US $25 The Global Journal of Prints and Ideas March – April 2017 Volume 6, Number 6 New Editions from Armleder to Zurier • Ross Bleckner • Dan Halter • Tess Jaray • Liza Lou • Analia Saban • and more Alan Cristea Speaks with Paul Coldwell • Richard Pousette-Dart • Andrew Raferty Plates • Prix de Print • News Todd Norsten Inquiries: 612.871.1326 Monoprints [email protected] highpointprintmaking.org Todd Norsten, 2016, Untitled (Targets #6), Monoprint, 33 x 24 in. Over 25 unique works in the series, see all available at highpointprintmaking.org/project/todd-norsten-monoprints/ March – April 2017 In This Issue Volume 6, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Border Crossings Associate Publisher New Editions 2017 4 Julie Bernatz Reviews A–Z Managing Editor Alan Cristea in Conversation 28 Isabella Kendrick with Paul Coldwell Papering the World in Original Art Associate Editor Julie Warchol Exhibition Reviews Thomas Piché Jr. 33 Manuscript Editor From Tabletop to Eternity: Prudence Crowther Andrew Raftery’s Plates Editor-at-Large David Storey 36 Catherine Bindman Richard Pousette-Dart’s Flurries of Invention Design Director Skip Langer Owen Duffy 39 Leah Beeferman: Rocky Shores Prix de Print, No. 22 40 Juried by Katie Michel Aerial: Other Cities #9 by Susan Goethel Campbell News of the Print World 42 Contributors 56 Guide to Back Issues 57 On the Cover: Susan Goethel Campbell, detail of Aerial: Other Cities #9 (2015), woodblock print with perforations. Printed and published by P.R.I.N.T. Press, Denton, TX. Photo: Tim Thayer. This Page: John McDevitt King, detail of Almost There (2016), hardground etching. Printed and published by VanDeb Editions, Long Island City, NY. Art in Print This issue was funded in part 3500 N. Lake Shore Drive with support from Suite 10A the IFPDA Foundation. Chicago, IL 60657-1927 www.artinprint.org [email protected] 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published without the written consent of the publisher. On Border Crossings By Susan Tallman elcome to Art in Print’s sixth Other artists zeroed in on domestic Wannual New Editions issue. As belongings: John McDevitt King’s strewn usual, we dispatched a dozen reviewers objects; Analia Saban’s elegantly exploded to New York Print Week, where galler- ones; Thomas Schütte’s schematized gar- ies, print publishers and artists gather den gnomes; the myriad items packed to unveil new projects. And as usual, into Astrid Bowlby’s Everything. Mickeline we noted certain trends—abstraction is Thomas and Andrew Raftery both offered flourishing, whether clean-limbed and expansive visions in which household flat like Tess Jaray’s screenprints, or half- belongings and individual identity melt controlled chaos, like Alexa Horochow- together. ski’s Vortex Drawings. Dots loomed large The winner of the current Prix de (and small), sprinkled through works Print, selected by Katie Michel, is Susan by John Armleder, Damien Hirst, Lou- Richard Artschwager, Untitled (Dat, Dat, Dat, Goethel Campbell’s Aerial, Other Cities #9 ise Kohrman, Andy Spence and Janine Dah) (2006), rubberized horsehair, wood and (2015), a view from a plane window of an Wong (with Mungo Thomson’s scattered spray paint in five parts, 38 x 41 1/2 x 2 inches. urban center by night. The bright lights Edition of 12. coin reliefs offering a nonfiction near- that articulate roads and buildings are lit- relation). erally cut through the blackness; they are Print Week 2016, however, took place border crossings. Christiane Baumgart- the white of the wall seen through holes in the days just before the American presi- ner, born in East Germany, offers a view in the paper—absences that unexpectedly dential election, and one set of dots in across the Hudson; the British artist speak of presences: somebody is home. particular stood out as discomfortingly Tacita Dean, who lives in Berlin, gives us A century ago William James observed, emblematic: the three rubberized horse- Los Angeles clouds; the California artist “everything is many directional . hair disks preceding the exclamation John Zurier captures the summer light in no one point of view or attitude com- point of Richard Artschwager’s Untitled Copenhagen. Ross Bleckner, Serena Per- mands everything at once in a synthetic (Dat, Dat, Dat, Dah) (2007). Here was rone, Leah Beeferman and Liza Lou col- scheme . Things are ‘with’ one another the itchy agitation of waiting, the laden laborated with people and places ringing in many ways, but nothing includes every- ellipse before the unavoidable paroxysm. the Atlantic, from North America to Ice- thing, or dominates everything. The word We did not then know the flavor of that land, Spain, Italy and South Africa. ‘and’ trails along after every sentence.”1 paroxysm. Now we do. These are not incidental facts—dis- Among the seldom-seen works on view The reviews that appear here were placement is what many of these prints during Print Week was a group of etch- written in a different world than the one are about. In Cape Town, Dan Halter rep- ings by Richard Pousette-Dart. Never in which the art they address was made. licated the defunct currency of his native editioned, each of these prints is both an The swell of nationalist “[Your name here] Zimbabwe. In Brooklyn, Hanneline idea and a point of departure for the next First” belligerence is no longer just rheto- Røgeberg redrew an icon of French inde- thought. In their own modest way, they ric; it is engaged political action. pendence as a stand-in for raised fists in spoke for the openness and plenitude In his interview with Paul Coldwell, Mexico City and Oslo. In New York, Brian that is perhaps print’s greatest virtue. Art recorded the week before the United Belott resurrected a lost painting with the rarely produces political change, but it can Kingdom voted to leave the European help of a Japanese woodblock artist. affirm values—a tolerance for ambiguity, Union, Alan Cristea speaks movingly of Samantha Wall’s work addresses the perhaps; an acceptance of (even delight the excitement generated by prints and double-consciousness of mixed-race in) complexity; a curiosity about whatever editions when he entered the business in identity; Michael Menchaca’s links Meso- lies on the other side of the border. the 1970s, and of his aspiration to “paper american mythology and videogames; Or, as Faye Hirsch puts it in her review the world in original art.” Jordan Nassar, a New Yorker of Polish- of Carnet 19 by the German artist (and Zen It is a reminder that prints are, by Palestinian descent, cites culture clashes Buddhist monk) Anton Würth: “[it] allows nature and design, cosmopolitan. They embedded in historical embroideries, a contemplation on how little it takes, are built to travel, to be shared, to con- while Beryl Korot finds a universe of pat- really, to open a universe.” vey thoughts and ideas and styles from tern in weaving. one place to another. They are portable Claas Gutsche, Andy Burgess and Keith and permeable. They are the opposite of Coventry all consider the gap between the Susan Tallman is the Editor-in-Chief of Art in Print. a wall. borderless aspirations of International And these qualities flow through the Style architecture and the realities of editions presented here. Though most local manifestations. Robert Olsen’s free- Notes: 1. William James, “A Pluralistic Universe” (1909), were seen in New York, fewer than half way overpass, published posthumously, is The Work of William James, ed. Frederick H. these artists carry American passports, Californian, though its structure might Burkhardt (Cambridge, MA: Harvard University and two-thirds of the projects involved be found today on five continents. Press, 1975–88), 145. 2 Art in Print March – April 2017 INTERIOR: BLUE COUCH WITH GREEN OWL, Mixed Media Collage, 42 3/8 x 34 1/4 inches (107.6 x 87 cm) MICKALENE THOMAS DURHAM PRESS 892 Durham Road | PO Box 159 | Durham, PA 18039 | 610.346.6133 | www.durhampress.com EDITION REVIEWS A–Z Christiane Baumgartner Another Country (2016) Woodcut on Kozo, 55 1/2 x 70 7/8 inches. Edition of 6. Printed by the art- ist, Liepzig. Published by Alan Cristea Gallery, London. Edition sold out. nother Country is the latest mon- A umental woodcut from Chris- tiane Baumgartner, whose engagement with the medium has endured for close to 15 years. Using video and photogra- phy, Baumgartner fixes an evanescent moment, then converts the digital image into black lines of varying thickness, pro- ducing the illusion of tonality and coher- ent form. Baumgartner’s lines are similar in operation to the familiar dots of half- tone screens, while also referencing the complex formulas of swelling and taper- ing lines used for centuries by engravers. One can look at Another Country for Christiane Baumgartner, Another Country (2016). some time before the bridges and bits of city skyline become discernible. The pho- tograph was taken looking out over the two edges of a line independently, allow- Brian Belott Hudson River from Manhattan, though ing it to swell and narrow asymmetrically. the scene is intentionally generic. Grow- While a good deal of visual information is Pirate Ship (2017) ing up in East Germany and unable to lost in the translation from digital file to Woodcut on Japanese Masa paper, sheet travel, Baumgartner used literature to see woodblock, other information is gained: 21 3/8 x 25 inches. Edition of 20. Printed by the world. The title of this print comes the visceral interaction of human muscle Takuji Hamanaka, New York. Published from a 1962 novel by James Baldwin, and recalcitrant wood. by Baron/Boisanté, New York. $1,200. which was available in the GDR at least It is a slow enterprise, and the medi- in part because of its ambivalent view of tative act of concentrating on one image n 1996 Brian Belott—painter on plas- the United States (the story deals with taken from the stream that fills our lives Itic, designer of used sock reliquaries, taboos such as interracial, extramarital is at the heart of it.