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The Global Journal of Prints and Ideas July – August 2016 Volume 6, Number 2

Cécile Reims • Theodore Roszak • Ellen Lanyon • Degas Draws Mary Cassatt • Peter Milton • Beauty and Mathematics Women, Prints and History • Alternative Publishing in the 21st Century • Conservation • Spring Auction Report • News Art_in_Print_8.25x10.75_v2_ExpoChgo 6/9/16 10:04 AM Page 1

THE FIFTH INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART 22-25 SEPTEMBER 2016 CHICAGO | NAVY PIER

PARTICIPATING GALLERIES Galería Álvaro Alcázar, Madrid Jenkins Johnson Gallery, Galeria Joan Prats, Barcelona EXPOSURE Ameringer | McEnery | Yohe, New York San Francisco, New York PROYECTOSMONCLOVA, Mexico City 11R, New York AND NOW, Dallas Paul Kasmin Gallery, New York R & Company, New York Alden Projects™, New York Anglim Gilbert Gallery, San Francisco Kayne Griffin Corcoran, Los Angeles ANDREW RAFACZ, Chicago ARCADE, London Peter Blake Gallery, Laguna Beach Galerie Peter Kilchmann, Zürich Regen Projects, Los Angeles ASHES/ASHES, Los Angeles Bortolami, New York Robert Koch Gallery, San Francisco Yancey Richardson Gallery, New York Piero Atchugarry, Pueblo Garzón Borzo Gallery, Amsterdam KÖNIG GALERIE, Berlin David Risley Gallery, Copenhagen Luis De Jesus Los Angeles, Rena Bransten Gallery, San Francisco Alan Koppel Gallery, Chicago ROSEGALLERY, Santa Monica Los Angeles The Breeder, Athens David Kordansky Gallery, Los Angeles rosenfeld porcini, London DITTRICH & SCHLECHTRIEM, Berlin Browse & Darby, London Pearl Lam Galleries, Diane Rosenstein Gallery, Los Angeles Edel Assanti, London Buchmann Galerie, Berlin, Lugano Hong Kong, Shanghai, Singapore Salon 94, New York half gallery, New York CarrerasMugica, Bilbao Landfall Press, Inc., Santa Fe Galerie Thomas Schulte, Berlin The Hole, New York Carpenters Workshop Gallery, Jane Lombard Gallery, New York Eduardo Secci Contemporary, Horton Gallery, New York London, Paris, New York Diana Lowenstein Gallery, Miami Florence, Pietrasanta Charlie James Gallery, Los Angeles casati gallery, Chicago MACCARONE, New York, Los Angeles Carrie Secrist Gallery, Chicago Kimmerich, Berlin David Castillo Gallery, Miami Beach Matthew Marks Gallery, Marc Selwyn Fine Art, Beverly Hills Josh Lilley, London Cernuda Arte, Coral Gables New York, Los Angeles Lisa Sette Gallery, Phoenix Efrain Lopez Gallery, Chicago Hezi Cohen Gallery, Tel Aviv Marlborough, New York, London, William Shearburn Gallery, St. Louis LUCE GALLERY, Torino CONNERSMITH., Washington, DC Madrid, Barcelona Jessica Silverman Gallery, MARSO, Mexico City Corbett vs. Dempsey, Chicago Marlborough Chelsea, New York San Francisco MIER GALLERY, Los Angeles CRG Gallery, New York The Mayor Gallery, London Sims Reed Gallery, London On Stellar Rays, New York Alan Cristea Gallery, London McCormick Gallery, Chicago Carl Solway Gallery, Cincinnati PAPILLION ART, Los Angeles Galerie Crone, Berlin, Vienna Anthony Meier Fine Arts, Louis Stern Fine Arts, ROBERTO PARADISE, San Juan Crown Point Press, San Francisco San Francisco West Hollywood Romer Young Gallery, San Francisco Douglas Dawson, Chicago moniquemeloche, Chicago Allan Stone Projects, New York VAN HORN, Düsseldorf Catherine Edelman Gallery, Chicago nina menocal, Mexico City MARC STRAUS, New York WALDEN, Buenos Aires Flowers Gallery, London, New York Laurence Miller Gallery, New York Galeria Carles Taché, Barcelona Kate Werble Gallery, New York Forum Gallery, New York, Beverly Hills Robert Miller Gallery, New York Hollis Taggart Galleries, New York Yours Mine and Ours, New York Honor Fraser, Los Angeles THE MISSION, Chicago Tandem Press, Madison Geary Contemporary, New York Gallery MOMO, Galerie Tanit, Beirut, Munich Graphicstudio, Tampa Johannesburg, Cape Town team (gallery, inc.), Editions+Books Alexander Gray Associates, Morgan Lehman Gallery, New York New York, Los Angeles devening projects + editions, Chicago New York Anne Mosseri-Marlio Galerie, Basel Galerie Daniel Templon, DOCUMENT, Chicago Richard Gray Gallery, MOT International, Brussels, London Paris, Brussels Paul Kasmin Shop, New York Chicago, New York Carolina Nitsch, New York Paul Thiebaud Gallery, San Francisco No Coast, Chicago Christopher Grimes Gallery, David Nolan Gallery, New York Cristin Tierney Gallery, New York only photography, Berlin Santa Monica Galerie Nordenhake, Berlin, Stockholm Vallarino Fine Art, New York Other Criteria, New York, London GRIMM, Amsterdam Gallery Wendi Norris, San Francisco Various Small Fires, Los Angeles The Pit, Los Angeles Kavi Gupta, Chicago Richard Norton Gallery, Chicago Susanne Vielmetter Los Angeles RENÉ SCHMITT, Westoverledingen Hacket | Mill, San Francisco Claire Oliver Gallery, New York Projects, Los Angeles Leila Heller Gallery, New York, Dubai ONE AND J. Gallery, Seoul Weinstein Gallery, Minneapolis Richard Heller Gallery, Los Angeles P.P.O.W , New York Bryce Wolkowitz Gallery, New York Galerie Ernst Hilger, Vienna PACE, New York, London, Beijing, Zolla/Lieberman Gallery, Chicago Nancy Hoffman Gallery, New York Hong Kong, Paris, Palo Alto Pavel Zoubok Gallery, New York Rhona Hoffman Gallery, Chicago Peres Projects, Berlin David Zwirner, New York, London HOSTLER BURROWS, New York Galerie Perrotin, New York, Paris, Edwynn Houk Gallery, Hong Kong, Seoul New York, Zürich POLÍGRAFA OBRA GRÀFICA, Barcelona

expochicago.com Presenting Sponsor July–August 2016 In This Issue Volume 6, Number 2

Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility

Associate Publisher Kate McCrickard 4 Julie Bernatz Engraving for Herself and Others: Cécile Reims Managing Editor Isabella Kendrick Christina Weyl 10 Ellen Lanyon: The Objects of Her Obsession Associate Editor Julie Warchol Linda Konheim Kramer 16 The Lithographs of Theodore Roszak Manuscript Editor Prudence Crowther Whitney Kruckenberg 23 Degas’ Etchings of Mary Cassatt at Editor-at-Large the Louvre and the Aesthetics of Process Catherine Bindman Michael F. Marmor and Peter Milton 27 Design Director The Ocular Vision and Aesthetic Visions Skip Langer of Peter Milton Reviews Julie Warchol 31 Truth, Beauty and Mathematics Britany Salsbury 34 Women Printmakers at the New York Public Library Janina Ciezadlo 36 Corey Hagelberg’s Calumet Area of Concern Matthew A. Coleman 37 Printmaking and Digital Technology in Portland

Megan N. Liberty 39 Self-Publishing in the 21st Century On the Cover: Cécile Reims, detail of plate from Les Métamorphoses (1957–8), suite of Angela Campbell 43 15 engravings. Edition of 25. Printed by André Paper, Conservation and Context Moret, Paris. Published by Cécile Reims, Lacoux, France (1959). ©Musée Jenisch Vevey—Cabinet Marlen Börngen 45 cantonal des estampes, collection de la Ville Conservation of a Paper Dress de Vevey / clichés Barbara Piovan et Mauro Magliani. Prix de Print, No. 18 48 Juried by Marc Schwartz dreams for the recruit 103 This Page: Simon Donaldson, detail of by Carey Maxon Ampère’s Law from Concinnitas (2014), a portfolio of ten aquatints. Edition of 100. Printed New York Auctions Spring 2016 50 by Harlan & Weaver, New York. Published by Parasol Press, Portland, OR, in collaboration News of the Print World 53 with the Yale University Art Gallery, New Haven, CT, and Bernard Jacobson Gallery, London.

Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org Art in Print is supported in part [email protected] by awards from the 1.844.ARTINPR (1.844.278.4677) National Endowment for the Arts. No part of this periodical may be published Art Works. without the written consent of the publisher. On Visibility By Susan Tallman

here is a certain joy in organizing conveyance of the individual and the T thematic issues for this journal— mass, though in entirely abstract terms. watching how artists and writers breathe In book reviews, Megan Liberty reports life into a topic through unexpected on three recent volumes that address the research, vantage points and tangents. recent history and present state of artists’ But unplanned issues, such as this one, books, zines and other forms of alterna- offer a different, serendipitous pleasure. tive publishing, especially the strategies We don’t direct, we simply wait and leave they employ to remain invisible to stan- it to the reader to draw inferences or dard inventory systems while pursuing detect trends among the scatter of closely other types of distribution. studied works and events. In these cases, Reviewing recent exhibitions, Janina the Editor-in-Chief is simply one of those Ciezadlo writes on Corey Hagelberg’s readers, and the array of connections that social and environmental portrait of a I might see are personal and contingent— particular Great Lakes biome, while Mat- just one option among many. thew Coleman looks at the interaction of Among the essays presented here I binary code (not visible in itself, of course) was struck with how many touched on Claude Mellan, detail of The Veil of St. Veronica and the printing template (a mechanism questions of visibility and invisibility in (1649), engraving. 17 x 12 1/2 inches. of visibility) in the work of artists at both the optical sense (what we can see) Portland’s Upfor Gallery. and the cultural sense (what we choose different lives and made very different Finally, reminding us that the physi- to see). work, yet they share a fascination with cality of art objects resides in properties In the most unusual of them, art- illusion, transparency and the syntax of we cannot see, as well as those we can, ist Peter Milton and ophthalmologist the printed image in all its poetic and his- this issue includes two pieces on paper Michael Marmor discuss the impact of torical complexity. conservation. Marlen Börngen explains Milton’s visual acuity and color blindness In her study of Edgar Degas’ etchings the treatment of a paper dress from the on the development of his allusive art and of Mary Cassatt, Whitney Kruckenberg 1960s, and Angela Campbell reviews the its ambitions. Here vision is considered as examines the ways in which the artist Getty’s recent publication, Historical both perception and conception. chose to pull the curtain back on private Perspectives in the Conservation of Works Elsewhere thresholds of visibility can processes of revision, reconsideration on Paper. be identified both as a poetic subject mat- and development. Meanwhile, Cassatt The art discussed here, and the ter for the art and in the art historical herself was surely the most celebrated approaches taken to it, varied widely in problem of things overlooked. Three arti- artist to appear in the New York Public terms of style, ambition and motivation. cles look at artists born in the early 20th Library’s recent exhibition on the history Have a look. century who produced prodigious bodies of women as printmakers. Britany Sals- of prints that have never received wide bury reviews this important show, which public exposure. In the case of Theodore brought little-known works to public Susan Tallman is the Editor-in-Chief of Art in Print. Roszak (1907–1981), the prints he made attention and jump-started a conversa- enthusiastically, if briefly, at either end tion that went beyond the usual acknowl- of his career have been overshadowed by edgements of historical gender inequality his success as an expressionist sculptor. to consider the still persistent role of dis- Linda Konheim Kramer surveys these two tinctions such as amateur/professional very different sets of work. Cécile Reims (often effectively a proxy for gender) in (b. 1927) has enjoyed a long career as an ascribing value. artist and as one of the few remaining The unusual portfolio Concinnitas, reproductive engravers—a field in which reviewed here by Julie Warchol, comes the artist is often hidden behind the at the question of visibility from a pro- arras; Kate McCrickard examines both foundly different position, seeking to situations and the work they produced. In make sensual sense of the fundamen- her essay, Christina Weyl looks at the late tally nonphysical beauty of mathemati- prints of Ellen Lanyon (1926–2013), which cal statements. The winner of this issue’s offer a lifetime summa through clinically iteration of the Prix de Print—Carey rendered knick-knacks. Reims and Lan- Maxon’s dreams for the recruit 103 (2016), yon were born within 11 months of one selected by Marc Schwartz—takes up another on different continents, led quite another problem: the simultaneous

2 Art in Print July–August 2016 left: “Flores para la Ñusta I” (2016) five-color lithograph with cut outs 40¾ x 27 inches edition of 30

right: “Flores para la Ñusta II” (2016) six-color lithograph with cut outs 40¾ x 27 inches edition of 30

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WWW.PAULSONBOTTPRESS.COM [email protected] MARGARET KILGALLEN, UNTITLED, 1999 Engraving for Herself and Others: Cécile Reims By Kate McCrickard

I, the engraving, I am engraved, scratched, scraped, nielloed;

I am a wound like a furrow in the soil and a gouge in the flesh . . .1

n this striking quotation, the French I writer and art critic Gilbert Lascault anthropomorphized engraving into a prosopopoeia. He is poeticizing the thoughts of Cécile Reims (b. 1927), France’s most accomplished living engraver. For 60 years Reims has investigated the technical puritanism of burin and copper; with some 1,435 prints behind her, she calls engraving the “Ariadne’s thread” of her life.2 She exemplifies excellence achieved through limitation. Her studio, tucked into a downstairs corner of her home in La Châtre, a small town in the geographical center of France, comprises a desk, a lamp, a mirror and a drawer filled with engraving tools. She does not have a press; she “proofs” her engravings through touch with her fingertips. The house feels her- mitic; expressive of a life lived through artistic ascesis, in perfect symbiosis with her husband, the artist and writer Fred Deux, until his death last September. His little studio was at the top of the house. Reims began her formal artistic studies in 1945 at the Académie de la Grande Chaumière, Montparnasse, looking to make art in the mess of a newly liberated city. A family friend, Ignaz Rubenstein (brother of the great pianist, Arthur), spotted an engraver’s sensibility in her line drawings and presented her to the burin master, Joseph Hecht (1891–1951).3 Reims became Hecht’s protégé, and underwent a taxing apprenticeship. Hecht’s approach was Spartan—plate Cécile Reims, plate from Les Métamorphoses (1957–8), suite of 15 engravings, 30.8 x 20.7 cm each. flat on the table, using the right hand to Edition of 25. Text by Ovide. Printed by André Moret, Paris. Typography by Étienne Baudelot, Paris. incise and the left to spin the plate; no Published by Cécile Reims, Lacoux, France (1959). ©Musée Jenisch Vevey—Cabinet cantonal des estampes, collection de la Ville de Vevey / clichés Barbara Piovan et Mauro Magliani. superfluous recutting; any burr should be scraped out to attain an immaculate line (though Reims claims the quality of She found her favorite tool in the loz- Reims’ earliest engravings (ca. 1945– the copper was far better at the time, pro- enge burin (and only in the finest sizes) 1951) show Hecht’s influence: a plucked ducing little burr). Reims embraced the that makes a V-shaped cut deeper than chicken made after an ink drawing, the rigor of both master and metier, shucking it is wide. She chose a warm black, hued Canal d’Ourq and the River Seine. She off more unpredictable processes such with red, for her ink and sent her plates turned from urban emptiness to work- as hard grounds or acids, which might to Ateliers Moret for printing, opening a ers harvesting lavender in the fields and distract from a controllable aesthetic. conversation that would continue for life. then to more stylized works, setting up a

4 Art in Print July–August 2016 of crêpe de Chine and velvet in her grandfather’s textile shop in Kibarty, a Lithu- anian village falling off the edge of East Prussia.) The change of profession also came from a moral standpoint: questioning the purpose of art in postwar Europe, Reims was not convinced. The rhythmic mechanics of the loom anchored her days and freed her from creative responsibil- ity—she admits that Deux’s unbound ingenuity left her feeling a little pale. Though Deux’s star was rising after the publication of his autobiographical novel, La Gana (penned under the pseudonym Jean Douassot, 1958), Reims slipped into a supportive role, selling her textiles to famous Parisian fashion houses to support what remained a lean existence. In 1959, the couple decamped to Lacoux, a hamlet of 52 people in the Auvergne-Rhône-Alpes region, close to the Hauteville plateau where Reims had Cécile Reims, plate from Cosmogonies (1959), suite of 10 engravings, this plate 14 x 21.7 cm. Text by Claude Louis-Combet. Edition of 30. Printed by Les Ateliers Moret, Paris. Typography by Jean-Jacques spent a year convalescing from a vicious Sergent, Cléry-Saint-André, France. Published by O.G.C- Michèle Broutta, Paris (2002). ©Musée bout of tuberculosis. Distance from the Jenisch Vevey—Cabinet cantonal des estampes, collection de la Ville de Vevey / clichés Barbara world suited their aesthetic and ascetic Piovan et Mauro Magliani. preoccupations. A chance meeting in 1966 with the artist and Surrealist print pub- model for working in series often accom- point of mise en abyme; at points Reims lisher, Georges Visat, brought her down panied by text: Les Saltimbanques (1949), breaks these chevrons to nick the copper, from the mountain. (Deux had frequented Les Géorgiques (1949–50), La Création du evoking fluffy down. Sleek, coiled lines André Breton’s circle, even founding his Monde (1949), Les Psaumes (1950) and Vis- form sensuous sockets around the bird’s own Surrealist subgroup in Marseille.) For ages d’Espagne (1951). The images she pro- eyes. Reims has derided her imagination a new publishing venture Visat needed an duced in her early twenties demonstrate as “distressingly precious,”5 but Ovid engraver to transcribe the drawings of the a firm principle of order—detail is delib- teased a broader range of texture from artist standing next to him—the burin he erately renounced. She makes plate tone her burin, giving occasion for velvety fur, could not master in his back pocket—the conjure solid space that sits within and amphibious skin, bone and sinew. around forms drawn in unshadowed line, For the Cosmogonies suite, Reims arranging things without any pretense of turned to old-fashioned scientific book the illusion of life. Such assurance sug- illustration to compose ten compositions gests that a preconceived, resolved idea marked by passages of nebulous stip- arrived on the plate via a perfectly coordi- pling, creating images, for the first time nated hand. There are few drawings and “ex-nihilo.”6 Some of the images suggest no sketchbooks to note. There is no sense intergalactic landscapes, others micro- of the tool (or the concentrated exertion scopic views of the natural world tilted of the artist) behind it. up on a flat plane. She was now deeply en- Today Reims is dismissive of these gaged in scrupulous detail—reading the formative works and points to succes- plethora of miniscule cuts in these works sive suites, Les Métamorphoses, Bestiare de challenges the eye. I asked Reims what la mort and Cosmogonies (1957–1958 and happened if her cutting hand erred and 1959), as more significant, crediting Ovide she slipped out of a furrow; she responded with having lured her away from straight that mistakes just didn’t happen. observation to the transfigured reality Reims met Deux in 1951 at La Hune of an interior world. In the Les Méta- bookstore in Paris. An autodidact, Deux morphoses, we see Reims moving into was prodigiously creative, drawing and detail, contrasting passages of worked writing for hours daily. Someone had to tone against the line. In one image (Laz put food on the table, so despite early Cécile Reims after Hans Bellmer, Autoportrait 133.10)4 a pair of smooth human thighs is critical acclaim, Reims put away her (1970), engraving and drypoint, 27.7 x 21.9 cm. folded beneath the plumage of a majes- burin after Cosmogonies and began to Edition of 120. After a 1955 graphite drawing by tic owl, as if tucked under a poncho. The weave fine textiles on a loom constructed Bellmer. Published by Propyläen, Berlin (1972). ©Musée Jenisch Vevey—Cabinet cantonal des owl’s wealth of feathers is constructed of by Deux. (The happiest years of her child- estampes, collection de la Ville de Vevey / clichés tiny chevron-shaped cuts repeated to the hood had been spent playing among bolts Barbara Piovan et Mauro Magliani.

Art in Print July–August 2016 5 Left: Cécile Reims after Hans Bellmer, Analogies ou Le Canapé (1968–9), engraving and drypoint, 26.2 x 19.8 cm. Text by Hans Bellmer. Edition of 160. Engraved after Bellmer’s La Petite Fille sur canapé noir or Viol (1960), charcoal and graphite with highlights in white gouache on Ingres rose paper, 63.3 x 47.4 cm. Printed by Les Ateliers Moret, Paris. Typography by Adolf Furst and son, Berlin. Published by Propyläen, Berlin (1971). Right: Cécile Reims after Hans Bellmer, Untitled from the Inédits suite (1974–5) engraving and drypoint from the suite of 30 prints, 16.8 x 10.4 cm. Edition of 15. After Bellmer’s study for Histoire de l’oeil by Georges Bataille (1946), graphite. Printed by Atelier de la Chalcographie du Musée du Louvre, Paris. Published by Réunion des musées nationaux, Paris (2006). Both works ©Musée Jenisch Vevey—Cabinet cantonal des estampes, collection de la Ville de Vevey / clichés Barbara Piovan et Mauro Magliani. morbidly erotic Hans Bellmer (1902–1975). language. When she was stumped on how Histoire de l’oeil, de Georges Bataille (1946, Reims took up the dare. After sending off to render a black, velvet couch encasing a Laz 475), the lower half of a female body is her first plate, a village farmer delivered fetishized female for the print Analogies seen from behind with legs and buttocks Bellmer’s telegrammed response from ou Le Canapé (1968–69, Laz 188), Bellmer mirrored and stacked in a pile, dressed Lacoux’s only phone box: “Come.”7 counseled the introduction of drypoint only in lace-up “Victoriana” ankle boots. Reims began a new career as an inter- and roulette, mixing techniques that In the center of the image, torquing the pretative engraver. She transcribed 250 of would have horrified Hecht. Reims blos- composition, a hand gropes towards an Bellmer’s drawings, becoming “perme- somed in a fulfilling but corralled role. anus. Female genitalia are the familiar able like a sieve.” As with the weaving, she Bellmer made a fortune; Reims, his hid- subject of this complex, lubricious com- found the absence of creative control lib- den third hand, was paid “like a plumber.” position, an exemplification of aestheti- erating: “I became more and more Bellmer Bellmer signed the prints with his name cized sexual objectification that remains and it was joyful. . . I was not responsible alone.10 disquieting. Deep in her furrow, Reims, for the work.”8 A deliberate removal of Though the burin works as a surface meticulously rebuilding Bellmer’s mes- the self, she explains, is essential to tran- leveler of sorts, the jump from Reims’ meric lines, would absorb the content scribing the work of another: “The crayon serene personal imagery to the controlled of such an image only upon completing runs over the paper—I incise on metal. It’s turmoil of Bellmer’s onanistic, carnal the plate. Getting “trapped” in the image totally different. There is a moment—and forms is a sharp one. But his fixation risked ruining the print. Though their it is the most difficult—when you must on orifices and freakish explicit imag- working together was profoundly inti- disappear. If I reappear, if I question, the ery seems to have passed Reims by. Her mate, Bellmer remained distant too; a questioning will impede the transcrip- obsession was the discipline, the cut- self-portrait he dedicated to her shows his tion.”9 Bellmer’s art advanced her skills; ting: the line. In an untitled engraving deep appreciation of her work, but noth- his swooping lines offered a thrilling new from 1974–75 after Bellmer’s study for ing more.

6 Art in Print July–August 2016 Other artists approached Reims. She engraved hundreds of kitschy felines and Bambi-eyed women for the Argentinian- born Surrealist painter, Leonor Fini (1908–1996), but this was bread-and- butter work, “holidays” that offered Reims nothing creatively. She transcribed after Salvador Dali (1904–1989), taking on the famous painting My Wife, Nude, Con- templating her own Flesh becoming Stairs, Three Vertebrae of a Column, Sky and Architecture (1945) (engraving 1987, Laz 991), of which she is proud, but she found herself unable to bear his buffoonery and dropped him from her roster. Instead, she began a deeply productive collaboration with her husband. A poor, cultureless childhood spent in a damp family basement in Boulogne- Billancourt had given Deux little formal education but much artistic liberty—a tabula rasa on which to create.11 His drawings are filled with thickets, rhi- zomes, umbilical cords and phantasma- gorical, hydrocephalic forms interred in geometric lattices or below a horizon line. He floods the picture plane; there are intimations of Outsider art. His haunt- ing drawings share the interpenetrative complexity of Bellmer’s. To render Les Rêves remontent from 1994–95 (Laz 1121.7), Reims had to push burin and drypoint to their full range, tempering copper burr with delicate scraping and burnishing to match Deux’s softer graphite marks. She moved in incremental shifts from a rich black penumbra that describes the right- hand side of a profiled central figure, through mid-tone cellular structures, to a clean, white highlight on an arm. She pulls sfumato effects from the hardness of the copper, finding freedom rather than drowning in Deux’s fecundity. Working with Bellmer was difficult. Cécile Reims after Fred Deux, Les Rêves remontent from the group of works La Vie antérieure Deux was warm and his subject mat- (1994–5), engraving and drypoint, 23.6 x 18 cm. Edition of 109 (69 on laid Japan paper on Rives vellum, ter affected Reims deeply. She worked 20 on Rives vellum and 20 on Arches vellum). Typography by Pierre Chave. Printed by Les Ateliers Moret, Paris. Published by Pierre Chave, Vence, France (1995). ©Musée Jenisch Vevey—Cabinet on over 400 of his drawings between cantonal des estampes, collection de la Ville de Vevey / clichés Barbara Piovan et Mauro Magliani. 1970 and 2007, with free choice of work and scale. Deux credited her, signing all his engravings with the monogram “cf. stringent test of entry into the Académie, emphasis on “originality” and individual- Deux” (cecile fred. Deux—a partnership “where sat 80 graveurs du roi.” Interpre- ist art making. As Laure Beaumont-Mail- in art as in life) from 1983 onward. tative engravers were well paid, valued let (Emerita director of the department A note on the history of interpreta- and named on the plate alongside the of prints and photographs at the Biblio- tive engraving is needed to understand originator. Marcantonio Raimondi’s thèque nationale) puts it, “Engraving as Reims’ significance. In the 20th century, transcriptions after Raphael, Pieter van a job had to be forgotten. To glorify the the art was largely disregarded as skilled der Heyden’s after Pieter Brueghel, and creative artist, we considered it necessary reproduction. “You are an artisan in my Jacques Villon’s after modern masters to abase the craftsman-engraver . . . until service,” Bellmer reminded Reims.12 For including Braque, Matisse and Manet his name was excluded from the plate the artisans of France’s ancien régime, remain pertinent reference points. But that he made.”13 however, the skill of transposing colored the perception of such creative collabo- Interpreting for others, however, does oil paint into black line was considered a rations was abraded by the modernist raise problems for an originator. Reims

Art in Print July–August 2016 7 Cécile Reims, plate from Histoires naturelles III (1996–7), suite of six prints: engraving and drypoint, this plate 11 x 17.7 cm. Printed by Les Ateliers Moret, Paris. Published by O.G.C- Michèle Broutta, Paris (1998). ©Musée Jenisch Vevey—Cabinet cantonal des estampes, collection de la Ville de Vevey / clichés Barbara Piovan et Mauro Magliani. talks animatedly of the challenges and the found, now became a staple way of Forteresse de paille (2006); Plaies d’arbres pleasures that Bellmer’s and Deux’s work working for Reims. The series Histoires (2009) and Calligraphies végétales (2011). brought her, of the freedom she found in Naturelles I, II, III and IV (1998) indulge She describes her evolved use of the burin constraint and of her incongruous sense her passion for the natural world. She and drypoint as a “travesty,” so far has of “being” more intensely when working, digs down into structures to find abstrac- she come from Hecht. Her last suite of furtively, through others. She discovered tion, making the order found in nature prints, L’Élan vital (2011), is, in effect, an a tacit power in concealment. She could more sinuous and curious through the ending, an anthropocentric interroga- engrave anything, taking on the cel- rounded flow of her graver, using more tion in words and imagery of what we are, ebrated Master E.S’s Fantastic Alphabet tone than line, shadowing and mirroring. of the essence that is left when all flesh (ca. 1465) for pleasure in 1985–1990 (Laz One image from Histoires Naturelles III turns to grass. She experimented with a 908–931), but she struggled to relocate (Laz 1198.5) synthesizes lessons learned more literal realism, drawing from her herself. The state of being oneself can from Bellmer and Deux into something own photographs for the series Forter- wane when set aside. What if interpre- particular to Reims, showing a world esse de paille and Plaies d’arbres, but the tation had arrested her personal artistic both above and below ground. The spi- twelve prints of L’Élan vital cloak nature development?14 dery striations that make up the tone of in a mantle of abstraction. As if attempt- An image of a humble caterpil- the sky avoid the sun and moon and seem ing a cartography of the spirit, she brings lar, found in Pierre Lyonnet’s Traité to bleed out of vertical structures sprout- to them a sense of surging life, cellular anatomique de la chenille qui ronge le bois ing from a low baseline. One might mis- repetition and growth arranged within a de saule from 1760, became emblematic: “I take these striations for mistakes in the careful order. could come back by engraving this cater- copper, but Reims has engraved each by Reims’ need for methodical con- pillar.”15 In 1977 she produced a series of hand. This tiny, precious print encapsu- straint is born of tragic circumstance. eight delicate “portraits” of the dissected lates Reims’ universe. Her mother died of septicaemia weeks insect, erect and totemic, with decorative Between 1998 and 2013, Reims after her birth in Paris and Tsila Remz, passages that fall somewhere between engraved the following bodies of work, as she was then known, spent her early biology and weaving. They feel like a some published in tandem with her years in the warmth of her mother’s Jew- statement of intent, a new confidence. reflective texts: Guardiens du silence ish family in Kibarty. When she was six, “Deforming” and “turning around” old (1997); L’Exil des roches (1998); L’Herbier however, Judelas Remzas brought his book illustrations, seeking to transfigure charnel (2003); La Grande Muraille (2004); daughter back to Paris, and the absence

8 Art in Print July–August 2016 of her Lithuanian home hit hard. Reims, 5. Cécile Reims, Un itinéraire à inventer, Cécile her father and aunt escaped the terror Reims Graveur (Paris: Préaud et Gheerbrant, of the Vel d’Hiv roundup of Jews in Éditions Cercle d’Art, 2000), 101. Paris in 1942, but were separated in the 6. Cécile Reims graveur, portrait filmé, a film by Isabelle Filleul de Brohy, Musée d’art et d’histoire confusion of war. Finding herself alone de Judaisme (MAJH), Paris: http://www. in Vichy, France, Reims joined the Jewish mahj.org/fr/1_musee/entretiens-du-Mahj. resistance Organisation Juive de Com- php?niv=17&ssniv=0 bat (O.J.C.), carrying messages and false 7. “Venez.” Un itinéraire à inventer, 105. papers. She was reunited with her father 8. “Je suis devenue de plus et plus Bellmer et c’était jouissive . . . Je n’étais pas responsible de and aunt in Paris in 1944, but when the l’oeuvre.” Cécile Reims graveur. news came that her beloved uncle, Gus- 9. “C’est un crayon qui court sur le papier. Moi, tav Gumpert, had been murdered in Aus- j’incise un cuivre: la démarche est totallement dif- chwitz and the rest of her Lithuanian férente. Il faut, à un moment donné, et c’est le plus family—men, women and children—had difficile, disparaître. Si je réapparais, si je questionne, la questionne m’empêchera de transcrire.” been shot in the fields outside Kibarty, Cécile Reims à la Chalcographie du musée du she fled to Palestine under false papers Louvre, interview with Pascal Torres Guardiola, through the Zionist paramilitary group 2003 (Bibliotheque nationale de France, Cahiers Haganah.16 Reims worked at the Neve d’exposition no. 48, 2004), 17. Ilan kibbutz before moving to Jerusa- 10. Reims does recall a private conversation when Bellmer conceded her right to co-authorship, but lem’s old quarter of Mahane-Jehuda, liv- he then backed away, using market value as his ing frugally in order to draw. She served Cécile Reims, plate from the L’ Élan vital suite defense. The writer André Pieyre de Mandiar- in the fight for Israeli independence and (2010–11), engraving and drypoint, 19.6 x 13.4 gues first revealed her as Bellmer’s engraver in the battle for Jerusalem at the end of 1947, cm. Printed by Les Ateliers Moret, Paris. ©Musée 1977 after more than a decade. Reims won the but her first severe attack of tuberculosis Jenisch Vevey—Cabinet cantonal des estampes, legal right to call herself “co-author” after fighting forced her to return to France. She imag- collection de la Ville de Vevey / clichés Barbara Bellmer’s daughters for the right to exhibit her Piovan et Mauro Magliani. Bellmer transcriptions under her name. ined a swift return to Jerusalem, the city 11. Matthieu Chatellier, Voir ce qui vient l’ombre she still calls home, but swiftly became [Drawn from the Shadows]: Un portrait de Cécile disillusioned with the new state of Israel Reims’ curiosities found in nature, is Reims et Fred Deux, Moviala Films and Tarvak and it was not to be. important to the history of Surrealism in Films, 2010. Reims explains: “I have engraved hun- France, and perhaps for future engravers. 12. “Vous êtes un artisan à mon service.” Cécile Reims graveur. It is the couple’s wish that the house and dreds of sheets of copper. It is a metal 13. “Le graveur de metier devait se faire oublier. as hard as what I carry within me. And its contents be donated to the commune Pour magnifier l’artiste créateur, on crut néces- which has taken on the added weight of of La Châtre. She imagines a working saire d’abaisser l’artisan graveur . . . jusqu’à élimi- my compassion for the suffering man print shop in the garage next door. Over ner son nom de la planche qui était son oeuvre.” Beaumont-Maillet and Cécile Reims, 23. inflicts on his fellow man.”17 The fierce the last few months, Reims, who lives without a computer or cell phone, has 14. In 1992, Reims exhibited under the title “Je discipline of the copper plate saved Reims est un autre” at Paris’ Galerie La Hune-Brenner, from the threat of disorder, and enabled received a flurry of letters from young followed by “Hans Bellmer par son graveur Cécile a psychological exploration twisted into artists seeking her out, inquisitive about Reims” at the Musée de l’Hospice Saint-Roch, the medium itself. She is not an experi- her precious skills. Perhaps they are in Issoudun. These exhibitions publicized the art mentalist, but was able to proceed within need of technical limitations too. of interpretative engraving in France, honoring the knowledge of these limits. For the Reims and culminating in Maxime Préaud’s survey, “Cécile Reims graveur et interprète de Hans young artist that critic Marianne Colin Bellmer et de Fred Deux” at Paris’ Bibliothèque Kate McCrickard is an artist and writer found “shy and a little wild” with “bril- Nationale in 2006. based in Paris. liant gifts,”18 engraving offered, to recon- 15. “Je pourrais revenir en gravant cette chenille.” textualize Braque, a “rule to curb the 16. Laz, 205. 17. Chatellier: “J’ai gravé des centaines de emotion.”19 It also became a source of Notes: plaques de cuivre. C’est un métal aussi dur que 1. “Moi, la gravure, je suis gravée, griffée, éraflée, great joy. Picture how inscribing the tiny ce que je porte en moi. Et qui ajoute encore du niellée; je suis une blessure, comme celle de feathers on the owl might calm and trans- poids à ma compassion pour la souffrance que la terre et des corps.” Gilbert Lascault, “Le port. And to “disappear” through others l’homme inflige à son semblable.” couple comme un être androgyne,” La nouvelle 18. Laz, 306. provided a familiar clandestinity, perhaps Quinzaine littéraire, no. 876, 2004-05-01. 19. Georges Braque, “Pensées et réflexions bringing some comfort: “My presence 2. All quotations unless noted taken from conver- sur la peinture,” Nord-Sud 10, December 1917 20 sation with the author, 10 March 2016, La Châtre. resides precisely in its absence.” (reprinted in Artists on Art [New York: Pantheon, 3. Laure Beaumont-Maillet and Cécile Reims, After showing me a little of her tech- 1958], 422–423). Passage du témoin: Cécile Reims & les graveurs nique, Reims, still beautiful in her 89th 20. Chatellier: “Ma présence réside précisément du XVe au XXIe siècle, affinités électives (Passing en son absence.” year, put her engraver’s tools back in the the Baton: Cécile Reims and the Engravers of the 21. “Urne funéraire.” drawer, muttering the words, “funeral XVth to XXIst Centuries, Elective Affinities), exh. urn.”21 She is the first since Villon to pub- cat. (Issoudun: Musée de l’Hospice Saint-Roch, licize her role as an interpretative 2012), 18. engraver. She may be the last. Her magi- 4. All catalogue raisonné references: Lauren Laz et al., Cécile Reims: L’Œuvre gravé 1945–2011 cal house, stuffed with Surrealist gifts, (jointly published by the Musée Jenisch in Vevey, Deux’s sculptures, tribal artworks and France, and 5 Continents Editions in Milan, 2011).

Art in Print July–August 2016 9 Ellen Lanyon: The Objects of Her Obsession By Christina Weyl

t all began with a small majolica “ I humidor in the form of a toad in a red westcott [sic], smoking a pipe.”1 Thus Ellen Lanyon (1926–2013) opened her autobiography with a Victorian earthen- ware vessel that rested on the mantel of her childhood home in Englewood, IL. Over the course of Lanyon’s life, hundreds of objects—from antique pipes and taxidermy animals to measurement devices and dental molds—joined the smoking toad in her curio cabinets and in her paintings, prints and drawings. In her last decade, Lanyon embarked on two ambitious, multipart projects: in the drawings and prints of Index, she cata- logued and classified her wondrous collection, while the paintings and prints called Curiosities brought together the indexed objects alongside the mass-produced images Lanyon collected in dense accumulations. Together they look back over almost every aspect of her career. This article surveys the permutations of these two important bodies of work, tracing their structure and linear quality back to her collecting habits and her longstanding fascination with the wood engraver Louis Poyet (1846–1913). In doing so, it reveals Lanyon’s debt to the visual language of the 19th century, particularly its way of systematizing and Ellen Lanyon, Curiosities, Toad (2014), screenprint, 47 x 46 cm. Edition of 30. Printed by Kip Gresham, presenting information descriptively. The Print Studio, Cambridge, UK. Co-published by the artist and The Print Studio. ©Estate of Ellen Lanyon grew to artistic maturity in Lanyon. Courtesy of Richard Gray Gallery, Chicago and New York. mid-century Chicago, dubbed “The Sec- ond City” behind New York’s cultural alternative to the Art Institute of Chi- Park conservatory and Japanese hanafuda dominance, though it is now recognized cago’s annual “Chicago and Vicinity” playing cards float in the air beside the as having been a distinctive center of exhibitions. In the ’70s she became the toad and interject fantasy into the scene, postwar modernism. As part of the “Mon- primary organizer of the Chicago chap- merging the imaginary with a strong ster Roster”—a term coined retroactively ter of the feminist art organization West sense of specific place in her hometown. by critic Franz Schulze—she belonged to East Bag (WEB). Although she moved to Often described as a Magical Real- a diverse set of artists in the city work- New York City in 1979, her association ist, Lanyon preserved a sense of wonder ing with abrasive figurative and surreal- with Chicago never faded. about both the past and the present and istic styles in the immediate postwar Lanyon’s subject matter changed over sought to animate the quotidian through years.2 (This group was somewhat older time from city views and images of her the unexpected. In a 1976 artist’s state- than Chicago Imagist painters such as ancestors to magic tricks and wildlife, ment she observed: Jim Nutt, Gladys Nilsson, Karl Wirsum, but she maintained a consistent inter- Suellen Roca, Ed Paschke and others who est in nostalgia, transformation and My life is full with observation and constituted the Hairy Who, Nonplussed metamorphosis. In the painting Strange mental record keeping . . . everything Some and False Image.) Lanyon helped Games at the Lagoon, The West (1980), for adds to a resource bank from which found the short-lived but influential example, the toad humidor sits on a flo- ideas are drawn as a work develops. Graphic Arts Workshop (1953–1956) and ral picnic blanket next to the tree-lined Always mindful of the phenomena of was a leader of Exhibition Momentum— banks of Chicago’s Lincoln Park lagoon. A transformation, substitution, cam- a juried venue started in 1948 as an postcard of the fern room at the Lincoln ouflage, dual imagery, and the

10 Art in Print July–August 2016 behavior of beings, I take the liberty of inventing with these as singular or multi-symbolic forms. I always hope to communicate to others my own feelings of astonishment, amusement, and/or concern for the marvels of the natural and man-made world.3

Working from her cabinets of keepsakes and her collection of 19th-century postcards, books and magazine illustrations, she created fantastical still lives and situations that plunge viewers into her personal world. From her earliest days as a student at the School of the Art Institute of Chicago (SAIC), Lanyon had a strong, sentimental attachment to the past. She considered herself a “nostalgist,” a quality manifest in both the egg tempera works she made while a student, and in her 1960s paintings derived from vintage family photographs and early–20th-century magazine illustrations of bathing beauties and sports heroes.4 In the 1970s her subject matter shifted to pictures of magic and prestidigitation, but nostalgia for an older time remained; the vintage objects that eventually made up Index were major protagonists in her magic paintings and most of her subsequent series. Lanyon’s family home during the Depression included her immediate family as well as her grandfather and spinster Clockwise from top left: Toad humidor, courtesy Estate of Ellen Lanyon; Ellen Lanyon, Strange Games at the Lagoon, The West (1981), acrylic on canvas, 86.4 x 111.8 cm. Collection of Angela and Marc aunts whose bric-a-brac and “wonderful Levenstein. ©Estate of Ellen Lanyon. Courtesy of Richard Gray Gallery, Chicago and New York.; Louis treasures” filled the house and inspired Poyet, illustration for The Housekeeper’s Terror (1892). Reproduced from Arthur Good, Magical young Ellen’s imagination.5 She inher- Experimentation or Science in Play (Philadelphia: David McKay, 1892), 2; Ellen Lanyon, The ited many of these peculiar items—the Housekeeper’s Terror (1969), acrylic on canvas, 102.9 x 102.9 cm. Collection of DePaul Art Museum, toad humidor, a ceramic elephant, two 2014.54. Gift of the Ellen Lanyon Estate. ©Estate of Ellen Lanyon. Courtesy of Richard Gray Gallery, Chicago and New York. bronze dogs fighting over a bone—and added to them through her own self- and design of Index. Written by Arthur is the diminished level of graphic detail, professed “obsessive” collecting. Friends Good, Magical Experimentation, or, Sci- particularly in the simplified decora- took to giving her oddities. In a 2012 ence in Play introduced her to the wood tion on the handles of the butter knives. interview with art historian Robert Storr engravings of Louis Poyet.7 Enraptured, Poyet’s illustrations drew Lanyon into the that took place in Lanyon’s studio, she she made paintings after Poyet’s illustra- world of magical illusion, and his example talked about the influence of these things tions, such as The Housekeeper’s Terror encouraged Lanyon to make her imagery on her working process: (1969), which depicts the feat of balanc- crisper and sharper than it had been in Every object that you see in this room ing a coffee cup on the tip of a knife with her 1960s paintings. She felt the change or in the cabinets has managed to the aid of a cork and a fork. Not unlike enhanced the fantastical quality of her “speak” to me and trigger an idea for her Pop art peers, Lanyon was appropri- subjects.9 In a later conversation with a painting . . . Beginning with one ating mass-produced images, but from a art historian and critic Irving Sandler, object and via a stream of conscious- bygone era rather than from the contem- she said, “the way that [Poyet] dealt ness, the scenario develops. In a sense I porary advertising that occupied Andy with a graphic line . . . suited my way of am appropriating another’s invention Warhol, Tom Wesselmann, James Rosen- detailing.”10 but putting it into an altered context quist and others.8 At around the same time she was Lanyon adapted and altered the origi- introduced to Poyet, Lanyon developed an while creating a narrative, a theatric.6 nal wood engraving through the intro- allergy to the solvents used in oil painting In the late 1960s, Lanyon’s son Andrew duction of color, the improvisation of the (The Housekeeper’s Terror and later paint- brought home an 1892 manual of magic coffee cups’ floral motifs and the changed ings were executed in acrylic), and began tricks, which transformed her practice proportions from rectangular to square. to refocus her energies on drawing and and later inspired the linear precision The most significant difference, however, printmaking, which better matched the

Art in Print July–August 2016 11 character of wood engraving and her own were organized into 5 unbound “books” life their surfaces and sizes are radically incisive observational drawing. of 12 pages each according to her own different, but Lanyon equalized their Lanyon’s involvement in printmak- quixotic taxonomy: “I. Personae” (dolls, scale to make them appear to belong ing dates back to her student days. In figurines, objects relating to the human together seamlessly as a group. addition to her activities with Chicago’s body and some anthropomorphized ani- She received unexpected help in this Graphic Arts Workshop, she worked as mals); “II. Folly Animale” (animal-related endeavor from her friend Lynne Warren, a secretary for Mauricio Lasansky at the tchotchkes); “III. O. J. Darr” (a play on curator at the Museum of Contemporary University of Iowa when she was a grad- “objet d’art,” comprising ceramic vessels, Art Chicago. Warren, who often stayed uate student there with her husband, letter openers and decorative souvenirs); in the guest bedroom at Lanyon’s studio Roland Ginzel, and as a professional art- “IV. Mechanique” (scales, metronomes in New York, had written a series of 11 ist she made many editions with Landfall and antiquated instruments of measure- poems—without Lanyon’s knowledge— Press—including the impressive Won- ment); and “V. Smoking Guns” (firearms in response to the contents of her curio der Book (1971)—as well as with Anchor and play guns, pipes and cigarette light- cabinets, which she observed both dur- Graphics, Stone Roller Press, Pondside ers). ing the day and in the middle of the night Press and others.11 At the same time she structured Index when light from nearby apartments hit These three elements—her familiar- to suggest an encyclopedic objectivity, them at unexpected angles. The poems ity with the graphic language of print, Lanyon also sought to illuminate per- envisioned relationships that had not her fascination with the power of elderly sonal, irrational conversations among occurred to Lanyon. When the poems objects, and her love of Poyet’s didac- these familiar fixtures of her studio and were published under the title Ballary tic wood engraving style—would come artwork. She manipulated scale and fam- Marvels (2009) through Index Press (Lan- together in her magnum opus, Index. At ily resemblances to elicit new relation- yon’s tie-in idea), they were accompanied the turn of the millennium, she decided ships: four elephant knickknacks appear by a selection of Lanyon’s drawings. The to catalogue the objects in her Wunder- alongside an elephant-shaped rock speci- arrangements in the book are sometimes kammer, to preserve each one’s story men. Her attentive line animated inert reflected in Index. Warren’s poem “Two and its meaning in her life and career. materials, some well past their prime: Figures (One Then the Other),” for exam- Between 2001 and 2003 she filled 60 a wind-up metal elephant, whose outer ple, alerted Lanyon to the similar stances, sheets of paper with careful pen and ink shell is broken and who no longer stands hands in their pockets, of the “flop-eared drawings of a total of 292 artifacts (each independently, marches happily with his mutt” and “fez-topped joe” that she would sheet contains anywhere from 2 to 25 head held high. The first sheet of Book I place together in a drawing, angled as if objects, each numbered in the format features a bowling trophy, a plastic toy they were pausing in conversation. of didactic illustration).12 These sheets and a bronze statuette of a diver; in real She subtitled the project “the objects

Ellen Lanyon and Lynne Warren, Two Figures (One Then the Other) (2009). Reproduced from Ballary Marvels (Chicago: Index Press, 2009). Poem by Lynne Warren and illustration by Ellen Lanyon. Art ©Estate of Ellen Lanyon. Image courtesy of Richard Gray Gallery, Chicago and New York.

12 Art in Print July–August 2016 Ellen Lanyon, Plate A, Volume I, Book II, Folly Animale (left) and Plate A, Volume I, Book I, Personae (right) from Index: The Objects of My Obsession (2003), hand-watercolored screenprints in brown on ivory wove paper, 35.7 x 28 cm each. Edition of 7 each. Printed by Kip Gresham, The Print Studio, Cambridge, UK. Art Institute of Chicago, restricted gifts of Fred Novy; Helen Davis Bailey Endowment; Herbert Molner Discretionary Fund, 2005.14.18 and 2005.14.2 ©Estate of Ellen Lanyon. Courtesy of Richard Gray Gallery, Chicago and New York. of my obsession” and grew increasingly and page (from A to L) as well as the edi- Gresham believes, arises from the fact reluctant to part with it. In late 2002, she tion number. Lanyon had plans to write that Lanyon ostensibly drew descrip- contacted Kip Gresham, master printer a verse about each Index ensemble and tively, to convey essential information and owner of The Print Studio in Cam- to include an itemized key noting how, about her treasures, but achieved some- bridge, England, about making screen- where, and from whom she acquired each thing beautiful and vibrant. In the colo- prints based on Index drawings.13 So item, but she only completed this work phon to Index, she explained that her began a rich, long-distance collaboration, for Book I.15 She also hand-colored some subjects “have been assembled with no executed by email, phone and transatlan- sets of Index, though most are black and particular definition but with an eye to tic packages. The 60 pen-and-ink sheets white.16 their use as characters in a narrative or as were scanned in New York and the files Seventy feet long when laid out end to a source of inspiration for an inexplicable sent to Gresham to create the screens, end, Index has an encyclopedic quality; juxtaposition.” which Lanyon insisted should retain the the exactitude of Lanyon’s lines, convey- In 2009 Lanyon revisited Index as she illustrative precision of the drawings: “all ing essential facets of her beloved things, began working on her Curiosities series, line and no tone,” she wrote Gresham.14 mimic the look of historical scientific mashups that combine Index drawings The screens were used to produce two illustrations published in the journal different editions. The first consists of 60 La Nature, for which Poyet’s atelier pro- unbound 12- x 8-inch sheets, grouped in duced thousands of wood engravings of 5 sets of 12 with a colophon. In the sec- mechanical devices and scientific instru- ond, each set of 12 is assembled into an ments between 1880 and 1914.17 (As a (unbound) accordion-fold book that art- teenager, Lanyon had practiced this kind ist and printer affectionately called the of “exacting realism” in drawings she “concertina” (both versions were printed made for a catalogue of foundry equip- in editions of 7). The relationship of parts ment for the Beardsley & Piper com- in the concertinas is enforced by physical pany.)18 Index is in many ways an homage connection; in the loose sheets Lanyon to Poyet, whose work Lanyon continued emphasized the taxonomic structure of to collect after her first encounter with Objects from Plate A, Volume I, Book I, 19 the project with cartouches on each print Magical Experiments. Personae (2003). Courtesy Estate of Ellen that identify the “book” (from I to V) The extraordinariness of Index, Lanyon.

Art in Print July–August 2016 13 to apply pale, “slightly grubby colors” that would “complement the vintage of the objects.”23 The three beautiful hand- colored sets she produced were used to make separations for the editions of color screenprints.24 These prints were her last works. Returning from the U.K., Lanyon suffered a fatal heart attack at Newark Air- port. She was 86. One could argue that the Curiosities prints form a fitting cap- stone to her career, with their incorpora- tion of her beloved oddities and Poyet wood engravings and her signature blend of the magical and the real. But Lanyon did not see either Index or Curiosities as an end point. She had been planning further projects with Gresham at the time of her death. We will never know where her imagination might have taken us.

Christina Weyl is an independent scholar based in New York.

Notes: 1. Thank you to Lisa and Andrew Ginzel, who opened their mother’s studio to me and let me dig through Index and her papers. Many others gen- erously spoke with me, including Kip Gresham, Janet Ruttenberg, Arthur Levine, Lynne Warren, Gregg Hertzlieb and Angie Levenstein. Thanks also to Gale Rawson and Jennifer Johns at the Ellen Lanyon, Ivory Metrolog (2012), screenprint, 65.5 x 63.5 cm. Edition of 70. Printed and published Pennsylvania Academy of the Fine Arts for letting by Kip Gresham, The Print Studio, Cambridge, UK. Co-published by the artist and The Print Studio. me review the Index objects. ©Estate of Ellen Lanyon. Courtesy of Richard Gray Gallery, Chicago and New York. Lanyon’s autobiography, “The Toad Humidor,” was unfinished at the time of her unexpected with Poyet wood engravings, 19th- ing back to Strange Games at the Lagoon, death and remains unpublished. Lisa Ginzel gen- century patent diagrams, botanical illus- The West), while an alligator-foot coin erously provided access to a copy. 2. For more on the postwar Chicago art scene, trations and wallpaper samples.20 Ivory purse dangles above from an antique see Charles A. Lewis and Cynthia Yao, eds., Metrolog (2012) was created as a com- scale. A wood engraving from Magi- Chicago: The City and Its Artists, 1945–1978 mission for The Print Studio’s Daedalus cal Experiments at the upper right shows (Ann Arbor, MI: University of Michigan Museum Print Club and incorporates figures from “How to Make a Lamp Chimney Smoke of Art, 1978); Lynne Warren, ed., Art in Chicago, Index—the diver, a bathing beauty, an a Cigarette” with a cylindrical device that 1945–1995 (New York: Thames and Hudson, eyeless bust, a pen nib sharpener and an echoes the tulip-filled hourglass below it. 1996); Chicago Imagists (Madison, WI: Madison Museum of Contemporary Art, 2011). Though egg grading scale—along with new addi- Between these things, the background is Lanyon was not included, see also the Smart tions including a Luna moth, a metro- filled with collaged flat pattern. The other Museum of Art’s recent exhibition, Monster nome, dice and the 1859 patent diagram three Curiosities prints (Trout, Monkey Roster: Existentialist Art in Postwar Chicago, 11 of A. C. Gallahue’s “Pegging Machine” and Cockatoo) are similarly crowded with February–12 June 2016. for assembling boots and shoes (patent the strange but real—things that once 3. “Ellen Lanyon: Paintings, Drawings and Prints,” Urbana, IL: Festival Gallery at Krannert Center, 27 no. 23,361). As was her common prac- captivated audiences with the delight of April–16 May 1976. tice, Lanyon resized each element with illusion or the power of technological 4. Nancy Carroll, “Talking with Ellen Lanyon,” a Xerox machine to prepare the collage precision. The nostalgia they evoke is North Shore Art League 19, no. 4 (December from which Gresham made color separa- that of the sweet promise of mastery. 1971): 5. tions.21 In the fall of 2013, Lanyon went to 5. Quoted in Debra Bricker Balken, Ellen Shortly after completing Ivory Metro- Cambridge to work on developing the Lanyon: Transformations, Selected Works from 1971–1999 (Washington, DC: National Museum log, Lanyon began work on four more color component for the series. Over the of Women in the Arts, 1999), 36. Curiosities prints with Gresham, also course of a week, she experimented with 6. Robert Storr, interview with Ellen Lanyon, based on multi-layer collages of her own applying pencil and watercolor washes so in Ellen Lanyon: The Persistence of Invention drawings and acquired ephemera. In transparent that they blend seamlessly (Chicago: DePaul Art Museum, 2012), 9. Curiosities, Toad, her familiar humidor with the line (captured in a studio video 7. Though prolific in output, Poyet is a somewhat unknown figure. He is listed, briefly, in Henri 22 amphibian smokes his pipe surrounded available on YouTube). As with the Beraldi’s Les Graveurs du XIXe Siècle as a “des- by tulips and a deck of trick cards (hark- hand-colored Index prints, Lanyon aimed sinateur contemporain” of various commercial

14 Art in Print July–August 2016 21. Per Lanyon, ivory refers to the dice and “metrolog” is a treatise dealing with the science of weights and measures. See Lanyon fax to Gresham, 14 February 2011. The collage for Ivory Metrolog is in PAFA’s collection. 22. Ellen Lanyon in the Print Studio. https://www. youtube.com/watch?v=hXmcEMWJzgI. 23. Lanyon emails to Gresham, 22 September and 30 October 2003. 24. There are three versions of the Curiosities prints: hand-colored prints (edition of 3), monochrome screenprints (edition of 4), and four-color screenprints (edition of 30).

Ellen Lanyon, Curiosities, Trout (2014), screenprint, 47 x 46 cm. Edition of 30. Printed by Kip Gresham, The Print Studio, Cambridge, UK. Co-published by the artist and The Print Studio. ©Estate of Ellen Lanyon. Courtesy of Richard Gray Gallery, Chicago and New York. products. The most comprehensive account of his once. career as an illustrator can be found in Manuel 13. Lanyon met Gresham in 1997–1998 when Chemineau, Fortunes De “La Nature,” 1873–1914 she made a screenprint called Naumkeag (1988) (Münster, Germany: Lit Verlag, 2012), 122–23. for a tenth anniversary portfolio for the National 8. Much of Lanyon’s work from the 1960s was Museum of Women in the Arts. appropriated from Italian illustrated magazine, Il 14. Ellen Lanyon fax to Kip Gresham, 24 February Mattino Illustrato, which she collected when her 2003, emphasis original. husband Roland Ginzel was on a Fulbright fel- 15. Lanyon’s notes about object groupings, lowship in Rome in 1962. Franz Schulze, Ellen provenance, and her original typeset poems are Lanyon: Paintings from the 1960s (Chicago: included in the artist’s papers recently donated to Valerie Carberry Gallery, 2005), 4–5. the Archives of American Art. 9. Franz Schulze, “Conversations with Vera 16. Hand-colored sets are at the Art Institute of Berdich and Ellen Lanyon,” Art News 73, no. 3 Chicago and PAFA. (March 1974): 66. For more on her 1960s paint- 17. Lanyon had many issues of La Nature in her ings, see Schulze, Ellen Lanyon: Paintings from studio at the time of her death. the 1960s. 18. Artist’s statement in Curiosities (New York: 10. Irving Sandler, Ellen Lanyon & Philip Pearl- Pavel Zoubok Gallery, 2010). stein: Objects / Objectivity (Chicago: Valerie 19. Interestingly, Poyet also inspired other 20th- Carberry Gallery, 2011), 6. century artists. Lawrence Jordan (b. 1934), the 11. For more information on Lanyon’s print- experimental filmmaker, used Poyet’s illustrations making career, see Mark Pascale, “Ellen Lan- in Duo Concertantes (1961–64), which can be yon,” in Paths to the Press: Printmaking and seen on YouTube at https://youtu.be/pJlnb13atnA. American Women Artists, 1910–1960, ed. Eliza- For more on the film, see Bruce Elder, Dada, beth G. Seaton (Manhattan, KS: Marianna Kistler Surrealism, and the Cinematic Effect (Waterloo, Beach Museum of Art, Kansas State University, Ontario: Wilfrid Laurier University Press, 2013), 2006); Esther Sparks, Ellen Lanyon: A Wonder 494–506. Production (Valparaiso, IN: Brauer Museum of Art, 20. Lanyon had wallpaper samples in her stu- Valpraiso University, 2007). dio at the time of her death. Between 1996 and 12. The drawings are now at the Pennsylvania 2007, she made a series of collaged drawings Academy of the Fine Arts (PAFA) as a promised titled Beyond the Borders, inspired by a 1915 gift. In Book I, Page I, the dice are counted as sample book published by Alfred Peats Wallpaper 18 objects even though they are only numbered Company.

Art in Print July–August 2016 15 The Lithographs of Theodore Roszak By Linda Konheim Kramer

heodore Roszak (1907–1981) has T long been recognized for the expressive welded metal sculptures that he began to make in the mid-1940s, and his drawings, paintings and Constructivist objects of the 1930s have also received curatorial attention.1 The time is right for an examination of the two relatively unknown bodies of lithographs that he made at the beginning and end of his career.2 Born in Poznan, Poland, in 1907, Roszak grew up in Chicago; when he was 15 he began attending evening classes at the School of the Art Institute of Chicago (SAIC). In 1924 he enrolled as a full-time student, winning awards in lithography and painting that year.3 In a 1963 interview, Roszak recalled that his early devotion to lithography had been inspired by George Bellows, who had taught at SAIC for one year in 1919 and remained a significant influence in the Chicago art world.4 Though Roszak never met Bel- lows, who died in 1925, Roszak saw his own early work as “reminiscent of all these things that he [Bellows] believed.”5 His understanding that Bellows had seen “pertinent European influences as valid in the American developmental process”6 probably contributed to his decision to go to New York in 1926, seeking exposure to more advanced ideas than those offered at SAIC. He studied printmaking with the American Impressionist Charles Hawthorne at the National Acad- emy of Design7 and enrolled in philoso- phy courses at Columbia. Roszak soon left Hawthorne, however, to take private Theodore Roszak, Woman (artist’s grandmother) in Veiled Hat with Cactus Plant (1927), lithograph lessons with George Luks. in black on cream wove paper, image 16 1/2 x 12 1/2 inches. Courtesy the Estate of Theodore Roszak/ Roszak returned to Chicago to con- Licensed by VAGA, New York. tinue his studies at the Art Institute, where he could take advantage of their “were really making a contribution.”10 editions, perhaps because at this time facilities and financial support that cov- The following year Roszak was appointed he considered printmaking primarily as ered his expenses.8 In 1927 he received a full-time instructor in lithography and a vehicle for experimentation.12 Portrait fellowship to return to the East Coast and drawing at SAIC, and the prints he had of a Man (1927), for example, is inscribed study “lithography and all its technical made in Woodstock were shown at Chi- “Tone Experiment” in the plate. implications in Woodstock, New York,” cago’s Allerton Galleries. The subject matter of these prints was where Bellows had lived for six months Prior to 1931, Roszak’s lithographs drawn from the artist’s domestic life. He a year from 1920 until his death.9 There were portraits and figure studies made pictures his father (OJCIEC [1927]), his Roszak met Bellows’ friends, including on zinc plates and printed in black ink grandmother and himself in rooms fitted Yasuo Kuniyoshi, Eugene Speicher and on white or off-white paper.11 Although with furniture and potted plants. Aspects Leon Kroll, a group, which he described some impressions are inscribed with edi- of his mature style are already evident as “a kind of American School,” that tion numbers, he did not print complete in both Woman (artist’s grandmother) in

16 Art in Print July–August 2016 Left: Theodore Roszak, Botanist II (1928), lithograph in black on cream wove paper, image 16 1/2 x 12 1/2 inches. Right: Theodore Roszak, Portrait of a Painter (1928), lithograph in black on cream wove paper, image 16 7/10 x 12 1/2 inches. Both courtesy the Estate of Theodore Roszak/Licensed by VAGA, New York.

Veiled Hat with Cactus Plant (1927) and card-playing jailor (or prisoner—the title edges of her hat and her large round Vanity (1928). The carefully structured is ambiguous) made the same year, from white collar is intersected by a triangle composition of curves and diagonal the wide stripes of the figure’s shirt and formed by a tall potted plant and the neck lines may be adaptations of Bellows’ the designs on the cards he holds, to the of a violin (an instrument Roszak loved to ideas about “dynamic symmetry,” which checkerboard floor and repetitive steps of play). The Polish folk costume, the violin Roszak considered “a system of picture the stairway that curves into nowhere. and the potted plant all seem to represent building.”13 Balancing his concern with The surreal disquiet of this image is Roszak’s life as a young man in Chicago. fundamental geometries, Roszak scat- predictive of the darker emotional world In mid-1929, Roszak received a fel- tered decorative detail across the surfaces of Roszak’s later sculpture, drawings lowship to study in Europe, where he of these prints, an indication of his life- and prints. remained for 18 months.18 “Going to long attentiveness to texture and pattern. Portrait of a Painter (1928) retains this Europe,” he said later, “was a kind of ter- Roszak paid particular attention to the interest in patterns and textures, but minal point of my whole academic rela- attire of his sitters, perhaps influenced by places greater emphasis on the geomet- tionship . . . a way of seeing beyond the his mother’s former profession as a dress rically constructed abstract composi- borders of America to a whole new world and hat designer in Poland;14 he also tion. The entire surface spins; the tilted of ideas.”19 He settled in Prague because sometimes depicted the embroidered lin- skylight, the flowered curtain, the circle the language was close to Polish,20 but ens she made in America.15 Untitled (The of the palette, the spikes of the brush then traveled to Germany, Austria and Chess Player) and Botanist II (both 1928) handles, the checkered floor and even the Italy before spending a final six months appear to be self-portraits of the young reflections in the eyeglasses (a trope he in Paris.21 artist engaged in his own hobbies. Here returns to in one of his late lithographs)16 Roszak later told curator James again Roszak pushed the images toward whirl about with dizzying effect. The tra- Elliott that he had gone to Europe to decorative abstraction with a busy array ditional Polish costume worn by the Girl discover “this wonderful world of geo- of extraneous patterns and small objects in Lace Bonnet (1929), which he must have metric relations”—Cubism, Surrealism contained within the framework of the seen in his Polish neighborhood,17 also and abstraction.22 De Chirico’s meta- windows and walls. Contrasting pat- emphasizes the geometry of the compo- physical paintings in particular spoke to tern also informs his image of a brutish, sition. The circle formed by the curved him: “they had a kind of . . . nostalgia for

Art in Print July–August 2016 17 a celebration of Roszak’s love of both music and his new w ife. 27He subsequently made many studies on paper of a sculptural idea utilizing the same image, one of which he used in his lithographs Study for Composition Alastor and Woman Seated at a Table with a Sculpture (both 1931), printed in black on orange paper.28 In the former, the sculpture appears in the center of a mysterious landscape reminiscent of de Chirico. In the latter, the woman is posed to match the machine-like forms of the sculpture; one arm is bent with the hand under her chin, the other rests on her lap to form a rectangle. Roszak had taken a photograph of his sister, Aniel, with a very similar composition; even the arrangement of light and shadow and the shape of the table are the same (though reversed in the print). He later used Theodore Roszak, Staten Island (1934), lithograph in black on orange wove paper, image 13 x 20 the same pose again, in a 1934 charcoal inches. Courtesy the Estate of Theodore Roszak/Licensed by VAGA, New York. preparatory study for the painting Girl at the Piano Recording Sound (1935). romanticism coupled with a firm formal- Island waterfront: one can recognize The lithograph Girl in Bonnet (1933) is istic control.”23 Returning to the United abstracted wooden piers, a ferry’s smoke a portrait of his wife, Florence, in a tri- States in 1931, Roszak was filled with stack and nautical flags. In Chicago angular cape and a large, cubistic, veiled new ideas and interests in technology, Roszak had used different monochro- hat (this is also closely related to a pho- futuristic architecture, air travel and matic inking schemes; now he began to tograph taken that year). The lithograph astronomy.24 experiment with colored papers and color was printed in red and then hand-colored He did not move back to Chicago. With printing. In Staten Island, Roszak aug- with red ink applied by brush in a loose, his new bride, Florence Sapir, he moved mented the drawn composition on the airy manner, giving the image the appear- to Staten Island and began creating plate with inked color in bright blues, yel- ance of a watercolor. He later painted two painted plaster constructions. Though he lows, reds and browns that closely relates bust-length portraits of Florence in the had made no prints during his European to a painting of 1933. Roszak also printed same hat. sojourn, Roszak now acquired a lithog- this plate in somber tones on orange Another group of works—two prints raphy press and began making prints paper and in black on orange paper. and a painting—feature a bust-length that were clearly informed by European At this point in his career, Roszak’s picture of the artist holding a violin and modernism.25 Staten Island (1934) offers paintings, prints and sculptural work resting his left elbow on a table in the a Constructivist-inspired arrangement were all closely connected. His 1931 foreground. The first of the prints (1930) of flat shapes and geometric objects, but painting, Composition Alastor,26 shows is stylistically related to his work of the it remains rooted in the artist’s immedi- the abstracted body of a man playing a late 1920s, whereas in the second (1933) ate surroundings, in this case the Staten violin entwined with that of a woman— and in the painting, he simplifies the

Left: Theodore Roszak, Study for Composition Alastor (1931), lithograph in black on orange wove paper, image 6 1/4 x 9 1/2 inches. Right: Theodore Roszak, Woman Seated at a Table with a Sculpture (1931), lithograph in black on orange wove paper, image 4 1/2 x 7 1/2 inches. Courtesy the Estate of Theodore Roszak/Licensed by VAGA, New York.

18 Art in Print July–August 2016 Above: Theodore Roszak, Girl in Bonnet (1933, this impression misdated by the artist as 1934), lithograph in red ink, hand colored with red ink on cream wove paper, image 12 3/4 x 9 1/2 inches. Right: Theodore Roszak, Man Seated at a Table, no. 2 (Self Portrait) (1934), lithograph in black on cream wove paper, image 19 x 14.85 inches. Courtesy the Estate of Theodore Roszak/ Licensed by VAGA, New York. forms in accord with Constructivist/ Cubist concepts. Roszak made proofs from this 1933 plate in black ink on white and on colored papers, and one printed in colors that closely relate to those of the painting. By the time of Roszak’s 1934 Man Seated at a Table, no. 2 (Self Portrait), his mechanization of human forms has become more exaggerated. Here the artist and constructions. During World War II began to focus on large, detailed draw- rests his head on his hand like the Woman he learned to weld airplane parts while ings that he constructed from patterns Seated at a Table with a Sculpture. As in his working at Brewster Aeronautical Cor- of fine lines in graphite and blue or black earlier prints, he has elaborated decora- poration in Newark and also taught navi- ballpoint pen, with ink washes.32 The tive elements—a tablecloth with a tatted gational and engineering drafting at the apocalyptic visions conveyed by these border on the table, checkered pants, and Stevens Institute in Hoboken. drawings relate to the existential themes jacket ornamentation—but in simplified By the later 1940s Roszak found that of his steel sculpture, and are the source and abstracted form. This plate was also formalist constructions could no longer for the style—and on occasion the imag- printed in black on orange paper and on express his feelings about the problems ery—of Roszak’s second body of litho- cream paper, and with inked color. of the world and the devastation of war, graphic work, executed between 1972 and These works mark the end of Roszak’s and he began working on welded steel 1974. Though he had not made prints for first printmaking period. In 1935 he and constructions with expressive textured 38 years, Roszak had not lost the affinity his wife moved to Manhattan, and a and pitted surfaces.30 In these powerful for lithography that he had acquired as large retrospective exhibition of Roszak’s sculptures, he investigated the mythic a student. The technical virtuosity and paintings, drawings, lithographs and themes of death and destruction; he wildly imaginative content of these new watercolors was presented by the Inter- described them as “blunt reminders of prints are rooted in the skills and the national Art Center of Roerich Museum primordial strife and struggle, reminis- imagery of his lithographs of the 1920s in New York.29 For the next few years, cent of those brute forces that not only and ’30s. when Roszak was employed on govern- produced life, but in turn, threatened to Once again Roszak worked on zinc ment projects sponsored by the Works destroy it.”31 plates, but this time with the assistance Progress Administration, he focused his When a second heart attack in 1969 of master printer Burr Miller (whose personal work on Bauhaus-style reliefs left him physically unable to weld, he father, George Miller, had worked with

Art in Print July–August 2016 19 and a lung machine fitted over its chest. A similar figure also appears in the lithograph Tryst (1974), where the raft has been replaced by a mattress, the landscape by a room, and the chest-topping structure by an emaciated female figure (one might read this as tycoon turned lover). Other prints offer nightmarish inven- tions that also echo earlier masters of fantastic imagery. In Dream of Fair Women (1973), two women in long, transparent white gowns float together in pur- gatory in a lesbian embrace, over a sea of bandaged heads, while an eerie benign female head looks down from on high. These ethereal figures draped in flow- ing angelic robes bring to mind those of William Blake, another visionary with whom Roszak identified.36 Odilon Redon seems to have been another inspirational source. Daniel Catton Rich noted that Mrs. Lot (1973), a lithograph made in both horizontal and vertical formats, has “the rich power of Theodore Roszak, Sky Divers (1974), lithograph in black, hand-colored with colored pencil, image Redon’s blacks and something of the 19 x 26 3/4 inches. Courtesy the Estate of Theodore Roszak/Licensed by VAGA, New York. over-tones of Redon’s romantic science without the least borrowing of the Bellows and whom Roszak had known). Eggs also populate the lithograph The French master’s forms.”37 In The Brood Roszak initially intended to release these Last Tycoon (1973), a creepy science-fiction (1973), the circular eye of the mother bird, prints in editions of 50 (as some are scene of a Gulliver-like man stranded with its pitch-black pupil, is reminiscent marked), though ultimately only a small on a raft in an isolated landscape with of Redon’s free-floating eyeballs. That eye number of impressions (between seven a strange structure growing out of his also forms the center of each little bead and fourteen) of each were pulled. He did chest. The image refers back to Roszak’s that makes up the “worm” she feeds the not experiment with color printing as he 1932 painting Mechanical Man depicting gaping mouths with pointed beaks of her had in the ’30s, though he colored many a robot controlled by an artificial heart greedy, evil-looking children. Here the of the later proofs with pencil. In these lithographs, made in the last decade of his life, Roszak let personal visions and thoughts guide his hand.33 He vents his anger at humanity, indulges his sexual fantasies, comments on current events and politics, and expresses his hopes and fears for the future, frequently with morbid humor. His interest in astronomy, his fascination with space travel and his excitement about the moon landing sparked bizarre, libidinous outer- space fantasies. In Sky Divers (1974) and Sky Circus (1973), grotesque, naked figures fly through space in orgiastic scenes worthy of Hieronymus Bosch. The artist’s daughter, Sara Jane Roszak, has said that he enjoyed drawing these erotic scenes, which he thought were funny.34 Rooster and the Egg (1974) is another eccentric meditation on space travel: the bird has a realistic head and wattle along with testicles and human buttocks, while the large egg, Roszak explained, is intended to symbolize what would be sent to outer Theodore Roszak, The Last Tycoon (1973), lithograph in black, hand-colored with colored pencil, space to be “hatched.”35 image 19 1/2 x 25 1/4 inches. Courtesy the Estate of Theodore Roszak/Licensed by VAGA, New York.

20 Art in Print July–August 2016 potentially benign image of a mother bird feeding her young has been turned into a horrific allegory, a caricature of corrupt politicians fighting each other for a piece of the worm. The pale red, blue and green make the hand-colored version even more repugnant. Like birds, butterflies had special significance for the artist. In the print Papil- lon (1972), Roszak’s skilled draftsmanship transforms a branch and diaphanous but- terfly into a human face as wings dissolve into veins and arteries. The spidery lines and dark webs of cross-hatching suggest attention to Rembrandt’s etchings, while the pale blue-green background applied by colored pencil on one proof heightens the strangeness. Other images are social satires in the tradition of Goya and Daumier. The arro- gance of scientists was the target of The Physicist (1972). With bulging eyes and red lips (in the hand-colored version), the subject balances a sphere on his turned- Theodore Roszak, The Brood (1973), lithograph in black, image 19 x 19 inches. Courtesy the up nose (a triangular shape Roszak liked Estate of Theodore Roszak/Licensed by VAGA, New York. to use) like a seal learning tricks. In addition to the Daumier-like caricature, this acknowledges the apocalyptic implica- Rendezvous (1972) are filled with hordes image looks back to Roszak’s own early tions of the image, but adds also that of small figures and topical allusions— portraits such as those of the botanist, her father loved to draw crowds and put a mirage showing a girl’s head lying the artist and the prisoner. them in water.38 Other prints refer to beneath the surface of the water, a real- Political corruption was tackled the Chappaquiddick scandal in which istic image of the United States Capitol, overtly in Floodtide at Watergate (1974), a young woman died when a car driven schools of fish, a car and a bridge. which shows a massive crowd of protest- by Ted Kennedy went off a bridge. Dump Heap U.S.A. (1974) comments ers, members of the press and a woman Recollection at Chappaquiddick (1973), on the detritus of civilization: a mound lounging in the water. Sara Jane Roszak Council at Chappaquiddick (1972) and of garbage filled with people and things, surmounted by backhoes. The minute details are enhanced in one proof by colored pencil applied in a pattern of little mosaic-like dots, bringing us full circle back to the ornamental features that filled his early prints such as Woman (artist’s grandmother) in Veiled Hat with Cactus Plant. Roszak had returned to prints at age 65 because he had something he wanted to say that was suited to the properties and history of lithography, and because there was at least the potential to make large editions and reach more people.39 After showing these late lithographs and drawings in 1974 at the Pierre Matisse Gallery in New York, however, he again abandoned the medium. According to his daughter, having completed almost a hundred prints over his lifetime, he simply thought that he had made enough.40

Linda Konheim Kramer previously held curatorial and administrative positions at the Guggenheim Theodore Roszak, Dream of Fair Women (1973), lithograph in black, hand-colored with colored pencil, Museum. She was Curator of Prints and Draw- image 19 x 25 inches. Courtesy the Estate of Theodore Roszak/Licensed by VAGA, New York. ings at the Brooklyn Museum.

Art in Print July–August 2016 21 American Art, Washington, D. C.), 247–248. 5. Ibid, 247. 6. Ibid, 246. 7. James Elliott. Interview in 1956 in Theo- dore Roszak papers (Archives of American Art, Washington, D. C.), 6–7. 8. Ibid., 9. 9. Ibid., 8, and Phillips, Interview, 248. 10. Ibid., Phillips, 249. 11. A number of these zinc plates are in the archives of the Roszak Estate in New York City. 12. Sara Jane Roszak, conversation with the author, 5 Oct 2015. 13. Phillips, Interview, 246. 14. Marter, Theodore Roszak: The Drawings, 11. 15. Elliott, Interview, 3. 16. See lithograph Washington Confidential (1974). 17. Paul Cummings, The Theodore Roszak Bequest, in exhibition brochure (New York: The Whitney Museum of American Art, 1984), n.p. 18. The Anna Louise Raymond Fellowship for European Study. 19. Phillips, Interview, 248. 20. Elliott, Interview, 9. 21. Ibid. 22. Ibid, 10. 23. Ibid. 24. Marter, Theodore Roszak: The Drawings, 14, and Elliott, Interview, 17. 25. David W. Kiehl, “Theodore Roszak’s Staten Island,” in The Metropolitan Museum of Art Bul- letin 47 (Fall 1989), 44. 26. The title comes from an obscure figure in Greek mythology, or perhaps the hero of a poem by Shelley. See Marter, Theodore Roszak, 37. 27. Dreishpoon, “Mastering the Basics,” 28 and 31. 28. See ibid, 31, no. 18 for illustration of the drawing. 29. The primary mission of the Roerich Museum, now at 319 West 107th Street, is to exhibit and store the work of the Russian painter Nicholas Roerich (1874–1947), but in the 1930s the organization had broader interests. 30. H.H. Arnason, “Growth of a Sculptor, Theo- dore Roszak,” Art in America, winter 1956–57, 63. 31. Theodore Roszak, “In Pursuit of an Image,” Time to Time Publications of the Art Institute of Chicago, no. 2 (1955), 6. 32. Marter, Theodore Roszak, 55. 33. Sara Jane Roszak in conversation with the author, 16 Nov 2015. 34. Ibid. 35. Ibid. 36. Sara Jane Roszak in conversation with the author, 14 Oct 2015. Above: Theodore Roszak, Floodtide at Watergate (1974), lithograph in black, hand-colored with 37. Daniel Catton Rich, “Theodore Roszak,” in colored pencil, image 21 1/2 x 29 inches. Below: Theodore Roszak, Dump Heap U.S.A. (1974), Roszak: Lithographs and Drawings 1971–1974 lithograph in black, hand-colored with colored pencil, 21 x 29 inches. Both courtesy the Estate of (New York: Pierre Matisse Gallery, 1974), n.p. Theodore Roszak/Licensed by VAGA, New York. 38. Sara Jane Roszak in conversation with the author, 14 Oct 2015. 39. Rich, “Theodore Roszak,” n.p. 40. Sara Jane Roszak in conversation with the Notes: 2. Roszak’s prints have yet to be completely cata- author, 16 Nov 2015. 1. Douglas Dreishpoon, “Mastering the Basics,” in logued, but the Roszak Estate estimates he made Theodore Roszak: Paintings and Drawings from 46 plates in the 1920s and ’30s, and a further 52 the Thirties (New York: Hirschl & Adler Galler- in the 1970s. ies, 1989); Joan Marter, Theodore Roszak: The 3. For biographical information, see Douglas Drawings (New York: The Drawing Society, 1992); Dreishpoon, “Chronology,” in Marter, Theodore Douglas Dreishpoon, “Introduction,” Theodore Roszak: The Drawings, 82. Roszak: Constructivist Works, 1931–1947 (New 4. Harlan B. Phillips. Interview 1963 with Theodore York: Hirschl & Adler Galleries, 1992). Roszak in Theodore Roszak papers (Archives of

22 Art in Print July–August 2016 Degas’ Etchings of Mary Cassatt at the Louvre and the Aesthetics of Process By Whitney Kruckenberg

riting on the first Impressionist W exhibition in 1874, the critic Jules Castagnary observed about the painters’ preference for “the unfinished” (Le non fini): “One cannot say that the Impres- sionists invented it. They vaunt it, they exalt it . . . they put it on a pedestal and they adore it.”1 The degree to which Edgar Degas may be considered an Impression- ist has long been a point of critical and scholarly contention (beginning with his appearance with the New Painters that year)—his emphasis on precise draftsmanship, for example, runs counter to the simplistic idea of Impressionism as an onsite, facile recording of nature in pure color. But Degas’ processes did not yield the glassy illusionism of academic painting or the rigorous perfection of reproductive engraving. Instead, his vis- ibly reworked surfaces serve as indexes of decisions, reconsiderations and experimentation. Compositional disunities, traces of contours that no longer belong, obliterated outlines within otherwise complete compositions and repeated mannered gestures, as well as unprec- edented combinations of media—all reveal traces of the mental and physical stages of making art. This was an important feature of the artist’s avant-garde aesthetic: works in various stages of becoming showcased the ingenuity and Fig. 1. Edgar Degas, Mary Cassatt at the Louvre: The Etruscan Gallery; ninth state (1879-80), effort of their making, at the same time softground etching, drypoint, aquatint and etching, 26.7 x 23.2 cm. Courtesy National Gallery of Art, partaking of the flux and changeability Washington. associated with modern life. Degas’ etchings of Mary Cassatt— Moreover, the artist’s retention of the naturalistic view of Cassatt from behind Mary Cassatt at the Louvre: The Etruscan preparatory works for these prints sug- into a sleek, almost calligraphic shape. It Gallery and Mary Cassatt at the Louvre: gests his interest in preserving a record is one of the most striking of Degas’ many The Paintings Gallery encapsulate these of his process for posterity. Earlier schol- expressive backs. (The critic Edmond tendencies—each entailed numerous arship has considered the sociological Duranty, implicitly discussing Degas’ preliminary states, after which the art- implications of these works as portraits work, wrote: “A back should reveal tem- ist made minor additions and subtrac- of Cassatt; I would like to consider a perament, age, and social position, a pair tions to the plate, sometimes enhancing brief phenomenological reading of Degas’ of hands should reveal the magistrate or an impression with pastel. One or both of reiterations and reworkings of their fig- the merchant, and a gesture should reveal these were presumably among the works ures and compositions. an entire range of feelings.”3) It is not dif- described as “Etchings. Trials and states The standing figure in both prints ficult to imagine Degas’ satisfaction upon of plates” (Eaux-fortes. Essais et états de derives from a charcoal and pastel study, realizing this exquisite figure and his planches) that he exhibited in the 1880 Two Studies of Mary Cassatt at the Lou- desire to insert it into other contexts in Impressionist exhibition.2 The revelation vre (1879) (Fig. 7). In a subsequent pastel, search of an ideal compositional solution. of process in these states offered potential At the Louvre (also 1879) (Fig. 8), Degas The pastel At the Louvre, which the art- collectors another avenue for reflection. streamlined his initially rounder, more ist retained in his studio and apparently did

Art in Print July–August 2016 23 not exhibit, represents a highly wrought edge of the sculpture case and to lighten step in the conceptualization of the related the reflections behind the heads of the prints.4 The work began on a smaller sheet figures. Vertical hatching on both sides of of paper and depicted the figures in a hori- the book is the only aspect that differen- zontal, frieze-like arrangement. The art- tiates the ninth state (Figs. 4 and 1).9 ist then cut this sheet vertically in two, Degas’s catalogue entry for the 1880 shifting the relationship of the figures Impressionist Exhibition provided no and reducing the scale of the standing fig- formal titles for the prints, and they elic- ure, before adding blank pieces of paper to ited only a few, inexplicit mentions from resquare and elongate the image.5 The lines visitors.10 Nonetheless, it is generally of the gallery wall, which once ran parallel accepted that the “trials and states” that to the women’s shoulders, now assume a he exhibited were for Mary Cassatt at the Japanese-inspired forced perspective, to Louvre: The Etruscan Gallery. Both prints which the figures conform neither in pro- represent products of the artist’s preoccu- portion nor in scale. Moreover, the adjusted pation with creating etchings for a never- gallery wall renders the direction and fixity realized Impressionist print journal (Le of Cassatt’s gaze ambiguous, prompting the Jour et la nuit) during the fall and winter viewer to wonder whether she is looking or of 1879–1880.11 Henri Rouart and Roger just strolling.6 These disjunctions as well Marx both owned preliminary states of as the visible pentimenti and seams under- The Etruscan Gallery during Degas’ life- score the work’s status as a made object time, and the further survival of more while enhancing its sense of unfolding than 20 impressions of the print’s final movement.7 state suggests that it is one of two prints Degas was apparently pleased with that Degas had pulled in an edition.12 both figures at this point, as he retained The Paintings Gallery, by contrast, seems their proportions while adjusting their to have been kept relatively private—the scale for the prints. Probably with the only collectors known to have owned aid of a grid, he replicated the figures states of it while Degas was alive were in a drawing for The Etruscan Gallery, his close friends, the Rouart family.13 In which he transferred to a plate coated 1885, however, he reworked an impression with soft ground. The first two states of the 13th state of The Paintings Gallery (of nine) show the figures defined by soft with pastel and signed it in the lower left ground contours in a blank context (Fig. corner, indicating its completion and pre- 2). He used drypoint (some of which was sumed sale.14 executed with a carbon rod used in elec- The Paintings Gallery represents the tric arc lamps) to darken the women’s most complex of the Mary Cassatt at the clothing and to reposition the umbrella. Louvre series, comprising more than 20 Between the second and third states states (Figs. 5 and 6). Degas established he either scraped away or covered with its general composition in the first state aquatint much of this assertive drypoint and the contents of the background in hatching. He then used a drawing (now the third. The majority of the subsequent lost) to transfer the setting surround- work consisted of textural and tonal ing the figures to plate. In the third state additions and subtractions, achieved (Fig. 3), he applied aquatint to the cloth- by linear means, aquatint and burnishing and the bench. Aquatint was also ing. Cassatt’s hat assumed four different used for tone in the gallery, replicating shapes over the course of these states, reflections recorded in pencil studies. the pillar or doorjamb was widened and The setting underwent few changes after its marbleized pattern underwent seven the third state, while the artist continued changes.15 The figures in The Paintings to manipulate the figures incrementally Gallery correspond in proportion and Top to Bottom: Fig. 2. Edgar Degas, Mary through burnishing, drypoint and addi- scale to those of The Etruscan Gallery, but Cassatt at the Louvre: The Etruscan Gallery; tional aquatint.8 the standing figure appears in reverse. second state (1879-80), softground etching, dry- From what we know about Degas’ While the position of Cassatt’s shoulder point aquatint and etching, 26.7 x 23.2 cm. The Art Institute of Chicago. Fig. 3. Edgar Degas, Mary working practice, it is not difficult to blades in relation to the diagonal pivot Cassatt at the Louvre: The Etruscan Gallery; imagine him pulling and studying proof created by her right arm and umbrella third state (1879-80), softground etching, drypoint after proof, determining what next little still imparts realistic movement, and the aquatint and etching, 26.7 x 23.2 cm. Metropolitan adjustment would bring the composition cropping and obfuscation of the figures Museum of Art, New York. Fig. 4. Edgar Degas, closer to a satisfying end. In the eighth suggest snapshot realism, each repetition Mary Cassatt at the Louvre: The Etruscan Gal- state, he used burnishing to create folds arguably renders the figures more con- lery; eighth state (1879-80), softground etching, drypoint aquatint and etching, 26.7 x 23.2 cm. and highlights on the back and sleeves of trived, and this final iteration is the most Brooklyn Museum, Museum Collection Fund. Cassatt’s jacket, to define the lower left stylized.16 Degas’s practice of inserting

24 Art in Print July–August 2016 independently rendered figures into a variety of different contexts is one source of the tension between scrupulous realism and artifice perceived in many of his works. The succession of drawings, plates and states shows a dramatic evolution from the initial horizontal organization of figures in a row, to an emphatically vertical format characterized by layered compositional elements. Rather than indicating depth, this vertical structure emphasizes the work’s flat, decorative quality. The dark figures are silhouetted against a parquet floor tilted so extremely that it appears almost to parallel the gallery wall with its undefined pictures and patterned dado. The marble pillar or jamb running the length of the left side appears as an isolated section of a flat, decoratively abstract frame. Despite Degas’ many differences with the main trunk of Impressionism, this aesthetics of process seems to accord with the Impressionist vaunting of le non fini. The appeal of Impressionism is frequently related to an appreciation for what Albert Boime termed an “aesthetics of the sketch.”17 Degas and other Impres- sionists showcased process by presenting sketches, preparatory studies and preliminary work (esquisses, études and ébauches),18 and paintings that resem- Left: Fig. 5. Edgar Degas, Mary Cassatt at the Louvre: The Paintings Gallery; twentieth state bled such preparatory work were seen (1879-80), etching, softground etching, aquatint and drypoint, 30.5 x 12.6 cm. Library of Congress, by proponents of the avant-garde such Prints & Photographs Division, [LC-DIG-ppmsca-34951]. Right: Fig. 6. Edgar Degas, Mary Cassatt at as Edmond Duranty as exhibiting “more the Louvre: The Paintings Gallery; third state (1879-80), etching, softground etching, aquatint and grace, vigor, strength, and acute obser- drypoint, 30.5 x 12.6 cm. Yale University Art Gallery. vation than in a finished work.”19 Seen in this light, Degas’ 1880 exhibition of Duranty’s appraisal of sketches as be difficult for an artist not to describe trials and states of his etchings—incom- appealing to artistically astute viewers his most intimate personality on the plete objects in search of solution—seems parallels arguments by Second Empire copper.”23 significant.20 Defending the Impres- critics, such as Théophile Gautier and Degas’ etchings do not evince the sionists’ unfinished aesthetic, Duranty Charles Baudelaire, concerning artists’ impulsivity typically associated with art- declared: prints as embodiments of temperament, ists’ prints, much as his paintings and whose signs represented a sought-after pastels appear at odds with the “aesthet- The public is bound to misunderstand commodity for certain collectors. For ics of the sketch.” Over the course of his several of the leading artists. It only Gautier, a successful etching was “crack- life, however, Degas placed less and less accepts and understands correctness in ling with life and with spontaneity . . . emphasis on finished, illusionistic repre- art, and, above all, it demands finish. Each etching is an original drawing; that sentation and increasingly exhibited The artist, enchanted by delicacy or of charming motifs, that of exquisite sketches, preparatory studies and prelim- brilliance of color, or by the character intentions, that of impulsive movements inary work—as well as “trials and states of a gesture or grouping, is much less preserved.”22 of plates”—acknowledging the status of concerned with the finish and the cor- Baudelaire designated etching the any given work as an evolving entity. rectness, the only qualities valued by province of only the most incisive collec- Thus the labored surfaces of the Mary those who are not artists . . . For [art- tors, because it was “really too personal, Cassatt prints and drawings—with their ists] one can exhibit sketches, prepa- and consequently too aristocratic, a genre pentimenti, seams and chronicled changes ratory studies, and preliminary work to enchant people other than those who of contour and texture—served as records in which the thought, intention, and are naturally artists, and thus immedi- of artistic temperament. In this manner draftsmanship of the painter often are ately drawn to any lively personality. Not the famously reclusive artist helped shape expressed with greater speed and con- only does etching serve to glorify the his own legend, exhibiting works that centration.21 individuality of the artist; it would even revealed his fickleness and chronic

Art in Print July–August 2016 25 Right: Fig. 7. Edgar Degas, Two Studies of Mary Cassatt at the Louvre (1879), charcoal and pastel, 47.8 x 63 cm. Private collection, New York. Left: Fig. 8. Edgar Degas, At the Louvre (1879), pastel, 71.4 x 54 cm. Private collection.

dissatisfaction, adopting in his own fash- Edgar Degas: The Painter as Printmaker (Boston: Yale University Press, 1986), 80. ion the dynamism and self-referential Museum of Fine Arts, 1984), 170–4. 18. As outlined by Boime, these terms, all of which artifice of modernity. 9. Ibid., 174. an English speaker might feel inclined to simply 10. See Ruth Berson, The New Painting, Impres- translate as “sketch,” have a complicated history: sionism: 1874–1886: Documentation, vol. I (San Boime, 36–47, 81 and 149–65. Francisco: Fine Arts Museums of San Francisco, 19. Duranty, 46. Whitney Kruckenberg is an art historian based 1996), 265–322, for a comprehensive compilation 20. In 1880 Mary Cassatt, Jean-François Raffaëlli in Philadelphia. of the criticism of the 1880 Impressionist Exhibi- and Camille Pissarro also exhibited etchings in tion. multiple states: Moffett, 311–13. 11. See Marcel Guerín, ed., Degas Letters, trans. 21. Duranty, 46. Notes Marguerite Kay (Oxford: B. Cassirer, 1947), 51–9. 22. Théophile Gautier, “Un Mot sur l’eau-forte” 1. “Le non fini, . . . on ne peut pas dire que les Paul-André Lemoisne wrote during the Degas’s (1863), in Tableaux à la plume (Paris: Char- impressionnistes l’aient inventé. Ils le vantent, ils lifetime, “In 1880, M. Degas made several etch- pentier, 1880), 232: “ . . . toute pétillante de vie l’exaltent, . . . ils le mettent sur un piédestal et ils ings for Le Jour et la nuit, an artistic publication et de spontanéité . . . Chaque eau-forte est un l’adorent”: Jules Castagnary, “Exposition du bou- that he had organized with several comrades . . . dessin original; que de motifs charmants, que levard des Capucines: Les Impressionnistes,” Le It was there that appeared, among others, that d’intentions exquises, que de mouvement prime- Siécle (29 April 1874), 3. well-known [print], of which there exist several sautiers a conservés… .” 2. Charles S. Moffett, et al., The New Painting, variants, representing standing, from the back, 23. Charles Baudelaire, “Painters and Etchers” Impressionism: 1874–1886 (Geneva: Burton, leaning on her umbrella, Miss Cassatt, his pupil, (1862), in Art in Paris 1845–1862: Salons and 1986), 310–14 reproduces the catalogue for the looking at paintings in the Louvre”: Lemoisne, Other Exhibitions, ed. and trans. Jonathan Mayne 1880 Impressionist Exhibition. Degas: L’Art de notre temps (Paris: Librairie cen- (London: Phaidon, 1965), 221–2. 3. Edmond Duranty, “The New Painting: Concern- trale des beaux-arts, 1912), 90. Degas’s chronic ing the Group of Artists Exhibiting at the Durand- dissatisfaction and disregard for deadlines is the Ruel Galleries” (1876), in Moffett, 44. traditionally accepted the reason for the project’s 4. A notebook entry of potential works for the abandonment. See Katherine Cassatt to Alexan- 1879 Impressionist exhibition, in which a portrait der Cassatt, 9 April 1880, in Cassatt and Her Cir- of Mlle Cassatt appears with a line through it, sug- cle: Selected Letters, ed. Nancy Mowll Mathews gests that Degas considered but decided against (New York: Abbeville Press, 1984), 151. showing the pastel: Boggs, 322. Conceivably dis- 12. Indicating that this was the etching he intended satisfied with its original format, he deconstructed to publish: Reed and Shapiro, 174. and reworked it as a study for the theme’s later 13. Ibid., 187–8. iterations. 14. The earliest whereabouts of the work are 5. Jean Sutherland Boggs, et al., Degas, 1834– unknown, but it belonged to Ivan Shchukin until 1917 (New York: The Metropolitan Museum of Art, 1900 when Durand-Ruel purchased it: Boggs, 1988), 321. 340. 6. Anthea Callen, The Spectacular Body: Sci- 15. Reed and Shapiro, 187-8. ence, Method and Meaning in the Work of Degas 16. Paul Valéry observed that Degas “dared try (New Haven: Yale University Press, 1995), 190–7. to combine the snapshot with the endless labor 7. We should note that we are only allowed of the studio”: Paul Valéry, Degas Manet Morisot, this viewing experience by the work’s sale (and trans. David Paul (New York: Pantheon, 1960), eventual study and reproduction) from the artist’s 55. studio after his death. 17. Albert Boime, The Academy and French 8. Sue Welsh Reed and Barbara Stern Shapiro, Painting in the Nineteenth Century (New Haven:

26 Art in Print July–August 2016 The Ocular Vision and Aesthetic Visions of Peter Milton By Michael F. Marmor and Peter Milton

Peter Milton, Interiors VII: The Train from Munich (1991), resist-ground etching and engraving, image 51 x 91 cm. Edition of 175. Printed by Robert Townsend, Georgetown, MA. Image courtesy the artist.

ision is an inherent component of the artist through study of the works done that complicate the viewer’s perception V visual art, and a tool for artists as with visual impairment.3 with elements of mystery, illusion and much as pigment, engraving implements American artist Peter Milton (b. 1930) surrealism.4 They show architectural or canvas. It serves to recognize a subject, has congenital color deficiency (“color inventiveness and often contain histori- create work with detail or color, refine blindness”) as well as a number of other cal allusions.5 The 1991 etching Interi- work in progress and judge a finished prod- visual problems (myopia, strabismus, cat- ors VII: The Train from Munich shows an uct. And much has been written about aracts) that have been correctable. This architectural setting with different layers artists with poor vision, or about aberra- article is a collaborative effort that grew of depth and duplicated people. Milton tions in art that might be interpreted to out of discussions between Milton and a writes that the image, in part derived indicate an eye disease.1 However, neither visual scientist (Marmor) who has stud- from a station in Budapest, makes ref- is terribly illuminating without the medi- ied the role of vision and eye disease in erence to Marcel Duchamp and René cal facts about an artist’s eyes. Judging art. Milton recognizes that eyesight, i.e., Magritte, to Milton’s wife’s escape from eye disease from art (i.e., from an artist’s physical “ocular vision,” has been a fac- Germany as a child in 1939 and to Raoul work) is usually in error, since artists have tor in his printmaking and has played a Wallenberg and people lost in the Holo- license to choose their subjects and tech- distinctive role in how he has conceptual- caust. The 1996 etching Points of Depar- nique for personal reasons. For example, ized and approached his work throughout ture II: Nijinsky Variations juxtaposes there is every indication that El Greco a long career. We describe the medical audience and stage, showing the ballet did not paint elongated figures because of facts of Milton’s visual status, while let- while evoking the specter of aging with faulty optics.2 On the other hand, when ting the artist speak for himself about his images, both young and old, of Degas, eye disease can be documented, as is the purpose and style. Mary Cassatt and the dancer Vaslav case with the failing vision suffered by Milton is well-known for black-and- Nijinsky. Milton alludes to the changing the aging Degas and Monet, one can learn white drawings and etchings that are reactions to the music of Igor Stravinsky, much about the art and the motivation of visually complex, delicately drawn and “from distress to veneration, epitomized

Art in Print July–August 2016 27 Peter Milton, Points of Departure II: Nijinsky Variations (second state) (1996), resist-ground etching and engraving, 61 x 97 cm. Edition of 175. Printed by Robert Townsend, Georgetown, MA. Photo: Steve Mann. Image courtesy the artist. by the mysterious floating sense of time.” are on the X chromosome and the most red look the same (since there is only one He describes his body of work—his “aes- common hereditary defects result from pigment with sensitivity in this range). thetic visions”—as a search for coherence, an alteration one of these pigments. If More commonly (in 6–7 percent of men), “meshing all aspects of the art, between either the red- or green-sensitive pigment the color sensitivity of one of these pig- the integrity of the picture plane (design) is absent (as it is in roughly 1.5 percent of ments is merely shifted, so that colors at and its window of space (illusion),” and men), then all colors between green and the red-green end of the spectrum are balancing the mystery of the image and the exploration it induces in the viewer.

Color Perception

Milton has long acknowledged his red-green color blindness (a disorder better termed color-deficiency, as those most affected—primarily men—have some degree of red-green discrimination), and it was a major factor in his choice to work in black and white. Colors are distinguished in a normal eye because there are three different visual pigments in the cone photoreceptor cells of the retina. Each cone contains either a blue-sensitive, green-sensitive or red-sensitive pigment—and when three normal pigments are present we can judge a full spectrum of color by the relative stimu- lation of these different cells. The genes Peter Milton, Sight Lines III: Eclipse (2011), archival digital print, in two sizes (45 each): 43 x 71 cm for our red- and green-sensitive pigments and 58 x 94 cm. Edition of 90. Printed by Douglas Prince, Portsmouth, NH. Image courtesy the artist.

28 Art in Print July–August 2016 Peter Milton, The Rehearsal (1984), oil on canvas, 138 x 245 cm. Collection of the Currier Museum of Art, Manchester, NH. Image courtesy the artist. harder to discriminate. This is Milton’s achieve many of his artistic goals in black with the rather subtle yellow and blue problem, and while he finds reds-yellows- and white. Comparison can be made to diagonal shadows across the windows at greens difficult to tell apart, color does Charles Meryon, the great French etcher the right, which he sees as “being vivid in give him pleasure and affects his aesthetic of Paris, who similarly gave up painting their delicacy.” Milton feels that he expe- ideas. Color-deficient men can always dis- when he discovered his color blindness riences these colors in the same way as a tinguish blue from the yellow end of the during his training in art.8 Did Albers normal observer, and adds wistfully that spectrum. However, green lies between influence Milton’s art? He probably did, he wishes he saw everything that way. yellow and blue on the spectrum, which though not with respect to color. Albers This, in fact, is the central issue with is like mixing the entire spectrum (and is was responsible for teaching all aspects respect to his choice to work in black and perceived as white or gray). Thus, color- of art, and for him and his brilliant wife, white. Milton did not want to employ a deficient artists generally avoid the color Anni, art was a way of life. It is said that technique that would limit his choices green. Milton was one of his favorite students, (i.e., of colors) but, more importantly, he Milton learned of his color-deficiency perhaps because they shared that intense did not want a technique that would limit in first grade because he mixed up col- commitment. his awareness of how his work appeared ored crayons. But he could see strong Milton acknowledges that to a large to others. If he painted in color, his color colors and thus presumed he would be degree his color problem is old news from deficiency would disrupt his ability to able to make the kinds of judgments that a distant past, which he has resolved identify with his viewers. To Milton, that would be necessary if he pursued a career and moved beyond. However, in 1984 he “can easily mean some treacherous ugli- as an artist. As a student Yale in 1950, he created an oil painting, The Rehearsal, ness creeping in to foul the nest, totally ended up working with one of the great just to see what he could do with color. unbeknownst to the clueless artist.” He scholars of color in art, Josef Albers, The design and treatment of the sub- is frustrated and angered by occasional whose Interaction of Color is one of the ject is similar to his graphics, adding a misguided or gratuitous comments from standard texts on the subject.6 Milton muted palette dominated by ochre and people who suggest that a color-deficient discovered that a “warm” pastel shade he amber. There are occasional highlights choice of colors might create “interest- had chosen as a neutral background for of brighter color, but yellows or reds are ing” art. The concept of “interesting” is a painting was perceived by others as a used primarily to lighten or darken the not attractive to him: “It is a default word rather alarming pink! His confidence in ochre, and green is avoided. This tonal- one uses when at a loss to find something color collapsed and he sought testing at ity is characteristic of the choices made good to say. Its use is a dead give-away Johns Hopkins medical school, where he by other color-deficient painters such as that the thing you have just made has just was told that he had a severe red-green Paul Henry (1877–1958) of Ireland and fallen flat.” Milton puts the idea to rest, color defect.7 This was unhappy news, Clifton Pugh (1924–1990) of Australia.9 saying, “My wincing at these suggestions but Milton recognized that he could still Interestingly, Milton is especially pleased is palpable.”

Art in Print July–August 2016 29 Other Aspects of Vision (vitrectomy). Older eyes also tend to be Retinal Disease,” Arch Ophthalmol. 2006; less tolerant of bright light and Milton 124:1765–69. Color was not the only aspect of is particularly bothered by glare. He has 4. Peter Milton, The Primacy of Touch: a Cata- vision relevant to Milton’s development. had some intermittent double vision, logue Raisonné (New York: Hudson Hills Press, 1993). Peter Milton and Robert Flynn Johnson, He remembers the epiphany when he especially at times of fatigue; this is not Peter Milton: Complete Prints 1960–1996 (San first got glasses at about age eight and an uncommon problem, and he tries to Francisco: Chronicle Books, 1996). the world suddenly became clear and minimize conditions that might precipi- 5. Detailed notes for individual prints are available crisp. Many youngsters with myopia are tate it, as it interrupts his concentration on the artist’s website: www.petermilton.com. pleased to get glasses, but if they have had and creative process. 6. Josef Albers, Interaction of Color (New Haven: Yale University Press, 1963). excellent near vision all along, clarity in With this history of vision in mind, 7. His color discrimination was tested again for general is not a new experience. But Mil- we can look at Milton’s work with a dif- this report, using specialized ophthalmologic tests ton had marked asymmetry between the ferent perspective. His search for “coher- (HRR plates and Farnsworth D-15 panel). These amount of myopia in his two eyes (so one ence,” meaning a sense of completion in confirmed a strong red-green color deficiency, or the other was always out of focus) as the mystery, historical allusions and aes- typical of abnormality in the green-sensitive pigment (deuteranomaly). He could name strong col- well as considerable astigmatism (which thetic precision of his art, relates to his ors in the yellow-orange-red range from pictures blurs vision independently from myopia), mastery of detail and depth. An example that lacked form or cues, but would guess at faded so that he had never experienced the joy of his continued technical and aesthetic or darker colors and misname greens. of clear and accurate vision until he got mastery is the digitally generated print 8. See Note 1. glasses.10 He has worn glasses since that Sight Lines III: Eclipse (2011), which super- 9. See Note 1. Also, MF Marmor and P Lanthony, “The dilemma of color deficiency and art,” Surv day and uses his excellent vision as would imposes images, places and historical Ophthalmol. 2001; 45:407–415. any artist. But the event left a lasting moments in exquisite detail.11 It reflects 10. His measured refractive error later in life was influence on his approach to art, prompt- on the work of photographer Eugène -9.50 +3.00 in the right eye, -4.75 +1.00 in the left ing his great pleasure in precision and Atget, famous for his views of Paris at eye. detail and in the “fine print” of his com- the turn of the century, and contains 11. A new catalogue by Trudi Ludwig Johnson and positions. references to other early 20th-century Ann Shafer, Peter Milton, Etching Enigmas (Bal- timore: Evergreen Museum and Library, Johns Milton also has had ocular misalign- photographers, including Henri Cartier- Hopkins University, 2016) details the technique of ment since childhood. He remembers Bresson, Brassaï, Jacques Henri Lartigue his early copper-plate etchings, particularly Interi- a vertical imbalance between the eyes and Alfred Stieglitz; it is set during the ors VII, The Train from Munich, and his transition (images higher on one side than the eclipse of 1912, two days after the sinking to digital images such as Sight Lines III: Eclipse. other), which was corrected with prisms of the Titanic. introduced into his glasses. As with the Clarity of vision has not merely been a correction of visual acuity, these glasses tool of Milton’s trade, but a sensation that gave him special pleasure through the is central to the internal visions that recognition of binocular vision and depth underlie his art. Within his world of black perception. Milton’s fascination with our and white, he takes satisfaction in know- sense of depth shows in his drawings, ing that he sees the same subtle grada- which exhibit accurate linear perspective tions of brightness and contrast as his along with the use of other depth cues audience. Milton says that “art ideally such as size, haziness and overlap. beguiles the viewer to engage by entice- Now in his late 80s, Milton continues ment, not force.” It is “an invitation in, to work actively, exploring new subjects, rather than an insistence hurled out.” As new technologies (digital image genera- he continues striving for improvement, tion and modification with Adobe Photo- he adds, “I do find solace in the mantra shop) and new image properties and Samuel Beckett came up with, grumbling precision.11 But aging puts stress on the all the way: ‘Try again. Fail again. Fail visual system, which reminds him anew better.’ ” of his dependence on clarity to visualize and create his work. The aging eye adjusts more slowly to changes in lighting, Michael F. Marmor is Professor of Ophthalmology at Stanford University School of Medicine and and he finds these adaptive delays annoy- author of pioneering studies on the role of vision ing as he moves about in the studio. He and eye disease in art. developed cataracts in his late 70s and had them removed when his vision was Peter Milton is an artist and printmaker. only mildly reduced (to 20/40) because that was as much blur as he was willing to Notes: tolerate. He developed some post-opera- 1. For example, Michael F. Marmor and James tive floaters and shadows (from debris in Ravin, The Artist’s Eyes (New York: Abrams, the vitreous gel inside the eye); these are 2009), and Philippe Lanthony, Les Yeux des rarely disabling, but Milton is so sensi- Peintres (Lausanne: L’Age d’Homme, 1999). 2. Ibid. tive to any interference with clear vision 3. Michael F. Marmor, “Ophthalmology and Art: that he had them surgically removed Simulation of Monet’s Cataracts and Degas’

30 Art in Print July–August 2016 EDITION REVIEW Truth, Beauty and Mathematics By Julie Warchol

Michael Atiyah, Enrico Bombieri, Stephen Smale, Murray Gell-Mann, David Mum- ford, Steven Weinberg, Simon Donaldson, Richard Karp, Peter Lax and Freeman Dyson, Concinnitas (2014) A portfolio of ten aquatints, 26 x 31 inches each (8 horizontal, 2 vertical). Edition of 100. Printed by Harlan & Weaver, New York. Published by Parasol Press, Port- land, OR, in collaboration with the Yale University Art Gallery, New Haven, CT, and Bernard Jacobson Gallery, London. $10,000.

or centuries beauty has been ascribed F to the mathematical description of reality, from Newton’s law of universal gravitation to Einstein’s theory of relativ- ity.1 In a 1939 lecture the theoretical physicist Paul Dirac (1902–1982) argued that any fundamental law of physics possesses mathematical beauty, so, conversely, any beautiful mathematical theory has the potential to form the basis of new laws of physics—an assertion that might be seen Simon Donaldson, Ampère’s Law from Concinnitas (2014). as the mathematical equivalent of Keats’s “Beauty is truth, truth beauty.”2 Seventy- five years later, mathematical beauty was scientists, including two Nobel Lau- texts on black bring to mind the esoteric still a topic of inquiry: In 2014 neuro- reates and five Field Medalists. Each blackboard drawings Joseph Beuys pro- scientist Semir Zeki found that, among was asked to write down what he felt duced during his lecture-performances mathematicians, certain equations acti- to be the “most beautiful mathemati- of the 1970s and ’80s, several of which vate the same area of the brain that cal expression” along with a statement were reproduced as lithographs.4 Beuys’ responds to beauty in art or music.3 But explaining his selection. blackboards were densely covered in dia- though mathematical (often geometrical) The portfolio title, Concinnitas, is a grams and phrases scrawled in German principles have been frequently employed Latin term for something beautifully or English (not to mention plenty of chalk in the creation of art, architecture and constructed from a number of parts. The dust); the Concinnitas prints are individ- music, the presentation of formulae in Renaissance artist and architect Leon ual statements written in the symbolic art is a rarity. Battista Alberti used it in his treatise on language of mathematics, executed in Concinnitas (2014), a portfolio pub- architecture, De re aedificatoria(1452), to a variety of hands, from the elegant and lished by Bob Feldman of Parasol Press describe the beauty of a structure whose calligraphic to the scribbly and utilitar- in collaboration with the Yale University individual components are perfectly ian. The prints’ remarkable simplicity Art Gallery and Bernard Jacobson Gal- balanced in number, outline and posi- and relatively large scale (26 x 31 inches lery, attempts a conversation between tion. Alberti defined “concinnitas” as each) draw attention to visual properties the material aesthetics of contempo- “the absolute and fundamental rule of such as each writer’s hand and the char- rary visual art and the cognitive aes- nature”—matching the claims implicit in acter of line—the irresolute crumble of thetics of mathematics. Organized by the contemporary term “laws of physics.” chalk or the solid precision of inky mark- Daniel Rockmore, a professor of math- In their statements for the portfolio, the ers or electronic blackboard pens—used ematics and computer science at Dart- contributors argue for the beauty found in the original drawings. Reborn in aqua- mouth College, the ten aquatints offer when integers and symbols articulate a tint (masterfully produced by Harlan theorems, formulae, diagrams, equa- truth, whether one of their own discov- and Weaver), the marks shine out from tions and physical laws hand-drawn by ery or that of a colleague or predecessor . impeccable fields of black, as if chalked ten contemporary mathematicians and To art-minded viewers, the white on a freshly cleaned slate.

Art in Print July–August 2016 31 experiences of discovery and the work of their predecessors or contemporary colleagues.5 Topologist Sir Simon Don- aldson’s print, Ampère’s Law, includes not just equations but written words and a diagram—“different descriptions of the same thing”; in his essay he explains this as an attempt “to convey . . . ‘something like’ studying the magnetic field generated by a knotted current [which] could have ‘something to do’ with the topology of knots and four-dimensional spaces.”6 Others make a point of the work left to be done: Murray Gell-Man’s print, “Color” SU3 Symmetry Group Exactly Conserved, expresses the relationship between the three quarks that comprise every proton or neutron; the observation holds true, yet—like most of science—it remains open to further discovery and refinement. Although mathematical beauty—like every aesthetic perception—is ultimately subjective, the contributors repeatedly cite truth and simplicity as key attri- butes. About his Ree Group Formula, Enrico Bombieri writes: “The problem was beautiful, the expected answer was also simple, hence beautiful.”7 Gell-Man explained in a 2007 TED Talk: “When the mathematics is very simple, when . . . you can write the theory in a very brief space, without a lot of complication, that is essentially what we mean by beauty or elegance.”8 These texts act as a third language, mediating between the two aesthetic domains Concinnitas embodies. This is a practical necessity given that, while the prints’ visual qualities are self-evident, most people will find the mathematical expressions opaque. The conflation of these two territories is naturally intriguing and Concinnitas has been widely exhibited since its publication.9 More- over, it has piqued interest beyond the art world: Scientific American has published not one but two reviews of the portfolio10 and the Concinnitas website continues to receive contributions of further hand- written “beautiful” statements.11 But Top: Enrico Bombieri, The Ree Group Formula from Concinnitas (2014). Bottom: David Mumford, what are viewers really taking away from Thirteen?? from Concinnitas (2014). the experience? It might be thought that the ideal audi- While the prints function as visual history and possible futures. In their ence for the project consists of those who and tangible objects, the explanatory essays, Steven Weinberg and Richard M. come to it already “bilingual”: people like letterpress texts that accompany them Karp attempt to explain their respective the portfolio organizer Daniel Rockmore, on separate sheets offer critical insight expressions’ mathematical principles a “mathematician who likes to think into the abstract statements they con- and implications. Sir Michael Atiyah, about art,” or Bob Feldman, an “art dealer tain, and more broadly into mathemat- Freeman Dyson and David Mumford who likes to think about mathematics,”12 ics, physics and computer science, their chose instead to recount personal or hedge fund quants who once majored

32 Art in Print July–August 2016 in art, or former math majors who found their calling as artists or printers. Concinnitas, however, is designed to bring this conversation into galleries and museums to be perused by people who normally glaze over when faced with a dense arrangement of numerals, opera- tors and Greek letters. Those who enjoy, make or think about prints will appreciate the immaculate surface of each aquatint, the expressive details of pen- manship, the intriguing combinations of forms—all without understanding the underlying mathematics. On the other hand, people with a sophisticated understanding of mathematics may grasp the eloquence of the statements, without necessarily attending to the details of their materiality. The fact is that Concinnitas is built from two different kinds of beauty, operating in two fundamentally different realms. The question is whether viewers’ attention can be caught long enough by one to provoke an inkling of the other. While Concinnitas runs the risk of polar- Murray Gell-Mann,“Color” SU3 Symmetry Group Exactly Conserved from Concinnitas (2014). izing its audiences into those who do and do not “get” math, its most interesting proposition is not articulated in any one 2. Dirac said that beauty in mathematics “is a ics?,” TED, March 2007, accessed 7 May 2016, of its formulae but is rooted in a different quality which cannot be defined, any more than https://www.ted.com/talks/murray_gell_mann_ simple truth: we all inhabit an uneasy gap beauty in art can be defined, but which people on_beauty_and_truth_in_physics?language=en. between perception and apprehension. who study mathematics usually have no difficulty 9. Concinnitas has been exhibited at the Yale Uni- in appreciating.” See Paul Adrien Maurice Dirac, versity Art Gallery, New Haven, CT; Annemarie “The Relation between Mathematics and Phys- Verna Galerie, Zurich; Greg Kucera Gallery, Seat- ics,” University of Cambridge, Department of tle, WA; Elizabeth Leach Gallery, Portland, OR; Julie Warchol is the Associate Editor of Applied Mathematics and Theoretical Physics, Crown Point Press, San Francisco, CA; Nancy Art in Print and the Curatorial Associate at the accessed 7 May 2016, http://www.damtp.cam. Hoffman Gallery, New York, NY; and the Hood Terra Foundation for American Art in Chicago. ac.uk/events/strings02/dirac/speach.html. Museum of Art, Dartmouth College, Dartmouth, 3. See Seth Newman, “Beauty in Math and Art NH. At Annemarie Verna Galerie, Concinnitas was Activate Same Brain Area,” Scientific American exhibited along with prints by Sol LeWitt, Giulio Notes: Online, 1 September 2014, http://www.scientifi- Paolini, Richard Tuttle, Jerry Zeniuk and Joseph 1. Beauty in mathematics was the subject of the camerican.com/article/beauty-in-math-and-art- Egan. In Crown Point Press’ exhibition The Art of BBC documentary Beautiful Equations, hosted activate-same-brain-area/. the Equation, the portfolio was shown alongside by artist and writer Matt Collings, last aired on 4. See, for example, Beuys’ Minneapolis Frag- prints by other mathematically minded artists such BBC Four, 2 January 2012, accessed 1 May ments (1974) and Creativity=Capital (1983). as Tomma Abts, Sol LeWitt and John Cage. 2016, http://topdocumentaryfilms.com/beautiful- 5. In their statements, both Atiyah and Mumford 10. See Clara Moskowitz, “Elegant Equations,” equations/. For Dirac’s 1939 lecture, see Paul acknowledge the work of esteemed topologist Scientific American 314:1 (January 2016): 70–73. Adrien Maurice Dirac, “The Relation between Raoul Bott, father of Renée Bott of Paulson Bott Concinnitas was also featured on the Scientific Mathematics and Physics,” University of Cam- Press. See Sir Michael Atiyah, “The Index Theo- American blog in Jen Christian, “Math is Beauti- bridge, Department of Applied Mathematics and rem,” The Concinnitas Project, accessed 7 May ful, But Is It Art?,” Scientific American Online, 27 Theoretical Physics, accessed 7 May 2016, http:// 2016, http://www.concinnitasproject.org/portfo- January 27 2015, http://blogs.scientificamerican. www.damtp.cam.ac.uk/events/strings02/dirac/ lio/gallery.php?id=Atiyah_Michael; and David com/sa-visual/math-is-beautiful-but-is-it-art/. speach.html. Originally published in The Pro- Mumford, “Thirteen??,” The Concinnitas Project, 11. Anyone may submit to the Concinnitas project ceedings of the Royal Society (Edinburgh) 59:2 accessed 7 May 2016, http://www.concinnitaspro- on the website http://www.concinnitasproject.org/ (1938–39): 122–129. For more on Dirac’s Prin- ject.org/portfolio/gallery.php?id=Mumford_David. studio/. ciple of Mathematical Beauty, see Alexey Stak- 6. Simon Donaldson, “Ampère’s Law,” The Con- 12. Quoted in Jen Christian, “Math is Beautiful, hov, “Dirac’s Principle of Mathematical Beauty, cinnitas Project, accessed 7 May 2016, http:// But Is It Art?,” Scientific American Online, 27 Jan- Mathematics of Harmony and ‘Golden’ Scientific www.concinnitasproject.org/portfolio/gallery. uary 2015, http://blogs.scientificamerican.com/sa- Revolution,” Mathematical Institute of the Serbian php?id=Donaldson_Simon. Studies like it exist in visual/math-is-beautiful-but-is-it-art/. Academy of Sciences and Arts, 2009, accessed the field of quantum mechanics and quantum field 7 May 2016, http://www.mi.sanu.ac.rs/vismath/ theory, but Donaldson’s exercise is entirely theo- stakhov2009/mathharm.pdf. See also Graham retical, not a proven law itself. Farmelo, “Paul Dirac and the Religion of Math- 7. Enrico Bombieri, “The Ree Group Formula,” ematical Beauty,” lecture presented at The Royal The Concinnitas Project, accessed 7 May 2016, Society, London on 4 March 2011, accessed on http://www.concinnitasproject.org/portfolio/gal- YouTube 7 May 2016, https://www.youtube.com/ lery.php?id=Bombieri_Enrico. watch?v=jPwo1XsKKXg. 8. “Murray Gell-Mann: Beauty, truth and . . . phys-

Art in Print July–August 2016 33 EXHIBITION REVIEW Acid and Needlework: Women Printmakers at the New York Public Library By Britany Salsbury

“Printing Women: Three Centuries of Female Printmakers, 1570–1900” New York Public Library, New York 2 October 2015 – 27 May 2016

t the age of just 18, a young Dutch A woman named Henrietta Louisa Koenen (1830–1881) began gathering a remarkable collection of prints by and about women artists.1 In just over a decade, she amassed a collection that was remarkable in its scope and breadth; a catalogue of the collection upon its 1901 exhibition at the Grolier Club listed more than 500 prints by almost 300 artists.2 Koenen’s collection was pres- tigious enough to be acquired in 1900 by the noted art dealer Samuel Putnam Avery, who donated it to the New York Public Library soon after. Highlighted in the NYPL’s recent exhibition, “Print- ing Women: Three Centuries of Female Printmakers, 1570–1900,” Koenen’s collection remains remarkable, enlightening and surprising. The majority of the 80-plus works on view were drawn from Koenen’s collection, supplemented by key works from the library’s other holdings. They were arranged in thematic groupings that highlighted the ways in which women were able to learn and practice printmaking, including through family connections, aristocratic leisure, and occasionally actual academic training. Koenen employed an expansive definition of printmaking that was reflected in Angelica Kauffmann, Half-length Portrait of a Woman, with a Child Holding an Apple (1763), the range of work shown. She considered etching, image 24 x 11 cm, sheet 24.9 x 11.6 cm. The Miriam and Ira D. Wallach Division of Art, all genres and processes from about 1700 Prints and Photographs: Print Collection, The New York Public Library. through 1815, including both original prints and reproductive prints. Intrigu- The exhibition opens with these por- gaze confidently, sitting before her easel ingly, she focused significant attention traits, sometimes paired with prints by and holding the tools of her trade. It hangs on “amateurs” in the French sense of the the artists in question, to offer what alongside an engraving made in Rome by term: women who had the time, wealth curator Madeleine Viljoen describes as “a the Netherlandish artist Jacob Bos after and leisure to pursue printmaking with- picture of the varied paths that led to the a now-lost drawing by Anguissola of a out remuneration. More archivally, she celebration of women as artistic creators young girl laughing at an elderly woman. also collected portraits of women artists in the early modern period.”3 In one mez- As Viljoen notes, the print’s inscription, that illuminate the lives of women with zotint after a self-portrait by Sofonisba which prominently advertises the print artistic ambitions. Anguissola, the artist meets the viewer’s as a “work by Sofonisba, gentlewoman

34 Art in Print July–August 2016 of Cremona,” is evidence of the powerful status of etching as an aristocratic pas- reputation she had established at a time time undertaken in private and shared when few women were able to do so. between friends. Those few female artists who did In the section on “lesser” genres, make their way into the art historical such as ornament and illustration, we canon represent several of the highlights find the familiar situation of a talented of the show. The casual domestic scene in woman artist whose reputation was cast Angelica Kauffman’s Half-length Portrait into shadow by the presence of a male of a Woman, with a Child Holding an Apple collaborator. Anne Allen intelligently (1763) is a departure from the artist’s and thoughtfully translated the decora- better-known portraits and mythological tive chinoiserie designs of Jean-Baptiste and historical subjects. One of 40 etch- Pillement (whom she later married) into ings that Kauffman produced, this rela- etching using à la poupée inking to evoke tively early work shows an unidentified the color printing of Chinese woodblock woman leaning forward from the picture prints. In the title sheet from the New frame while holding a toddler. This genre suite of Chinese designs (1760), flowers and scene, modest in comparison with the plants bloom into a decorative border lofty subjects Kauffman contended with that simultaneously cites Chinese archi- in her paintings, suggests that, for her, tecture and French gardens. The print’s printmaking sometimes served as a pri- vivid hues and their precise application vate and experimental practice. testify to Allen’s unique expertise. Jean Baptiste Pillement, Nouvelle Suite de Cahiers de Desseins Chinois, numéro 1 (ca. In addition to treasures by well- This comprehensive presentation of 1760), color etching, image: 19.3 x 13.7 cm, known artists, “Printing Women” was the accomplishments of women print- sheet 22.2 x 16.7 cm. Printed by Anne Allen. The notable for the new artists it introduced makers over the course of centuries offers Miriam and Ira D. Wallach Division of Art, Prints into our understanding of the history of an important corrective to standard his- and Photographs: Print Collection, The New York the print. Some are figures better known tories of the medium. It is the sort of Public Library. in other contexts, such as Princess Sophie exhibition that is only possible for a venue of Saxe-Coburg-Saalfeld, the aunt of with a collection as encyclopedic as that uary, it was held over for five more months Queen Victoria. In one etching study, of the NYPL, but it is curated in a way and was even covered by Artforum, though the teenaged princess freely sketched that makes these holdings accessible and historic print exhibitions are hardly the horses, flowers, portrait heads, her own ripe for discovery. The enthusiastic pub- publication’s usual fare. Even after its name and the phrase “la jeune maman” lic response testifies to the need for such a conclusion, on 27 May, its legacy is sure to on a copper plate. Her efforts reveal the show. Originally scheduled to end 31 Jan- continue in new avenues of research and fresh thinking about the role of gender in printmaking’s history.

Britany Salsbury is the Andrew W. Mellon Curatorial Fellow in the Department of Prints, Drawings, and Photographs at the RISD Museum.

Notes: 1. Thirteen years after she began collecting herself, Koenen married the print collector Johan Philip van der Kellen, who later became director of the Rijksmuseum Print Room. 2. The Grolier Club’s 1901 exhibition, “Engravings, etchings and lithographs executed by women,” was the only other exhibition of the collection in its history. A Handbook of the S. P. Avery Collection of Prints and Art Books in the New York Public Library (New York: De Vinne Press, 1901), 8. 3. Exhibition brochure.

Sofonisba Anguissola, Young girl laughing at the old woman (ca. 1550), engraving, image 32 x 42.6 cm, sheet 33.5 x 43.4 cm. Printed by Jacob Bos. Published by Antoine Lafréry. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library.

Art in Print July–August 2016 35 EXHIBITION REVIEW Corey Hagelberg’s Calumet Area of Concern By Janina Ciezadlo

Corey Hagelberg, Dead Fish Anti-Frieze (2011), woodcut, 9 x 72 inches per panel. Image courtesy the artist.

“Liar, Liar, River on Fire: Corey Hagelberg” In his prints, bursting with words that is inherent in both beachcombing Beauty and Brawn Gallery and images, he flattens the dunes, steel and recycling, while leaving the signifi- Chicago mills and river, creating dynamic, often cance of the specific contents open to 6 March – 30 April 2016 patterned pictographs that recall the question. mystical mountains of Joseph Yoakum The lively visual conversation set up n this spirited exhibition at Beauty and and the busy surfaces of Howard Fin- between Hagelberg’s didactic prints and I Brawn Gallery in Chicago, Corey ster. Their didactic qualities mingle his more muted constructions of found Hagelberg uses both prints and sculpture with their dramatic, decorative spatial and altered objects mirrors the region’s to call attention to the predicament of the presence. Directing attention to current peculiar dialogue between natural Indiana Dunes where the Grand Calu- topics such as water mining, these works beauty, industrial blight and urban pov- met River meets Lake Michigan. Miller can be seen as following in the graphic erty. Together they promote an under- Beach, where Hagleberg lives and works, tradition of activist printmakers such as standing of the dunes, not simply as an is a lakeside neighborhood flanked by two Carlos Cortez, but while Cortez’s prints isolated island of beauty, but as a complex steel mills in the industrial city of Gary. In were generally no larger than posters, environment. While the prints’ naïve his 1995 book, Environmental Inequalities, Hagelberg’s run from small to vast—long, visual style draws the viewer in, their Andrew Hurley described the river as “an narrow woodblocks that can stretch to content raises important questions industrial sewer, incapable of supporting ten feet in length or eight feet in height. regarding our place in the landscape. any life except for blue-green algae and Hagelberg prints his carved birch, sludgeworms.”1 Author Gary Ferguson poplar and pine blocks with a wooden recalls the river being so polluted that it spoon, adopting a low-tech method that Janina Ciezadlo is a writer and artist, trained as a printmaker at Indiana University, 2 once caught fire. Hagelberg’s exhibition correlates with the DIY movement and Bloomington, Indiana. title, playing with the children’s rhyme, with the historically populist aesthetic addresses distrust in a system that allows of woodcuts. The exhibition included contamination of residential neighbor- an accordion-fold artist’s book, Easterly’s Notes: hoods and drinking water in socially Pine, and Dead Fish Anti-Frieze, in which 1. Andrew Hurley, Environmental Inequalities: disadvantaged places like Gary (accord- the same wood block, repeated multiple Class, Race, and Industrial Pollution in Gary, Indiana (Chapel Hill: University of North Carolina ing to the U.S. Environmental Protection times, commemorates a fish die-off from Press, 1995), 34. Agency, 90 percent of the water emptying antifreeze dumped in the river. In addi- 2. Gary Ferguson, The Carry Home: Lessons into Lake Michigan from the Calumet is tion to these monumental works, Hagel- from the American Wilderness (Berkeley: Coun- industrial and municipal effluent, cooling berg showed prints that were small in terpoint Press, 2014), 1. and process water, and storm-water over- size, moderately priced and meant to cir- 3. “Great Lakes Areas of Concern Grand Calumet River” https://www.epa.gov/great-lakes-aocs. 3 flow). culate. Retrieved 2 Feb 2015. In addition to their own mutable While the prints juggle environment 4. National Park Service, “Indiana Dunes,” https:// beauty, the dunes offer some of the politics and intimations of outsider art, www.nps.gov/indu/learn/nature/index.htm. densest biological diversity of any U.S. the sculptures exhibit a studied formal- National Park.4 The Calumet region, just ism. Hung on the wall between the prints west of the Indiana Dunes National Lake- were seven-foot-tall, slightly bulging shore, is complex and contested. Previous assemblages of beach jetsam and other artists and photographers have focused found objects, bundled within wood slats on the area’s scenic beach grasses, sand, and covered with white or black paint. water and woodlands. Hagelberg loves These works are deft and mysterious: nature but is more interested in the the paint homogenizes and masks the confluence of nature, industrial pollution objects, making their identity less imme- and people in the region. diately legible. They evoke the gathering

36 Art in Print July–August 2016 EXHIBITION REVIEW The Space Between 0 and 1: Printmaking and Digital Technology in Portland By Matthew A. Coleman

Installation view of Sang-Mi Yoo, Anomalous Traces (2013–16) in “Variable States: Prints Now,” Upfor Gallery, 2016. From left to right: hand-cut pigment inkjet print, 36 x 44 x 72 inches; lasercut wool felt, 63 x 48 x 2 inches; pigment inkjet print, tiered, 96 x 44 x 78 inches. Photo: Mario Gallucci. Image courtesy Upfor Gallery, Portland, OR.

“Variable States: Prints Now” The exhibition orbited around a table to be printed out or saved in digital form, Upfor Gallery, Portland, OR supplied with copies of Paul Soulellis’s or even edited and printed out in altered 3 March – 9 April 2016 Printed Web (2014–ongoing), a collabora- form—an embrace of the open-source, tive serial project that collects artworks uninhibited flow of knowledge and cre- pfor Gallery, a young new-media from Internet and digital artists, along ativity that the Internet makes possible. U gallery in Portland, Oregon, with essays by scholars, artists and crit- One of the exhibition themes is the recently organized a small exhibition, ics contemplating what the physical relationship between architectural space “Variable States: Prints Now,” inves- embodiment of the Internet might look and memory. Janet Ballweg’s Domestic tigating relationships between digital like. Printed on paper, the Internet’s end- Landscape intaglio prints from 2008 (four technologies and printmaking. Curator less, ever-changing stream of code (or in color and one monochrome) pres- Heather Lee Birdsong selected eight art- the visible product thereof) is rendered ent different views of a kitchen scene ists from across the United States (includ- static, bound to a specific context. It initially rendered in 3D illustration ing two Portland locals) who inject digital manifests the present conditions under software. The surfaces and objects are processes into relief, intaglio and screen- which we participate in a hyper-accel- unnaturally smooth, simply constructed printing techniques, and who also extend erated information-driven society and and strangely antiseptic. The kitchen print processes into sculpture, video and archive incredible amounts of informa- walls are hung with frames containing installations. tion. The series can be found online, free skewed reflections of the room, and dark

Art in Print July–August 2016 37 Left: Blake Carrington,The Year We Make Contact (2016), single-channel video installation, 24 minute, 37 second duration. Right: Paul Soulellis, Library of the Printed Web (2014–15), various publications published by the artist, four-color printing on paper, variable dimensions. Photos: Mario Gallucci. Images courtesy Upfor Gallery, Portland, OR. doorways open into what could be the has adapted to each new generation of same.” Interrupted by gorgeous mono- rest of the house. technical advances; 3D printing is the types and intaglio prints of geometric Across the gallery, Sang-Mi Yoo’s latest mechanical reproduction technol- shapes, these lethargic statements drift, installation Anomalous Traces (2013) ogy to be adopted by artists. Portland fade and multiply, suggesting both the reflects upon the homogeneity of tract local Brenna Murphy uses it to produce passage and stagnation of time. In one homes by condensing them into a pattern. small, blocky sculptures from scrambled instance, she shifted an intaglio print of The three-piece installation included a pictures she took in Forest Park, a 5,200- a darkening gradient under a cutout for wall-mounted felt panel, laser-cut with a acre urban forest next to the city. Resting each frame, animating what appears to pattern of tract house blueprints, and two on mirrors in the gallery’s window, these be a revolving sphere (or planet or moon). long paper works that billowed from the frozen digitized images of nature merged “Variable States” was a barometer for ceiling—one a digitally manipulated scan with reflections of the street outside. the shifting atmosphere of printmaking of the felt panel, the other hand-cut with Two videos in “Variable States” and successfully demonstrated the imag- perforations among housing diagrams addressed the instability of digital inative ways it continues to embrace pulled from brochures for the cookie- media—its quality, in the words of media emerging technologies. While the show cutter “dream homes” that fill American scholar Wendy Hui Kyong Chun, of being was literally about the variable states of suburbs. Yoo immigrated to the United “degenerative, forgetful, erasable.”1 To printmaking techniques, the content of States as a child from South Korea, and make The Year We Made Contact (2016), the selected artworks revealed how the these neighborhoods connote nostalgic Blake Carrington ran the audio of his shifting conditions of digital technology notions of home. therapy session with a Lacanian psy- alter the state of memory and architec- The blueprints in Krista Svalbonas’s choanalyst through an algorithm that ture—uncovering historical and societal screenprints on Mylar and felt are neither translated the frequencies of the sound- nuances, probing deeper interiorities, virtual nor idealized, but historical and waves into images that resemble con- and reveling in the amazing complexities specific. They record European factory tinuously shifting geological striation or of the present. buildings requisitioned as refugee camps marbling. These black-and-white images after World War II, one of which housed erode and consume themselves, collaps- the artist’s family. Named after distinct ing from thousands of pixels to just one. Matthew A. Coleman is an art, media and visual culture historian based in Portland, Oregon. locations (Gießen, Esslingen, Würzburg, The projection was accompanied by two Mannheim, etc.), the works were printed inkjet prints depicting other instances of with pigments made from copper, steel decay from the same algorithm, but orna- Notes: and other materials that might once mented with hand-colored splotches and 1. Chun, “The Digital Ephemeral,” Critical Inquiry have been used in these factories. The dashes of acrylic, sumi and CYMK printer 35, no. 1 (2008): 160–61. necklace-like flocked screenprints of ink. No Memory (Each Day the same) (2016) Edwige Charlot—Anba tout (Underneath) by Alyson Provax is a compilation of GIFs (2015) and Fantom an ajan (Ghost of Silver) constructed from letterpress-printed (2016)—allude to the artist’s Haitian and sentences such as, “don’t know if this was French heritage and feel like heirlooms. a dream,” “these days sometimes go on for Since the 15th century, printmaking days,” “each day repeats” and “more of the

38 Art in Print July–August 2016 BOOK REVIEW Reclaiming the Means of space founded in Vienna in 2007 for the Production: Self-Publishing in consideration of books and book culture more generally.4 “I noticed,” Cella the 21st Century says, “that hidden in the mass of artists’ books is a subgroup of sorts; an amaz- By Megan N. Liberty ing amount are published without an ISBN.”5 These include punk zines such rinted Matter’s NY Art Book Fair is as Raymond Pettibon’s Cars, TV, Rock- P a wildly popular event and it is just ets, H-Bomb—you name it (1985); somber one of more than 40 artist’s book fairs books like Andrew Blackley’s 2008 Nuit that take place around the world every und Niebla, which is built from online year.1 “When we began the fair [in 2006],” translations of the closing lines of Alain then-director AA Bronson explains, “we Resnais’ 1955 Holocaust documentary were highly aware of representing all the Night and Fog; as well as design-oriented various forms of art publishing in the projects such as Scott Massey’s freemag NO-ISBN: on self-publishing field: mainstream publishers, academic zines subtitled, “A mixed up Zine about Edited by Bernhard Cella, Leo Findeisen presses, art distribution companies, art nothing at all” (2008 and 2009).6 and Agnes Blaha magazines, small independent publishing The ISBN (international standard 506 pages, 497 color illustrations companies.”2 In its first years, the fair had book number) is a unique identifier that Published by Walther König, Cologne, 2016 70 exhibitors and some 3,000 visitors; by indicates the author, title and edition $35 2014 participation had ballooned to 350 of a volume. The earliest version was exhibitors and more than 35,000 visi- implemented in 1970 to enable digital tors.3 Despite the rise of online publica- cataloguing and tracking.7 Cella won- tions, blogs and PDF distribution options, dered whether the lack of ISBNs was “a artists and publishers continue to pro- conscious decision, or simple ignorance, duce printed books, particularly zines which would then tend to make it irrel- (DIY publications cheaply made in mul- evant” in terms of its meaning as art. He tiple, usually by photocopier) and print- concluded that, whether intentional or on-demand publications; art book fairs not, the number’s absence showed that continue to display them, and visitors its function—inventory control—was not continue to buy them. Recently, a num- relevant to the aims of these creators, and ber of museum exhibitions have given implied a set of priorities that diverged critical attention to this phenomenon, its from standard publishing.8 To investi- history and present, as do three impor- gate this further, Cella used posters at the tant new books out this year—NO-ISBN: 2009 NY Art Book Fair to call for the sub- on self-publishing, The Newsstand and Seth mission of books without ISBNs.9 These The Newsstand Siegelaub: Beyond Conceptual Art. works, along with those that first caught By Lele Saveri NO-ISBN is a small but dense volume his attention, are collected in NO-ISBN. 352 pages, 32 color and 256 b/w illustrations that traces the history of printed books Existing outside the standard system of Published by Skira Rizzoli, New York, 2016 and pamphlets from Gutenberg to the commercial production and distribution, $45 current self-publishing boom. Arriving self-published works offer an alternative sealed in a printed blue wrapper, the book to mainstream publishing and its poten- cannot be thumbed through without a tially stifling authority. reader’s first ripping open the wrapper For artists and writers, self-publishing and being immediately forced into tac- offers control over aspects of content, tile engagement with disposable materi- physical production and social distribu- als and the idea of the book’s status as an tion that are removed in most commer- object. (The cover repeats the design of cial publishing scenarios. Phil Aarons, a the paper wrapper but with trompe l’œil zine collector and Printed Matter board wear and tear.) Edited by sculptor and member, explains that “zines are written, installation artist Bernhard Cella, media designed, pasted up, photographed and theorist Leo Findeisen and art historian distributed by the zine maker, removing Agnes Blaha, the book includes an illus- all intermediaries in the creative pro- trated catalogue of artists’ books and cess.”10 The price point is usually very zines as well as essays by artists and theo- low, making them easily collectible. The Seth Siegelaub: Beyond Conceptual Art rists, including Sylvie Boulanger, Gil- vendor is often the artist, which contrib- Edited by Sara Martinetti and bert & George and Kenneth Goldsmith. utes to the intimacy of the exchange and Leontine Coelewij Woven through these is a conversation aligns with the way many book artists 600 pages between editors Cella and Findeisen that view the ideal artwork—a point of direct Published by Walther König, Cologne, 2016 discusses the origins of the “No-ISBN” connection with other people. These $59.95 project in Cella’s Salon für Kunstbuch—a works “exist outside the purview of all

Art in Print July–August 2016 39 performers. “Unlike a store where people go quickly in and out before carrying on with their day,” Saveri recalls, “The News- stand was one where customers tended to spend some time.”15 The project’s trajectory illustrates the futility of conceiving the current swell of self-publishing in terms of “outsider” versus “insider,” or “subversive” versus “mainstream:” The Newsstand was recently recreated within the walls of the Museum of Modern Art as part of the recent photography survey,16 and it is the subject of a new book from Skira Rizzoli. In a nod to handmade zine aesthetics, the book is bound between cardboard covers with an open spine and visible stitching. Inside, it is filled with images of the materials sold by the shop and interviews with participating artists. “One minute in The Newsstand and you’d know it wasn’t about money,” explained one of the volunteers who worked there and displayed work.17 As with artists manning their own tables at books fairs, The Newsstand offered the unification of maker and vendor, creating a purposeful intimacy.18 It was about the “value of things that you can hold in your hands,” Saveri asserts, especially when “underground, with no phone service” to distract you.19 The American artists’ book movement is commonly dated to Ed Ruscha’s Twentysix Gasoline Stations (1963) and has strong roots in both Pop art and conceptual art. The publications of art dealer and curator Seth Siegelaub (1941–2013)— No-ISBN poster near the NY Art Book Fair in 2009. Image courtesy Bernhard Cella. especially his exhibition-in-a-book works—were pivotal in this development. major bookstores and most all libraries,” the intertwining of the political and the As the authors of NO-ISBN note, Siege- explains Aarons, “yet they invariably find communal in zine culture. In 2013–2014 laub their way into the hands of those who Saveri rented an abandoned newsstand in defined the catalogue as a “meta- appreciate them.” He describes their role the Metropolitan/Lorimer subway stop phorical space” that seemed to be of “community building” and sees their in Williamsburg, Brooklyn, where he more appropriate for the works of content and function as “both insanely sold self-published materials—primar- [conceptual] artists than exhibition in personal and highly communal.”11 ily zines but also “micro-editions” such the real space of the gallery. Through The political ambitions of ISBN-free as posters, comics, T-shirts, pins and this new positioning of a medium that books and zines are expressed in various audiocassettes.13 It was open to anyone had held a purely supportive role until ways, the authors note: who wanted to sell, show or perform an then, the implicit hierarchy between art project, “as long as it wasn’t offensive Political participation may refer to book and walk-in (or visitable) exhibi- or racist,” Saveri says.14 The zines ranged the content of the respective book, tion shifted.20 from text-heavy publications such as Slice to the book’s democratic qualities in Harvester Quarterly, which linked pizza Seth Siegelaub: Beyond Conceptual terms of production, distribution, and shop reviews to personal experiences, to Art was published on the occasion of reception, or to a role-model function Alexander Duke’s illustrative and comical an eponymous exhibition at the Ste- as an alternative economic system; Jesus Wore a Kanye Piece or Jason Polan’s delijk Museum in Amsterdam this past a book market distinct from the art observations on museum culture, People spring.21 The book surveys Siegelaub’s market.12 at the Whitney. The Newsstand also offered innovative publishing, his involvement Lele Saveri’s project The Newsstand readings and performances, and served as with bibliography and cataloguing, as was an example of direct distribution and a gathering spot for zinesters, poets and well as his interest in textiles and design.

40 Art in Print July–August 2016 Like the other publications discussed here, this book has been designed to defy expectation—in place of the familiar glossy museum catalogue, we find a floppy softcover with extremely thin paper. Illustrated with archival documents, postcards, photographs and other ephemera, it presents a visual chronology of Siegelaub’s life and work, alongside interviews with him and the artists with whom he worked. Siegelaub’s book projects with conceptual artists such as Carl Andre, Dan- iel Buren, Sol LeWitt, Robert Smithson and Lawrence Weiner moved away from the model of gallery art, focusing instead on the possibilities offered by books as primary art objects, such as the serial development of idea over multiple pages, and the purposeful sense of disposabil- ity implicit in cheap paper and low reso- lution reproductions. (These would all become important elements of zines.) View of The Newsstand inside the Metropolitan/Lorimer subway station in Brooklyn, NY. Reproduced As Julia Bryan-Wilson notes, “There was from Lele Saveri, The Newsstand (New York: Skira Rizzoli, 2016), 6. often little to either buy or see in a tra- when art does not any longer depend sees Siegelaub as pressing “for change ditional gallery setting, including mount- upon its physical presence, when it in a system that monetizes, and indeed ing a show that consisted in its entirety of has become an abstraction, it is not instrumentalizes, [artists’] work.”25 Con- nothing but the catalogue.”22 The books distorted and altered by its represen- temporary self-publishing echoes this that Siegelaub began publishing in 1968 tation in books and catalogues. It idea of the book as a primary—rather did not document an exhibition of art- becomes primary information, while than documentary—object. work that existed elsewhere; they were the reproduction of conventional art One of the goals of artists’ self-pub- exhibitions of artwork that existed only in books or catalogues is necessarily lishing, as manifest in NO-ISBN and The within the pages of the book. His most secondary information.24 Newsstand, has been the closing of dis- famous work, known as the Xerox Book, tance between the artist and the viewer. was a group show in which seven artists The book is no longer a kind of But like the Siegelaub monograph these were each offered 25 pages in which to advertisement for something else; it has same projects celebrate—indeed ele- create a work.23 Siegelaub explained: become self-sufficient. Bryan-Wilson vate—a new form of intermediary: the

Left: nohawk (Scott Massey), freemag 001 (2008), artist’s book, mixed media, 64 pages, 6 x 9 inches. Printed and published by the artist, Huntington Beach, CA. Right: Scan of the cover of Jason Polan’s People at the Whitney Museum reproduced from Lele Saveri, The Newsstand (New York: Skira Rizzoli, 2016), 67.

Art in Print July–August 2016 41 with a “Friendly Fire” section where exhibitor tables are free. 3. Ibid. 4. Gabrielle Cram, “NO-ISBN—The An-Archive as Subject,” in NO-ISBN, 259–260; Leo Findeisen and Bernhard Cella, “…more real than art—The Art of Assembling,” in NO-ISBN, 82–3. 5. Ibid., Findeisen and Cella, 82. 6. Register of books in NO-ISBN collection, in NO- ISBN, 11, 27, 24. 7. “Helping a friend out: On the origins of ISBN,” in NO-ISBN, 123–24. 8. Findeisen and Cella, “…more real than art,” 170. 9. Ibid., 168. 10. Phil Aarons, Forward, in The Newsstand, 13. 11. Ibid., 13–14. 12. “NO-ISBN as a Political Strategy,” in NO- ISBN, 383. 13. Lele Saveri, Introduction, in The Newsstand, 9–11; Sylvie Boulanger, “The Phenomenon of Micro-edition: A Silk Road,” in NO-ISBN, 250. 14. Ibid., Saveri, 9. 15. Ibid., 11. Left: Interior of The Newsstand on the first week it was open.Right: Priscilla Jeong working inside 16. Ocean of Images (7 November 2015—20 of The Newsstand on the last month with decor and art left by previous events and guest clerks. March 2016). Both reproduced from Lele Saveri, The Newsstand (New York: Skira Rizzoli, 2016), 308 and 311. 17. Priscilla Jeong, Nick Sethi and Nathaniel Matthews, “On Working at The Newsstand,” in editor-curator-entrepreneur. Sylvie Bou- in dematerialization but for the cheap- The Newsstand, 266. 18. Ibid., 11. langer, director of the Centre national ness and fragility of the materials used. 19. Saveri, in The Newsstand, 11. édition Art Image (CNEAI), argues that These books, while they may be saved in 20. “Printed Space as Legacy of Conceptual Art,” “by considering the published space as archives and personal libraries, are not in NO-ISBN, 177. a public space and by interpreting the made to last. Bryan-Wilson writes that 21. “Seth Siegelaub: Beyond Conceptual Art” (12 act of publishing as an artistic act, they Siegelaub chose paper-based distribu- December 2015—17 April 2016). 22. Julia Bryan-Wilson, “Seth Siegelaub’s Mate- reveal the challenges of a new cultural, tion “for its expediency, ordinariness, rial Conditions,” in Seth Siegelaub: Beyond Con- economic, and technological context.”26 cheapness, and capacity for rapid circu- ceptual Art (Cologne: Walther König, 2016), 30. Artists have reconsidered the book as lation.”30 In projects like The Newsstand, 23. The artists were Carl Andre, Robert Barry, both a conceptual space for expression this “rapid circulation” becomes part of Douglas Huebler, Joseph Kosuth, Sol Lewitt, Rob- and a physical object for distribution and the performance of the works. ert Morris and Lawrence Weiner. consumption. Tactility is critical. Aarons It is worth noting that the three books 24. Ursula Meyer and Seth Siegelaub, “When you Become Aware of Something, It Immediately observes that “the physicality of the zine reviewed here have been published by Becomes Part of You,” in Seth Siegelaub, 190. itself, so unlike a digital image flicker- eminent art book publishers—Skira Riz- 25. Bryan-Wilson, “Seth Siegelaub’s Material ing across a computer screen, makes a zoli and Walther König—offering evi- Conditions,” 31. direct connect between the creator and dence of the increasing prominence of 26. Boulanger, “The Phenomenon of Micro- reader, and among those who read and the self-publishing and zine phenomena. Edition,” 249. 27. Aarons, in The Newsstand, 14. 27 share zines.” In NO-ISBN, Agnes Blaha In a time when most communication is 28. Agnes Blaha, “Tackling Tactility—What is it notes that book artists “conceptualize done via a screen, the rise of this practice that makes theorists shy away from the haptic art in a form that needs to be handled demonstrates a prevailing desire for these domain?” in NO-ISBN, 278. to be fully experienced.”28 She goes on hand-crafted objects, highlighting their 29. Ibid., 281. to draw a connection between the inti- expressive potential to build community 30. Bryan-Wilson, “Seth Siegelaub’s Material Conditions,” 37. macy of touch at the creative and the and provide an alternative mode of self- receiving end. “The obvious difference,” expression. Blaha writes, “between the immediacy zinesters choose by cutting, gluing, writing by hand, and the alternative—the Megan N. Liberty is a writer based in Brooklyn. use of digital tools to design, assemble- and type—is touch.”29 Just as Seiglaub’s books eliminated the gallery space as a Notes: 1. Bernhard Cella and Moritz Küng, “Actually it is mediator, zines compress the distance quite simple: A book is a book. Artists are people between creator and reader through and people make books,” in NO-ISBN: on self- indexical traces of hand production and publishing (Cologne: Walther König, 2016), 209. often through the creator’s presence at 2. AA Bronson, “On the community and politics of the moment of sale. Self-Publishing,” in The Newsstand (New York: Skira Rizzoli, 2016), 51. To preserve this breadth, This emphasis on tactility might seem Max Schumann, Printed Matter’s current director, at odds with conceptualism’s interest supplemented the standard fee-paying fair booths

42 Art in Print July–August 2016 BOOK REVIEW The selected readings offer a panoply explores drawing media—both the mate- of perspectives on every aspect of con- rials themselves and the techniques with serving works of art on paper, from a 131- which they were employed. The readings word observation on the humble origins include Henry Petroski’s well-known of precious possessions (Robert Bell’s “The Pencil: A History of Design and “Observations Relative to the Manufac- Circumstance” (1990) and Marjorie B. tures of Paper and Printed Books in the Cohn’s “A Note on Media and Methods” Province of Pennsylvania” [1773]), to a (1970), which focuses on the subtle dif- modern theoretical essay on the ques- ferences in brown inks that contribute to tion of originality in offset lithographs Tiepolo’s masterful wash drawings. (Johanna Drucker’s “Offset: The Work of “Printmaking: Multiple Originals” Mechanical Art in the Age of Electronic examines the advent of printmaking [Re]production” [1998]), to a provocative and its impact on art history as well as excerpt from Irene Brückle’s well-known the theoretical questions to which it text from Paper and Water: A Guide for gave rise. Does a multiple merit the same Conservators, (“Aqueous Treatment in worth and admiration as a drawing? Context” [2011]), in which the long-term Does the comparative ease of producing impact of washing a sheet of paper is printed impressions affect their value? analyzed. What determines differences in impres- Historical Perspectives in the Conservation As editor, Margaret Holben Ellis has sion quality? of Works of Art on Paper organized the eight sections in a manner Part IV, “ ‘Paper is Part of the Picture,’ ” Edited by Margaret Holben Ellis that helps the reader understand materi- returns the reader’s focus to the paper 608 pages als and techniques before examining the- substrate, but broadens the discussion Published by Getty Conservation oretical aspects of artwork appreciation to include the inherent characteristics of Institute, Los Angeles, 2015 and conservation. The first, “The Power paper, both historic and modern: color, $70 of Paper,” introduces the origins and uses texture, format, watermarks and opti- of paper, beginning with its ascendancy cal properties. The readings compare the over parchment in the 15th century. The viewpoints of paper chemist Heinz Corte, Paper, Conservation and later readings in the section extol the the French nationalist and compiler of material’s merits and explore the psyches industrial status reports J.-S.-E. Julia Context of papermakers in excerpts from a 16th- de Fontenelle and art historian James century poem and a 20th-century work Harper, among others. By Angela Campbell of fiction. “Deterioration and Change: Paper Next, “The Mastery of Drawing” ‘Yellow’d with Their Age’ ” introduces the istorical Perspectives in the Conser- Hvation of Works of Art on Paper is the most recent publication in the Getty Conservation Institute’s “Readings in Conservation” series. Like its six predecessors, the text is comprised of a collection of essays and excerpts, all organized into themes that conservators will find familiar. The 96 readings are grouped into eight sections that move from the origins of paper to consideration of the materials and technologies to which it was subjected, to questions of deterioration and repair. Each of these sections is introduced with a short, erudite essay revealing the extensive thought put into what follows. Unlike the earlier publications in the series, this one also includes brief but enriching introductions to the individual readings reminding the reader of details about the author or the cir- cumstances in which the selection was written, often clarifying why the specific reading was included. A supplementary “Further Reading” section provides addi- Carle (Antoine Charles Horace) Vernet, François Delpech’s Print Shop (ca. 1820), lithograph with 20th-century lettering addition (“Rockman Prints”), image 16.8 x 24.1 cm, sheet 21.9 x 29.3 cm. tional resources for delving into each of Collection of the Metropolitan Museum of Art, New York. The Elisha Whittelsey Collection, The Elisha the eight, themed parts. Whittelsey Fund, 1977.

Art in Print July–August 2016 43 cartoon be made to appear (Chris Caple’s “Conservation Skills: Judgment, Method and Decision Making” [2000])? How does a conservator determine whether or not cleaning a delicate surface is worth- while (Antoinette King’s “Technical and Esthetic Attitudes about the Cleaning of Works of Art on Paper” [1986])? The last section, “The Paper Conserva- tor: Going Beyond the Bench,” discusses the birth of the field with the 1966 Flor- ence flood, the importance of outreach to current and incoming conservators as well as wider communities, and thoughts on the future of the field. The entire volume is meticulously and beautifully compiled. The readings— some humorous, many serious, all of high academic caliber—reveal Holben Ellis’s comfort with the enormous depth of available material, a remarkable dedica- tion to the care of works of art on paper, and a deep admiration for her colleagues, both historic and contemporary. This book caters specifically to conservators of works of art on paper, though students, conservators of historic documents, book conservators, art historians and collectors are all sure to find material that is enlightening and thought-provoking.

Angela Campbell is Assistant Paper Conservator at the Metropolitan Museum of Art.

Leonardo da Vinci, The Burlington House Cartoon (ca. 1499–1500), charcoal heightened with white chalk on paper, mounted on canvas, 141.5 x 104.6 cm. Collection of the National Gallery, London. conservator’s ability to identify both the ble). The introductory remarks to Joseph type and cause of degradation evident in Sidebotham’s “Letters to the Manchester a paper substrate. The readings discuss Literary and Philosophical Society” (1877, the physical components of paper pulp 1881) refer to one of my favorite anec- and the inevitable cheapening of mate- dotes—the discovery of aniline purple, rials and resulting reduction of paper one of the more fugitive colors in exis- quality. The later portion of the section tence, during an attempt to synthesize focuses on the often well-meaning, some- quinine. times helpful, but occasionally damaging “Treatment: Limits and Limitations” contributions of the scientific commu- is, unsurprisingly, one of the longer nity to the field of paper conservation. sections. Its readings focus on the eth- Similarly, “Deterioration and Change: ics of conservation and the necessary ‘Even in Their Partial Ruin Marvelous,’ ” decision-making process behind treat- the readings remain focused on dam- ing (or not treating) an object. Does fine age—here the vulnerable materials are art necessitate more intervention than, the media. Those that warrant the most for example, a document (Irene Brückle’s attention are watercolors (sensitive to “The Practice of Looking in Paper Con- light) and iron gall ink (chemically unsta- servation” [2001])? How pristine should a

44 Art in Print July–August 2016 Preserving the Disposable: Conservation of a Paper Dress By Marlen Börngen

Paper dress from the Atopos Collection Athens (registration number: 2006.02.235). Left: before conservation. Right: after conservation.

he arts organization Atopos Con- between the first and the second layers; on the packaging of many of these gar- T temporary Visual Culture in Ath- the remainder consists of chemical wood ments: “To shorten the paper dress, all ens, Greece, has collected more than 500 pulp, a staple of papermaking.3 Describ- that is needed is a steady hand and a pair pieces of paper clothing, ranging from ing this material as “paper,” however, is of scissors.”5 Furthermore, the owner had medieval Japanese examples to recent misleading: the individual fibers are more narrowed the dress to create a slimmer paper designs by Issye Miyake and Hugo intact and more loosely enmeshed than fit—instructions for making alterations Boss. The core of the collection, how- in standard paper, creating a rough sur- using adhesive tape were also included ever, consists of paper dresses produced face.4 The material might be more accu- in some packaging.6 Here the left and between 1966 and 1968, during the brief rately described as a nonwoven fabric. right sides of the dress had been folded but widespread heyday of paper fash- Atopos owns two examples of this over and affixed with tape. The right side ion (see Art in Print, Sept–Oct 2014).1 In dress—one that has never been worn was still taped but the left side had come conjunction with a 2013 exhibition at the and one “used” dress in need of conser- undone (as had the tape fixed along the Galerie Stihl in Waiblingen, Germany vation. The Atopos staff plans to exhibit lower hem of the dress to secure the fold), (an organization dedicated to works on the two dresses together in future and exposing tape residues and skinning the paper), we restored one iconic example.2 thus decided that evidence of use, like the surface of the dress. A classic 1960s A-line dress, manufac- creases created when the wearer was sit- Our goal was to return the dress to its tured in 1966 by the Mars Manufacturing ting, for example, should be preserved in condition when the owner would have Company in Asheville, NC, the restored the worn dress, but that we should elimi- worn it, preserving her alterations. A garment features a round neckline and nate non-meaningful and distracting fragment of the top ply that had become half-sleeves finished with textile cuffs. damages. stuck to loosened tape was released It is made of a three-ply material con- In addition to the central wrinkles with a heated spatula inserted between sisting of a top layer offset printed with from sitting, the dress bore straight the adhesive layer and the fabric, then horizontal black and orange stripes and creases that appear to be the result of cleaned to remove residual adhesive and two under-layers. Seven percent of the being folded for sale in a plastic wrap- reaffixed in its original location. Skinned fabric content is a synthetic fiber, possibly per. It had been trimmed at the bottom areas on the surface were retouched after Nylon, that creates a scrim reinforcement in accordance with the advice printed thin Japan paper had been adhered to the

Art in Print July–August 2016 45 Top row, from left to right: dress weave and surface in raking light; nylon scrim visible in transmitted light; dress center showing wrinkles with loosened pressure-sensitive tapes at bottom hem. Center row, from left to right: use of a heated spatula to separate the tape from a dress fragment; partially detached pressure-sensitive tape, left side of dress; skinning of dress surface from detached tape. Bottom row, from left to right: skinned area; same area after treatment, folded into the previous position; use of a heated spatula to separate the tape from a dress fragment.

46 Art in Print July–August 2016 area as a barrier shaped to fit the loss (thus Paper Dress in 1960s American Fashion” the retouching can easily be removed in (bachelor’s thesis, University of North Caro- future if desired). The Japan paper was lina, Asheville, 2015), 4. https://libres.uncg. first tinted to match the printed pattern edu/ir/unca/f/V_Knight_Answer_2014.pdf. 7. Conservation materials used in the treatment so minimal retouching was required once included: 2.5 percent methylcellulose Methocel Become a the paper was in place. This paper insert A4C adhesive (Dow Chemical Company), Las- was manipulated to imitate the woven caux acrylic adhesive 498 HV, Stabilo CarbOth- texture of the original dress. Original ello pastel pencils, and Japanese kozo tissue. Professional fragments of the printed top ply that had At Atopos, these dresses are stored in custom- designed storage boxes fitted with tissue padding become detached were reaffixed in their and designed to stabilize each dress. Member of original positions. To return the left side of the dress to Art in Print its desired shape we gently bent the material, allowing it to settle into a soft curve. now. The original tape was preserved during this process but we did not rely on it as a fixative, and instead attached small strips of Japan paper in four locations; in two places we also used the extant tape Benefits of Professional to secure the fold. This fold can easily be Membership include: opened again if need be.7 In terms of both its original design and its casual homemade alterations, • 6 printed issues of this paper dress documents a particu- the journal published lar moment of public engagement with bimonthly wearable art and disposable fashion. This is what we sought to preserve. • Instant online access The author gratefully acknowledges to all journal content the support of scientific assistant Eva • News of the Print World, Hummert and Irene Brückle, head of the delivered biweekly to your Studiengang der Konservierung und Restaurierung von Kunstwerken auf email inbox and viewable Papier, Archiv- und Bibliotheksgut Sta- any time online atliche Akademie der Bildenden Künste • 12 months of online ads Stuttgart. • 1 small print ad in the journal Marlen Börngen is a post-graduate fellow at the Restaurierungszentrum der Landeshauptstadt • Option to purchase Düsseldorf. additional discounted advertising Notes: 1. See Stamos Fafalios and Vassilis Zidianakis, • Listing in the Print “ ‘Fragile,’ ‘Souper’ and POP! The Atopos Paper Directory, available online Fashion Collection” in Art in Print, vol. 4, no. 3 and published in the (September–October 2014), 14–17. 2. “Pap(i)er Fashion” (26 January 26–21 April, journal annually 2013). I worked on this conservation project as my senior project at the Studiengang der Konser- • 20% discounts available vierung und Restaurierung von Kunstwerken auf to non-profit organizations Papier, Archiv- und Bibliotheksgut at the Staatli- che Akademie der Bildenden Künste (Study Pro- gram of Conservation of Works of Art on Paper, Archives and Library Materials at the State Acad- emy of Art and Design) in Stuttgart. 3. Jonathan Walford, Ready to Tear. Paper Fash- Subscribe online at ions of the 60s (Fonthill, Ontario: Kickshaw Pro- ductions, 2007), 13. www.artinprint.org/ 4. Evidenced by a Herzberg microchemical stain test of a small fiber sample from the bottom of the subscribe. dress and examination at 200x magnification. 5. Walford, Ready to Tear, 15. 6. Virginia Knight, “ ‘The Answer to Laun- dry in Outer Space’: The Rise and Fall of the

Art in Print July–August 2016 47 Prix de Print N0. 18 PRIX de dreams for the recruit 103 PRINT by Carey Maxon Juried by Marc Schwartz

This iteration of the Art in Print hen I was asked to consider being ably looked at each entry ten times, and Prix de Print has been judged by Marc W the juror for the Prix de Print, I did reviewed the five or six images I found Schwartz. The Prix de Print is a bimonthly my best to decline. I was honored by the most intriguing countless times. That competition, open to all subscribers, invitation, but anxious about the respon- said, from the start I was most drawn to in which a single work is selected by sibility. In 30-plus years as an active col- dreams for the recruit 103. This work pos- an outside juror to be the subject of a lector, I’d only been part of two juries, sesses themes that run throughout my brief essay. For further information both of which included renowned schol- print collection of Pop, Post World War on entering the Prix de Print, please ars, curators and artists such as Robert II and Contemporary African American go to our website: http://artinprint.org/ Storr, Terry Winters, Susan Lorence and artists. about-art-in-print/#competitions. Jodi Hauptman. In both instances, I took They say that pets take on the person- a back seat in the room and did my best to alities of their owners. I think art collec- Carey Maxon, dreams for the recruit 103 (2016) just be a fly on wall. tions do also. dreams for the recruit 103, my Lithograph, 15 x 38 inches. Edition of Judging the Prix de Print not only personality and the artwork on my walls 18. Printed and published by Derriere meant that was I going to be “flying solo” have these characteristics in common: L’Etoile Studios, Long Island City, NY. but that my decisions would be made - I see things in black and white, €700. from jpegs. While I’ve embraced technol- with some greys, but little color. ogy in most aspects of my life, there have - I’m okay with abstraction but seek been just a couple of instances where I’ve linear or symmetrical sensibilities. had to make a purchase without seeing - Visuals guide my emotions more the actual work. Even then, I had lots than story lines. of other information to work with. Yes, like this competition, my decisions have When I was told that Carey Maxon was always been guided by the visual impact the artist I had selected, I crossed my fingers and my emotional response to a work. that I would like more than this one work. I But any final decisions to go forward with was not only relieved and but excited when a purchase have been made after I’ve dug I saw her CV and more of her work. My eyes deep into the artist’s work and the print- have served me well once again. Maxon is a ers and publishers associated with the really good artist and I love her marks. The edition. interview with her in the February 29 issue To make matters worse, I was given of Culture Island suggests she is delightful. a deadline. One of the great advantages (A quality I rarely think about in reflecting of collecting prints is that editions usu- on my collection).1 Carey, you have an open ally take time to sell out, giving me ample invitation to visit Detroit—It’s a really time to contemplate the work before interesting place and I’d love to give you a finalizing a decision. When I have been tour of the city. pushed to make a quick decision, I’ve usually passed on the project. I’ve always Marc Schwartz is a contemporary art collector found comfort in knowing that at some who lives in Detroit. point another impression would come back on the market. The only question is at what price? Notes: 1. “Small Talk // Carrie Maxon // Visual Artist,” Given all my trepidation, I took on Culture Island, http://www.cultureisland.com/ this task with more weight on my shoul- visualhappenings/small-talk-carey-maxon-visual- ders than may have been merited. I prob- artist.

48 Art in Print July–August 2016 Carey Maxon, dreams for the recruit 103 (2016). Below: detail.

Art in Print July–August 2016 49 New York Auction Round-Up Spring 2016

otheby’s kicked off the spring print S sales with a three-part auction on 20–21 April. The evening sale on the 20th attracted a large crowd with a number of highly sought-after lots and achieved a strong sell-through rate of 90.6%. The first lots—linocuts by Sybil Andrews— drew little interest, with the first, Market Day (1936), selling to an absentee bidder at the low estimate of $15,000 and the second, Day’s End (1961) passed through with no bids. Things quickly gathered steam, however, and the next three lots shot past their high estimates: Étude pour une cor- rida (1971) by Francis Bacon at $93,750 (est. $40,000–60,000); Ste Sebastienne (1992) by Louise Bourgeois at $27,500 (est. $10,000–15,000); and Untitled: Four Prints by Jean-Michel Basquiat at $298,000 (est. $100,000–150,000). Other hits included Duchamp’s L.H.O.O.Q. Shaved (1965) at $100,000 (est. $30,000–50,000) and War- hol’s Moonwalk (1987) at $262,000 (est. $80,000–100,000), both of which set new Jasper Johns, Flags I (1973), screenprint in colors, 27 3/8 x 35 1/4 inches. Edition of 65, plus 7 auction records. The high seller for the artist’s proofs. Co-published by the artist and Simca Print Artists, Inc., New York. Courtesy Christie’s night was Picasso’s Portrait de jeune fille, Images Ltd. 2016. d’après Cranach le jeune (linocut, 1958), at $694,000 (est. $400,000–600,000), also a of works selling within estimated range. II (1972) at $15,000 (est. $5,000–7,000); new auction record. Among the few lots that unexpectedly Robert Motherwell’s At the Edge (1984) Bidding was less animated but still doubled their high estimates were Joan at $18,750 (est. $6,000–9,000); and Lee solid at the modern sale the next morn- Mitchell’s eight-lithograph portfolio Krasner’s Primary Series (1969) at $15,000 ing. Although all works by and after Cha- Poems (1992) at $13,750 (est. $1,500–2,500); (est. $6,000–9,000). gall sold, some struggled to meet the low DeKooning’s Untitled (man standing, fac- The well-attended evening sale began estimate, including The Pheasant (1966) ing left, 1970) at $27,500 (est. $8,000– with a group of German Expressionist at $20,000 (est. $30,000–50,000) and Sur 12,000); and two photo-lithographs by prints from the collection of Ann Nisen- la Terre des Dieux (In the Land of the Gods) Lesley Dill, Throat (1994) at $2,375 and son, which attracted live, telephone and (1967) for $81,250 (est. $80,000–100,000). Back (1994) at $2,750 (both est. $700– online bids. The preeminent lots in this Odalisque, brasero et coupe de fruits (litho- 1,000). The total sell-through rate for group included Max Pechstein’s Das Vater graph, 1929), surprised by surpassing its both sales on the 21st was a substantial Unser (The Lord’s Prayer, 1921), a complete high estimate more than fivefold in a bat- 84.5%. set of 12 woodcuts with hand-coloring, tle between phone and online bidders—it for $81,250 (est. $20,000–30,000), an auc- finally sold for $27,500 (est. $3,500–5,000). hillips’ two-part “Evening and Day tion record for the set; and Ernst Ludwig Other Matisses sold within or slightly P Editions” sale on 25 April posted Kirchner’s Kopf Ludwig Schames (Head of above estimate. Works by Picasso were strong numbers, with 300 of 345 lots sell- Ludwig Schames, 1918) for $35,000 (est. stable as well, though a couple surpassed ing, for an 87% sell-through rate. During $25,000–35,000). A number of other sales their estimates with room to spare: Le the morning sale, works by Ellsworth also broke records, including Keith Har- repos du sculpteur devant un centaure et Kelly, Frank Stella and Donald Judd ing’s Retrospect (1989) at $197,000 (est. une femme (etching, 1933) at $16,250 (est. were hot items, with many selling at the $100,000–150,000); Roy Lichtenstein’s $6,000–8,000) and Minotaure, Buveur et high end or over their estimates. Other View from the Window from Landscapes Femmes (etching and drypoint, 1933) at exceptional lots included Imi Knoebel’s series (1985) at $191,000 (est. $70,000– $30,000 (est. $12,000–18,000). Untitled (1994, an acrylic on aluminum 100,000); Cy Twombly’s, Lepanto III The afternoon contemporary sale con- multiple), for $6,875 (est. $1,500–2,500); (1996) at $106, 2500 (est. $25,000–35,000); tinued the trend, with the large majority Albers’s Formulation Articulation I and Andy Warhol’s Cow Wallpaper, Wall panels

50 Art in Print July–August 2016 Unsold

Sotheby’sPhillips Doyle Sold

*“Old Master Through Modern Prints” and “Contemporary Art” sales

Christie’sSwann Auction Galleries* Bonhams

(1966) for $100,000 (est. $25,000–35,000), Kollwitz, Halbfigur einer Frau mit ver- bid was lowered from $5,000 to $1,500; it a record for the artist’s wallpaper works; schränkten Armen (ca. 1905) (est. $10,000– reached $3,500 (est. $10,000–15,000). and Donald Judd’s four Untitled (1993) 15,000) and Frau mit Kindern in den Tod The afternoon sale of Post-War and woodcuts for $87,500 (est. $40,000– gehend (1924) (est. $10,000–15,000), both Contemporary work on the 26th included 60,000). Most of the higher-priced lots in at $25,000. More contemporary works the headline lot of the sale. In addition the evening sale sold extremely well, and that sold well included Karel Appel’s to Flags I, several other Johns prints sold only seven of 99 lots failed to find buyers, Paysages Humains (1961) at $10,000 (est. over estimate, including Untitled (linocut, for a 93% total sell-through rate. $2,000–3,000) and Richard Serra’s Hrep- 2000), for $27,500 (est. $10,000–15,000) pholar VII (1991) at $6,250 (est. $2,000– and Target, a 1967 color lithograph, for oyle’s prints and multiples sale 3,000). $20,000 (est. $8,000–12,000). Rauschen- D on 25 April featured a variety of berg’s monumental Booster (1967) sold mainly lower-priced lots, and attracted hristie’s three-session sale on for $118,750 (est. $80,000–120,000) and a respectable live audience. The sell- C 26–27 April marked another suc- the 1970 screenprint Signs, surprised through rate for the sale was 89% (261 of cessful auction, with an 86% sell-through at $35,000 (est. $10,000–15,000). Georg 293 lots). Although most lots found buy- rate and a remarkable new record price for Baselitz’s Trommler, a 1981-2 linocut, ers, a few higher-priced lots had trouble a print by Jasper Johns—the eye-popping more than doubled its estimate at $33,750 attracting any attention. Lucian Freud’s $1,685,000 bid for the 1973 color screen- (est. $8,000–12,000). But there was little Large Head (1993) and Woman with an print Flags I (est. $800,000–1,200,000). interest in works by Lucian Freud, with Arm Tattoo (1996) (both est. $40,000– The first Modern prints session had a only one of five works selling at the low 60,000) passed through, as did Helen small live audience and most bids were estimate to an absentee bidder [Head and Frankenthaler’s Tales of Genji V (1998) placed by phone or online. Of the open- Shoulders of a Girl (1990) for $30,000]. (est. $25,000–35,000). A higher-priced set ing run of 28 Mirós, only four did not sell Overall, the sell-through rate for Chris- by Andy Warhol, Martha Graham (1986) and two—La Baigneuse, (drypoint, 1938) tie’s first day was 79.3%. (est. $60,000–80,000), sold below esti- and Femme et Volcan, (etching 1938) went The following day the large number of mate for $55,000. On the other hand, a exceptionally high: $13,750 (est. $6,000– Warhols—all of which sold—contributed number of lots jumped markedly past 8,000) and $20,000 (est. $5,000–7,000) to an astonishing 97.1% total sell-through estimate, including Edvard Munch, The respectively. One pronounced weak spot rate for the second Post-War and Con- Woman and the Skeleton (1896) at $20,000 were the three Mary Cassatt prints—nei- temporary session. The sale began with (est. $7,000–10,000); George Grosz, ther The Coiffure(ca. 1891, est. $30,000– a run of Kelly and Stella prints, most of Nachtcafe (Für Dr. Benn) (1918) at $10,000 50,000) or Woman Bathing (La Toilette) which went above estimate. Standouts (est. $2,000–3,000); Egon Schiele, Male (ca. 1891, est. $70,000–100,000) found included Kelly’s Colored Paper Image XII Nude (Self Portrait) (1912) for $34,375 (est, buyers. The Bath (1891), offered without (Blue Curve with Brown and Gray, 1976) $10,000–15,000); and two works by Käthe a reserve, was sold only after the starting and Red Curve (State II, 1988) for $20,000

Art in Print July–August 2016 51 (est. $7,000–10,000) and $32,500 (est. $10,000–15,000) respectively; and Stella’s Double Gray Scramble (1973) for $68,750 (est. $20,000–25,000). Bridget Riley’s Untitled [Based on Blaze] (1964) sparked a battle between absentee, live, phone and online bidders—eventually going to a phone bidder for $60,000 (est. $15,000– 25,000). A dozen prints from Warhol’s Campbell’s Soup I and Campbell’s Soup II all sold above estimate, with the leader (pre- dictably) being Tomato at $106,250 (est. $40,000–60,000). The remainder sold for between $27,500 and $43,750 each.

wann Auction Galleries’ encyclo- S pedic three-part sale of old master through modern prints took place on 28 April, beginning with the 119-lot sale of a private collection, “A Collector’s Vision: Left: Rembrandt van Rijn, Self Portrait in a Cap and Scarf with the Face Dark: Bust (1633), etching, Works on Paper from the Belle Époque 13.5 x 10.5 cm. Right: Hendrick Goltzius, The Great Hercules (1589), engraving, 56 x 40.5 cm. and Beyond.” The total sell-through rate Courtesy of Swann Auction Galleries. for the auction was 71%, with 394 of 556 lots finding buyers. During the first session, Goya proved (est. $12,000–18,000); Old Bearded Man ties (1970) at $21,250 (est. $8,000–12,000) to be popular, with all five prints selling, in a High Fur Cap, with Eyes Closed (ca. and James Turrell’s Series B from First Light two etchings going notably above esti- 1653) for $30,000 (est. $10,000–15,000) (1989–90) at $21,250 (est. $10,000–15,000). mate: Que pico de Oro from the Caprichos and Saskia with Pearls in her Hair (1634) for (ca. 1799) at $8,125 (est. $3,000–5,000) and $40,000 (est. $20,000–30,0000). Among onhams’ “Modern & Contemporary Otra Locura suya en la Misma Plaza (1816) modern works, perennial favorites such B Prints & Multiples” sale on 7 June from the Tauromaquia at $6,000 (est. as Picasso and Miró sold consistently if yielded modest results with few sur- $2,000–3,000). Other noteworthy lots without drama, while the four Gauguin prises. The sell-through rate for the sale included Manet’s etching La Queue devant prints failed to attract any interest and was 70.9%, with 90 of 127 lots selling. la Boucherie (1870–71) for $5,250 (est. a high-priced lot by Munch, Der Tod im The top selling lots in the sale strug- $1,500–2,500); Paul Signac’s color litho- Krankenzimmer (1896) was also passed gled to pass low estimate, and included graph Application du Cercle Chromatique over at $50,000 (est. $70,000–100,000). Lichtenstein’s Reflections on Soda Foun- de Mr. Ch. Henry (1888) for $6,500 (est. One surprising lot was Emil Orlik Gustav tain (1991) for $47,500 (est. $40,000– $2,000–3,000); and Erich Heckel’s wood- Mahler (1902 etching and roulette), which 60,000); Picasso’s Après la Pique for cut Mann in der Ebene (1917) for $12,500 sold for $15,000, quintupling its high esti- $40,000 (est. $40,000–60,000) and War- (est. $3,000–5,000). Works by Pierre Bon- mate of $3,000. hol’s Liz (1965) for $37,500 (est. $30,000– nard were less successful, with only four Swann’s “Contemporary Art” sale on 50,000). One conspicuously popular of 13 prints selling. 12 May attracted a large audience and the artist was Leonard Tsuguharu Foujita: The second session featured old mas- auction house reports “a record number his 19 Plates from A Book of Cats (1929) ter prints. Works by Dürer consistently of first-time bidders.” Even so, the sell- sold for $31,250 (est. $15,000–25,000) and fetched prices within estimate with through rate was only 68% (233 of 345 lots). 3 Plates from A Book of Cats (1929) sold for the exception of St. Michael Fighting the A limited selection of works by Lichten- $5,000 (est. $1,200–1,800). Other excep- Dragon (woodcut, 1498), which rose to stein and Warhol produced unexceptional tional lots included Georg Baselitz’s $17,500 (est. $5,000–8,000). Two engrav- prices, though an unusual Lichtenstein Orangenesser (Orange Eater) (1981) for ings by Hendrick Goltzius also cleared silk panel intended for a dress, Sunrise $6,875 (est. $1,200–1,600) and Joan Mitch- their high estimates: The Great Hercules (1965) and Indian, an early 1951 painting ell’s Sunflower V(1992) for $12,500 (est. (1589) at $27,500 (est. $12,000–18,000) and by the artist, sold lower than expected, $3,000–5,000). The Dragon Devouring the Companions at $31,200 (est. $40,000–60,000) and —Isabella Kendrick of Cadmus (1588) at $16,250 (est. $3,000– $37,500 (est. $60,000–90,000) respec- 4,000). Rubens’ St. Catherine (ca. 1620) tively. On the other hand, his iconic Sweet exceeded expectations at $35,000 (est. Dreams, Baby! (1965) did surpass estimate $15,000–25,000). at $125,000 (est. $60,000–90,000). Works The third session began with a run by Alex Katz were generally strong, with of etchings by Rembrandt and interest Anne (screenprint on laser-cut aluminum, centered around the higher-end works, 1990), beating its estimate at $27,500 (est. Estimates do not include buyer’s premium; including Self Portrait in a Cap and Scarf $12,000–18,000). Other memorable lots prices achieved however include both the with the Face Dark: Bust (1633) for $37,500 included Ruscha’s Real Estate Opportuni- hammer price and buyer’s premium.

52 Art in Print July–August 2016 News of the Print World

Selected New Editions

Miguel Aragon, Aplacado (Siete cascos percudidos) (2016) Charles Atlas, Untitled (Teach (Leigh)) Aquatint, 48 x 36 inches. Edition of 10. Printed (1992–1998 / 2016). Annie Bissett, Relics: mezuzzah (2016). and published by Flatbed Press, Austin, TX. $1,800. John Baldessari, Engravings with Sounds: Iñaki Bonillas, Escritoria Noctura Sniffle, Engravings with Sounds: Sniggerand (Nocturnal Writing) (2016) Engravings with Sounds: Arg (2015) Series of 20 photogravures, 58 x 42.5 cm and 42.5 Archival pigment prints, 44 x 70 3/8 inches, x 58 cm each. Edition of 12. Printed and published 44 x 49 1/2 inches and 43 1/4 x 59 1/4 inches. by Niels Borch Jensen Editions, Copenhagen. Edition of 50 each. Printed and published by Cirrus €1,000 each. Editions, Ltd, Los Angeles. Price on request.

Miguel Aragon, Aplacado (Siete cascos percudidos) (2016). Iñaki Bonillas, from Escritoria Noctura John Armleder, Baronial (2016) (Nocturnal Writing) (2016). Rubber stamp print, image 3 1/2 inches in John Baldessari, Engravings with Sounds: diameter, sheet 9 1/2 x 9 1/2 inches. Variable Sniffle (2015). Jack Davidson, davidelvisandi (2016) edition of 60. Printed by the artist with the Woodcut, image 18 x 15 inches, sheet 24 1/2 x 21 assistance of Brad Ewing at The Grenfell Press, Allison Bianco, Pouring on Jamestown (2016) inches. Edition of 20. Printed and published by New York. Published by World House Editions, Hard ground etching with aquatint, screen- Manneken Press, Bloomington, IL. $900. Middlebury, CT. $400. print, 36 x 60 inches. Edition of 7. Printed and published by the artist and Cade Tompkins Untitled (2016) Projects, Providence, RI. $8,500. Eleven monotypes, 30 x 22 and 22 x 30 inches each. Unique images. Printed and published by Manneken Press, Bloomington, IL. $2,500

John Armleder, Baronial (2016). Allison Bianco, Pouring on Jamestown (2016). Ann Aspinwall, Spirit of Place V–VII (2016) Four-color screenprints, 44 x 30 inches each. Dara Birnbaum, Untitled (Transmission Tower: Edition of 15 each. Printed and published by Sentinel) (1992 / 2016) Aspinwall Editions, New York. $1,600. Archival photographic print, 16 x 20 inches. Edition of 50. Printed by Laumont Studios, New Jack Davidson, davidelvisandi (2016). York. Published by the artist, Marion Goodman Gallery and The Kitchen, New York. $1,200. Jeffrey Dell, Second Moonbeast (2016) Screenprint, 34 x 23 inches. Edition of 5. Printed and published by the artist, San Marcos, TX. Available from Art Palace Gallery, Houston, TX and The Print Center, Philadelphia, PA. $2,400.

Ann Aspinwall, Spirit of Place V (2016). Dara Birnbaum, Untitled (Transmission Tower: Sentinel) (1992 / 2016). Charles Atlas, Untitled (Teach (Leigh)) (1992–1998 / 2016) Annie Bissett, Relics: mezuzzah (2016) Archival photographic print, 16 x 20 inches. Watercolor woodblock print (mokuhanga), Edition of 50. Printed by Laumont Studios, 13 x 13 inches. Edition of 8. Printed and published New York. Published by the artist, Luhring by the artist, Northampton, MA. $450. Jeffrey Dell, Second Moonbeast (2016). Augustine and The Kitchen, New York. $1,200.

Art in Print July–August 2016 53 Gary Justis, Murano and Rococo (2016) James Nares, Early Days (2015) Series of monoprints numbered 1–12 (Murano) Screenprint, 46 7/8 x 34 3/4 inches. Edition of and a series of monoprints numbered 1–19 48. Printed and published by Durham Press, (Rococo), 42 1/2 x 32 1/2 inches each. Unique Durham, PA. Price on request. imag. Printed and published by Manneken Press, Bloomington, IL. $3,500.

David X. Levine, Dianna Lynn Howles (2015).

Katherine Marmaras, Unleashing on blue... (2015) Collagraph, water-based woodblock print and hand-coloring, 24.5 x 24.5 cm. Unique image. James Nares, Early Days (2015). Gary Justis, from Rococo (2016). Printed and published by the artist, Hawthorn, Victoria, Australia. $325 AUD. Wendy Orville, Nisqually Dusk (2016) Jacob Kassay, Untitled (From Minimalism Monotype, 10 1/2 x 7 inches. Unique image. Into Algorithm) (2016) Printed and published by the artist, Bain- Die-cut print on manila paper with offset ink bridge Island, WA. Available through Davidson Multispec pattern, 30 4/5 x 19 1/5 inches. Edition Galleries, Seattle, WA. $850. of 100. Printed by Publicide, New York. Pub- lished by the artist, 303 Gallery and The Kitchen. Created as a special benefit edition to celebrate The Kitchen's 45th anniversary program and exhibition. $30 unsigned, $500 signed and framed.

Katherine Marmaras, Unleashing on blue... (2015).

Alexander Massouras, Moline, Illinois (2016) Etching, 15 x 20 cm. Edition of 100. Printed and published by the artist, Oxford, UK. Available from Julian Page Fine Art, London. £400. Wendy Orville, Nisqually Dusk (2016).

Jaume Plensa, We (2016) Polymer relief printed on Moulin du Gue, 22 1/2 x 15 inches. Edition of 20. Printed and published by Bleu Acier, Tampa, FL. Price on request. Jacob Kassay, Untitled (From Minimalism Into Algorithm) (2016).

Per Kirkeby, Untitled (2016) Series of 10 prints: spit bite aquatint, sugar lift aquatint, line etching and drypoint, 91 x 78.5 cm each. Edition of 12. Printed by Niels Borch Jensen Editions, Copenhagen. Published by Knust & Kunz, Munich. Price on request. Alexander Massouras, Moline, Illinois (2016).

Yoonmi Nam, POP CORN! (2016) Mokuhanga, 36 x 24 inches. Edition of 4. Printed and published by the artist, Lawrence, KS. $850.

Jaume Plensa, We (2016).

Endi Poskovic, Zlatan (2016) Woodcut, 100 x 70 cm. Edition of 30. Printed and published by the artist in Kraków, Poland. Avail- able from Stewart & Stewart, Bloomfield Hills, Per Kirkeby, from Untitled (2016). MI. $1,200.

David X. Levine, Gang Hee Lee, Dianna Lynn Howles and Dorothy Lena Drago (2015) Two-color lithographs, 11 x 8 1/2 inches each. Edition of 10 each. Printed and published by Tamarind Institute, Albuquerque, NM. $500 Yoonmi Nam, POP CORN! (2016). each.

54 Art in Print July–August 2016 Shahzia Sikander, Portrait of the Artist (2016) Exhibitions of Note Suite of four etchings with original colophon by Ayad Akhtar, 27 x 21 inches each. Edition of 40. ALBUQUERQUE, NM Printed by Sarah Carpenter, Justin Israels and “Color Coded” Kyle Simon. New York. Published by Pace 17 June – 2 September 2016 Editions, Inc., New York. Price on request. Tamarind Institute http://tamarind.unm.edu “Desert Triangle Print Carpeta” 1 – 30 July 2016 New Grounds Gallery http://newgroundsgallery.com

AThENS, GA Endi Poskovic, Zlatan (2016). “Paper in Profile: Mixografia and Taller de Gráfica Mexicana” 4 June – 21 August 2016 Mary Prince, Moon Over Little Long Pond (2016) Georgia Museum of Art Woodcut, 22 x 30 inches. Edition of 12. Printed by Anthony Kirk, North Salem, NY. Published by http://georgiamuseum.org the artist, North Salem. Available from Stewart & Shahzia Sikander, from Portrait of the Artist “Pushing the Press: Printmaking Stewart, Bloomfield Hills, MI $2,250. (2016). in the South” 2 June – 6 August 2016 hunt Slonem, Lucky Charm 4 (2016) Lyndon House Arts Center Archival pigment print, 30 x 22 inches. Edition of https://lyndonhouseartsfoundation.com/ 10. Printed and published by Stewart & Stewart, Bloomfield Hills, MI. $1,500. AUSTIN, TX “Goya: Mad Reason” 19 June – 25 September 2016 “Xu Bing: Book from the Sky” 19 June 2016 – 22 January 2017 Blanton Museum of Art Mary Prince, Moon Over Little Long Pond http://blantonmuseum.org (2016). “John Robert Craft: Scorch and Drag” 17 June – 27 August 2016 Tal R, Girl drawing Lily (2016) Flatbed Press and Gallery Series of 12 prints: woodcut, sugar lift aquatint, http://flatbedpress.com soft ground aquatint, drypoint, 60 x 43 cm each. Edition of 24. Printed and published by Niels Hunt Slonem, Lucky Charm 4 (2016). BELLEvUE, WA Borch Jensen Editions, Copenhagen. €800 each. “Emancipating the Past: Kara Walker's Xochi Solis, The way we look to a distant Tales of Slavery & Power” constellation XV (2016) 8 July – 27 November 2016 Collagraph, monotype, relief, photo lithograph, Bellevue Arts Museum collage, 50 x 40 inches. Printed and published http://www.bellevuearts.org/ by Amanda Verbeck, Pele Prints, St. Louis, MO. $2,200. BERLIN “Max harms homage to Klaus heider” 12 August – 10 September 2016 55 limited Printmaking & Gallery http://55ltd.net

BURGDORF, SWITzERLAND “Claas Gutsche: Risse im Beton” 25 June – 11 November 2016 Tal R, from Girl drawing Lily (2016). Museum Franz Gertsch http://www.museum-franzgertsch.ch/ Alison Saar, High Yella' Blue (2016) Intaglio and pochoir on vintage handkerchiefs, Xochi Solis, The way we look to a distant CAIRNS, AUSTRALIA 12 x 12 inches. Edition of 21. Printed and pub- “InkMasters Print Exhibition” constellation XV (2016). lished by Tandem Press, Madison, WI. $3,000. 29 July – 21 August 2016 Tanks Art Centre Danh vō, 01.08.1945 (2016) http://inkmasterscairnsinc.ning.com/ Photogravure, 39 x 42 cm. Edition of 24. Printed and published by Niels Borch Jensen Editions, Copenhagen. Price on request. CAMBRIDGE, UK “1816: Prints by Turner, Goya and Cornelius” 9 February – 31 July 2016 The Fitzwilliam Museum http://www.fitzmuseum.cam.ac.uk/

ChICAGO “van Dyck, Rembrandt and the Portrait Print” 5 March – 7 August 2016 Alison Saar, High Yella' Blue (2016). Art Institute of Chicago Danh Vō, 01.08.1945 (2016). http://artic.edu

Art in Print July–August 2016 55 MOUNTAIN vIEW, CA “Michelle Wilson: Water Lines” 22 July – 28 August 2016 Mohr Gallery, Community School for Music and Art http://www.arts4all.org/

NEW BRUNSWICK, NJ “Infinite Opportunities Offered in Color”: Prints by helen hyde and Bertha Lum” 13 February – 31 July 201 “More than Fifteen Minutes of Fame: Warhol's Prints and Photographs” 16 January – 31 July 2016 Zimmerli Art Museum http://zimmerlimuseum.rutgers.edu

NEW YORK “Fragile Beasts” 11 June 2016 – 16 January 2017 Cooper Hewitt http://cooperhewitt.org “MANTEGNA: William Kentridge & Chuck Webster” In San Francisco through 9 October: “Ed Ruscha and the Great American West.” Ed Ruscha, “DKW Prints: Brian Shure & DKW Artists” Standard Station (1966), color screenprint, 25 5/8 x 40 inches. Fine Arts Museums of San Francisco. 23 June – 29 July 2016 David Krut Projects COLOGNE, GERMANY MADISON, WI http://davidkrut.com “Made in Britain: Michael Craig-Martin, “The Generosity of Richard Brock: “Innervisions: New Prints 2016/Summer” David hockney, Patrick hughes, and Prints, Drawings, and Paintings” 16 June – 24 September 2016 Julian Opie” 29 April – 7 August 2016 International Print Center New York 8 June – 30 July 2016 “Japanese Masterworks: Woodblock Prints http://ipcny.org Galerie Boisseree from the Chazen Museum of Art Collection” http://boisseree.com 6 May – 14 August 2016 “The Lives of Forms” Chazen Museum of Art 26 May – 26 August 2016 DAChAU, GERMANY http://chazen.wisc.edu Lower East Side Printshop “Georg Baselitz ‘Mit Richard unterwegs’: http://printshop.org Printmaking 1995–2015” MERIDEN, Nh “Eye for Design” 3 June – 15 August 2016 “Steven Ford: Survey” 7 June – 18 September 2016 Dachau Palace 11 June – 24 July 2016 Museum of Arts and Design https://www.vr-dachau.de/ Aidron Duckworth Art Museum http://madmuseum.org http://www.aidronduckworthmuseum.org/ FORT WORTh “Louise Nevelson: Prints” MINNEAPOLIS 17 February – 31 July 2016 “hot Off the Press: The 28th “Procession: The Art of Norman Lewis” Cooperative Exhibition” 4 June – 21 August 2016 8 July – 27 August 2016 Amon Carter Museum of American Art Highpoint Center for Printmaking http://cartermuseum.org http://highpointprintmaking.org

GREENBELT, MD MONTGOMERY, AL “Convergence: Narratives & Symbols” “harmonics: Joe Almyda’s Works on Paper” 16 May – 22 July 2016 11 June – 14 August 2016 U.S. District Courthouse “Women’s Work: Prints from the http://www.umuc.edu/visitors/events/art/ Collection of the Montgomery Museum of Fine Arts” LEWISTON, ME 2 July – 25 September 2016 “Robert Indiana: Now and Then” Montgomery Museum of Fine Arts 10 June – 8 October 2016 http://mmfa.org/ Bates College Museum of Art http://www.bates.edu/museum MONTREAL “Toulouse-Lautrec Illustrates the LONDON Belle Époque” “Bill Jacklin RA: The Graphic Work 17 June – 13 November 2016 1961–2016” Montreal Museum of Fine Arts 3 June – 28 August 2016 http://www.mbam.qc.ca/en/ Royal Academy of Arts https://www.royalacademy.org.uk/ MOUNT vERNON, IL “Printmaking - A Fine Art: 20 Years LOS ANGELES of Wildwood Press, St. Louis” In New York through 16 January: “Fragile Beasts.” “Picasso and his Printers” 15 May – 17 July 2016 Master of the Die, Print, Grotesque with Dol- 23 July – 27 November 2016 Cedarhurst Center for the Arts phins and Winged Lions (1532) engraving on http://www.cedarhurst.org/l Los Angeles County Museum of Art laid paper, 45.7 × 35.6 cm. Collection of Cooper http://www.lacma.org/ Hewitt, Smithsonian Design Museum.

56 Art in Print July–August 2016 PhILADELPhIA The Sherwin Miller Museum of Jewish Art “Jeffrey Dell: Sightings” http://jewishmuseum.net/ “Leah Mackin: Portable Document” “Andrew Fillmore: This Time is Always UNIvERSITY PARK, PA the Present” “The Prints of Jules heller” 6 May – 6 August 2016 17 May – 14 August 2016 The Print Center Palmer Museum of Art, http://printcenter.org Pennsylvania State University http://palmermuseum.psu.edu/ PORTSMOUTh, Nh “Don Gorvett: 25 Years in Portsmouth, Nh” WAShINGTON, DC 7 August – 11 October 2016 “Three Centuries of American Prints Strawbery Banke Museum from the National Gallery of Art” http://www.strawberybanke.org/index.cfm 3 April – 24 July 2016 National Gallery of Art PROvIDENCE http://www.nga.gov/ “Drawing Conclusions: Prints, “Martin Puryear: Multiple Dimensions” Drawings, and Photographs” 27 May – 5 September 2016 22 January – 25 September 2016 Smithsonian American Art Museum RISD Museum http://americanart.si.edu// http://risdmuseum.org/

SAN DIEGO, CA Fairs In Washington, DC through 24 July: “Three “Damon Davis: All hands on Deck” Centuries of American Prints from the National 4 June – 24 July 2016 Gallery of Art.” Richard Diebenkorn, Green Museum of Contemporary Art San Diego BROOKLYN (1986), spitbite aquatint, soapground aquatint, https://www.mcasd.org “Independent Art Book Fair” and drypoint, image 114.3 x 89.5 cm, sheet 135.9 16 – 18 September 2016 x 103.5 cm. National Gallery of Art, Washington, Greenpoint Terminal Warehouse SAN FRANCISCO http://independentartbookfair.com/ Eugene L. and Marie-Louise Garbaty Fund and “Ed Ruscha: Made in San Francisco” Patrons’ Permanent Fund. ©The Richard 12 July – 10 September 2016 NORWICh, UK Diebenkorn Foundation. Crown Point Press “Norwich Print Fair” http://crownpoint.com “Edgar Degas: A Strange New Beauty” 5 – 17 September 2016 26 March – 24 July 2016 “Ed Ruscha and the Great American West” St. Margaret's Church Gallery “Dadaglobe Reconstructed” 16 July – 9 October 2016 http://www.norwichprintfair.co.uk/ 12 June – 18 September 2016 “Paulson Bott Press: Celebrating “Bruce Conner: It's All True” Twenty Years” NEW YORK 3 July – 2 October 2016 16 July – 23 October 2016 “NY Art Book Fair” Museum of Modern Art “Wild West: Plains to the Pacific” 16 – 18 September 2016 18 June – 11 September 2016 http://moma.org MoMA PS1 De Young Museum http://printedmatter.org https://deyoung.famsf.org/ “The Art of Photogravure” 18 April – 18 July 2016 SYRACUSE, NY RCS Fine Art SANTA FE “Print Fair / Symposium” http://rcsfineart.com “Susan York: Sculpture, Drawings, 23 September 2016 – 25 September 2016 Lithographs” Syracuse University Art Galleries 3 June – 23 July 2016 “Martin Puryear: Etchings” http://suart.syr.edu James Kelly Contemporary 21 May – 29 July 2016 http://www.jameskelly.com/ Senior & Shopmaker http://seniorandshopmaker.com “Kiki Smith: Woven Tales” New Books 30 May – 30 July 2016 “City of the Soul: Rome and the Romantics” Peters Projects James McNeill Whistler Prints 17 June – 11 September 2016 http://www.petersprojects.com/ Gordon Cooke and Catherine Bindman The Morgan Library and Museum 120 pages, 79 color illustrations http://www.themorgan.org/ SEATTLE Published by The Fine Art Society, London, “Graphic Masters: Dürer, Rembrandt, and C.G. Boerner, New York, 2016 NEWARK, NJ hogarth, Goya, Picasso, R. Crumb” £10. “Impressions of the Natural World: 9 June – 28 August 2016 Japanese Prints from the Special Seattle Art Museum Collections Division” http://seattleartmuseum.org 18 April – 6 August 2016 Newark Public Library SYRACUSE, NY http://www.npl.org/l “About Prints: The Legacy of Stanley William hayter and Atelier 17” PhILADELPhIA 18 August – 20 November 2016 “Breaking Ground: Printmaking in the US, Syracuse University Art Galleries 1940–1960” http://suart.syr.edu 26 March – 24 July 2016 Philadelphia Museum of Art TULSA, OK http://philamuseum.org “Fluid Expressions: The Prints of helen Frankenthaler” 7 June – 17 September 2016

Art in Print July–August 2016 57 Frank Stella Prints: A Catalogue Raisonné Other News Richard Axsom 432 pages, illustrated in color Call for Entries: New York International Published by Jordan Schnitzer Family Miniature Print Exhibition Foundation, Portland, 2016 The Manhattan Graphics Center has announced $75. its second juried competition and exhibition devoted to miniature prints. The exhibition will run 1 November–18 December 2016 at MGC’s gallery, with an opening reception during New York Print Week. All printmaking media, including relief, intaglio, lithography, silkscreen, monotype and letterpress will be accepted. The maximum paper size is 8 x 10 inches and the maximum image size is nine square inches. The deadline for entry is 15 August 2016. For more information, go to http://www.manhattangraphicscenter.org/.

Call for Papers: “More than meets the page”: Printing Text and Images in Italy, 1570s–1700s No Cross, No Crown: Prints by James Barry For Italy, the “long 17th century” was a period of Catherine Bindman financial challenges, especially in the book mar- 64 pages, 39 illustrations ket. Yet thanks to new techniques and formats, Published by Snite Museum of Art, innovative genres were born and marketed to University of Notre Dame, South Bend, 2016 both the learned and the illiterate. This one-day $15. interdisciplinary conference at the University of Warwick on 4 March 2017 aims to investigate the Above: Fine Arts Museums of San Francisco ways in which the consolidation of the book and acquires Paulson Bott Press Archive. Pictured: print trade influenced the development of new Margaret Kilgallen, SLOE (1999), color aquatint book genres from the late 16th to the early 17th and sugarlift aquatint, 36 x 24 1/2 inches. Edition century, focusing on the products, audiences and 30. Printed and published by Paulson Bott Press, professionals involved. Papers are invited from Berkeley, CA. both established and emerging scholars in uni- versities, museums, galleries and other related Below: University of Colorado Art Museum institutions. Abstracts for 20-minute papers, not receives gift to acquire Shark’s Ink Print Archive. exceeding 300 words, accompanied by a brief Pictured: Betty Woodman, The Ming Sisters academic CV (100 words), should be sent by 31 (2004), 14-color woodcut with chine collé and August 2016 to: [email protected]. For pochoir, 34 x 37 inches. Edition of 30 plus proofs. Cinque xilografie della Passione da more information, please go to https://www2.war- Printed by Bud Shark, assisted by Evan Colbert, Altomünster alla Biblioteca Classense wick.ac.uk/fac/arts/hrc/confs/pti/. Lyons, CO. Published by Shark’s Ink, Lyons, CO. di Ravenna Lorenzo Gigante. Introduction by David Landau 95 pages, 59 color and 6 b/w illustrations Published by Longo Editore, Ravenna, Italy, 2016 €20.

Notes From a Printmaker: Essays, Images and Interviews Bob Tomolillo 97 pages, 27 illustrations Published by Park Press Printers, 2016 $24.99.

58 Art in Print July–August 2016 Left: Demonstration of waterless lithography by Rahman Mohamed at the Jogja International Miniprint Biennale in Yogyakarta, Indonesia. Right: Display of works at the Jogja International Miniprint Biennale.

to represent the entirety of the press’s output to Call for Works: Dieu Donné Moves to Brooklyn date, the Paulson Bott Press Archive will be held Donald Judd Catalogue Raisonné After ten years at their 36th Street location in at the Achenbach Foundation for the Visual Arts The Judd Foundation has announced a call for Manhattan, Dieu Donné paper workshop has at the Legion of Honor. works to initiate a public research phase of the announced it will be moving to the Brooklyn An exhibition celebrating the acquisition and Donald Judd Catalogue Raisonné focused on Navy Yard in the fall of 2016. The move will allow the press will be held at the De Young Museum in the documentation of paintings, objects, and for needed expansion with three new studios, San Francisco, 16 July – 23 October 2016. woodblocks by Donald Judd. Building on archi- including the only dedicated papermaking stu- val research by the Judd Foundation and schol- dios for education and artist “keyholder” work. ars, the call for works seeks to engage collectors, Museum of Modern Art Acquires galleries and institutions. The project will cul- Edition Jacob Samuel Archive 2nd Jogja International Miniprint Biennale minate in the publication of an updated and The Museum of Modern Art in New York has The 2nd Jogja International Miniprint Biennale expanded catalogue raisonné that will provide a acquired the complete archive of prints pro- (JIMB) 2016 took place in Yogyakarta, Indonesia, comprehensive source for Judd scholarship. The duced by Edition Jacob Samuel. Since 1988, Jacob 24 May–10 June. The exhibition included 110 foundation invites owners of Donald Judd art- Samuel has published 65 projects with 60 artists miniature print works from 77 finalists, with five works to submit relevant information and pho- including Marina Abramovic, John Baldessari, guest artists and a special exhibition of seven tographic documentation. Submitted materials Chris Burden, Mona Hatoum, Rebecca Horn, Indonesian artists. The exhibited works were will become part of the Judd Foundation Archives Anish Kapoor, Barry McGee, Ed Moses, Mat- selected from a total of 331 works by 147 artists with all private collector information treated thew Monahan, Wangechi Mutu, Gabriel Oro- from 30 countries. Winners of the top awards were confidentially. Details and forms are available at zco, Nancy Rubins, Ed Ruscha, Robert Therrien, Deborah Chapman (Canada), Dimo Kolibarov www.juddfoundation.org/catalogue. James Welling, Christopher Wool and Andrea (Bulgaria), Paolo Ciampini (Italy), Silvana Marti- Zittel, among many others. Samuel has now gnoni (Italy) and Weronika Siupka (Poland). The University of Colorado Art Museum ended his publishing program, while continuing Biennale also included demonstrations of print- Receives Lead Gift to Acquire Shark’s Ink to sell remaining editions through his website. making techniques and lectures/discussions. Print Archive The art museum at the University of Colorado Boulder (CUAM) has kicked off an initiative to purchase and manage the Sharkive, a distinguished collection comprising 40 years of printmaking by renowned artists working at Shark’s Ink of Lyons, Colorado. In 1976, master printer Bud Shark and his wife, Barbara, opened Shark’s Lithography in downtown Boulder, then relo- cated to Lyons and renamed the studio Shark’s Ink in the late 1990s. Among the notable artists who have made prints at Shark’s are John Buck, Enrique Chagoya, Red Grooms, Jane Hammond, Robert Kushner, Hung Liu and Betty Woodman.

Fine Arts Museums of San Francisco Acquire Paulson Bott Press Archive The Fine Arts Museums of San Francisco have announced the acquisition of the Paulson Bott Press Archive. Master printers and press owners Pam Paulson and Renée Bott are known for their expertise in intaglio processes and for pushing the boundaries of traditional printmaking. They have worked with internationally recognized artists such as Martin Puryear, Spencer Finch and Tauba Auerbach, as well as with those outside the mainstream of the art world, such as Mary Lee Bendolph, one of the Gee’s Bend quilters. More than half their publications are by minority and/ or women artists. Museum of Modern Art acquires Edition Jacob Samuel Print Archive. Pictured: Chris Burden, Black Comprising nearly 500 prints by more than Trash Bag from the series Coyote Stories (2005), etching and aquatint, 15 x 12 3/8 inches. Edition of 40 artists and complementing existing holdings 18. Printed and published by Edition Jacob Samuel, Santa Monica, CA.

Art in Print July–August 2016 59 In Paris: Salon International du Livre Rare, de l’Autographe, de l’Estampe et du Dessin. Above: main hall of the Grand Palais. Center Row, Left to Right: pop-up spread from ABC in Living Models from the Bookano Series (1930); Armand-Louis-Henry Télory, set of anamorphic prints with mirrored viewing cylinder (ca. 1870); Louis-Pierre Baltard, spread from Fortification. Batteries Tournantes (1810), a volume of architectural watercolors given as a birthday gift to Napoléon; Bottom Row: views of the event. Photos: J. Bernatz.

Salon International du Livre Rare, de IFPDA Announces Recipients of 2016 Erratum l’Autographe, de l’Estampe et du Dessin Curatorial Internship Grants at the Grand Palais, April 2016 The International Fine Print Dealers Associa- The May–June 2016 issue of Art in Print Since 2007 the vast hall of the Grand Palais tion (IFPDA) announced the award of grants omitted the entry for Eminence Grise Edi- in Paris has been the venue for the Salon to six art institutions under the IFPDA Foun- tions / Michael Steinberg Fine Art in our International du Livre Rare, de l’Autographe, dation’s program to support curatorial intern- International Directory. We apologize for the de l’Estampe et du Dessin. One of the most ships in museum print collections. Now in its oversight and have updated the entry online enchanting events of its kind, it is also one third year, the program offers funding to host and in our back issues: of the largest. Over 200 exhibitors were pres- a summer curatorial intern, reflecting the Eminence Grise Editions / ent, most allied with the Ligue Internationale IFPDA’s belief in the importance of early Michael Steinberg Fine Art de la Librairie Ancienne and the la Cham- career exposure to prints, as well as its com- 136 Baxter Street, New York, NY 10013 bre Syndicale de l’Estampe, du Dessin et du mitment to fostering connoisseurship among http://michaelsteinbergfineart.com/ Tableau. young curators, scholars and dealers. The Artists include: Derrick Adams, Ghada Amer, On view this spring were original volumes recipients of this year’s grants are: the Chrys- Chuck Close, Lauren Comito, Carroll Dun- and manuscripts, multiples, scholarly and ler Museum of Art, the Davis Museum at ham, Yevgeniy Fiks, Sandrine Guerin, Lyle popular books, photographs, maps, posters Wellesley College, the Harvard Art Museums, Ashton Harris, Sean Mellyn, Kehinde Wiley and Old Master prints and drawings, as well the Museum of Fine Arts, Houston, the RISD Publishers of contemporary editions in all a variety of contemporary works. There were Museum and the St. Louis Mercantile Library media. demonstrations of traditional printmaking at the University of Missouri–St. Louis. methods and displays dedicated to the efforts of small presses, papermakers and arts organi- Please submit announcements of zations throughout France. exhibitions, publications and other events to [email protected].

60 Art in Print July–August 2016 THE POWER OF PRINT

Details: Christine Corday, David Shapiro, Josely Carvalho

wildwoodpress.us artnet.com ifpda.org

Max Harms Homage to Klaus Heider in coöperation with the Kunsthalle Göppingen Opening August 11 19:00 Exhibition August 12 - September 10, 2016

Sean Caulfield at 55 limited an Artist‘s Book Opening September 13 19:00 Exhibition September 14 - 24, 2016

55 limited at Positions Berlin Art Fair 2016 Sean Caulfield & Peter Th. Mayer Opening September 15 18:00 Exhibition September 15 - 18, 2016

55 limited‘s Autumn Group Show various Artists, various Nations, various Prints: that‘s Intaglio!! Opening September 29 19:00 Exhibition September 30 - October 29, 2016

55 limited Printmaking & Gallery Berlin 5 5 Feurigstrasse 62 10827 Berlin Germany [email protected] www.55ltd.net 49-30-78.89.34.98

Art in Print July–August 2016 61 Announcing the 2016 Recipients of IFPDA Grants to support Curatorial Internships

Chrysler Museum of Art The Davis Museum at Harvard Art Museums Wellesley College St. Louis Mercantile Library at The Museum of Fine Arts, Houston the University of Missouri RISD Museum

The IFPDA Foundation awards funding annually to museum print collections to support distinctive internships that offer young scholars object-based working experience under the guidance of the field’s leading specialists. Recognizing the value of early career exposure to prints, the IFPDA Foundation aims to empower print curators to cultivate the next generation of scholars, curators, dealers and specialists.

ifpda.org #ifpda #collectprints

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62 Art in Print July–August 2016 ED RUSCHA: MADE IN SAN FRANCISCO JULY 12 - SEPTEMBER 10, 2016

The exhibition is accompanied by a color catalog illus- trating all 39 etchings made by Ruscha at crown Point Press beginning in 1982. The catalog also documents Scratches, Spit and Vinegar, a 2016 exhibition curated by Ruscha of prints by other artists working at crown Point. 108 pages. $40.

CROWN POINT PRESS 20 HawTHoRnE STREET San FRanciSco, ca 94105 (415) 974-6273 cRownPoinT.coM

VISIT OUR WEBSITE TO SEE NEW PRINTS FROM SUZANNE CAPORAEL ROBERT COTTINGHAM JIM DINE IKEDA MANABU SANDRA RAMOS ALISON SAAR

WWW.TANDEMPRESS.WISC.EDU Robert Cottingham [email protected] CORONA, 2015 608.263.3437 Woodcut 38 1/2“ x 38 1/2“

Art in Print July–August 2016 63 Jack Davidson New Woodcut Edition & Monotypes

davidelvisandi, 2016 Woodcut 24 ½” x 21”, edition of 20 Published by Manneken Press

(309) 829-7443 [email protected] www.mannekenpress.com

STRAWBERY BANKE MUSEUM

Portsmouth, NH

Aug 7 - Oct 11, 2016

Twilight, Portsmouth’s Finest Hour, Too Reduction Woodcut, 29” x 44”, edition 25 PORTRAIT OF A PORT Don Gorvett: 25 Years in Portsmouth, NH. Woodcut Prints & Drawings

Piscataqua Fine Art Gallery & Studio • 123 Market St. Portsmouth, NH 55 • 603.436.7278 • [email protected]

64 Art in Print July–August 2016 Hung Liu

Route 66 (2016) Color Lithograph • 25 1/4” x 31 1/2” University of Notre Dame • www.segura.com • (574) 631-9849

SARA GREENBERGER RAFFERTY 12 NEW MONOPRINTS

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Art in Print July–August 2016 65 (2013) ed.16 Arctic" Moon in "Private x 30”; screenprint 22”

HAND PRINT WORKSHOP INTERNATIONAL and LEONID TISHKOV PRIVATE MOON AMERICA For more information, contact Dennis O’Neil, Director, Hand Print Workshop International [email protected]

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66 Art in Print July–August 2016 Suscríbete a la revista sobre grabado más pionera Subscribe to the most pioneering print magazine

Art in Print July–August 2016 67 Contributors to this Issue 2nd New York International Miniature Print Exhibition 2016 CALL FOR ENTRY Marlen Börngen is a post-graduate fellow at the Restaurierungszentrum der Landeshauptstadt Düsseldorf.

Angela Campbell is Assistant Paper Conservator at the Metropolitan Museum of Art. Juror Janina Ciezadlo is a writer and artist. She has written for Afterimage: the Journal of Media Arts and David Kiehl, Nancy and Fred Poses Cultural Criticism, the Chicago Reader, NewCity and in various scholarly publications. Her prints, pho- Curator, Whitney Museum of tographs and watercolors were shown at Luminous Herbarium, Volume II at Concordia College, Chicago American Art, New York in 2015. Deadline Matthew A. Coleman is an art, media and visual culture historian based in Portland, Oregon. He August 15th, 2016 holds an MA in Art History from the School of the Art Institute of Chicago and is a resident curator for Enter online at ACRE (Artists’ Cooperative Residency and Exhibitions). He has presented papers on the attraction to manhattangraphicscenter.org remote deserts in the land art movement, data as an object that affects global ecology and the intersec- tions of art, media, Mormonism and technology on Utah’s Bonneville Salt Flats.

Linda Konheim Kramer, Executive Director Emerita of the Nancy Graves Foundation, previously held curatorial and administrative positions at the Guggenheim Museum. She was also Curator of Prints and Drawings at the Brooklyn Museum. She received her Ph.D. from New York University, In- stitute of Fine Arts.

Whitney Kruckenberg received her PhD in art history from Temple University’s Tyler School of Art in 2014. She has taught art history at a variety of colleges in Philadelphia and New York City, including Temple University, Rutgers University–Camden and the Pratt Institute.

Megan N. Liberty is a writer based in Brooklyn. She has an MA in art history from the Courtauld Institute of Art and a BA from Dickinson College. Her interests include text and image, artists’ books Cleveland Fine Print Fair and ephemera and archive curatorial practices. 22-25 September 2016 Cleveland Museum of Art Michael F. Marmor is Professor of Ophthalmology at Stanford University School of Medicine. The IFPDA Print Fair author of many scientific papers and books, he is has also written pioneering studies on the role of 2-6 November 2016 vision and eye disease in art and created visual simulations to demonstrate the effects of visual loss Park Avenue Armory • NYC on art, including the late works of Monet and Degas. His latest book on art is The Artist’s Eyes (2009).

Peter Milton began his artistic life as a painter, but his color blindness suggested that giving up paint Printer/Publisher & Dealer of Fine Prints Since 1980 and color for texture might prove a happier course. His work is prepresented in more than 100 public www.StewartStewart.com collections, and has been exhibited internationally, most recently at the Evergreen Museum of Johns IFPDA Member Hopkins University.

Kate McCrickard is an artist and writer based in Paris. Her publications include a 2012 monograph SYRACUSE UNIVERSITY ART GALLERIES on the work of William Kentridge for Tate Publishing and contributions to Print Quarterly and Art South Africa quarterly.

Britany Salsbury is the Andrew W. Mellon Curatorial Fellow in the Department of Prints, Drawings, and Photographs at the RISD Museum. She holds a PhD in art history from the Graduate Center of the City University of New York, where her dissertation focused on print portfolios in fin de siècle Paris.

Marc Schwartz is a contemporary art collector who lives in Detroit. He serves on the board of the Detroit Institute of Arts; Art in Print; Signal Return Letterpress Studio; IPCNY Advisory Committee and the Visiting Committee for Prints, Drawings and Photographs at the Museum of Fine Arts, Boston.

is the Associate Editor of Art in Print and the Curatorial Associate at the Terra Fred Becker, Insect Beast, 1953. Syracuse University Art Galleries. Julie Warchol Foundation for American Art in Chicago. She holds an MA in art history from the School of the Art Institute of Chicago. She has curated exhibitions of 20th-century American prints, photographs and ABOUT PRINTS artists’ publications at the Smith College Museum of Art and the Joan Flash Artists’ Book Collection The Legacy of Stanley William Hayter and Atelier 17 at SAIC. AUGUST 18 – NOVEMBER 20, 2016 Christina Weyl is an independent scholar based in New York. Her research focuses on 20th-century PRINT FAIR / SYMPOSIUM women printmakers, particularly those who worked at Atelier 17. SEPTEMBER 23 – 25, 2016 Susan Tallman is the Editor-in-Chief of Art in Print. She has written extensively about prints, issues Learn more at suart.syr.edu of multiplicity and authenticity, and other aspects of contemporary art.

68 Art in Print July–August 2016 Back Issues of Art in Print

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