuel von Baeyer tions as they are published, and has mounted encourages an artist’s direct engagement www.evbaeyer.com many historical survey exhibitions, includ- with the intaglio process in all its forms, www.evbaeyer-cabinet.com ing “A Tribute to Robert Rauschenberg: offering artists flexibility in concept and Fine drawings, prints and paintings by Ger- Prints and Objects”; “The Private Eye of Phil- scale while providing the facilities and tech- man, French, Dutch, Flemish and Italian ip Guston: The Gemini Editions”; “Ellsworth nical guidance for a successful project. artists from the 15th to the 19th centuries; Kelly: Diagonals and Panels 1970-1990”; and classic modern European, and post-war “Claes Oldenburg: Editions in Two and American and European art, showing inter- Three Dimensions 1969-1995”; “Ken Price: est in both established and emerging artists. Prints and Ceramics 1970-2005”; “Frank Stel- Emanuel von Baeyer London was founded in la: Prints from the 1960s & 70s”; and “Artists 1998 and has since been firmly established as at Gemini G.E.L.: In Celebration of Gemini’s Highpoint Center for Printmaking a leading representative of the younger gen- 25th Anniversary.” 912 West Lake Street eration of old master dealers. Emanuel von Gemini G.E.L began in 1966 as an artists’ Minneapolis, MN 55408 Baeyer is a member of the International Fine workshop and publisher of hand-printed highpointprintmaking.org Print Dealers Association (IFPDA) and the limited edition lithographs. Responding to Artists represented: Kinji Akagawa, Car- International League of Antiquarian Book- the expanding interests of its artists, work los Amorales, Carter, Willie Cole, Sarah sellers (ILAB), as well as an executive com- began on its first sculpture edition in 1968 Crowner, Santiago Cucullu, Mary Esch, Rob mittee member of The Society of London Art with Claes Oldenburg’s Profile Airflow, and Fischer, Adam Helms, Joel Janowitz, Camer- Dealers (SLAD) and a member of the TEFAF in 1970, Frank Stella’s Pastel Stack was start- on Martin, Julie Mehretu, Clarence Morgan, Young Dealers Committee (YDC). We fre- ed as the first project in the screenprinting Lisa Nankivil, Todd Norsten, Chloe Piene, quently publish catalogues and have a web- workshop. The etching workshop opened Jessica Rankin, David Rathman, Aaron Span- site dedicated to regular online exhibitions. in 1977 and woodcuts were being made by gler and Carolyn Swiszcz 1980. Since 1966, Gemini has collaborated on Founded in 2001, Highpoint has emerged major bodies of work with many of Contem- as a creative force in the world of collabora- porary Art’s most accomplished painters and tive printmaking. Highpoint is dedicated to sculptors. advancing the art form through a variety of programs including Education, Commu- nity Programs, an Artists’ Cooperative and exhibit-E Highpoint Editions, the publishing arm of 601 West 26th Street, Suite M223 the non-profit organization. Highpoint’s New York, NY 10001 publications are held in numerous private, www.exhibit-e.com Graphic Matter corporate, and museum collections. In 2012, www.gallerymanager.com Leguit 23, 2000 Antwerp, Belgium Highpoint received the Baltimore Museum exhibit-E is the leading provider of web- www.graphicmatter.be/en of Art’s “Artist & Editions Award” acknowl- sites for the art world. galleryManager is an Artists represented: Luc Tuymans, Raoul edging Highpoint’s “substantial contribu- online inventory management system for De Keyser, Roger Raveel, Hellen Van Meene, tion” to printmaking today. galleries, collectors and artists. Hendrik Kerstens, Hinke Schreuders Graphic Matter was established in 2009 by art book publisher Peter Ruyffelaere to publish editions by leading visual artists and photographers. Our earlier projects focused on artists from Belgium and Holland, and beginning this year, Graphic Matter is collaborating on editions with international Gemini G.E.L. at Joni Moisant Weyl artists from the United States and elsewhere. 535 West 24th Street, 3rd Floor In addition to printing and publishing lim- International Fine Print Dealers New York, NY 10011 ited editions, Graphic Matter will increase Association www.joniweyl.com these artists’ visibility through exhibitions 250 West 26th Street, Suite 405 Artists represented: Josef Albers, Richard in collaboration with galleries and print New York, NY 10024 Artschwager, John Baldessari, Ross Bleck- departments in museums, while also pub- www.ifpda.org ner, Cecily Brown, Chris Burden, Sophie lishing monographs and catalogue raisonnés The International Fine Print Dealers Asso- Calle, Vija Celmins, John Chamberlain, of their graphic work. ciation (IFPDA) is a non-profit organization Ronald Davis, Willem de Kooning, Richard of leading art dealers, galleries and publish- Diebenkorn, Mark di Suvero, Sam Fran- ers with expertise in the field of fine prints. cis, Frank Gehry, Allen Ginsberg, Robert Members are committed to the highest stan- Gober, Robert Graham, Philip Guston, Ann dards of quality, ethics and connoisseurship, Hamilton, Michael Heizer, David Hock- and to promoting a greater appreciation of ney, Jasper Johns, Ellsworth Kelly, Toba fine prints among collectors and the general Khedoori, Edward & Nancy Kienholz, Roy public. Lichtenstein, Man Ray, Brice Marden, Julie Harlan & Weaver Mehretu, Malcolm Morley, Elizabeth Mur- 83 Canal Street, New York NY 10002 ray, Bruce Nauman, Isamu Noguchi, Claes www.harlanandweaver.com Oldenburg, Darryl Pottorf, Ken Price, Robert Artists represented: Richard Artschwager, Rauschenberg, Dorothea Rockburne, James William Bailey, Louise Bourgeois, Rob- Rosenquist, Susan Rothenberg, Ed Ruscha, ert Cottingham, Steve DiBenedetto, Car- Richard Serra, Joel Shapiro, Keith Sonnier, roll Dunham, Nicole Eisenman, Joanne International Print Center New York Saul Steinberg, Frank Stella, Richard Tuttle, Greenbaum, Joey Kötting, Chris Martin, 508 West 26th St., 5th Fl., New York 10001 Franz West and others Thomas Nozkowski, Michelle Segre, James www.ipcny.org

Art in Print March – April 2014 57 International Print Center New York was Katherine Marmaras time, financial and technical assistance. established in Chelsea in September 2000 Victoria, Australia Services include residencies—independent as the first and only non-profit institu- www.katherinemarmaras.com and collaborative—exhibitions, education tion devoted solely to the exhibition and Katherine Marmaras is an Australia-based in printmaking and career advancement understanding of fine art prints. IPCNY visual artist. skills, and peer-to-peer support. With its fosters a climate for enjoyment, examina- exhibitions, open studios, education and tion and serious study of artists’ prints other public programs, the Printshop serves from the old master to the contemporary. Leroy Neiman Center for Print Studies as a junction for artists, collectors, muse- at Columbia University IPCNY nurtures the growth of new audienc- ums, galleries and educational institutions es for the visual arts while serving the print 2960 Broadway, 310 Dodge Hall to access and engage in contemporary art. community through exhibitions, publica- New York, NY 10027 tions and educational programs. www.arts.columbia.edu/neiman [email protected] New editions by Sanford Biggers, Cec- ily Brown, Mark Dion, Jasper Johns, Leigh Ledare and LeRoy Neiman. Other editions available by Ghada Amer/Reza Farkhondeh, Rochelle Feinstein, Lee Friedlander, Tren- ton Doyle Hancock, Jonas Mekas, Shahzia Island Press Sikander, Rirkrit Tiravanija and Tomas Vu Manneken Press Sam Fox School of Design and Visual Art The LeRoy Neiman Center for Print Stud- 1106 E Bell Street Washington University. St. Louis, Missouri ies is a non-profit fine art printshop within Bloomington, IL USA islandpress.samfoxschool.wustl.edu Columbia University School of the Arts. www.mannekenpress.com Artists represented: Radcliffe Bailey, Founded by a generous endowment from Artists Represented: Carlos Andrade, Melissa Chakaia Booker, Squeak Carnwath, Willie LeRoy and Janet Neiman in 1996, the Cen- Cook, Brian Cypher, Rhea Edge, Peter Feld- Cole, Chris Duncan, Tom Friedman, Ann ter’s core mission is to promote printmaking stein, Betty Friedman, Jonathan Higgins, Hamilton, Trenton Doyle Hancock, Hung through education, production, and exhibi- Gary Justis, Ted Kincaid, Claire Lieberman, Liu, Greely Myatt, James Siena, Juane Quick- tion of prints. Jane McNichol, Tom Orr, Kate Petley, Justin to-see-Smith, Juan Sanchez Quinn, Jay Shinn, Sarah Smelser, Joan Winter Island Press, at Washington University in Manneken Press, an independent fine art St. Louis, is a collaborative print workshop press, has been publishing limited edition committed to creating innovative mul- and unique prints with artists from around tiples and advancing the printmaking field the USA and beyond since 2000. We publish through the integration of research and projects by several invited artists each year, education. The press is project-driven, tap- working primarily in intaglio, photogravure, ping into the place where an artist’s creative relief, and monotype. Manneken Press regu- research intersects with the language of larly exhibits at major art fairs and has been printmaking, setting up unique opportuni- Leslie Sacks Fine Arts the subject of three survey exhibitions. ties for experimentation with technology, 11640 San Vicente Blvd. scale and scope. Los Angeles, CA 90049 www.lesliesacks.com Artists represented: Picasso, Matisse, Miro, Chagall, Close, Diebenkorn, Dine, Francis, Frankenthaler, Hockney, Johns, Lichten- stein, Marini, Moore, Motherwell, Pascin, Ruscha, Stella, Thiebaud, Warhol and others Modern and Contemporary Masters, Impres- sionists, Post Impressionists, Illustrated Art- Jennifer Melby Editions Manhattan Graphics Center ist’s Books, African Art 110 Wyckoff Street, Brooklyn, NY 11201 250 West 40th Street, 5th Floor www.jennifermelby.com New York, NY 10018 Artists represented: Tom Burckhardt, Joanne Lower East Side Printshop www.manhattangraphicscenter.org Greenbaum, Paul Mogensen, Robert Mos- 306 West 37th St., 6th fl., New York, NY 10018 Manhattan Graphics Center (MGC) is a fully kowitz, Andrew Spence, Craig Taylor and www.printshop.org equipped, fine art printmaking studio in Nicola Tyson Artists represented: Kiki Smith, Nancy operation since 1986. Located in New York Jennifer Melby is a print publisher and con- Spero and Leon Golub, Philip Taaffe, Robert City, MGC welcomes artists at all levels of tract printer, whose collaborative studio spe- Longo, Barbara Kruger, Juan Sanchez, Tomie printmaking experience. MGC’s facilities cializes in all aspects of the intaglio process. Arai, groups such as Colab, Group Material, include three etching presses, three lithog- The studio was founded in the early 1980’s PAD/D, Anti Utopia and Bullet Space. Recent raphy presses, a screenprint area, and a com- and offers facilities for a full range of plate- collaborations include Ghada Amer, Sebas- plete darkroom. MGC offers many options making and edition printing, as well as steel tiaan Bremer, Zana Briski, Paul Chan, Amy for independent workspace use and a wide facing of copper plates. Cutler, Heide Fasnacht, Joanne Greenbaum, variety of classes. For enrollment in all pro- Arturo Herrera, Glenn Ligon, Ryan McGin- grams, artist membership is required. Mem- Jungle Press Editions ness, Matthew Day Jackson, Chris Martin, bership is open to all artists for an annual 1166 Manhattan Avenue, Suite #301 Carrie Moyer, Sheila Pepe, Enoc Perez, Chloe fee of $35 and entitles members to numerous Brooklyn, NY 11222 Piene, Dread Scott, Kate Shepherd, Jean benefits. Classes are offered year-round. www.junglepress.com Shin, James Siena, Amy Sillman, Alison Eliz- Jungle Press Editions is a publisher of fine abeth Taylor, Hank Willis Thomas, Lynne art prints and multiples by internationally Yamamoto, Kara Walker renowned contemporary artists. Collabo- Lower East Side Printshop, founded in 1968, rating with master printer Andrew Mock- is a premier New York City printmaking stu- ler, each artist develops an experimental dio supporting contemporary artists of all approach to lithography, etching, relief career and artistic backgrounds in creation printing or monoprint. of new work. Support includes facilities,

58 Art in Print March – April 2014 Michael Woolworth sculpture. We extend invitations to the there are several juried artist residencies 2 Rue de la Roquette, Paris, France 75011 next generation of artists who challenge as well as ongoing internships and www.michaelwoolworth.com the workshop with a diverse array of project apprenticeships. Artists represented: Stéphane Bordarier, ideas, and further contribute to the unique José Manuel Broto, Miguel-Angel Campano, character of these collaborations. Vincent Corpet, Gunter Damisch, Marc Desgrandchamps, Jim Dine, Blaise Drum- Niels Borch Jensen Gallery and Editions mond, Gilgian Gelzer, Richard Gorman, Printshop: Prags Boulevard 49, 2300 Marie-Ange Guilleminot, Bertrand Lavier, Copenhagen S, Denmark Christopher Le Brun, Loic Le Groumellec, Gallery: Lindenstrasse 34, 10969 Open Gate Press Frédérique Loutz, Frédérique Lucien, Wil- Berlin, Germany 719 Farwell Drive www.nielsborchjensen.com/ liam MacKendree, Jean-François Maurige, Madison, WI 53704 Miquel Mont, Farhad Ostovani, Stéphane Artists represented: Lewis Baltz, Anna Barri- www.opengatepress.com Pencréac’h, Jaume Plensa, David Shrig- ball, Georg Baselitz, Lise Blomberg, Inaki Artists represented: Paula Schuette Kraemer ley, José Maria Sicilia, Djamel Tatah, Marc Bollinas, Peter Linde Busk, Janet Cardiff Open Gate Press is a fine art press owned Themann, Barthélémy Toguo, Otto Zitko & George Miller, Tacita Dean, Thomas and operated by Paula Schuette Kraemer. American-born printer and publisher Demand, A K Dolven, Olafur Eliasson, Ste- This artist, who is noted for her strong and Michael Woolworth established his work- phen Ellis, Michael Elmgreen & Ingar Drag- expressionistic drypoint line, creates and shop in Paris in 1985. Specializing in litho- set, Kirsten Everberg, Günther Förg, Douglas prints all of her own works here. graphy printed on manual presses, the work- Gordon, Rodney Graham, Marianne Grøn- shop also produces woodcuts, monotypes, now, Mathew Hale, Anton Henning, Damien linocuts and etchings. Hirst, Carsten Höller, Per Bak Jensen, Olav Christopher Jenssen, Eske Kath, Clay Ket- ter, Martin Kippenberger, Per Kirkeby, John Mixografia® Koerner, Takehito Koganezawa, Eva Löf- 1419 East Adams Blvd., Los Angeles, CA 90011 mixografia.com dahl, Katrin von Maltzahn, Boris Mikhailov, Albert Oehlen, Joao Penalva, Tal R, Robin Artists represented: Karel Appel, Arman, Rhode, Tom Sandberg, Morten Schelde, John Baldessari, Herbert Bayer, Lynda Beng- Stephanie Snider, Superflex, Jan Svenungs- lis, Jonathan Borofsky, Louise Bourgeois, son, Al Taylor, Alexander Tovborg, Rosema- Stanley Boxer, Alberto Burri, Kwang-Young Paulson Bott Press rie Trockel, Alan Uglow, Sandra Vasquez de Chun, Enrique Climent, Laddie John Dill, 2390C 4th Street, Berkeley, CA 94710 la Horra, Danh Vo, Mark Wallinger, Rachel Dario Escobar, Manuel Felguerez, Helen Paulsonbottpress.com Whiteread, Karen Yama Frankenthaler, Pedro Friedeberg, Gunther Artists represented: Edgar Arceneaux, Tauba Niels Borch Jensens Editions has been mak- Gerzso, Mathias Goeritz, Joe Goode, Robert Auerbach, Donald Baechler, Radcliffe Bai- ing original prints in limited editions, signed Graham, KCHO, Magali Lara, Donald Lipski, ley, Chris Ballantyne, Mary Lee Bendolph, and numbered by the artist, since the print Jason Martin, Richard Meier, Carlos Merida, Ross Bleckner, Christopher Brown, Squeak shop was founded in 1979. Among the pro- Henry Moore, Andres Nagel, Rodolfo Nieto, Carnwath, Kota Ezawa, Caio Fonseca, Isca fessional print shops in Europe, Niels Borch Kenneth Noland, Mimmo Paladino, Jorge Greenfield-Sanders, Salomon Huerta, David Jensen has over the years established a posi- Pardo, Seo-Bo Park, Ed Paschke, Rodrigo Huffman, Chris Johanson, Maira Kal- tion as one of the most competent in classical Pimentel, Larry Rivers, Frank Romero, Teo- man, Amy Kaufman, Margaret Kilgallen, graphic techniques. dulo Romulo, Ed Ruscha, Ignacio Salazar, Hung Liu, Kerry James Marshall, Keegan Julião Sarmento, Fritz Scholder, Sebastian, McHargue, Shuan O’Dell, Martin Puryear, George Segal, Susana Sierra, Kiki Smith, Clare Rojas, Gary Simmons Pierre Soulages, Frank Stella, Donald Sultan, Paulson Bott Press publishes, produces, mar- Fernando de Szyszlo, Rufino Tamayo, Wil- kets and sells fine art editions. Located in liam Tillyer, Francisco Toledo, Costas Tso- Berkeley, California, we create limited edi- clis, Manolo Valdés, Lawrence Weiner, Tom tion prints in a professional, modern print- Wesselmann, Rachel Whiteread, Terry Win- Oehme Graphics making studio. Inviting well known con- ters, Peter Wüthrich, Francisco Zuniga 2655 Copper Ridge Circle, Unit 1 temporary artists to work with our team of Steamboat Springs, CO 80487 printers directly onto copper plates allows www.OehmeGraphics.com us to create exquisite hand-crafted works on Artists represented: Farrell Brickhouse, paper. Jason Rohlf, Jeffery Keith, Katherine Bowl- ing, Ken Buhler, Louise Fishman, Melissa Pele Prints Meyer, Patsy Krebs, Paul Mutimear, Susan 9400 Watson Road, St. Louis, MO 63126 Hambleton, David Row, Diane Cionni, Eva www.peleprints.com Bovenzi, Jeffery Keith, John Walker, Julia Artists represented: Gina Alvarez, Brandon The Mixografia® gallery and workshop was Fernandez-Pol, Kayla Mohammadi, Laura Anschultz, Laura Berman, Carmon Colan- founded in Mexico City in 1969. Since 1984 Wait, Mia Westerlund Roosen, Monroe Hod- gelo, Lora Fosberg, Sarah Hinckley, Alicia Mixografía® has worked with a diverse and der, Richard Bosman, Diana Cooper, Jason LaChance, Grant Miller, Mary O’Malley, eclectic group of artists in our Downtown Karolak, Katherine Bradford, Elizabeth Gil- Benjamin Pierce, Jessie Van der Laan, Los Angeles location. We are not a tradition- filen, Susan Thompson Amanda Verbeck, John Wahlers al gallery with rotating exhibitions rather Nestled in the Rocky Mountains in Steam- we show the work we have published. The boat Springs, Colorado, Oehme Graphics Mixografía® technique developed in 1973 is has quickly established itself as one of the a unique fine art process that allows for the country’s leading fine print publishers. It production of deep textured prints with very continues to bustle with monthly artist fine surface detail. The artist begins with any projects, printmaking exhibits, national solid material or combination of materials art fairs and workshops. Each year the on which he or she incises, impresses, carves, studio publish six to ten fine print projects collages or builds up a matrix. The Mixo- with internationally known artists, many Pele Prints is a collaborative fine art print- grafía® workshop actively prints and pub- of whom have previously worked with the making studio dedicated to creating lim- lishes limited edition prints and fabricates director, Susan Hover Oehme. In addition, ited edition prints and original works of

Art in Print March – April 2014 59 art. At Pele Prints, we take a non-tradition- Swann Galleries Artists represented: Am I Collective, al approach to each project and encour- 104 E. 25th Street, New York, NY 10010 The Blackheart Gang, Sanell Aggenbach, age experimentation. The goal is to create www.swanngalleries.com/ Hanneke Benadé, Jean de Wet, Tom Cull- a unique body of work that displays the Swann was founded in 1941 as an auction berg, Ruan Hoffmann, Georgina Gratrix, curiosity, learning and constant discovery house specializing in Rare and Antiquar- Liza Grobler, Anton Kannemeyer, Marlise exemplified in the collaborative process at ian Books and is now the largest specialist Keith, Maja Marx, Nomthunzi Mashalaba, its best. auctioneer of Works on Paper in the world. Brett Murray, Jordan Metcalf, Christian Swann conducts approximately 40 sales a Nerf, Colijn Strydom, Michael Taylor, Hentie Ribouli Digital year, with departments devoted to Books, van der Merwe, Ina van Zyl, Elise Wessels 526 W. 26th Street, Suite 1021 Autographs, Maps & Atlases, Photographs Based in Cape Town and established in 2008 New York, NY 10001 & Photobooks, Prints & Drawings, Vintage by master printer Zhané Warren, Warren www.ribuolidigital.com/ Posters and African-American Fine Art. Editions is an intaglio printmaking studio Artists represented: Joe Andoe, Angelo Filo- and publisher of fine art prints. If there’s a meno, Jean-Pierre Hébert, Annette Lemieux, word that encapsulates Warren Editions it’s Tamarind Institute David Shapiro collaboration. As a professional print studio, 2500 Central Avenue SE Ribuoli Digital is a collaborative fine art Warren Editions facilitates a dynamic rela- Albuquerque, NM 87106 studio creating innovative original art- tionship between artist and printmaker—a tamarind.unm.edu ists’ projects, editions and specialty books Artists represented: Clinton Adams, Garo dialogue of praxis. Let’s print. with a primary focus on experimentation Antreasian, Polly Apfelbaum, Charles Arnol- and hybrid traditional and digital print di, Amy Cutler, Andrew Dasburg, Elaine techniques. The studio specializes in print- De Kooning, Roy DeForest, Tony DeLap, ing, production and publishing of fine art Lesley Dill, Jim Dine, Frederick Hammers- editions for artists, studios, galleries and ley, Matsumi Kanemitsu, Hung Liu, Nicola museums. López, Matt Magee, Toyin Odutola, Lili- ana Porter, Hayal Pozanti, David Row, Fritz Scholder, James Siena, Jaune Quick-to-See White Wings Press Smith, Kiki Smith, Robert Stackhouse, 3004 W Logan Blvd., Chicago, IL 60647 José Suarez-Londoño, Donald Sultan, June WhiteWingsPress.com Wayne and more Artists represented: Gary Baseman, Raeleen Tamarind Institute is a dynamic center for Kao, Michael Krueger, Anna Kunz, Julie Farstad, Tony Fitzpatrick, Tom Huck, Teresa Shark’s Ink. fine-art lithography that, since its founding in 1960, has made significant contributions James, Audrey Niffenegger, Jenny Schmid, 550 Blue Mountain Road, Lyons, CO 80540 Dennis Schommer, Matthew Schommer, Fred www.sharksink.com to the art of the print in the United States and abroad. Tamarind offers highly focused Stonehouse, Diana Sudyka, Chris Uphues Artists represented: Laurie Anderson, Phyl- Located in Chicago’s historical Logan Square lis Bramson, Brad Brown, John Buck, Tom educational and research programs, as well as creative opportunities for artists. neighborhood, White Wings Press is a con- Burckhardt, Kathy Butterly, Enrique Cha- temporary fine art print shop that specializes goya, Bernard Cohen, Evan Colbert, Roy De in intaglio processes. By invitation only, guest Forest, Donna Dennis, Rafael Ferrer, Dianna artists collaborate with us on small editions Frid, Elliott Green, Red Grooms, Susan Hall, with a focus on multiple-plate etchings and Jane Hammond, Don Ed Hardy, Ana Maria photogravure techniques. Hernando, Mildred Howard, Robert Hud- son, Yvonne Jacquette, Luis Jiménez, Rober- to Juarez, Susanne Kühn, Robert Kushner, Tandem Press Li Lin Lee, Hung Liu, Kara Maria, Hiroki 1743 Commercial Avenue Morinoue, Miho Morinoue, John Newman, Madison, WI 53704 Manuel Ocampo, Matthew Palladino, Janis www.tandempress.wisc.edu Provisor, Jeera Rattanangkoon, Rex Ray, Selection of artists represented: Richard Jim Ringley, Peter Saul, Italo Scanga, Hollis Bosman, Suzanne Caporael, Squeak Carn- Sigler, Stacey Steers, James Surls, Barbara wath, Robert Cottingham, Jim Dine, Val- Takenaga, Emmi Whitehorse, William T. entina DuBasky, Benjamin Edwards, Sam Wiley, Betty Woodman, Thomas Woodruff Gilliam, Al Held, José Lerma, Nicola López, David Lynch, Cameron Martin, David Nash, Wildwood Press LLC Shark’s Ink. has printed and published an Dennis Nechvatal, Judy Pfaff, Sam Richard- 701 N 15th Street, St. Louis, MO 63103 extensive and eclectic body of prints collabo- son, Sean Scully, David Shapiro, Mickalene www.wildwoodpress.us rating with over 150 distinguished and inno- Thomas Artists represented: Anne Appleby, Michael vative contemporary American artists since Tandem Press, a publisher of contemporary Berkhemer, Josely Carvalho, Yizhak Elyas- opening in 1976. Master Printer/Director fine art prints is a self-supporting unit of the hiv, Jane Hammond, Valerie Hammond, Tom Bud Shark works side-by-side with invited Art Department at the University of Wiscon- Huck, Jerald Ieans, Mary Judge, Eva Lund- artists during every aspect of the collabora- sin-Madison. Founded in 1987 Tandem Press sager, Erin McKenny, Michele Oka Doner, tive printmaking process. Techniques used was designed to foster research, collabora- Gary Paller, Casey Rae, David Scanavino, in the studio include lithography; monotype/ tion, experimentation and innovation in the Juan Sanchez, Linda Schwarz, David Shapiro monoprint metal leaf, chine collé, emboss- field of printmaking. Wildwood Press, founded in 1996 by mas- ing, collage, woodcuts and other relief prints; ter printer and publisher Maryanne Ellison and the engineering and construction of Simmons, is dedicated to experimentation three-dimensional lithographs. and the unexpected. Each year a small number of artists are invited to collaborate at Wildwood Press, known for both its custom papermaking and as a destination for artists who may choose to meet the challenge Warren Editions of an etching press that is capable of printing Third floor, 62 Roeland Street five-foot by ten-foot images. Wildwood Press Cape Town, South Africa specializes in unique images, small editions www.warreneditions.com/ and multiples.

60 Art in Print March – April 2014 Wingate Studio 941 Northfield Road, Hinsdale, NH 03451 http://wingatestudio.com/ Artists represented: Ahmed Alsoudani, Den- nis Ashbaugh, Gideon Bok, Meghan Brady, Ambreen Butt, Walton Ford, Dana Frank- The Art in Print Prix de Print fort, Karen Gelardi, John Gibson, Jiha Moon, Michael Kennedy-Costa, Aaron Noble, Matt Phillips, Richard Ryan, Cary Smith, Barbara Takenaga, John Thompson, Chuck Webster, Joel Werring, Roger White Wingate Studio is a print workshop that spe- Art in Print is pleased to offer a new open call cializes in traditional intaglio printing techniques. Founded in 1985 by Peter Pettengill, competition, the Art in Print Prix de Print. Wingate publishes and produces original etchings, monotypes and relief prints by Each bi-monthly issue of Art in Print will feature a established and emerging artists. full-page reproduction and brief essay about the work Works on Paper of one artist, chosen by an outside juror. Jurors will 40 W 67th St., New York, NY 10023 www.georginakelman.com/ include artists, curators, printers, publishers and deal- Artists represented: James Tissot, Edgar Chahine, James Whistler, Manuel Robbe, ers from around the world. Georges Lepape Fine, original, European and American prints, drawings and watercolors from the Who can enter? late 19th to mid 20th centuries. By appoint- ment only. You, your organization or your library must be an Art in Print subscriber to enter. We can accept one submission per subscription per issue. The subscriber can be an artist, publisher, printshop, gallery or other organization.

How do I submit? Send your image to Art in Print along with the required information. Details can be found under the “About Us” tab at www.artinprint.org.

Deadlines: For the May–June Prix de Print, the deadline is 15 March 2014. Subsequent deadlines will be the 15th of every odd-numbered month: 15 May, 15 July, 15 September, 15 November, 15 January, etc.

To find out more, please contact us at [email protected].

Prix de Print No. 5 PRIX DEADLINE de 15 March 2014... PRINT

Art in Print March – April 2014 61 145Summer Workshops

Anderson Ranch arts center

AndersonRanch.org Aspen/Snowmass, Colorado

Since 1993, the IFPDA has been proud to support a diverse and varied array of exhibitions and projects focused on the artistic medium of printmaking.

Princes and Paupers: Awash in Color: French and Japanese Prints Prints and the Pursuit of Knowledge in The Art of Jacques Callot Smart Museum of Art Early Modern Europe Museum of Fine Arts, Houston Mary and Leigh Block Museum of Art Black White Gray Blue Index to Print Catalogues Raisonné Des Moines Art Center Gouge: The Modern Woodcut, Print Council of America 1870 – Now Emerging Images: The Creative Process in Prints Hammer Museum Midwest Matrix IPCNY | International Print Center New York Genealogy of American Printmaking: Oral History of the The Brilliant Line: Following the Early Modern Post-World War II Midwest Movement Territorial Hues: Color Printmaking and Engraver, 1480 – 1650 Washington State, 1920-1960 RISD Museum Two Venetian Masters: Whatcom Museum Canaletto & Domenico Tiepolo Treasures from the Vault Zimmerli Art Museum Strategic Ambiguity: The Obscure, Nebulous, and Art in Print | The Global Journal of Prints and Ideas Vague in Symbolist Prints La Salle University Art Museum See complete list at ifpda.org

Through the IFPDA Foundation, the IFPDA provides grants to museums and nonproﬁ t organizations for exhibitions, scholarly publications, and educational programs that promote a greater awareness and appreciation of ﬁ ne prints. VISIT IFPDA.ORG FOR APPLICATION GUIDELINES AND DEADLINES

THE IFPDA FOUNDATION IS A 501(c)3 CHARITABLE ORGANIZATION ESTABLISHED BY THE INTERNATIONAL FINE PRINT DEALERS ASSOCIATION TO INSPIRE AND FUND EDUCATIONAL PROJECTS AIMED AT FOSTERING CONNOISSEURSHIP IN THE FIELD OF FINE PRINTS FOR A NEW GENERATION OF COLLECTORS, CURATORS, AND SPECIALISTS. DONATIONS TO THE IFPDA FOUNDATION ARE TAX DEDUCTIBLE TO THE EXTENT ALLOWABLE BY LAW. TO DONATE, VISIT IFPDA.ORG.

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62 Art in Print March – April 2014 PAULA HAYES

Lucid Green, 2013

Artist’s book with 100 pages Deluxe Edition of V with III AP Housed in a cast acrylic case 22 ¾ x 13 ½ x 8 ½ inches Limited Edition of 45 with 12 AP housed in clothbound case 11 ½ x 9 inches Published by Carolina Nitsch, NY carolinanitsch.com 212.463.0610

Lucid Green relies equally on image, typography and word to create a poetic ‘world’ in which the reader is invited to enter through various portals which the book offers. Every detail of the book contains carefully nuanced details of the experience of a place named Lucid Green; a nature sanctuary set in an unknown time in the future. That future is a type of space and time that is different than the one we are in when we read the book.

Art in Print March – April 2014 63 www.mixografia.com LAWRENCE WEINERLAWRENCE

THE TRAVEL OF MARGARET MARY, 2013, Mixografía® print on handmade paper, Edition of 35, 22 x 32 in.

CHUCK NEW PRINTS WEBSTER

Covenant, 2013. Three color soft ground etching, spite-bite aquatint, and Trust the Wizard, 2013. Three color softground etching, spit-bite House Under the Sea, 2014. Three color aquatint etching spit-bite aquatint. 48x43 inches. aquatint, and aquatint. 43x48 inches. aquatint, and sugar lift. 48x43 inches.

941 Northfield Road, Hinsdale, NH 03451 wingatestudio.com [email protected] 603.239.8223 2014 | May 8 - 11

64 Art in Print March – April 2014 CROWN POINT PRESS MAMMA ANDERSSON NEW COlOR ETCHINgS

Saga, 2013 Color etching with drypoint, 27¾ x 41¼", edition 30

20 HAWTHORNE ST SAN FRANCISCO, CA 94105 CROWNPOINT.COM 415-974-6273

NEW JANE HAMMOND SHARk’S INk. 550 Blue Mountain Road LITHOGRAPH Lyons, CO 80540 303.823.9190 Detail of Snapshot Odyssey (2014), 30 x 39½ inches, edition of 45. www.sharksink.com [email protected]

Art in Print March – April 2014 65 Contributors to this Issue

Sarah Andress is the former Managing Editor of Art on Paper magazine. Before that, she was in the exhibitions department of Independent Curators International. She earned an MA in Art History from the Courtauld Institute in London and has contributed articles to FlashArt, TimeOut London and artlog.

Richard H. Axsom is curator at the Madison Museum of Contemporary art, print scholar, and professor emeritus of art history, University of Michigan.

Rowan Bain is Assistant Curator of Prints at the Victoria and Albert Museum, London and is curator of the V&A display and UK touring exhibition“A World to Win: Posters of Protest and Revolution.”

Makeda Best is an Assistant Professor in the Visual Studies Program at the California College of the Arts.

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

Jessica Cochran is curator of exhibitions and programs and acting assistant director at the Columbia College Chicago Center for Book and Paper Arts. She is also an independent curator and writer, and she has organized exhibitions for the School of the Art Institute of Chicago Sullivan Galleries, Contemporary Arts Council and Poetry Foundation among numerous other venues.

Miguel de Baca is the Kenneth and Harle Montgomery Assistant Professor in the Humanities at Lake Forest College, where he is the chair of the American Studies program and an assistant professor in the Department of Art and Art History. He earned his PhD degree in American Studies from Har- vard University in 2009, and has held research fellowships at the Smithsonian American Art Museum and Dumbarton Oaks. His scholarly interests include issues of memory, reference and abstraction in modern and contemporary American art, and he is the author of a book manuscript on the Minimalist sculptor Anne Truitt.

Shaurya Kumar is an artist who shows his work internationally. A native of New Delhi, India, he currently lives and works in Chicago and teaches in the Department of Printmedia at the School of the Art Institute of Chicago.

Kate McCrickard is an artist and writer based in Paris. Her publications include a 2012 monograph on the work of William Kentridge for Tate Publishing, a contributing essay to William Kentridge: For- tuna, Thames and Hudson, 2013 and contributions to Print Quarterly and Art South Africa quarterly. She opened her first solo exhibition of prints and paintings at David Krut Projects, New York in March 2008. Her next exhibition opens at Art First Gallery, London, in March 2014.

John Murphy is a PhD candidate in Art History at Northwestern University. His dissertation investigates early 20th-century American Arts & Crafts communities. A Mary & Leigh Block Museum Fellow in 2012-13, he curated “Blacklisted: William Gropper’s Capriccios” in the spring of 2013. While conducting research for “Blacklisted,” he reexamined works in the Block collection that led to the “Left Front: Radical Art in the ‘Red Decade’” exhibition (January–June 2014).

Alexandra Onuf is an Assistant Professor in the Art History Department at the University of Hart- ford. Her research focuses on landscape and print publishing in the Netherlands in the 16th and 17th centuries. She has published in Print Quarterly, The Burlington Magazine, The Journal of the Historians of Netherlandish Art and elsewhere. An article on Johannes Galle and 17th-century print publishing is forthcoming in the Art Bulletin in December 2014.

Melissa Potter is a multi-media artist and writer exhibiting and publishing internationally. Awards for her work include Fulbright, ArtsLink, the Soros Fund for Arts and Culture and the Trust for Mutual Understanding. She is currently an Associate Professor and Director of the Book & Paper Program in the Interdisciplinary Arts Department of Columbia College Chicago.

Maru Rojas is a writer, artist and art facilitator from Mexico currently based in London. She received an MFA in writing from Goldsmiths in 2012. Her writing has been published in A-N magazine and other independent publications in the UK, and she has exhibited her work in the UK, Australia, Den- mark and Mexico.

Britany Salsbury is a PhD candidate in Art History at the Graduate Center, City University of New York, where she focuses on print culture in late 19th-century France and Germany. She is a Research Assistant in the Department of Drawings and Prints at the Metropolitan Museum of Art.

Susan Tallman is the Editor-in-Chief of Art in Print. She has written extensively about prints, issues of multiplicity and authenticity, and other aspects of contemporary art. Errata: In the review of Allen Ruppersberg’s The Great Speckled Bird in our January-February issue, the songs Cowboy Dreams and New Frontier were mistakenly attributed to Prefab Sprout and Donald Fagan. The songs are both actually traditional American folk songs dating from the early 20th century.

66 Art in Print March – April 2014 Back Issues of Art in Print

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

Volume Two / March 2012 – February 2013

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

Volume Three / March 2013 – February 2014

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

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