The Print Club of New York Inc Fall 2010

done before. My recent abstract paintings differ from my President’s Greeting earlier abstract period. They are fresh and new to me. The Leonard Moss older paintings are closed, tightly bound. The new ones are open with a special new language.” n October 7th, I had the pleasure of interviewing Together, Will and I contrasted his Self Portrait, 1967, my good friend, Will Barnet, in his studio at the now in the Museum of Fine Arts, Boston, with Tom, 2003, National Arts Club for this President’s Greeting. exhibited at the Alexandre Gallery in Manhattan (May- O June, 2010) and reproduced in the New York Times review The art world is celebrating Will’s centennial year with receptions, exhibitions and special events. I appreciate his by Roberta Smith. His magnificent Self Portrait fills the setting aside time for us to reminisce about his life and canvas with tight squared-off forms in the background work. and images of his pipe and paint brushes to provide ener- Will’s duplex studio apartment is in a tall building gy, tension and personal identification. Smith’s review of behind, but attached to, the National Arts Club. One Will’s latest works states, “His images benefit from a enters into a two-story space with his famous works of art more nuanced palette, simpler composition and more adorning the high walls and cabinets and artist’s equip- relaxed lines of his figurative works. They are full of ment lining the room. The space where he works is at the engaging fragments and hieroglyphic shapes that con- north end of the apartment, separated by a wall of tall tribute to larger motifs and meanings without any loss of cabinets with light pouring in through large windows. formal autonomy.” As Will’s wife, Elena, arranged for us to sit comfortably Will expressed his gratitude for Smith’s review. I at the table in the center of the room, placing us so that proudly, and with a bit of showing off, pulled the article Will could best hear me, I had an insight into how she from under my writing pad and read her conclusion. “Mr. lovingly manages their life so that Will can continue his Barnet offers inspiring proof that it is never too late to work under the most favorable possible circumstances. sprout new leaves on painting, a tree that accommodates I glanced around the studio but did not find a work in perpetual growth and renewal.” process, so I began our conversation by asking, “Will, “At my age,” he continued, “I have a more optimistic what are you working on now?” He responded enthusias- and alive palette. I’m not as involved in the recent eco- tically, “It’s a major new work, very important,” but nomic downturn as I was in the 30s. I lived a lot through offered no further details. We will have to wait for the that depression and my work was mainly social, focusing opening. I had the impression that the new work is Will’s on the ordinary man and woman. Humanity is most own centennial celebration. important when young. Now, I feel my work should do My next question, tactfully stated, asked whether cre- something to make someone happy.” As Will verbalized ativity and innovation continue with advancing age. He his feelings about his present works, I remembered leav- answered, “I can’t stand the idea of repeating what I have ing the “Recent Abstract Paintings” exhibition at the Alexandre Gallery and saying to my wife Muriel, “Those are happy works.” She responded, “They are a culmina- The Print Club of New York, Inc. tion of growth throughout his life as an artist.” P.O. Box 4477 Grand Central Station We continued to explore Will’s return to abstraction. I New York, NY 10163 asked, “Do you begin an abstract painting with a theme in Tel:(212)-479-7915 mind? I have recently discussed the creative process with Officers: a well-known artist who said her creativity bursts forth Leonard M. Moss, President when she views a blank canvas or a white paper.” Will Mona Rubin, Vice President responded, “I always start with a concept in which I am Natalia Kolodzei, Corresponding Secretary emotionally involved. I have an intense feeling, an attach- Mary Lee Baranger, Recording Secretary Joan Blanksteen, Treasurer ment to the idea. Emotion and thoughtfulness are essen- Morley Melden, Founding President tial to a successful abstract painting. It can take me a year Julian Hyman, President Emeritus to get it right. In fact, it took me three years to complete Homage to Leger, with K.K., 1982.” Board Members: Publications Committee: Katherine Kuh, a long-time friend and former curator Paul Affuso Chair: Gillian Hannum Charles Blanksteen Fran Alexander of painting and sculpture at the Art Institute of Chicago, Kay Deaux Mary Lee Baranger was a strong personality with a vigorous life style. “I had Gillian Greenhill Hannum Maryanne Garbowsky completed sketches for her portrait on two occasions, but Natalia Kolodzei Natalia Kolodzei was not satisfied that those essentials of her personality Howard Mantel Sara Teitler were portrayed. Then at 3 a.m. one morning, I awoke Muriel Moss Newsletter Editor: with an insight, ‘I know! Yes,’ and incorporated The Michael Rubin Gillian Greenhill Hannum Mechanic of Leger, her favorite Leger work, into her por- Corinne Shane trait, along with her habit of pulling at her choker.” Kuh Allison Tolman commented on the experience of sitting for Will: “For his sitters, these characterizations can have the sharp edge of

P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org Fall 2010 The Print Club of New York, Inc. Page 2 a mini-analysis.” been present at many of our events over the years, and Will emphasized the intense emotion, the thought and Elena is a long-standing and contributing member of the time devoted to shaping and placing what Smith Club as well as an avid reader of the newsletter. described as “the engaging fragments and hieroglyphic “I love the Print Club of New York. It is unique, real, shapes that contribute to larger motifs and meanings.” I promotes a sense of attachment to prints. A lot of similar found a quote in which he discusses the source of his clubs have been started over the years, but the Print Club visual images: “The abstract work is never concerned of New York is a vital, solid organization.” At this point, with amorphous feelings but always with visual images Elena returned from her appointment and Will and I of very real experiences which demand, as did the more began to put away the reference material we had used recognizable imagery of my earlier work, that each form during our discussion. exist in its own sharply defined character.” I thought back to the first time I visited Will in his stu- Will is noted for teaching young artists and helping dio. I was the Chairman of the Print Selection Committee them further their careers. In honor of Will’s centennial and came to ask Will to do our 1998 commissioned print. year, the Art Students League of New York, in a special He showed me several sketches he had made for various exhibition, is bringing together highlights of Mr. Barnet’s projects, including one for his series of works illustrating career with works by dozens of his instructors, colleagues the poems of Emily Dickinson. That became his commis- and students (October 5-31, 2010). sioned print, Between Life and Life, quoting the opening Will commented on the beginning of his 50-year affilia- phrase of the poem inspiring his image. I also recalled tion with the Art Students League. “Arshile Gorky was Will’s participation in the panel discussion of the Artist- the first human being I met in New York City. He took me Printer Collaboration during our exhibition of “Seventeen for a walk in the Village. On that walk he pointed to a Years of Commissioned Prints” at the National Arts Club shoemaker’s advertisement and said ‘That sign predicts in March, 2009. Will and master printer Maurice Sanchez the future of painting.’ The sign predicted the develop- told the story of how they overcame the many obstacles ment of Pop Art. Gorky was a brilliant man.” encountered in making that edition. Turning his attention to the current museum scene Will As I reflected on our interview and our contacts over commented, “Painting is a silent visual art. Viewing a the years, I realized that Will today is as vital, involved, work of art is a personal and private experience, often empathetic, and capable of drawing on the past, focusing interrupted these days by noise. Video belongs in the- on the present and foreseeing the future, as he has ever aters, not museums. In fact, museums are expanding too been. He is involved in describing humanity through his much. Works of art are accumulating and often lie dor- art, regardless of the images he uses to communicate with mant. There should be more rotation of important works his audience. by museums.” I am honored to be a friend of Will Barnet, the As our time was coming to a close, I asked Will about quintessential human being, and to join in the celebration his impressions of the Print Club of New York. He has of his centennial year.

Recent Print Club Events Woodcuts in Modern China: 1937 – 2008, China Institute Gallery, September 16, 2010 Gillian Greenhill Hannum

group of about 25 Print Club members enjoyed an enlightening evening at the China Institute A Gallery, where we were treated to a gallery talk and exhibition tour led by guest curator Renee Covalucci. The show puts older prints from the revolutionary period in China into dialogue with contemporary work. The woodcut medium was brought to China in the Print Club members at China Institute in front of Modern 1920s, and was adopted in the 1930s to serve a “cause” – Toys by Zhang Minjie. Photo by Jenny Liao. to modernize and open up China. Lu Xun, who had spent time in Japan, was the leader of this movement. The like “newspapers” at that time. Western-style woodcuts were viewed as “modern” and The center of activity was Shanghai, although artists expressive; Lu Xun owned K¨athe Kollwitz prints and came from all over China. During the era of the Chinese showed them in China at that time. Soon, he began to Civil War, both sides, Nationalists and Communists, used attract youth, giving them knives and telling them to the medium for propaganda purposes, with artists meet- express themselves. These images could convey political ing in “safe houses” to print batches of prints for mass cir- messages to the illiterate masses and functioned almost culation. The prints in this show are from the Theodore

P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org Fall 2010 The Print Club of New York, Inc. Page 3

Herman collection, now in the Picker Art Gallery at happier scene with a young couple and other family mem- Colgate University. Herman, a geographer, was in China bers at the local registry office. Li Hua’s Take Him In! (c. for a decade in the late 1930s and 1940s. During this peri- 1945 – 47) depicts a young man stumbling into one of the od, he came to know many artists. In 1948, when “safe house” print shops. Huang Rongcan (1916 – 1952) is Westerners were forced to leave China, his artist friends represented by Woodcut Exhibition in a Village (1944 – 46), Li Hua (1907 – 1994) and Wang Renfeng (b. 1918) gave which depicts people “reading” woodcuts posted up for him more than 200 prints to smuggle out of the country. public viewing. All of these images are black and white. Herman joined the Colgate faculty in 1955. Color prints are also part of the collection. Li Qun’s (b. The first generation of artists to embrace the woodcut 1912) Picture of Ample Food and Clothing (c. 1944) was creat- medium in China included Li Hua, Gu Yuan (1919 – 1996), ed as a propaganda print. The message was the new pros- Wang Qi (b. 1912) and Yan Han (b. 1916). Li Hua’s China, perity families could expect under the Communists. Li Roar! (1936) depicts a bound and blindfolded naked figure Huanmin (b. 1930) is represented by several colorful reaching for a dagger; it evokes the emotional intensity of a woodblocks in a somewhat romantic style; Tibetan Girl Kollwitz. Gu Yuan’s Marriage Registration (1944) shows a (1958) shows a sweet depiction of a young Tibetan girl

1750, Industrial Imagery from The John P. Eckblad Upcoming Collection , The Palmer Museum of Art, Pennsylvania State University, University Park, PA, see Print Club Events www.palmermuseum.psu.edu. November 3, 2010, 5 – 9 p.m. October 26, 2010 – February 20, 2011 Gala Preview Party, International Fine Print Atelier 17 in America: 1940 – 1955 , The Palmer Dealers Association Print Fair, Park Avenue Armory. Museum of Art, Pennsylvania State University, Watch for details and follow instructions in order to University Park, PA. receive your V.I.P. tickets. November 20, 2010 November 6, 2010, 9:30 – 11 a.m. Monothon 2010, auction and party, Center for Annual Print Week Breakfast and viewing of New Contemporary Printmaking, Mathews Park, 299 West Prints 2010/Autumn . Members of the Selection Avenue, Norwalk, CT, (203) 899-7999 or www.con- Committee for the exhibition, Trustees of IPCNY, temprints.org. artists and printers, and E/AB fair presenters will also be present. A brief program of Artist Talks will begin December 1 – 5, 2010 at 10:15 and coffee and pastries will be served. Ink Miami Art Fair , Suites of Dorchester, 1850 International Print Center New York, 508 West 26th Collins Avenue at 19th Street, Miami Beach, FL, see Street, Room 5A (please note that IPCNY has moved www.ifpda.org. to a new, larger gallery). For information call (212) December 2, 2010 – January 30, 2011 989-5090 or see www.ipcny.org. Leona Pierce and Antonio Frasconi: Woodcuts , Center December 6, 2010, 6 – 8 p.m. for Contemporary Printmaking, Norwalk, CT. 17th Annual Artists’ Showcase, Society of Illustrators, 128 E. 63rd Street, just east of Lexington (ring the bell at the red door to be admitted). Please join us as the following artists present their work: Samantha Beste, Francisco Feliciano, Gregory Haley, Allison Lindblom, Mark Pagano. March 7 – 19, 2011 The Print Club of New York, Inc. will be mounting a two-week exhibition of prints purchased from the annual Artists’ Showcases at The National Arts Club, 15 Gramercy Park South (20th Street), on Gramercy Square. [Please note: there is a “business casual” dress code at The National Arts Club—jackets for men and no denim.] Special events will be held on Monday evening March 7 and Monday evening March 14. Also of Interest to Print Club Members: Antonio Frasconi, Migration I , woodcut, 2002-03. PHOTO COURTESY OF CENTER FOR CONTEMPORARY October 19, 2010 – January 23, 2011 PRINTMAKING At the Heart of Progess: Coal, Iron, and Steam Since

P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org Fall 2010 The Print Club of New York, Inc. Page 4 intended for a Han Chinese audience. There is no hint of Print Selection the hardship or political tension in the region that was Committee: incorporated into the People’s Republic of China in 1950. Howard Mantel, Curator Renee Covalucci, herself a printmaker, studied Chairman, Paul with Dong Jiansheng (b. 1936); his work is well represented Affuso, Charles in the second room of the exhibition. A self-taught printmak- Blanksteen, er, he was for a time labeled a Rightist and sent into the Julian Hyman, countryside. He taught at the Hebei Art Institute for many Joan Lane, years. His poster, Using Pen as Weapon to Denounce [Counter- Corinne Shane Revolutionary] ‘Black’ Culture (1967) is ironic, given that he and Allison was, himself, considered a Counter-Revolutionary for a time; Tolman. it was created during the Cultural Revolution. Mao, sur- Binnie stud- rounded by the sun, appears in the upper left; a youth raises Selection Committee Chairman ied art history at a large calligraphy brush in one hand as he clutches the “lit- Howard Mantel with artist Paul Edinburgh tle red book” to himself with the other. The object of his Binnie. PHOTO BY ALLISON TOLMAN University and denunciation is the cowering figure of Liu Shaoqui (1898 – painting and 1969), former head of the government who was later etching at Edinburgh College of Art from 1985 – 1990. In expelled from the Communist Party. This work was created 1990, he moved to Paris until his interest in Japanese while the artist was under house arrest; his wife used to ukiyo-e prints led him to Japan in 1993, where he studied climb a hill to look into the courtyard of the house where he woodblock print carving and printing with master Seki was being held to be certain that he was still alive and well. Kenji. In 1998, Binnie moved to London and opened his His Love for the Mountain (1999) is a beautiful image depict- own studio where he specializes in landscapes and female ing life in Hebei Province; his Traces of Ancient Time (2002) beauties, known as bijin . In addition to printmaking, utilizes pre-calligraphic forms with the legendary bird in the Binnie is an accomplished painter. Binnie holds Yoshida sun and frog in the moon as well as pictographic representa- Hiroshi in special reverence and has been following in his tions and cave dwellings. Zhang Minjie (b. 1959), also from footsteps in his ongoing landscape series, “Travels with Hebei Province, created a lovely, playful color print of a the Master.” child and a cat watching butterflies in 1983 – Breeze . Equally Binnie then took the playful, by the same artist, is Modern Toys (2000). This huge podium and told those image, six panels 60 x 36 inches each, shows a jumble of fig- assembled that he was ures – nude, in suits, in dresses; it has a dark mood, howev- honored to receive our er, with military helicopters everywhere. In contrast to this commission. He admitted, large work is a series of small prints from the Broken Jade however, that our edition Series by Xu Bing (b. 1955), the largest of which is 6 x 6 inch- of 200, the largest he’s ever es. Made between 1977 and 1979, each is a very simple ren- made, was a challenge! He dering – of a farm field from above, an apartment building then presented a brief his- or a group of people watching a movie in a rural village. tory of the Japanese wood- One very unusual print is Zhao Zongzao’s (b. 1931) block technique, which Land of Peng Lai (Huangshan Mountain Series II) (1982). This originated in China in the work, a multi-block woodcut printed with water-soluble early first millennium. ink, evokes traditional Chinese brush painting. Connected with The Print Club would like to thank member Jenny Liao Buddhism, it was intro- for arranging this lovely evening for us. The exhibition duced to Japan in the 8th Binnie’s tools. PHOTO BY will be on view at the China Institute, 125 East 65th Street, century. GILLIAN HANNUM through December 5. Ukiyo-e , or images of the “floating world,” date from the 17th century. The first were pictures of everyday life printed in black; subjects of actors and courtesans soon followed. In the early 18th Artist Paul Binnie Introduces the 2010 century, hand coloring with vegetable dyes was Presentation Print, National Arts employed. By mid-century, they had begun to print in two colors in addition to the black outline; a registration Club, September 20, 2010 technique was devised to line up the multiple blocks. By Gillian Greenhill Hannum Harunobu’s time (c. 1724 – 1770), full color printing had emerged, as seen in Six Crystal Rivers (c. 1765). embers of the Print Club and their guests gath- In the 19th century, Western aniline dyes replaced the ered in the Sculpture Court at The National traditional vegetable dyes. Much more vivid, they are evi- Arts Club on Gramercy Square for the unveil- dent in Meji Period prints such as those by Hiroshige M Emperor Meji in Kyoto ing of this year’s presentation print – Kosame (rain shower) (1843 – 1894), such as (c. 1880). – a traditional Japanese woodblock print created by Most traditional Japanese woodblock prints were a Scottish artist Paul Binnie. Club President Leonard Moss “team” effort – one artist was responsible for the design; welcomed the crowd and thanked the members of the another carved the block; yet another pulled the prints. In the Sosaku Hanga , or “Creative Prints” tradition, artists

P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org Fall 2010 The Print Club of New York, Inc. Page 5

the print. A baren , a disk with a resilient surface, is used for print- ing woodblock prints, not a press. Each print must be rubbed with the baren to press the color into the paper; this takes a lot of “elbow grease.” Each color must be print- ed from a different block; the “key block” is printed in sumi (black ink) for outlines first; other blocks follow. In traditional Japan, stu- dios were large, and a different worker would print each color. Each stage took three days; it took Binnie about a month, working The various stages of Kosame . PHOTO BY HOWARD every day, to print our edition. He MANTEL showed the steps involved using a 2008 print of a beauty titled Ho-o. such as Yamamoto Kanae (1882 – 1946) executed the The artist noted that when he left entire process – design, carving and printing – as in his Japan in 1999, he vowed he would 1904 print Fishermen . not make woodblock prints any- Binnie then told Print Club members a little about the more – too much work. Then he production of our print. He noted that in Japan, the draw- did a series of cloud paintings, ing would have been in ink; Binnie prefers conté pencil. from which a new series of wood- He does, however, use traditional carving tools: hangito blocks evolved. Our print allowed (an angled blade held vertically); sankakuto (a V-shaped Paul Binnie, him to do a “slice” of clouds verti- blade that was Western in origin); komasuki (a curved Kosame , woodblock cally. Mica was applied for the blade). In Japan, cherry wood was the traditional materi- print, 2010. PHOTO rain. al; Binnie, however, uses the more sustainable Japanese BY GILLIAN HANNUM Binnie concluded his talk by bass wood. showing some of his recent work There were 11 stages in the preparation of Kosame . First, focusing on tattoos. They are very contemporary and the block had to be soaked overnight. Then the paper had to edgy – connected with the Japanese gangster under- be dampened for several hours before printing. A horse or ground. This subject matter allows him to do nudes, not goat hair brush was then used to brush water onto the block. generally depicted in Japanese prints. Club members then Pigment and nori – rice paste — were then put on the block surged to the front of the room to examine the tools and separately and mixed together with the brush. A kento , or proofs of Kosame arrayed on a table. Prints are to be registration cut into which the paper fits, was used to line up shipped to members during November.

Exhibition Reviews Art for All: British Posters for their intended use, ranging from the largest “double- royal” format display posters to smaller panels of 9, 10 or Transport, Yale Center for British Art, 11 by 13 inches, for installation in buses and underground May 27 – August 15, 2010 cars. The oldest poster in the show, No Need to Ask a P’lice- Gillian Greenhill Hannum man , dates from 1908. Created by John Hassall (1868- 1948), it was commissioned by the Underground Electric ale Center for British Art’s summer exhibition Railways of London; the message is that one can learn offered a fascinating glimpse of art in support of what one needs to know from the sign boards and need Y commerce through an exhibition of posters not ask directions. A few years later, in 1913, Gerard created as advertising for various British transport Spencer Pryse (1882-1956) was commissioned by UERL to agencies. The notion of using fine art posters to promote create a poster titled Underground for Sport , advertising public transport in the U.K. was the brainchild of Frank football at Waltham Green. The lithograph, executed Pick, who was in charge of advertising from 1908 to 1940 directly on stone in a Daumier-like style, was printed by in his role as Traffic Officer in the Underground Electric the Westminster Press. Railways of London. While a few of the posters in the Anthony Frederick (Tony) Sarg (c.1880-1941) made exhibition were made by artists who printed them as fine some 32 posters for the underground between 1912 and art prints, most were created as gouaches and were then 1914 including Flying at Hendon (1914), a lithograph show- sent to professional printers for execution. The posters ing people tailgating at an early air show with the aero- came in a variety of shapes and sizes, depending upon drome band playing, dogs running about and a general P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org Fall 2010 The Print Club of New York, Inc. Page 6 air of festivity. A wide range of styles is evident, from many posters advertising bluebell time at Kew Gardens, simple colorful designs such as the 1915 Go to Kew by most were by women artists, among them Irene Fawkes Maxwell Ashby Armfield (1881-1972), an abstract litho- (dates unknown) and Margaret Calkin James (1895-1985). graph of flowers and birds, to a lovely, naturalistic ren- In all, at least 164 women designed for the London dering of the old Norman cathedral in St. Albans, Bus 84 Underground; there may have been more, but a number (1916) by Fred Taylor (1875-1963). of artists remain unknown. Other posters may have been Charles Paine (1895-1967), a stained glass artist, created made by women using a pseudonym; for example, Hampton Court for UERL in 1921, a composition of flat Andrew Power, who collaborated with Cyril E. Power areas of color; Christopher Richard Wynne Nevinson (1872-1951) on Epsom Summer Meeting of 1933, a mod- (1889-1946), a former Vorticisit, made a poster in 1921 ernist work with a strong Vorticist feel commissioned by suggesting that walkers take a bus to the trailhead— UERL, may have been Sybil Andrews (1989-1992). The Walkers, For a Good Start Use the Motor-Bus . The red zig- earliest poster definitively attributed to a female artist, zag around the edge is typical of the sense of speed Kew Gardens by Tram by Ella Coates (dates unknown), was evoked by the Vorticists. There was also a print by made in 1910. In all, Coates did 26 posters for UERL Andrew Power (possibly Sybil Andrews, 1889-1992) and between 1923 and 1935. Cyril Power (1872-1951), leading British modernists, titled A 1986 lithograph by David Booth, Malcolm Fowler Epsom Summer Meeting (1933) showing the popular racing and Nancy Fowler/The Fine White Line, The Tate Gallery meet. by Tube , commissioned by London Transport, has outsold Among the artists often commissioned by the UERL, all of the Underground posters. Numbers have sadly Frederick Charles Herrick (1887-1970) created some 45 declined in recent years. In 2004, only 20 posters were posters, including a Christmas tree decorated with printed for London Transport, compared to 148 in 1934. Christmas balls identifying various Underground sta- The final room of the exhibition included photographs of tions, The Source of London’s Merry Christmas (1922), and Underground stations and cars with the various signs in Arrest the Flying Moment (1924). Charles Pears (1873-1958) situ . It also featured the 1956 film “Looking at Transport,” did 40 posters, including The Film-Lover Travels which showcased the many modern features of the trans- Underground (1930), one of a series commissioned by port system. Seeing the masses commuting to work on the UERL and printed by Johnson, Riddle and Company trains and Underground, one realized that these excep- showing a fashionable crowd at the movies with a couple tional posters truly were “art for all.” arriving late and making their way into their seats, much to everyone’s annoyance. Some very distinguished artists accepted commissions Gary Lichtenstein: 35 Years of from transport companies. Frank William Brangwyn, Screenprinting, The Aldrich R.A. (1867-1956) was one of the most famous British Contemporary Art Museum, artists of his day. Several prints commissioned by the London and North Eastern Railway were on display, Ridgefield, CT, through January 2, including two versions of North East Coast Industries 2011 (1927), a proof and a finished poster; the black and white image was executed directly on the stone by the artist. A Gillian Greenhill Hannum pair of images by Andrew Johnson (dates unknown) show the differences between the original gouache and n the world of printmaking, screenprinting often gets the final poster of Woodhall Spa (c. 1918), printed by short shrift. Other than a brief hey day during the Adams Bros. and Shardlow—differences in color and also I Pop Art era of the 1960s, screenprinting has been in small details of the composition. viewed as commercial, and the number of artists drawn There were also five artists who had exclusive con- to fine art screen printing is limited. This exhibition show- tracts with the London and North Eastern Railway cases the best of them and is well worth a visit to this gem between 1927 and 1932. Among them, Fred Taylor (1875- of a museum in a quaint New England town. 1963) was the highest paid, receiving a minimum of one Screenprinting (or silkscreen) has its roots in China, thousand pounds per print. His The Road of the Roman: the about the year 1000; it was brought to Europe as part of Roman Wall , created between 1923 and 1947, was one of the China Trade in the 18th century. Its first commercial the stand outs in the show. Others with exclusive con- application was in wallpaper manufacture in early 20th tracts included Tom Purvis (1888-1959), whose Yorkshire century England. Screenprinting is an extremely versatile Moors of 1930 is a lovely image of women hikers among medium and can be applied to almost any surface. the heather, and Frank Newbould (1887-1951), whose Gary Lichtenstein is one of the masters of the medium. North Berwick of 1930-31 is a play on Manet’s Dejeuner sur As a student at the San Francisco Art Institute in the early l’Herbe. 1970s, Lichtenstein worked as studio assistant to Robert Among the many artists who created transport posters Fried, a well-known Bay Area artist and pioneering during the 20th century, a significant number were designer and printer of posters for music venues such as women. Heather (Herry) Perry (1893-1962) created 55 the legendary Fillmore West and bands like the Grateful posters for UERL. A typical example is her Country Joys Dead. The two earliest works in the show are two projects from Victoria Station (1930), a bird’s-eye view of people printed for Fried: the five-color Little Red Riding Hood enjoying a day in the country—wading, fishing, cricket, (1972) and the 10-color Farsighted . horseback riding and stopping at a pub. Among the After Fried’s untimely death in 1975, Lichtenstein

P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org Fall 2010 The Print Club of New York, Inc. Page 7 opened his own screenprinting studio, SOMA Fine Art love, home, family, heroism, and loyalty. The exhibition, Press, in San Francisco in 1978. California, in the mid 20th organized by themes which reflect these values, includes century, was the center of a funkier, more colorful aesthet- Identity, Home, Progress, and Success. ic, and Lichtenstein developed as an artist in this milieu. But let’s step back and look at the two men responsible Among those for whom he made prints during this period for these prints. Nathaniel Currier established Currier were Karl Benjamin, whose Stripes (1979) is on display, Press in 1835 after an apprenticeship with the Boston firm and ceramic artist and printmaker Ken Price, whose col- of William S. and John Pendleton. Here he learned the art laboration with poet Harvey Mudd, The Plain of Smokes of lithography, which would earn him the name (1981), led to a slip cased and boxed limited edition book. “Printmaker to the American People” and bring him fame Lichtenstein’s interest in color led him to explore vari- as well as financial success. ous ways of using “rainbow rolls” in his own creative His business expanded rapidly after the steamboat work of the late 1970s and early 1980s. Two prints from Lexington caught fire on January 13th, 1840. There was so his series Seems Like Manhattan of 1979 are in the show much interest in the event that Currier hired an artist who and demonstrate his skill with this technique. A recent drew a sketch based on survivors’ stories. This sketch work that Lichtenstein printed for artist Robert Indiana, became a print that was then published in the newspaper Hope Cross (2010), uses a rainbow roll as the background Extra . Currier’s career was launched. He could not keep on a series of five 24 x 24 inch canvases published by up with demand for this print, his presses running “con- American Image Atelier. This use of canvas in screen- stantly for months.” This print was followed by more printing is also characteristic of Lichtenstein’s sense of prints of disasters, which Currier abundantly supplied: experimentation. A print for Alex Katz, The Raft (2008), is The Great Fire of Boston , in which 776 buildings were also on canvas. In total, Lichtenstein produced over 800 destroyed, and The Burning of Chicago . Interestingly, the print editions in California. exhibit notes exonerate Old Lady O’Leary whose cow In 1998, Lichtenstein, who was born near Waterbury, purportedly kicked over the lamp that started the blaze. CT, decided to move his studio to the East Coast. Today, In reality, the notes tell us, it was Daniel Sullivan, who Gary Lichtenstein Editions is housed in a converted barn admitted it was his lit pipe that was the true cause of the in historic Ridgefield. Since 2008, he has been collaborat- catastrophe. ing with the Aldrich’s editions program in publishing “A man . . . ahead of his time,” Currier knew that by images such as Gerard Hemsworth’s Whispers (2009), a 22 making prints inexpensively and readily available, they x 29 inch screenprint in six colors. Most interesting, per- would sell to “the average American,” and they did — haps, is the fact that Lichtenstein has recently taken becoming part of everyone’s home, office and store. In all, screenprinting full circle, collaborating with Chinese Currier and Ives produced “more than 7,500 different artists, such as Feng Zhengjie on China 2005, No. 26 and images.” The firm became so popular that they were No. 27 (2009), each in 26 colors. everywhere: “on calendars, cookie tins and Christmas Perhaps the most unique collaboration in the show, cards.” Their prints were even distributed to European however, is one with street artist Michael De Feo (a for- markets — England, France, Germany among others. mer student of your reviewer). Lichtenstein screenprinted James Merrit Ives did not become part of the firm until De Feo’s iconic Flower , which one sees on building walls 1852, when he was taken on as a bookkeeper. The broth- in New York City and across the country (2009), onto er-in-law of Nathaniel’s brother Charles, Ives added sharp blueprint paper, which De Feo then collaged into a larger business skills to the company, as well as an intuitive multi-media work. sense of what appealed to the public. Thus, in 1857, Ives The exhibition also features a short film of Lichtenstein, became a full partner, beginning a successful working made by his friend, filmmaker Elliot Caplan, at work on relationship that would last for almost 30 years until Indiana’s Hope series, and recreates his studio with its Currier retired in 1880. dozens of colorful cans of pigment—the source of the The exhibition introduces the viewer to a wide variety famous rainbow roll. of prints in varying sizes. Indeed, there was a print to suit everyone’s taste and pocketbook, from domestic scenes to historical landmarks to sensational events. Currier and Ives at the Morris The identity of the young nation is reflected in such Museum, Morristown, NJ, prints as City Hall , Fire Fighter , Dartmouth College , and The through January 9, 2011 Star-Spangled Banner . All the history we are taught begin- ning in elementary school is clearly visible in these popu- Maryanne Garbowsky lar prints. Like an early pictorial textbook, they show The Landing of the Pilgrims at Plymouth , The Declaration he Legacy of Currier and Ives: Shaping the Committee , Washington Crossing the Delaware , The American Spirit,” which recently opened at Assassination of President Lincoln , and The Battle of Bunker “T the Morris Museum in Morristown, New Hill . One of the most interesting is a print done in 1865 of Jersey, is a wonderful overview of the work of these the “great heroes” of the young nation — Washington and prodigious lithographers. The show will run until early Lincoln . Although Lincoln was taller than Washington, January, 2011, and is worth a visit or two. It provides a Lincoln is depicted as shorter, thus confirming that in respite for 21st century visitors from the troubled world “heroic stature” Washington was grander. Indeed, he is in which we now live and instead reminds us of another the Father of our country. America that stressed the simpler but true values of life: But my favorite prints are those that by today’s stan- P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org Fall 2010 The Print Club of New York, Inc. Page 8 dards would be called sentimental. These are “a slice of and has enjoyed residencies around the world, Cole’s Americana,” picturing America and its people in an ideal- work reflects on race, gender and aspects of the American ized way. Artist George Durrie, nicknamed “the snow- experience. One of the earliest works in the show, Art man” because of his many New England winter scenes, Against Apartheid , an exhibition poster for The Works presents some of this type of romantic nostalgia. Thus in Gallery, Newark, is offset print on paper, created in 1984. Home for Thanksgiving we view an obviously successful Cole had studied at the School of Visual Arts in New man from the city returning to his old country home for a York and worked as a freelance graphic designer in the traditional dinner with his family. Or the bride-to-be in late 1970s and early 1980s. This poster was for a gallery The Day Before Marriage . Here she is depicted with her Cole started and ran out of his Newark loft from 1982 – “jewels,” holding and cherishing them. In the companion 1987. A thousand copies of this poster were printed, but print, A Year After Marriage: The Mother’s Jewel , the previ- only a few survive. The central figure, who wields palette ous image of the young woman wearing a bright red and brush like a shield and spear, anticipates Cole’s dress and holding a pearl necklace is replaced by a growing focus on African motifs and themes beginning in woman dressed in a drabber color with a baby cradle at the late 1980s. her side. The lesson clearly is that the baby has become Cole’s fine art prints were mainly printed at the “her precious jewel,” and all the material possessions of Rutgers Center for Innovative Print and Paper (now the her former life have lost their appeal. And there are many Brodsky Center for Innovative Editions) and at Tamarind others that strain reality: the soldier on the battlefield in Institute Print Workshop at the University of New The Soldier’s Dream of Home asleep in a neat and clean uni- Mexico. A print from 1991 done at Rutgers, E21000TM , form. takes its title from a brand of hair dryer. Cole collaged Welcome to an America that perhaps never existed, photocopies of photographs he had taken of the hair that was imagined and marketed to ordinary people who dryer into a totem-like form, at once prehistoric and futur- graced their homes with these images. What is the role of istic, which was surely influenced by Mayan reliefs Cole art after all? What is its meaning to a culture and its peo- saw on a trip to Mexico the previous year. Color reprints ple? In Currier and Ives, we can perhaps see one answer. of the product label were added in chine collé . The simpler life with the simple pieties — love, family, A 1997 woodcut on kozo-shi paper, published by home, loyalty — all presented in these idealized and Alexander and Bonin Publishing, Inc. was undertaken romanticized prints encouraged the average person to with the help of master printer Maurice Sanchez at aspire to and perhaps replicate these values in his or her Derriere L’Etoile Studios. Stowage is 56 x 104 inches and own life. Thus the prints gave pleasure as well as moral formed the centerpiece of Cole’s one-man show at MoMA instruction. It is a world perhaps that never existed, but in 1998. It is based on a historic image of the crowded one we wish had. quarters on the slave ship Brookes . The plan of the ship But go see for yourself. Comprised of 64 prints with recalls an ironing board, and Cole surrounds the diagram good background information and notes, the exhibition is of the quarters with a series of “portholes,” each contain- worth seeing. You will step back in time and enjoy a ing a face in the form of an iron scorch, with 12 different reprieve from the economic and environmental problems sole plates representing the various tribes and clans from of our day. And that in itself is worth the trip. which the slaves were taken. The iron, in fact, is a recur- ring theme in Cole’s oeuvre ; he owns a large collection. Man Spirit Mask , a large triptych from 1999 printed at Deep Impressions: Willie Cole Works Rutgers, includes photo etching, silkscreen and photo on Paper, The James Gallery of the etching with woodcut on paper. Again, the iron is a cen- Graduate Center, The City University tral semiotic theme. Man is a self-portrait of the artist marked with a “scarification pattern” that is actually the of New York, 365 Fifth Avenue, pattern of the steam holes on the sole plate of a Proctor through January 8, 2011. Silex steam iron. Spirit is a scorch mark from a Proctor Silex steam iron, with its blurry edge resulting from Gillian Greenhill Hannum lemon juice having been applied to the paper before it was scorched. Mask fuses the artist’s face with a view of his exhibition, the first devoted to Cole’s works the top and handle of the vintage iron. The iron appears on paper, covers a period of more than three again in a stencil on paper from c. 1992, Proctor Silex . This T decades of production for the artist. It was curat- large-scale work is second in size only to Stowage . ed by Paterson Sims and is accompanied by a small, full- My favorite image utilizing iron scorches was Raid color brochure. Born in 1955 and reaching artistic (1999)—a mixed-media piece made of collaged scorched maturity in the mid-1980s, Cole is a New Jersey-based paper and printer padding. The work involves complex artist with an international reach. Many of the themes layering, but the effect is strangely lyrical. It recalls fallen Cole examines in his highly personal, yet political work leaves floating on a winter pond. are those of dualities or polar opposites: the poverty of Also eye-catching are a pair of abstract lithographs Newark vs. the wealth of upscale suburban communities, entitled Rapture , published by Tamarind Institute in 2008. the male influences of his father and the female influences These and Pressed Iron Blossom No. 2 and No. 3 (2005) are of his mother, the spiritual traditions of Africa with life in colorful and patternized. The Rapture pieces are based on 21st century America. the repeated motif of a woman’s high heeled shoe, and An artist who has worked in a wide variety of media the Pressed Iron Blossom series takes the steam iron scorch

P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org Fall 2010 The Print Club of New York, Inc. Page 9 mark as its point of departure. Cole’s work is technically innovative and culturally One of the most interesting images in the show is Men thought-provoking. More than that, it is powerful. Sims of Iron (2004), an archival inkjet print on paper published writes in the exhibition brochure, “Cole recently wrote: ‘I by Rutgers Center for Innovative Print and Paper. It still feel new in printmaking…. More to explore. More to depicts two pairs of images of the artist’s body – front and learn. It feels like a mixed-media approach. Once an back – adorned with steam iron designs and sole plates image is printed, it can be painted on, attached to, folded, that evoke tribal scarification and body ornaments. One etc…and I haven’t done any of that yet.’” This suggests pair is titled Silex Man and Ritual ; the other is Sunbeam we’ll be seeing Cole engaging with various print tech- Man and Ceremonial . niques even more in the future.

Press Releases The New York Society Of Etchers, Inc. Is Pleased To orees will select a work of their own choice for the show, Announce Their: and they have also been invited to submit additional work through normal channels. In addition, expanded display 10th Anniversary Exhibition Of Intaglio Prints labels describing in detail the specific contributions quali- At The National Arts Club fying these printmakers for distinction will be on view at November 2010 the exhibition. Also this year by invitation, the Etchers will include the For additional information visit www.nysetchers.org or work of two printmakers whose publications have served contact Stephen A. Fredericks, at [email protected] major roles in the public awareness and growth of The New York Society of Etchers. Ms. Anne Desmet, RE, This Fall THE NEW YORK SOCIETY OF ETCHERS will Editor in Chief of Printmaking Today, London, England, present a special exhibition of artist printmaking celebrating and Ms. Rebecca Rondstadt, Publisher in New Hampshire their 10th anniversary at the National Arts Club in New of the Journal of the Print World, will both be honored with York City during November. A broad selec- the presentation of two recent prints of tion of New York’s best contemporary their own making. intaglio will be exhibited in an expanded two- The New York Society of Etchers was gallery format more than doubling usual founded in 1998 and today is an artist-run exhibit space taken by the Etchers for their 501c(3) not-for-profit entity. Since the group annual show. This exhibition will be curated began its exhibition programming in 2000, it for the society by artist-printmaker Bill has organized and collaborated in nearly Maxwell, Printmaking Instructor at The forty exhibitions of artist prints at home and College of New Rochelle, NY; member, The abroad. Principally, these efforts have Board of Governors, The Robert Blackburn focused on the graphic arts of local emerg- Printmaking Studio; and, Director of Maxwell ing artists and other not-for-profit work- Fine Arts, Inc. The exhibition, opening at the shops. Though, several of the shows have end of New York City’s Print Week, will run involved international collaborations with from the 7th through 19th of November 2010. visual artists from Hungary, China, France, In addition to the usual array of fine art Ireland, Australia, Ukraine, Peru, and Israel. intaglio prints, this exhibition will feature a Still other exhibitions have been organized special component of work by some three on behalf of cultural institutions, including Stephen Fredericks, Six dozen artist-printmakers who are being hon- Calla Lilies , etching, 2010. the Museum of the City of New York, ored for important individual contributions PHOTO COURTESY OF THE Transit Museum New York, Housatonic made to the society during its 10 year histo- ARTIST Museum in Bridgeport, CT, and Ukrainian ry. From the beginning of it organization, Institute of America. Thirteen of these exhi- the New York Society of Etchers has benefitted from the bitions have been documented in professionally published generous support of artists such as Will Barnet and catalogues. The current directors of the group are Stephen Michael Pelletieri who helped jury their inaugural exhibi- A. Fredericks, Andy P. Hoogenboom, Denise Kasof, Richie tion, and Jennifer Ale, who initiated their print exchange Lasansky, Louis Netter, Sara Sears, Anne-Rose van den with artists in Peru. Ann Chernow, who opened the door Bossche, Bruce Waldman and Steven Walker. to the Housatonic Museum of Art for an exhibit, has also The National Arts Club, the 10th Anniversary participated in a record number of the group’s shows. Exhibition venue, is located at 15 Gramercy Park South, Others, including printmaker Richard Sloat, an early sup- aka east 20th Street, NY, NY. The galleries are open daily porter and catalogue contributor, Rosalee Isaly, who led during normal business hours and on weekends from the organization to Loyola University’s Museum of Art 12pm until 6pm. For additional information about the during the Art of Democracy exhibition series, and Diane New York Society of Etchers visit www.nysetchers.org , Miller, a veteran exhibitor, are among the artists being rec- or contact [email protected]. ognized for their extraordinary efforts. Each of the hon- •

P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org Fall 2010 The Print Club of New York, Inc. Page 10

Ifpda Print Fair: Old Master through Modern & 1917, Lithograph printed in black ink on laid paper; On Contemporary Masterworks the Road to Ypres, 1916, Drypoint printed in black ink on November 4 – 7, Park Avenue Armory, Park Avenue at laid paper; The Road from Arras to Bapaume, 1918, 67th Street Lithograph printed in black ink on laid paper. Roger Genser: The Prints and the Pauper | Stanley William For information contact Laura Beth Gencarella, laura- Hayter Centauresse, 1944, Color etching | Benton [email protected] or 212.674.6095 Spruance American Pattern - Barn, 1940, Lithograph in 2 IFPDA | 250 W 26th St., Ste. 405 | New York, NY colors, Edition 45 | Mademoiselle Leonie Dans 10001 | 212.674.6095 | www.ifpda.org, [email protected] Une Chaise Lounge, 1910, Etching, drypoint and platetone | Diego Rivera Frida Kahlo – Nude with Beads (aka – Alice Adam Ltd. | Max Beckmann Grosse Brücke (The Desnudo Sentado Con Brazos Levantados), 1930, Lithograph, Large Bridge), 1922, Drypoint | Ernst Ludwig Kirchner Edition 100. Teestunde (Tea Hour), 1912, Lithograph | El Lissitzky Proun | Emil Nolde Familie, 1917, Woodcut. Frederick R. E. Lewis & Daughter | Nu Assis Et Baker, Inc. | George Bellows Mother and Children, 1916, Portrait De Mme. Cèzanne, 1929, Etching on mounted Lithograph, Edition 68 | Salvador Dalí Untitled (from Les China paper | van Rijn Abraham Casting Out Chants de Maldoror), 1934, Heliogravure and drypoint | Hagar And Ishmael, 1637, Etching & Drypoint. The Old Marie Laurencin Le Pont de Passy, 1908, Etching, Edition 15 Print Shop | Frank W. Benson In the Florida Keys, 1927, | John Marin Santa Maria Della Salute, 1907, Etching, Etching | Martin Lewis Glow of the City, 1929, Drypoint, Edition 30 | Jean-Francois Raffaelli Le Vieux Chene, 1907, 110 recorded impressions | Edward Hopper Night in the Color etching, aquatint and drypoint, Edition 225 | Stow Park . 1921, Etching, Edition proposed 100, printing Wengenroth Manhattan Gateway, 1948, Lithograph, unknown | Gustave Baumann The Sycamore , 1920, Edition 60. C.G. Boerner | Hans Sebald Beham Das Woodcut printed in color, Edition 100. Osborne Samuel Frauenbad – The Women’s Bath, Woodcut | Hendrick Ltd. | C R W Nevinson Looking Through Brooklyn Bridge, Goltzius Hercules and Cacus, 1588, Woodcut. Catherine E. 1920, Drypoint | Cyril Power Skaters, 1932, Linocut, Burns | Ursula Fookes Mining Town #1, 1930 , Color Edition | Lill Tschudi Ice Hockey, 1933, Linocut. William linocut on laid oriental paper | Paul Landacre Storm, Shearburn Gallery | Donald Baechler No Need to Shout, 1934, Wood engraving on wove Japanese paper | Paul 2007, Screenprint with flocking | Louise Bourgeois The Landacre The Press, 1934, Wood engraving on wove Sky is the Limit, 2003, Etching | Richard Diebenkorn Large Japanese paper | Louis Marcoussis La Table, 1930, Etching Light Blue, 1980, Spitbite aquatint and softground etching, and engraving printed in five colors on wove Arches Edition 35 | Jim Dine Double Dose of Color, 2009, Color paper | Bror Julius Olsson Nordfeldt The Piano, 1906, lithograph. Color woodcut on laid paper | Benton Spruance Road from the Shore, 1936, Lithograph on wove paper | Benton Sims Reed Ltd. | Jean Dubuffet Nez Carrot, 1962, Spruance Traffic Control, 1936, Lithograph on wove paper Lithograph printed in colours, Edition 50 | Richard Estes | James Abbott McNeill Whistler Old Battersea Bridge, D-Train, 1988, Screenprint in colours, Edition 125 | 1879, Etching and drypoint in brown ink on laid paper. Richard Hamilton A Little Bit of for..., 1964, Screenprint in colours, Edition 40; Adonis in y-fronts, 1963, William P. Carl Fine Prints | Frank Morley Fletcher Screenprint in colours, Edition 40 | David Hockney Two Salinas River (California), 1930, Color woodcut, Edition 100 Vases in the Louvre, 1974, Etching and aquatint printed in | Theo van Hoytema Five Angora Rabbits, 1898, colours, Edition 75 | Anish Kapoor Untitled 10, 2007, Lithograph with inkless embossing. Eric G. Carlson Fine Etching printed in colours | Roy Lichtenstein Crying Girl, Prints & Drawings | Georges Auriol Invitation to a Dinner 1963, Lithograph printed in colours | Joan Miró Equinox, of “Les Amis de l’Art Japonais”, 1910 , Color woodcut | 1967, Etching and aquatint printed in colours with exten- André Derain Self-Portrait with a Pipe, 1913 , Etching | sive carborundum, Edition 75 | Ed Ruscha Cheese Mold Joseph Hecht Small Norwegian Landscape, 1916, Etching, | Standard With Olive, 1969, Screenprint in colours, Edition Auguste Lepère Etude for Four Hands, 1890, Color wood- 150 | Andy Warhol Marilyn, 1967, Screenprint printed in cut | Ethel Mars Egret, 0, Color woodcut | Charles colours, Edition 250. Carl Solway Gallery | Jay Bolotin Maurin The Geomancer | Félix Vallotton The Mont-Blanc, Enoch’s Flora, 2009, Cast paper, Edition 10; Woman in a 1892, Woodcut. Alan Cristea Gallery | Gillian Ayres Star Burning Boat, 2009, Cast paper, Edition 5 | John Cage Not Spangled, 2009 , Sugarlift aquatint and carborundum, Wanting to Say Anything About Marcel Plexigram II, 1969, Edition 30 | Patrick Caulfield Coloured Still Life, 1967, Silkscreen on 8 plexiglass panels with wood base, Edition Screenprint, Edition 75 | Richard Hamilton Interior, 1967, 125 | Ann Hamilton book weight ff (human carriage), 2009, Screenprint, Edition 50. Galerie St. Etienne | Otto Dix Archival inkjet print; book weight ww (human carriage), War Cripples, 1920, Drypoint on heavy beige wove paper, 2009, Archival inkjet print; book weight xx (human carriage), Edition 15; The Billiard Players, 1920, Etching on heavy 2009, Archival inkjet print. Stewart & Stewart | Janet Fish cream wove paper, Edition 20 | Käthe Kollwitz March Cerises, 1992, Screenprint, Edition 60 | Jane E. Goldman Cemetery (Third Version), 1913, Lithograph on cream Velin Audubon June, 2004, Screenprint, Edition 64 | Jane E. paper | Hermann Max Pechstein Woman with Bouquet, Goldman Audubon September, 2010, Screenprint | John 1908, Hand-colored lithograph on white wove paper. Himmelfarb Practice, 2001, Screenprint, Edition 40 | Hunt Slonem Suite Butterflies 1, 1999, Screenprint, Edition 29 | Fine Art Society | C R W Nevinson Loading the Ship, Steven Sorman When Only, 2001, Screenprint, Edition 33.

P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org Fall 2010 The Print Club of New York, Inc. Page 11

taboos put up between John Szoke Editions | Pablo Picasso Portrait de Dora fine art, illustration Maar au Chignon I, 1936, Drypoint and echoppe guilloche; and design be dis- Juene femme surprenant le reflet d’une hirondelle dans son solved by allowing miroir, 1936, Etching; Venus et l’amour d’apres Cranach, contributors the oppor- 1949, Aquatint; Jacqueline au Bandeau de Face, 1962, tunity to present Linocut; L’Egyptienne, 1953, sugarlift aquatint printed on undisturbed narra- Arches vellum paper with Arches watermark | Chuck tives. The core aesthet- Close Keith, 1972, Mezzotint. David Tunick, Inc. | Henri ic and guiding force Matisse Jazz, 1947, Complete portfolio of twenty pochoirs behind the publication printed in colors, after collages and cut paper designs, is the belief that people Edition 270. Ursus Books and Prints | Pierre Bonnard are smart enough to Parallèlement, 1900, Illustrated with a lithographic fron- understand sophisti- tispiece, wood-engraved title-vignette (repeated on front cated, contemporary wrapper), 108 lithographs, and 8 woodengravings | Joan art that is not packaged Miró À Toute Épreuve, 1958, Illustrated with 79 woodcuts for the lowest common by Miró printed in colour, Edition. Worthington Gallery denominator. | Ernst Ludwig Kirchner Alpenweg mit Wettertanen, 1921, The first issue com- Etching worked over Drypoint | Paul Klee Die Hexe mit bines the work of sev- dem Kamm (The Witch with the Comb), 1922, Lithograph, eral artists associated Edition 200. Cover, Carrier Pigeon with New York’s Robert Blackburn • Printmaking Workshop and The New York Society of Etchers, two of New York’s important fixtures in the city’s NEW YORK: Publisher CPMag, LLC, Announces New vibrant graphic arts scene. Six professional artists have Fine Art and Literary Magazine to Release in November contributed their work to the magazine’s unique artist 2010 portfolios. Yael Balaban’s portfolio incorporates a collec- CARRIER PIGEON tion of intricate “spiral” drawings while Christopher Darling is represented by his pen and ink narratives and New York, New York still lifes. Artist Frances Jetter shares stirring biographical www.carrierpigeonmag.com woodcuts of her family in striking contrast to the cool, abstract, monoprint portfolio of William “Max” Maxwell. CARRIER PIGEON, A Magazine of Fine Art and Evan Summer’s architectural etchings and Bruce Illustrated Fiction, to Debut in November 2010 Waldman’s illustrative monoprints add power and grace to this collection of provocative art. Each portfolio feature By Stephen A. Fredericks is accompanied by unvarnished artists’ statements written by each contributor. Since the last quarter of the 19th century, there has been Six short stories by a wide spectrum of fiction writers an ongoing explosion of activity in the graphic arts make up the literary contribution to the inaugural issue of among American artists. And, whether that focus has the magazine. There is an emphasis on the “darker side” been fine-art printmaking or has become entrenched in of storytelling: the overall content is directed at a mature the media world of illustrated books and magazines, its audience with a taste for edgier creative material. Each of capital has been New York City. Occasionally, with great the stories has been illustrated by a contemporary artist cultural and aesthetic merit, graphic art has merged dra- who has matched his/her particular talent to the content matically with New York’s literary world in joint publica- of choice under the direction of the publisher. The result tions of poetry, fiction and non-fiction. Following in the is a fresh, alternative approach to this time-honored for- tradition of such landmark New York editions as The mat. “Walter’s Ladder,” written by Brian Thompson, is Colophon, Egmont Arens’ 1920’s Playboy parody of the accompanied by drawings from Kristy Caldwell, a con- rich, and The Tiger’s Eye, CPMag, LLC, will release its tent editor and full-time member of the CARRIER first issue of CARRIER PIGEON during November 2010. PIGEON staff; “Bugged” was written by Ben Schaeffer CARRIER PIGEON is a magazine of illustrated fiction and illustrated with pen and ink drawings by Ray Jones; and fine art with a focus on the work of printmakers and “Ramses Sleeps for You,” contributed by Victor Giannini, other graphic artists. By giving full creative control to the is complemented by photo lithos from Rie Hasegawa; artists, illustrators, designers and writers, this magazine “Rabbits,” penned by Christopher Stanton, was illustrat- plans to level the conventional perception of the singulari- ed by Eric Collins; Ryan Scamehorn’s “A Feint of Light ty of each artistic discipline. CARRIER PIGEON will pro- unto the Fortress” is paired with watercolor-washed vide contributing artists with a venue for telling stories in drawings by Yuriko Katori; and “Harry Coover,” written an undisturbed environment by offering the chance to by publication founder Russ Spitkovsky, is punctuated show full bodies of work and unconditional artistic free- with stirring linocuts by Justin Sanz. dom in both direct subject matter and the interpretation of CARRIER PIGEON was founded in New York City by text. The publisher believes the gallery wall should not be artist, printmaker, illustrator and writer Russ Spitkovsky, the only place left for sincerity in the art world and that who acts as the editor in chief, with veteran illustrator and

P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org Fall 2010 The Print Club of New York, Inc. Page 12 master printmaker Bruce Waldman serving as art direc- 10”x13” format, and will be published quarterly. The first tor. The management side of the publication comprises issue consists of 100 pages and will be printed on 80- and artists Matt Barteluce and Ray Jones as business manager 100-lb. papers with linen fiber covers. In each issue fine- and web consultant, respectively, graphic designer Jason art “portfolios” featuring 6–10 pieces of original graphic Bishop, and a team of content editors: Kristy Caldwell, a art, each in full- or double-page spread presentation, will graphic artist and illustrator who also acts as copyeditor intertwine with works of original fiction accompanied by for the magazine; Ben Schaeffer, writer; and Christopher five to ten illustrations each. Darling, illustrator and writer. Artist-printmaker and For information about future editions and subscribing author Stephen A. Fredericks is currently serving as an to CARRIER PIGEON. Please visit www.carrierpigeon- advisor and director of communications. Providing criti- mag.com. Interested artists and writers may submit work cal early advisory and consulting services were Phil subject to guidelines available on the website. Sanders and Denise Kasof of the Robert Blackburn For Additional Information Contact: Printmaking Workshop. Stephen A. Fredericks CARRIER PIGEON is being printed in a full-color, [email protected]

Presentation Prints In Public Collections Have you donated any of your Print Club presentation website. Please contact Natalia Kolodzei at prints to public collections? If so, we would like to hear [email protected] if you have made such a dona- from you. We are hoping to develop a comprehensive list tion, or you can send the information to Natalia c/o the of all the public collections that hold our Club’s commis- Print Club’s post office box. sioned prints so that we can add this information to our

The Print Club of New York, Inc. P.O. Box 4477 Grand Central Station New York, N.Y. 10163

P.O. Box 4477 Grand Central Station / New York, N.Y. 10163 / (212) 479-7915 / www.printclubofnewyork.org