New Editions from Armleder to Zurier • Ross Bleckner • Dan Halter • Tess Jaray • Liza Lou • Analia Saban • and More

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 artist, 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 photography, Baumgartner fixes an evanescent moment, then converts the digital image into black lines of varying thickness, producing the illusion of tonality and coherent form. Baumgartner’s lines are similar in operation to the familiar dots of halftone 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 photograph 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 I tic, designer of used sock reliquaries, taboos such as interracial, extramarital is at the heart of it. The artist uses digital creator of wildly eccentric books—made and same-sex relationships). Baldwin’s technology and woodcut as indicators of a small picture of a pirate ship. Clumps of book, like John Dos Passos’s 1925 novel time and speed. In their respective eras, collage and dark paint picked out a wonky Manhattan Transfer (a title Baumgartner each marked a revolution in the speed of blue hull amidst churning sea and sky; borrowed in 2010), helped form her idea information transfer. Standing in front cartoon ghosts hovered above the rigging of the United States and the West. For of Another Country one cannot help but as a black cat arched its back before a full Americans, “the West” conjures notions think of the camera shutter, fast enough moon—it was a child’s boiled-down cata- of Manifest Destiny; for those raised to freeze the motion of the water; the logue of scary. It was also one of the art- behind the Iron Curtain, it was a place frequency of the halftone lines; the three ist’s favorite works, kept on the wall of his both real and unknowable. Baumgart- months it took to carve the block; and the studio for 15 years, until he was prevailed ner recalls that as a child summering on time it took to print the edition on thin upon to loan it to an exhibition. Whence the Baltic island of Hiddensee, she could Japanese paper. it was stolen.1 make out “the West”—Denmark—across In Another Country Baumgartner is For years, all that remained of the the water. concerned with the play of light on water, beloved painting was a fuzzy photograph The waxing and waning of her hori- rather than the water itself; a fleeting pinned where the original used to hang. zontal lines evoke language—written look westward, recorded with modern It was still there this past year, as the text, binary code, even sound waves. methods and transcribed through an artist was looking through drawings to Cutting with a single blade rather than antiquated technology; the immaterial, be translated into a potential woodcut. a V-shaped gouge, she can to control the made material. —Benjamin Levy (Belott had been smitten with Donald

4 Art in Print March – April 2017 the ghosts’ white outlines now appear as empty space, while their see-through ectoplasmic innards go black. Like the found objects Belott has often sand- wiched behind plastic, the pirate ship has been squished by its own preservation, transformed into something newer, flat- ter and infinitely weirder. —Susan Tallman

Notes: 1. “Brian Belott: Joy of File,” Zurcher Gallery, 26 February – 3 April 2010. There is still a reward; anyone with knowledge of the painting should contact the artist at [email protected].

Ross Bleckner

Mirror (2016) Lithograph. Edition of 20. November 29th (2016) Lithograph and collage. Edition of 20. November 27th (2016) Lithograph and digital print. Edition of 20. September 23rd (2016) Brian Belott, Pirate Ship (2017). Lithograph. Edition of 20. September 23rd bis (2016) Baechler’s Tantric Feet [see Art in Print solid black or white; willful spontaneity Lithograph with collage. Six variants, Jan–Feb 2016], which had been cut by has been recast as virtuosic replication. each in an edition of four. Takuji Hamanaka, in the Japanese man- And yet the essential, chaotic density of All works from the series EE.UU, 1949 ner, from the artist’s drawing glued to the the painting has been preserved. The (2016), 100 x 70 cm each. Printed and woodblock.) During that meeting, print mechanical heightening of arbitrary dis- published by Polígrafa Obra Gràfica, publisher Mark Baron raised the possi- tinctions that occurred at each stage of Barcelona. €1,800 each. bility of using the pirate ship rather than translation increases the confusion, con- an extant drawing as a starting point. On flating some things and interrupting oth- oss Bleckner has been producing the face of it, this was a screwball sugges- ers. The mast and rigging disintegrate R nimble and haunting meditations tion: the painting was lost, the photo was into a scrappy de Kooning-esque tangle; on mortality since the 1980s, but rarely lousy, and neither possessed the sharp graphic dynamism on which woodcut thrives. Naturally the project went ahead. The snapshot was scanned in high- resolution black-and-white and printed at 16 x 20 inches. Using sumi ink and brushes on rice paper, Belott made a series of ink drawings from the scan. The best of these was brought to Hamanaka, who registered his trepidations—there would be no way, in the binary syntax of black-and-white woodcut, to preserve the brushstrokes’ tapers or the articulate variations of opacity. What a great block- cutter could do, however, was transform a murky cloud of forms into an intricate, high-stakes silhouette. Pirate Ship (2017) is profoundly different from Spooky Night with Pirate Ship (1996), and from the intermediary photograph, scans and drawings. Lumpy dimensionality has become planar; chromatic nuance has been replaced with Left: Ross Bleckner, September 23rd bis (variant 4) (2016). Right: November 29th (2016).

Art in Print March – April 2017 5 with the stripped-down concision of this In this light, the compositional format of Astrid Bowlby recent set of prints. All appear to have these prints, and his use of the series, and been over obituary pages torn from the of the edition variée within the series, Everything (2016) New York Times, though only in the edi- can be seen a kind of defiance—a refusal Single-color stone lithograph, 30 x 40 tion variée September 23rd bis can any- to be summarized, a plea for more possi- inches. Edition of 35. Printed and pub- thing but the page header, number and bilities, more options, more time. At the lished by Petrichor Fine Art Press, Phila- date be read. In the others an overprinted same time, however, Bleckner offers the delphia, PA. $1,800. rectangle covers everything but a narrow most moving of summaries—and repeats Just Before (2016) external margin. it in two of his variations—reproducing Single-color stone lithograph, 20 7/8 x The page for Tuesday, November 29, the words of Felix Gonzalez-Torres, type- 15 7/8 inches. Edition of 14. Printed and 2011, is covered with memorial black, as set as if a poem: published by Petrichor Fine Art Press, if the border of a formal death announce- Philadelphia, PA. $900. ment had been inverted. Covering the text ABOVE ALL ELSE, of Sunday, November 27, 2011, is a block of IT IS ABOUT LEAVING A hese are Astrid Bowlby’s first prints black ink that has been perforated with MARK THAT I EXISTED: Twith Petrichor Fine Art Press, a five- circular openings through which we see, I WAS HERE. year-old Pennsylvania press committed to not the text of the newspaper page, but I WAS HUNGRY. stone lithography. Each is concerned with fractured marks of black and gray—a hint I WAS DEFEATED. the accumulation of marks—abstract and of some other image just out of reach. The I WAS HAPPY. representative—a focus developed in her rectangle over Friday, September 23, 1994, I WAS SAD. previous prints, drawings and installa- is white and speckled with black and red I WAS IN LOVE. tions made from amassed cut drawings. dots slightly out of alignment, like the coat I WAS AFRAID. The larger, entitled Everything, makes of an eccentric Dalmatian or a negative I WAS HOPEFUL. a valiant attempt to fulfill its titular version of the painter’s familiar streaking I HAD AN IDEA AND promise. What appears from a distance points of light, or—less benignly—a flurry I HAD A GOOD PURPOSE to be an all-over field is revealed on closer of suspicious moles. AND THAT’S WHY inspection as an evenly dispersed collec- Mirror is an overt memento mori: the I MADE WORKS OF ART.2 tion of cartoonish objects. Among these text has been blockaded with reflective sil- —Susan Tallman items are a bunch of grapes, a comb, a ver, offering back an image of the viewer, mug, a wine bottle and an ear of corn, as blurred like the ectoplasm of spirit pho- well as art historical citations, such as a tographs. The date—our date, by implica- Notes: small homage to Keith Haring’s well- tion—has been blacked out. This is not the 1. “Ross Bleckner Interviewed by Aimee Rankin,” known figures. Graffiti, cave painting and ghost of obits past; it is the specter of an Bomb Magazine, Spring 1987, http://bombmaga- modernism are all in conversation here. obit future. zine.org/article/899/ross-bleckner. The field of things bleeds to the paper’s 2. Originally published in Tim Rollins, “An Inter- September 23rd bis uses the same page deckled edges, suggesting a boundless as the spotted print, but Bleckner’s interview with Felix Gonzalez-Torres,” Felix Gonzalez- Torres (New York: A.R.T. Press, 1993). spread, and reflecting a printing process ference is relatively minimal: the page is sprinkled with faint shadows of irregular ovals that seem to have a lensing effect, suggesting outsized droplets fallen on the surface. Most of the text is legible: we can read about the funeral of tennis star Vitas Gerulaitis and about the life of psychoana- lyst Donald M. Kaplan, author of “What Is Sublimated in Sublimation?” But where the accompanying photographs once were, there is only blank paper. As if in recompense, Bleckner has appended other images—different ones for each of the six variations in the edition: a photograph of raised hands; another of a low sun, setting or rising; a red cross; a posted note reading “take what you need” with tear-off tabs for “love,” “faith,” “patience.” Bleckner once told an interviewer that he began reading obituaries as a child and had at one point aspired to be an obituary writer for the Times: “I thought that’s the ultimate criticism. That’s it. You live your life and somebody sums it up and that per- son has tremendous amounts of power.”1 Astrid Bowlby, detail of Everything (2016).

6 Art in Print March – April 2017 Left: Andy Burgess, Miami Art Deco (2016). Right: Haus Heyrovsky (2016) in which the drawing on the stone was Haus Heyrovsky (2016) the Irish architect’s vacation home on the larger than the paper. Relief, 13 x 15 inches. $1,500. French Riviera, where Le Corbusier was Unlike these cartoonish representa- The Fiat Tagliero Building (2016) a sometime guest. The oblique, distant tions, Just Before results from an intense Relief, 13 1/2 x 15 inches. $1,500. view emphasizes the building’s complex accumulation of horizontal marks Pool House (2016) part-by-part construction of flat planes, extending edge to edge and fully covering Lithograph, 29 1/2 x 37 inches. $3,500. and its sharp juxtaposition of voids and the sheet of paper. While such repetitive All editions of 30. Printed and published solid forms. As in his other etchings, line work draws on lessons from canoni- by Tandem Press, Madison, WI. E-1027 is both a picture of a building and cal figures such as Agnes Martin, Bowlby abstract rendering of geometric forms. pushes the density of her lines to the ver the last 15 years, the British Meticulously rendered in cross- extreme. Like the larger print, Just Before O artist Andy Burgess has become hatched lines and shades of gray aquatint, seems to want to include more than the known for paintings and collages inspired Burgess’s etchings reveal his interest in page can fill: the lines push against one by contemporary cityscapes as well as modernist architectural photography and another, in a closely packed field that feels 20th-century architecture and advertis- the way it aestheticized the stark, indus- substantive and tactile. ing. In his recent editions with Tandem trial rigor of International Style buildings. Bowlby has described printmaking as Press, Burgess employed etching, relief Indeed, photographs from his extensive “an intersection of drawing and sculp- and lithography to create captivating, collection of books on architecture serve ture,” and her prints indeed feel object- intimate studies of modern buildings. as Burgess’s primary source material. like: the buildup of things and of marks The imagery will be familiar to anyone In his etchings, Burgess softens the some- moves the prints beyond image into who knows his paintings, but the editions times alienating severity of such photo- something tangible.1 provide a nuanced take, using each print graphy with his manually controlled, —Brian T. Leahy technique to investigate a different aspect alluring, cross-hatched lines. of lesser-known architectural icons. In a related series of small polymer Notes: In the four etchings, Burgess focuses plate reliefs and large lithographs, Bur- 1. Author’s conversation with Peter Haarz, Tama- almost exclusively on the dramatic play gess transforms “white cube” structures rind Master Printer and founder of Petrichor Fine of light and shadow in close-up views of into vibrant, colorful abstractions. In Art Press, 3 November 2016. structures from the 1920s and ’30s. In print, Burgess takes the opportunity to Miami Art Deco, strong Florida sunlight remove the visible brushstrokes found in beams down, creating deep, dark shad- his paintings. The sumptuously flat color Andy Burgess ows that streak across window awnings in Haus Heyrovsky and The Fiat Tagliero and a keystone. In Bank of America, Palm Building is reminiscent of mid-century Bank of America, Palm Springs (2016) Springs and Hong Kong Abstraction, detail American graphic design, giving them Etching, 21 1/2 x 18 inches. $1,200. views abstract the buildings they depict, the affect of advertisements. The pla- Miami Art Deco (2016) rendering them unrecognizable: the col- nar composition, large scale and bright Etching, 17 1/2 x 19 3/4 inches. $1,200. orful and distinctively curvilinear Palm pastel palette of the lithograph Pool Hong Kong Abstraction (2016) Springs Bank of America building is House further emphasize Burgess’s inter- Etching, 17 1/2 x 21 inches. $1,200. reduced to a single shadow cast in a cor- est in the intersection of architecture, Eileen Gray’s E-1027 House (2016) ner where three exterior walls meet the graphic design and geometric abstrac- Etching, 18 1/2 x 21 1/2 inches. $1,200. flat roof.Eileen Gray’s E-1027 House depicts tion.

Art in Print March – April 2017 7 From left to right: Keith Coventry, Bayham Estate (2015), Longlands Estate (2015) and Peckham Park Estate (2015) ©The artist. Courtesy Paul Stolper, London.

Burgess’s prints reveal in their hard indirectly Coventry’s. Each shows the inked (they were printed by the artist). modernist subjects a transitory beauty footprint of the apartment blocks in one The corners of those rectangles go a bit and vibrancy we might otherwise miss. of four London public housing estates. blobby and the edges wobble. They have —Julie Warchol The ink colors derive from the signage at the affect of something run off in an art- each site. ist’s studio with urgent excitement. It is Linocut is the most recent vehicle for as if geometric abstraction has returned Keith Coventry Coventry’s “Estate” pictures: he began home from its misguided flirtation with his Estate Paintings in 1991, and his 2008 power; no longer monumental, its Weighgate Estate (1998–2016) print portfolio Copper and Silk included authority spent—a small thing, made for Bayham Estate (2015) elegant black-and-gray etchings of a some people who might want it, and who Longlands Estate (2015) number of estates, including a single off- understand what it has been through. Peckham Park Estate (2015) kilter square (a further nod to Malevich) —Susan Tallman Linocuts on paper, 24 x 18.5 cm each. Edi- for Ronan Square, an infamous East End tions of 20. Printed by the artist, London. tower that partially collapsed in 1968, Notes: Published by Paul Stolper Gallery, Lon- killing four people.1 1. Keith Coventry, Copper and Silk (2008). Port- don. £950 each, except for Peckham Park Coventry has a gift for converting the folio of 20 screenprints and etchings. Estate, which is £1,000. less glamorous aspects of contemporary life into dapper abstractions with awk- eith Coventry’s arrangements of ward backstories: Copper and Silk, which Tacita Dean K detached color rectangles on flat functioned as a kind of printed retro- white ground are pointedly suggestive spective, also included Pop-ish screen- LA Exuberance (2016) of Kazimir Malevich in high Suprematist prints based on broken windows and Fifteen hand-drawn three-color blend mode. We know the rhetoric: the revo- McDonald’s refuse; and earlier etchings lithographs, 75.9 x 75.9 cm. Editions of 36. lutionary reach for universal principles, presented Morandi-esque arrangements Printed and published by Gemini G.E.L., the high-minded refutation of figuration, of crack pipes. Los Angeles. $4,000 each (a discount the optical tension created by angled The Estate images chart the sorry applies for 5 or more). forms, the sublimity that arises from arc from high-minded idealism to high- their unlikely balance and stasis—energy handed expediency that is the story of ne thing about Tacita Dean’s cap- caught and frozen in perpetual becom- public housing across continents. But O tivating new lithographs of clouds ing. they also reclaim beauty in a modest way, must be made clear at the start: they are But Coventry’s compositions are more by recasting the unlovely and unloved as hand-drawn. It would be easy to under- grounded—the push and pull of forms handmade objects of aesthetic pleasure stand them as photo-offset lithographs against negative space is a little lax, as (given the cultural clout of the art world, unless informed otherwise; Dean, after if they had their minds on other things; the class component to this does not go all, is primarily known as a filmmaker there is something a bit work-a-day unnoticed). and photographer, and the prints cer- about them. And indeed, while the com- That handmadeness is particularly tainly appear photographic. Yet she has positions did, in a sense, arise from the pronounced in the linocuts, which are employed her considerable drawing skills ambitions of Modernism, they are only small, on brownish paper, and roughly to create these lithographic plates, a fact

8 Art in Print March – April 2017 Installation view: Tacita Dean, L.A. Exuberance (2016) from the exhibition “L.A. Exuberance: New Gifts by Artists,” Los Angeles County Museum of Art, Los Angeles, 30 October 2016 – 2 April 2017. ©2016 Tacita Dean and Gemini G.E.L. LLC. Photo ©Museum Associates/LACMA. that changes how the viewer perceives learning curve: an artist accustomed to the image, heightening the attention we working with the projected light of film Notes: pay to their surfaces and deepening our had to find a way to convey, through an 1. Tacita Dean, in “Tacita Dean ... my English breath in foreign clouds” (New York: Marian Goodman appreciation of their facture. opaque medium, the luminosity of Gallery, 2016), press release. LA Exuberance is part of a larger body clouds. In the end she drew them with 2. This larger group was shown at Marian Good- of work titled “A Concordance of Fifty black spray chalk on Mylar that was man Gallery, New York, 2 March – 23 April 2016. American Clouds” that Dean created exposed as a negative—the clouds’ appar- 3. Further information in Tacita Dean at Gemini during a residency at the Getty Research ent glow is produced by the bright white, G.E.L.: LA Exuberance (Los Angeles: Gemini G.E.L., 2016), online http://www.calameo.com/ Institute in 2014–15. The British artist unprinted paper. Once she had selected read/004903359cdc749b8b7ec. was fascinated with the whiteness and the final drawings, the printers had to 4. Christopher Knight, “Tacita Dean’s remarkable wispiness of California clouds: unlike transform them into plates that could hand-drawn cloud prints at Gemini G.E.L.,” Los the low-hanging, rain-laden clouds of print the area surrounding Dean’s clouds Angeles Times, 8 October 2016. Europe, these appeared to reflect “the while maintaining their delicacy.3 The imperceptible activity of winds high rest was a matter of combining plates and above the earth’s surface.”1 In her desire blended colors in what the artist calls Claas Gutsche to translate their evanescence to paper, “controlled serendipity”: a complex sys- the artist took up several new drawing tem of layered, blended rolls of up to six Die Gestaltung 2 (Composition 2) (2016) and printmaking techniques, including colors for the sky and up to three plates of Linocut, image 50.7 x 40 cm; sheet 61 x spray chalk on blackboard, altered post- cloud imagery per impression. Dean 48 cm. Edition of 10. Printed and pub- cards, white charcoal pencil and gouache requests the works be hung significantly lished by the artist in Germany. Available on antique slates, and the present litho- higher than standard eye level to encour- through Aspinwall Editions, New York. graphs—her first collaboration with age a viewing experience akin to cloud- $1,500. Gemini G.E.L.2 gazing; LA Times art critic Christopher Though Dean has created editions in Knight notes, “you crane your neck while laas Gutsche, born in East Ger- various media, including photogravure looking at clouds and condensation trails, C many seven years before the Ber- and offset, these are her first hand-drawn the better to daydream.”4 lin Wall fell, makes two kinds of work— lithographs. The process required a steep —Sarah Kirk Hanley bronze sculptures and meticulous

Art in Print March – April 2017 9 Left: Claas Gutsche, Die Gestaltung 2 (Composition 2) (2016). Right: Dan Halter, Domboremari (Blue) (2016). linocuts—of two kinds of subjects: the The latest of these, Die Gestaltung 2 As a child, Gutsche found himself in a bits of nature that city dwellers encoun- (Composition 2), draws the viewer in with nation state where everything was the ter (trees, birds’ nests, broken branches, a calming pattern of cheery, creamsicle- same, but everything was different. That spider webs) and urban vistas in the orange tiles. It might be taken for mid- sense of disorientation is now broadly former German Democratic Republic. century geometric abstraction in the shared. —Julie Bernatz His monumental and disquieting vein of Anni Albers, were it not for the black-and-white linocuts distill these way it runs off the right and bottom Notes: subjects into sharp shadows and shim- edges, indicating the continuation of 1. Christoph Tannert, “There Is No Absolute mering light. Visually arresting, they con- a larger architectural façade, and for Truth,” in Claas Gutsche: Changing Truth, (Berlin: vey a steady thrum of dread—carefully the intrusion of a single, leafless black Claas Gutsche, 2014), n.p. designed places without people, beauti- sapling. No matter how jolly the tiles, fully articulated trees without leaves, Gutsche suggests, it is still winter. (Simi- a “utopia” where it is always winter. As larly, the cerulean sky in Relict (2015) Christoph Tannert has written: serves to silhouette a guard tower.) Dan Halter While many of Gutsche’s prints are The dreams of superiority of the explicit in their locations (it’s hard to Domboremari (Green), Domboremari (Pink), socialist citizen were shattered as the be confused about the monument to Domboremari (Blue) (2016) years went by, just like all other eco- Lenin or the watchtowers), others are Linocuts, 100 x 81 cm ea. Editions of 6 of nomic plans, causing an emotional potentially more ambiguous. They each color. Printed and published by War- fog to descend over the country, which quote the kind of 20th-century Inter- ren Editions, Cape Town, South Africa. Claas Gutsche has artistically and national Style institutional buildings Green and Pink: R16,000. Blue sold out. effectively portrayed with documen- that can be found from Los Angeles to tary sharpness.1 Ulan Bator. The geometric shapes in ith the graphic punch of a relief Vorgarten (2014), for example, resemble W print and the elaborate line game Gutsche’s recent prints are a depar- the ceramic tiles of the Italian architect of engraving, Dan Halter’s meter-tall ture—smaller in size and aglow with and designer Gio Ponti, while the orange linocut of rocks was a strong presence at color. At this scale the architectural ele- tiles of Die Gestaltung 2 are similar to the the E/AB Fair in November. It came by ments are softened, the grim granularity glazed bricks of the Friedrich von Schil- both qualities honestly: the image that of the large prints giving way to bright ler School in Chicago, originally built for Halter spent a month cutting out of lino- geometric tile or patterns of sun on con- Chicago’s most notorious public housing leum flooring was an enlarged reiteration crete; skies bend blue. project, Cabrini Green. of an engraving that had adorned every

10 Art in Print March – April 2017 iteration of the Zimbabwean dollar for the entirety of its hapless existence. A Zimbabwean artist who lives in South Africa, Halter uses a variety of media, though most of his work takes the form of tightly woven digital prints. His primary subject is the complicated inter- play of cultural, national and racial iden- tities that circulate in southern Africa, and his references roam from Guy Fawkes to African basketry to failed Google-map searches. He has made a large number of works that play on the appearance of the cheap Chinese woven-plastic carryalls that are a badge of immigrants worldwide (in Nigeria they are known as “Ghana- must-goes”; in Germany they are Türken- koffers [Turkish suitcases]). (Domboremari is not the only work in which Halter has used Zimbabwean currency: Computer Says No (2016) is a map of Zimbabwean farming regions, woven from shredded bank notes whose cumu- lative value totals 2,147,483,647, or 231-1, the maximum declared integer in 32-bit computing, and thus the maximum possible score or cash amount in many digital games.) The scale of Halter’s linocut necessar- ily calls attention to the familiar visual language of engraving, a European export that subsumed the world in its representations. And as a graphic enlargement of Alexa Horochowski, Vortex Drawing #8 (2016). Photo: David Kern. an official instrument of national identity and governance, Domboremari has echoes used to distinguish new currency from old glass of Degas’ monoprints, the hand of of KP Brehmer’s enlarged linocut post- after each devaluation. Henri-Charles Guérard’s monkey, the age stamp enlargements of the 1960s, but Wikipedia notes that the high value body of David Hammons, among thou- unlike Brehmer, Halter isolates the image Zimbabwean notes “have gained consider- sands of others. Alexa Horochowski’s from its function and doesn’t immediately able interest from the numismatic com- Vortex Drawings operate within that tra- reveal his source. munity and buyers in general for its dition, but with a cacophonous twist. Anyone from Zimbabwe, however, absurdity rather than the design.” Halter’s Put simply, these wall-size works are would instantly recognize the Chiremba print relies on both—the absurdity and composed of marks made by bits of pig- Balancing Rocks (one of a number of tragedy comprehensible to some, the ment-shrouded garbage, picked up and similar geologic formations that resulted peculiar visual grace available to all. dropped by wind. Working with High- from the erosion of softer stone around —Susan Tallman point Editions in Minneapolis, Horo- granite) as a vivid emblem of economic chowski set up eight barrel fans in a wide collapse. circle around a large sheet of paper, or Introduced in 1980 to replace the vellum, or Tyvek. In the center she piled Rhodesian dollar, the Zimbabwean dol- Alexa Horochowski man-made detritus—polystyrene cups, lar began at parity with the U.S. dollar; packing peanuts, aluminum cans and by 2007 it was trading at 600,000 to one. Vortex Drawings (2016) plastic bottles—that had been coated Three successive devaluations did noth- Series of unique works, various sizes from with transferrable materials such as ing to halt the fall, and by 2008 the central 6 x 6 feet to 12 x 12 feet. Produced with graphite, ink and oil. Then she switched bank notes were in hundred-trillion-dol- Highpoint Center for Printmaking, Min- on the fans. Together they created a local- lar denominations. Hyperinflation finally neapolis. Prices from $3,500 to $5,500. ized gyre of moving air that lifted the killed the currency altogether in 2009; inked-up garbage into a cloud of errati- today transactions in the country employ hough prints are usually thought of cally spinning junk. As pieces fell and foreign currencies. The color variants in T as the product of a fixed matrix— rose again, they deposited traces on the which Halter has printed his block—blue, carved woodblocks, engraved plates—the surface below. (A video of the making of pink and green—are a nod to the asymp- history of printmaking is also littered one of the drawings can be seen at https:// tomatically cheerful chromatic variation with malleable matrices: the smooth vimeo.com/160134446.)

Art in Print March – April 2017 11 Sometimes, when the objects were Tess Jaray Jaray has produced screenprints with large, the marks left behind are distinctive Advanced Graphics London since the enough to act as an indexical representa- 1960s. The four discussed here, each an Nine Thorns (2016) tion of its maker. Most often, the printed apparently simple examination of figure- Screenprint, 53.5 x 49.5 cm. Edition of vestiges are like dust—too fragmentary ground relations and color affinities, 30. Printed and published by Advanced and incomplete to be assigned an identity. result from multiple precisely registered Graphics London. £750. In some cases the tracked motion appears layers that establish tonal depth. Jaray has First City (2016) stochastic or oddly gestural. In others, it described the flatness of screenprint as Screenprint, 40 x 33.5 cm. Edition of produced a clearly defined, if diaphanous, ideal for her concerns: surface variation 18. Printed and published by Advanced torus. The silver-on-black circular cloud would distract from the spatial disrup- Graphics London. £650. of Vortex Drawing 13, which dominated tions the form and color seek to convey.1 Dark on Light and Light on Dark (2016) the Highpoint Booth at the E/AB Fair in In Nine Thorns, a nonet of serrated Screenprints, 40 x 60 cm each. Edition November, has a Hubble Telescope galac- orange sticks sits on a robin’s-egg-blue of 18 each. Printed and published by tic sublimity about it. ground, formulating a perceptual play in Advanced Graphics London. £750 Horochowski’s interest in whirlwinds, complementary colors. The set of nine each. however, arises out of something much forms, each built from 12 stacked inverted closer and far less benign: the spreading triangles, are centered on the blue field. oceanic “garbage patches” in the Atlantic ess Jaray, a British artist and influ- The composition seems simple in com- and Pacific—gyres, hundred of miles in T ential teacher at the Slade School parison to Jaray’s earlier work, such as the diameter and many feet deep, in which of Fine Art, came to prominence in the portfolio After Malevich (2012). The three fragmentary manmade junk accumulates 1960s through early exhibitions of paint- other prints utilize still more austere and circulates. ings that aligned her with other optically compositional strategies. Rather than Like the garbage patches, the Vortex oriented artists such as Bridget Riley, presenting a figure on a ground, First City Drawings are the products of natural and her later pursuit of public com- distinguishes a dark field on the left from forces and of unnatural elements set in missions—including the forecourt of a light field on the right via a central scis- motion, then abandoned. Unlike the gar- London’s Victoria Station—brought her sion. This separation echoes the zigzag bage patches, Horochowski’s works are work to a wider public. Jaray’s work dem- edge of the vertical rods in Nine Thorns. visually compelling—pleasing, even— onstrates a deep involvement with the In Dark on Light and Light on Dark, Jaray which raises provocative questions about relationship between architectural and reintroduces the complete thorn figure, ethics and aesthetics: does transforming pictorial spaces, one that can be traced using it to split the composition in two. tragedy into beauty dull its edge? But if from her brickwork public commissions She reveals an aspect of the printing we don’t, will anyone look? to the perceptual space she constructs in process in her initially counterintuitive —Susan Tallman her prints. titles: while the cream-colored thorn in

Left: Tess Jaray, Nine Thorns (2016). Right: Tess Jaray, First City (2016). Courtesy of Advanced Graphics London.

12 Art in Print March – April 2017 Dark on Light seems to lie on top of the dark violet ground, it is formed from a break in the two dark fields that were printed to either side. Jaray’s prints not only reflect lessons learned in other media, they also inform her painting and public works: a current body of paintings begins with layers of printed grounds, also executed by Advanced Graphics. The prints themselves are concise representatives of Jaray’s long-standing engagement with questions of perception and of the answers she continues to invent. —Brian T. Leahy

Notes: 1. Deanna Petherbridge, “Introduction,” in Tess Jaray: Prints & Drawings 1964–84 (Oxford: Ash- molean Museum, 1984), 1. John McDevitt King Almost There (2016) Hardground etching, image 11 1/4 x 8 1/2 inches, sheet 18 x 14 inches. Edition of 20. Printed and published by VanDeb Edi- tions, Long Island City, NY. $1,100.

ohn McDevitt King has long devoted Jhimself to the depiction of objects expe- rienced in his imagination. Spheres, coils, candles, plants, light reflections, shadows and shapes float through his ethereal paintings, drawings and prints. Pictured through layer upon layer of encaustic wax or fuzzy, dark graphite, King’s subjects are curiously amorphous, as if seen through a fog or veil. Although he has made relatively few prints, he produced several striking John McDevitt King, Almost There (2016). soft-ground etchings with VanDeb Edi- tions in 2006 and 2011, using the medium’s Hard-ground etching, with its scratchy suspended in an indistinct space. inherent blurriness to mimic the look of linearity, is a surprising choice for King, Indeed, most of the things in Almost his graphite drawings. This past year, King yet it has yielded a new way of revisit- There are unrecognizable, which is what returned to VanDeb, but this time chose ing a familiar subject. Although devoid makes them so intriguing. “I’m interested to work in hard-ground etching, and the of his characteristic soft hand and hazy in the gap between thoughts,” King has resulting edition, Almost There, marks an affect, Almost There nonetheless evinces stated, “the moments when things crystal- intriguing new direction. the artist’s fascination with imaginary lize.”1 In Almost There, he pushes this idea Utterly distinct from his previous objects. Strewn about the picture plane to its extreme. The print challenges us to prints and drawings, Almost There inverts are a number of mysterious things: at accept our inability to make sense of King’s customary approach. He usually upper left, several unidentifiable forms King’s ambiguous still life, in which the works from light to dark, building shad- are buried in a thick web of crosshatch- subjects refuse to crystallize, remaining— owy scenes by layering his medium (wax, ing. A sheet of paper appears hung (or as the title implies—almost (but not quite) graphite, ink) on a light-colored surface, laid) parallel to the picture plane at the there. so his objects seem to emerge from, upper right, with one of its corners curled —Julie Warchol or disappear into, darkness. In Almost toward the viewer—a classic trompe l’oeil There, however, darkness forms the base. meant to fool viewers into confusing the Notes: With its dense web of crosshatched lines drawing with a real paper sheet in space. 1. John McDevitt King quoted in Stephen K. Ves- printed in bright white ink on jet-black King’s sketchy drawing, however, impedes sels, “Review of John King: An Exhibit of Works at the Atkinson Gallery, Santa Barbara City College, paper, the print has the visually unset- this hoary bit of visual trickery. In the through February 22nd,” February 2008, accessed tling positive-negative reversal of a pho- lower left corner and along the right edge 1 January 2017, http://www.johnmcdevittking.com/ tographic negative. of the plate, several small objects appear templatePages/bibImView.php?id=4&view=text.

Art in Print March – April 2017 13 corset aggressively slims the waist of its wearer. In title and form, Curves allude to female bodies—an unmistakable nod to the idea of weaving as “women’s work.” A closer look reveals surprising details that evince Korot’s understanding of weaving as a proto-digital process. Some of the “woven” patterns are comprised of tiny shaded black and blue squares more reminiscent of pixels than woven threads. Further layering handmade and digital processes, Korot incorporates digital embroidery, one of SOLO Impression’s signature techniques. Designed on a computer and executed by machine, tiny Xs of silvery gray thread cover portions of the paper, adding physical texture to the otherwise flat schematic renderings. While other artists are now employing weaving, knitting and embroidery to link handcraft and digital technologies, Korot characterized the loom as early as 1977 as “a programming tool—it programs patterns through the placement of threads in a numerical order that determines pattern possibilities. It’s like the first computer on earth.”1 —Julie Warchol

Notes: 1. Beryl Korot quoted in Grace Glueck, “Art Beryl Korot, Curves I (2016). People,” New York Times (18 March 1977), 73.

Beryl Korot The installation features five woven textiles suspended in a room whose Liza Lou Curves I, Curves II and Curves III (2016) walls are hung with materials related to Digital embroidery and inkjet prints, the textiles’ creation—five single-channel Woven (2016) 18 x 18 inches each. Edition of 3 each. videos of Korot weaving on a loom, Lithograph in black on Arches watercolor, Printed and published by SOLO notated pattern drawings, and the vid- image 12 x 10 inches, sheet 28 x 22 inches. Impression, Bronx, NY. $3,500 each. eos’ pictographic score. Each component Edition of 28. Printed by Deb Chaney for highlights the thread-by-thread and the Center for Contemporary Printmak- frame-by-frame construction of woven ing, Norwalk, CT. Published by World pioneer of video art and a stead- textiles and videos, respectively, as well House Editions, Middlebury, CT. $3,500. A fast weaver, writer and editor since as the writing (or drawing) that is a nec- the 1970s, Beryl Korot has spent more essary, though often hidden, step in the ver the decades, Liza Lou’s beaded than 40 years making works that reveal process. O sculptures and installations have hidden commonalities between ancient An earlier set of editions, made with transmogrified from illusionistic bedaz- and modern technologies. She reminds us SOLO in 2012, feature mesmerizing close- zlement (as in Kitchen, 1990–96) to more that written texts, textiles and videos are ups of only the most complex woven meditative explorations of the process all means to communicate information diamond patterns used in Text and Com- and social implications of beading. across time and space through discrete mentary. The new Curves prints render Like many traditionally feminine arts, sequences—words and sentences; thread chevron, diamond and myriad stripe beadwork is usually anonymous and and yarn; electrons stored on magnetic patterns, lifted directly from the instal- undervalued; in her recent work Lou video tape; the tiny fluorescent lights lation’s weavings, into simpler, more has trimmed her once riotous palette of a screen. In these three new digitally nuanced, organic compositions. Each back, using monochrome to bring atten- embroidered inkjet prints produced with print features a bulbous form, comprised tion to what she calls the “lifeblood” of SOLO Impression, Korot revisits motifs of three or more horizontal striations of this work: the imperfections that make first used in her multimedia installation different woven patterns. Placed at the each piece unique and the extraordinary, Text and Commentary (1976–77), a semi- center of each print, the most complex overlooked, human effort that goes into nal work that epitomizes the artist’s early diamond and chevron patterns appear each square inch of a beaded surface. investigations into the structural relation- tightly woven, their warp and weft In The Waves, Lou’s installation at Gal- ship between weaving, writing and video. threads cinching each form, much as a erie Thaddaeus Ropac in Salzburg last

14 Art in Print March – April 2017 Untitled (2013), done with Jacob Samuel in Santa Monica. Both are monochromatic, abstract, pointillist studies that convey her fascination with labor and repetition, but Woven is the first to relate directly and recognizably to the actual woven, beaded surfaces that have become her bailiwick. —Sarah Kirk Hanley

Michael Menchaca

Gotta Catch ’Em All! (2016) Screenprint, 24 x 18 inches. Edition of 25. Printed and published by Overpass Proj- ects, Providence, RI. $600.

ichael Menchaca describes his Mwork as a “digital codex”—a phrase that captures the juxtaposition and, sometimes, tension between the pre-Colum- bian and contemporary cultures that he cites. If this cultural collision has echoes of Enrique Chagoya’s codices [see Art in Print Mar–Apr 2012 and July–Aug 2013], Menchaca’s focus on videogames takes his visual language and content in a different direction. Over the past several years, Menchaca has used a combination of printmaking, video and installations to explore immi- gration, racism and crime on and around the Mexican-American border. In Gotta Catch ’Em All! (2016), he expands his rubric to look at American race relations more generally in the wake of the recent wave of police killings of black Americans, and the rise of the Black Lives Matter move- Liza Lou, Woven (2016). ment in response. With its bright primary colors, busy patterns and bold, cartoonish summer, off-white glass beads were used a cloth she had commissioned years ago outlines, the print at first appears upbeat to make 1,000 square sheets, each “scaled and rediscovered recently: “I thought it and entertaining: Poké Balls—red-and- to the size of an ordinary dish cloth,” that would be interesting to try to trace each white spherical receptacles used to house covered the walls of three rooms of the and every bead as a way of staying con- Pokémon in the popular videogame—are gallery. The uniform format and mate- nected to something that had been made scattered throughout, appearing in lines rial suggested anonymous labor and also long ago and may have been forgotten.” that encircle the figures and, in one spot, invited comparisons between things that Once Lou created the tracing on acetate, merging with Barack Obama’s iconic 2008 are ostensibly the same yet quite different master printer Deb Chaney transferred campaign logo. The action depicted under- when juxtaposed, highlighting the indi- her drawing to a lithographic plate; after mines this suggestion of fun: in three dis- viduality of each square. As with all the trying out various colors and papers, Lou tinct registers, a conflict unfolds between artist’s sculptures of the past decade, The settled on simple black-and-white. Absent gun-wielding men in black uniforms and Waves was created in collaboration with the seductively reflective glass surface, Mesoamerican bird-headed figures in hundreds of Zulu women in South Africa the image invites us to consider the pecu- sneakers and cargo pants. whom she is careful to credit in inter- liarities of each bead and the handwork In the often ultra-violent realm of video views, naming some individually, and her involved in threading and interweaving games, Pokémon became a global phenom- respect for their contribution is apparent; them. enon as a benign, all-ages game in which indeed, it has become the subject of her Woven is Lou’s third printed edition; players strive to collect friendly monsters. work. prior projects were the lithographic dip- Menchaca’s title, “Gotta Catch ’Em All,” In Woven, Lou emphasizes the unique tych Analogous Mountain State I & II is the game’s English-language slogan. character of one particular beaded sur- (2008) done with Hamilton Press in Ven- Paired with Menchaca’s image, however, face by reducing it to line. The subject is ice, CA, and a suite of eight etchings, the phrase becomes sinister, as the central

Art in Print March – April 2017 15 Left: Michael Menchaca, Gotta Catch ‘Em All! (2016). Image courtesy Overpass Projects. Right: Jordan Nassar, Al Uzza (2016). birdman is cornered by two men. Seizure Jordan Nassar tiny Xs, that appear at first to be blown- and control underlie both storylines, jux- up renditions of cross-stitch embroidery. taposing innocence and aggression. (The Al Lat, Al Uzza and Manat (2016) In Al Lat, myriad interlocking abstract citation of Pokémon, a Japanese franchise Three suites, each consisting of three motifs are arranged in six horizontal that is immensely popular in America, two-color screenprints in thermochro- bands. In the comparatively pared-down emphasizes how universal these impulses matic and photochromatic inks, 36 x 24 Manat, just two repeated shapes form are.) inches each. Edition of 4 each. Printed five horizontal and one bisecting verti- A related digital animation by the artist and published by Kayrock Screenprint- cal bands. The most visually complex of begins with a scene similar to that in the ing, Brooklyn, NY. $1,380 each. the suites, Al Uzza, consists of a dizzying print; a text, rendered in the eight-bit font array of geometric motifs, crammed into of old videogames, scrolls upward, warn- ordan Nassar, who primarily produces more than a dozen bands. ing that “persons of color living within the J hand-embroidered textile works and Taking his cues from Palestinian U.S.A. may be subject to criminal prosecu- self-published zines, has recently begun needle-workers who embroider sym- tion based on fears perpetuated by harm- making prints that blend the visual lan- bolic representations of local flora and ful Hollywood tropes and xenophobic guage of traditional Palestinian embroi- fauna to indicate their own sociocultural stereotypes.” The hashtag “#blacklives- dery with a contemporary graphic status and geographic origin, Nassar matter” appears at the top. The print, like sensibility. For his first solo exhibition at constructed the prints from some 20 self- the animation, offers a lesson in visual the London gallery Evelyn Yard in 2015, invented symbols specific to New York, semantics, using innocuous, familiar sym- Nassar worked with Kayrock Screen- where the artist has lived most of his life. bols and stylistics to deliver its message. printing to produce a series of nine prints, Architectural features from buildings in Focusing on imprisonment, Menchaca grouped in three suites—Al Lat, Al Uzza his neighborhood, local plants and other makes an unexpected connection between and Manat—printed with white ink on geographic artifacts appear in highly Pokémon and institutional racism, and blue paper, blue ink on white paper, and abstract forms. illuminates the spectrum of outcomes, blue ink on blue paper. Nassar, a second- While Nassar’s embroideries have a from delight to tragedy. generation Palestinian-Polish-American, nascent tactility, the graphic flatness of —Britany Salsbury has created mesmerizing patterns of screenprint accentuates the functional

16 Art in Print March – April 2017 similarity between the increments of needlework and those of digital images. Commenting on the choppiness of 19th- century Palestinian attempts to yolk geometric cross-stich to the figurative conceits of European art, he observed: “cross-stitch, is, in a way, the first pixel- lation.”1 Just as “zooming in” on a digital image heightens our awareness of its pixel-by-pixel construction, the increased scale of Nassar’s prints—in which each X appears at least ten times larger than an embroidered cross-stitch—allows us to consider each unit and the larger whole. However much they allude to both traditional needlecraft and contemporary digital media, Nassar’s prints never allow us to overlook their existence as objects in space and time. Prompted by questions about the light-fastness of his embroideries, Nassar decided to exploit the envi- ronmental sensitivity of works on paper by printing with inks that temporarily turn white when exposed to heat and Robert Olsen, Untitled (Overpass) (2016). purple when exposed to UV light. He explains, “the same print will look different in a hot sunny room in Rome—maybe of series of works he had been making stasis of Olsen’s work as “anti-action white, powder-blue and purple—and a of freeway overpasses. Olsen lived and painting,” and there is a sense in which dark cold room in Norway—where it worked in California, where freeways are the locked-down quality of screenprint would be royal/navy blue and stark white. a state-defining cliché, but Olsen’s were as a medium—its inability to waffle The prints show their experiences, their different: bereft of cars, people or legible gracefully like graphite or watercolor or lives.”2 Compelling works that evince a signage, they are formal arrangements oil paint—accentuates that stillness.1 cultural, temporal and technical hybrid- of concrete and shadow, lonely and cool, The Mylars had been sent to New ity, Nassar’s screenprints entice us to con- elegiac. They are places made by people York, but editioning had not yet begun sider both their physical and conceptual for people, which all the people have left. when Olsen died. Two years later, Plant- mutability. He posted a study of the Planthouse house, together with the artist’s parents, —Julie Warchol project—his first, and as it turned out, chose to publish the print posthumously, only, screenprint—on his blog in Octo- in a folio with a brief letterpress-printed Notes: ber 2013, and over the next few months essay by Olsen’s fiancée, Sarah Jor- 1. Jordan Nassar quoted in “New Establishment: posted multiple color variants—lighter, gensen. (Brad Ewing did the printing Jordan Nassar,” Elephant 28 (Autumn 2016), darker, greener. He painted Mylars for at Grenfell Press, and each impression accessed 1 January 2017, https://elephantmag. all of the screens, recapping and altering bears a blindstamp of Olsen’s signature com/new-establishment-jordan-nassar/. 2. Ibid. a composition he had earlier explored in and is signed and dated on the back by drawing, watercolor and painting: three his father.) overpasses crossing above an open road, In her essay Jorgensen notes, “Robert each on a different angle and in a different would leave out information that the eye Robert Olsen relationship to the sun. One is entirely of the viewer would leave in,” or, as he put black, one in medium shadow, and one it himself, “I try to isolate the ubiqui- Untitled (Overpass) (2016) catches the light so strongly that its sup- tous.”2 Untitled (Overpass) is poignant in Five-color screenprint, 9 1/2 x 12 1/2 porting pillar merges into the near-white its emptiness but also in its pleasure—a inches. With an essay by Sarah Jorgensen. sky. In his earlier iterations, the edges incidental fall of light, made eternal... Edition of 30. Printed by Brad Ewing at of these forms are smooth and the road —Susan Tallman Grenfell Press, New York. Published by below filled with nuanced pools of pig- Planthouse, New York. $1,000. ment. In the print, however, he seems to Notes: have pursued a purposeful roughness— 1. James Verini, “The Night Painter,” The Los n April 2014, Robert Olsen, an ac- the edges wobble, as if the concrete had Angeles Times, 12 Dec 2002, http://articles.lat- claimed painter of somber, luminous eroded, and within each shape the color imes.com/2002/dec/12/news/wk-art12. I 2. Ibid. cityscapes and still lifes, died of a heart is uncompromisingly flat, like a torn bit attack in his sleep. He was 44. At the time, of construction paper. Olsen was engaged in a print project with In a Los Angeles Times profile in 2002, his New York gallery, Planthouse—part James Verini described the profound

Art in Print March – April 2017 17 Left: Serena Perrone, Alberi: Site Specific(2014–16). Right: detail. Images courtesy of Cade Tompkins Projects.

Serena Perrone Pennsylvania, reviewing her photographs, place the images in time. As with Alberi: Perrone realized how strongly she had Site Specific, the viewer is afforded a Alberi: Site Specific (2014–16) been drawn to distinctively Italian trees; glimpse of a recalled moment with all of Suite of 12 line etchings with letterpress she chose 12 to be the subjects of jewel-like its affect and foibles. In a 2013 interview title page and colophon, in gray linen etchings that invite ruminative inspec- with Printeresting.org, the artist expressed clamshell box with embossed title, images tion. Though highly detailed, they have a her desire to convey “a sense of place, a 3 x 5 inches each, sheets 8 x 10 inches each. somewhat blurred and distorted aspect, as sense of location, an overall sense of a Edition of 7. Printed and published by the if viewed through a filtered lens. mood or a state of mind, a state of con- artist, Kutztown, PA. Available through After completing the etchings, Perrone sciousness that was happening in that Cade Tompkins Projects, Providence, RI. hunted each tree down on Google Earth. location.” With these two portfolios she $5,000. “I was an Internet tree-stalker,” she quips. has hit the mark. Lightforms: Venice I–VII (2016) The eventual reward for this time-inten- —Sarah Kirk Hanley Suite of seven cyanotypes in a blue linen sive research, which involved retracing clamshell box, images variable, sheets 8 x her steps digitally and recalling exactly Notes: 10 inches each. Edition of 5. Printed and where she had stood when she snapped All quotes from a telephone interview with the published by the artist, Kutztown, PA. each photo, was the feeling of “embrac- artist, December 16, 2016. Available through Cade Tompkins Proj- ing an old friend.” The set’s colophon ects, Providence, RI. $4,000. names each location—from Cortona to Urbino—and provides the geographical n a departure from the fictionalized, coordinates of each individual tree. I narrative landscapes of her prior The cyanotype set Lightforms: Venice works, Serena Perrone’s most recent print I–VII was also culled from snapshots. Fas- editions delight in facts of the natural cinated, like so many artists before her, world, albeit unexpected and dreamlike with the singular quality of Venetian ones. Her abiding interest in the psycho- light, she selected seven images for trans- logical aspects of landscape remains cen- lation into cyanotype, a technique new to tral; these are works “about memory,” she her. The casual photographic images of says, developed across carefully consid- indiscernible locations converge with the ered stages of distance in time and geog- fuzzy edges of the technique to produce raphy. Both suites were initiated during enigmatic images of the city. The indian extended stay in Italy in 2014, but vidual titles are nouns that meander Perrone intentionally allowed months between Italian and English: Scarpa, or years to pass, waiting to formalize the Giardini, Kites, Cone, Treeline, Arch, images after her return to the US. Sliver. These ambiguities are com- Alberi: Site Specific recreates a journey pounded by cyanotype’s association with Serena Perrone, Lightforms: Venice VI (2016). through the Tuscan countryside. Back in early photography, making it difficult to Image courtesy of Cade Tompkins Projects.

18 Art in Print March – April 2017 Hanneline Røgeberg Lede Revision (2016) Drypoint. Lede Revision II, VII, VIII and IX (2016) Drypoint and etching series. Lede Revision I, IV, VI, XII, Deluge Lede and Lead Revision (2016) Drypoint, etching and monotype series. Image 18 x 24 inches each, sheet 22 x 30 inches each. Edition of 5 each, except Lede Revision, edition of 10. Printed and published by Marina Ancona, 10 Grand Press, Brooklyn, NY. $1,200 each.

n her art, the Norwegian-born painter I Hanneline Røgeberg seeks to “visu- alize feeling”1 through a voluptuous vocabulary of bodies, skin and intense physical engagement. Among other strategies, she has transferred wet paint from eight-foot-tall canvas matrices onto twin receiving canvases, a task that Marina Hanneline Røgeberg, Lede Revision II (2016). Ancona of Brooklyn’s 10 Grand Press identified as “a cumbersome printmaking choreography.”2 Delacroix overlap with dreamy floating Analia Saban Working recently with Ancona, Røge- forms, looping lines and jagged scratches, berg completed a series of intaglio-and- emerging and receding in space, sup- Pocket Watch (One Continuous Line), monotype prints under the collective porting a kind of deliberate incoherence. Blender (One Continuous Line) and Combo title Lede Revision. The prints, which are The paper’s white margins are a clean Television Unit (One Continuous Line) (2016) loosely grounded in Eugène Delacroix’s container, so as the artist says, “the print One-color aquatints, 54 1/2 x 41 1/2 inches monumental painting Liberty Leading the itself can be really dirty.”4 Drypoint’s each. $6,500 each. (Blender is sold out). People (1830), extend the idea of transfer- rough sensory connection to the plate Electric Toothbrush (One Continuous Line) ence. Røgeberg explains: feels fitting, as do the gooey blots of rich (2016) color, echoing the artist’s own paintings. For a while, an image of heads-of-state One-color aquatint, 54 1/2 x 41 1/2 inches. Perhaps out of urgency, Røgeberg did locking arms and raising clenched $6,000. not bother to correct for the left-right fists in solidarity with Charlie Hebdo Massage Recliner (One Continuous Line) reversal of printing: her Liberty bran- was pinned on my wall, and gathered (2016) dishes the flag in her left hand not her rhymes of previous fists: at the 1968 One-color aquatint, 54 1/2 x 51 1/4 inches. right; Delacroix’s self-possessed top- Olympics in Mexico City, at a Nurem- Edition of 18. $6,500. hatted figure and the corpses that lit- berg rally in 1934, in a court room in All editions of 18. Printed and published ter the foreground are likewise reversed. Oslo in 2012. In the growing pile of by Gemini G.E.L., Los Angeles. Available (In the upper left corner, above the fray, full-spectrum allegiances contained in through Gemini G.E.L. at Joni Moisant hovers a Cocteau-like body, a languid and a single sign, Delacroix’s painting Lib- Weyl, New York. mysterious addition to the dramatic cast erty Leading The People had pride Fingerprint (2016) of characters.) of place. I riffed on its many possible One-color monotypes, 13 x 11 inches each. Røgeborg recounts that “The printing inversions, reversals and studies for Series of 38 unique works. Printed and process felt wrong in all the right ways.”5 two years in my work . . . and the prints published by Gemini G.E.L., Los Angeles. The powerful results bear this out. done with 10 Grand Press are extend- Available through Gemini G.E.L. at Joni —Julie Bernatz ing these.3 Moisant Weyl, New York. $1,200 each. The first prints in her series are sketchy n the series One Continuous Line, drypoint/etchings in which elements Notes: I Analia Saban takes as her subjects from the Delacroix reel chaotically—dis- 1. Hanneline Røgeberg, “The Artist Lecture Series a selection of semi-luxury objects: a at Evergreen State College, January 23, 2013.” embodied arms, pointed bayonets and https://www.youtube.com/watch?v=0_sK61Y- pocket watch, a blender, a tube television, sinuous lines move centrifugally toward 9pgc. an electric toothbrush and a massage the edges of the composition. The subse- 2. “Hanneline Røgeberg” (edition fact sheet and recliner. Each is represented through an quent prints in the series are augmented artist’s statement) (Brooklyn, NY: 10 Grand Press, exploded view of its component parts, with glinting, oily stains, as well as inked 2016). the complete image rendered through a 3. Ibid. and painted marks that swirl like dye 4. Ibid. single line, entering and exiting the page dispersing. Recognizable figures from the 5. Ibid. without interruption. Printed at Gemini

G.E.L. in one of five colors (blue, orange, purple, yellow or brown), these large plates, each more than four feet high, are deeply etched with a heavy embossed line, rewarding close examination. Moving from print to print and machine to machine, we can piece together a morning routine, one that ends post-smoothie in front of the television. The banality of the objects and the loose narrative is both affecting and humorous. The works’ mechanistic content is in sync with its making: the drawings were created with a computer-aided design (CAD) program and executed with a laser-cutter rigged to draw through hardground on copper; the broad lines were then filled with aquatint to hold dense, sharply defined canals of ink. The viewer can trace the line winding its way across the pristine white page as it Analia Saban, Pocket Watch (One-Continuous Line) (2016). ©2016 Analia Saban and describes and connects each bolt and cog. Gemini G.E.L. LLC. Weaving a tight conceptual circle from the machine as subject to the machine Thomas Schütte quently incorporate them. (Indeed, the as draftsman, the prints deftly articulate distinguished German artist’s vision has the beauty within automation. Gartenzwerge (2016) never been grander; last year his foun- In a concurrent project with Gemini, Suite of 12 color etchings, 34 5/8 x 25 3/8 dation opened an exhibition center, the Saban created 38 monoprints by swiping inches. Edition of 35. Printed by the Skulpturenhalle in Neuss near Düssel- her thumb across a flat black plate and Atelier für Druckgrafik, Wendel, near dorf where he lives and works.) Schütte’s landing it squarely in the right margin of Hamburg. Published by the artist, Düs- most recent set of etchings, Gartenzwerge the sheet. Though it appears a simple ges- seldorf. Price on request. Available (Garden Gnomes), seen last fall at Konrad ture, the leap made by the finger bridges through Carolina Nitsch, New York. Fischer Galerie in Düsseldorf and Caro- more than a stretch of paper. Each mark is lina Nitsch in New York, allowed him to a nod to the two matrices involved (copper experiment in a different medium with and flesh) and the necessary planning of homas Schütte’s print series are forms and colors he had introduced in what seems to be a spontaneous image. T once removed from the sculptures, an eponymous group of glazed ceramic The print fits easily into Saban’s oeuvre, models and installation pieces for which sculptures made in 2015 and 2016. which frequently investigates the material he is best known; they are more closely His 2006 series of 18 etchings Frauen culture of artmaking in conjunction with worked and sometimes produced many (Women), shown recently at Skarstedt the commonplace and near-at-hand. years later. Yet the prints are essential to Gallery in New York, similarly provides —Morgan Dowty these ambitious artistic projects that fre- a more intimate perspective on another

20 Art in Print March – April 2017 Thomas Schütte, from Gartenzwerge (2016). From left to right: Gartenzwerg (Blau) (2016), Gartenzwerg (Rot) (2016), Gartenzwerg (Violet) (2016). Images courtesy of Carolina Nitsch. sculptural series—monumental female on a densely pigmented, monochromatic Edition of 26. Printed and published by forms in metal that themselves derive ground, different in each case. The lurid Durham Press, Durham, PA. $17,000. from his earlier ceramic models. And Alte tones that collide in the decoration of Freunde (Old Friends), a set of ten etchings garden gnomes seem to have been seques- hese ambitious prints—perhaps from 2010, is based on a series of polymer- tered individually onto each sheet, creat- T more accurately called editioned clay sculptures Schütte produced in the ing something vastly more subtle. collages—evince Mickalene Thomas’s early ’90s (shown at Carolina Nitsch in Schütte’s ceramic toy army is transmuted long concern with both 1970s interiors 2012). Gartenzwerge was printed by Daniel in the prints into a series of what appear and the medium of collage. A major figure Vogler and Lars Dahms at the Atelier für to be drawn vessels, none of which is in conversations about representations Druckgrafik in consultation with master a precise transcription of a particular of black bodies in art, Thomas is best printer Till Verclas. (Until 2010, when ceramic; these are refined versions of known for her large paintings of black he closed his studio, Vogler and Dahms their predecessors, reflecting more deli- female nudes, interior scenes, and riffs on printed with Verclas, who has worked on cate geometries. The fragile white lines the art historical canon, often bedecked all Schütte’s etchings since 2000 and says against the dense color evoke photo- with rhinestones and enamel in addition the artist remains his only client.) graphic negatives or the white fronds and to acrylic paint. The first Gartenzwerge sculptures blue grounds of early cyanotypes by Interior: Blue Couch and Green Owl (some 50 pieces organized into seven Anna Atkins and Henry Fox Talbot. In depicts a stylish but dated room, through groups and now nearly complete, the etching we see Shütte probe his initial whose glass walls we can see a beach. artist reports) were commissioned by a ideas, and the works’ careful, highly fin- The image is compiled from a variety of collector in Düsseldorf and originally ished manner conveys his understanding printed elements—screenprint, wood- intended for a North Sea island in Ger- of the medium—one that is entirely block, digital prints and flocking—cut many (that part of the scheme did not compelling and ultimately anything but and pasted onto a paper substrate, com- work out). The sculptures range in height experimental. pounding the mismatch of source images from about 18 inches to 6 feet and look —Catherine Bindman with their own varying degrees of reso- like architectural abstractions of the lution. ornamental figures that populate the Interior: Fireplace with Blackbird front gardens of strangers to good taste in Mickalene Thomas employs gold leaf and wood veneer—a many Western nations. Schütte’s slightly material Thomas has used for years, since squat forms, blank-faced and limbless, Interior: Blue Couch and Green Owl (2016) taking early photographs of herself and each different, are comprised of symmet- Mixed media collage: screenprint, wood- her partner in front of the paneled walls rical sections of various shapes, mainly in block, digital print and flocking, 107.6 x of their apartment.1 The scene, in which bold colors. Grouped together, they have 87 cm. Edition of 26. Printed and pub- a large black bird of prey is mounted over the effect of a small battalion of educa- lished by Durham Press, Durham, PA. a brick fireplace, oscillates between the tional toys in bleak but determined con- $17,000. recognizable space of a living room and frontation with the viewer. Interior: Fireplace with Blackbird (2016) abstracted planes of found patterns. A log In the etchings, Schütte revisits the Mixed media collage: screenprint, wood- in the fireplace is depicted with a cut piece forms and the palette of the sculptures, block, digital print, etching, gold leaf, of wood veneer. On the right side of the describing each in simple white lines wood veneer and flocking, 107.6 x 87 cm. image, a tiny etching of a woman’s face

Art in Print March – April 2017 21 is collaged into a small frame, reflecting Thomas’s concerns with the intertwined conditions of portraiture and domestic space. These editioned collages continue Thomas’s investment in expanding the material horizons of both printmaking and painting. —Brian T. Leahy

Notes: 1. “Points of Origin: An Interview with Mickalene Thomas by Lisa Melandri,” in Lisa Melandri, ed., Mickalene Thomas: Origin of the Universe (Santa Monica: Santa Monica Museum of Art, 2012), 26–44; 33.

Mungo Thomson

Pocket Universe (Copper) (2016) Copper blind embossment, 24 x 20 inches. Series of unique works. Pocket Universe (Silver) (2016) Aluminum blind embossment, 24 x 20 inches. Series of unique works. Printed and published by Highpoint Edi- tions, Minneapolis. $4,000 each (sold framed).

ungo Thomson is a concep- M tual artist working across media who approaches his projects with a wink and nod. His Pocket Universe works appear simple enough at first glance—coins pro- truding from large metallic sheets—but the content unfurls at an alarming rate. Metallic foil was run through a press scattered with coins, transferring the ridges and reliefs to the thin substrate; Mickalene Thomas, Interior: Fireplace with Blackbird (2016). Image courtesy of Durham Press. reinforced to resemble a solid sheet of ©Durham Press and the artist. metal, the foil was mounted in a frame to emphasize its dimensionality—the deli- slope between fine art and decor; and Like many of Thomson’s titles, “Pocket cate masquerading as the durable. his last project with Highpoint (see Art Universe” has a double meaning: the fun- The operations and materials for each in Print March–April 2016) paid homage gible loose change we carry everywhere, work in the series are the same, but the to the Time-Life books that were once and the cosmological theory of nested coins change with each impression. The commonplace markers of the upper-mid- multiverses. Physicist Alan Guth hypoth- metals would seem to match: the copper dle-brow home. In Pocket Universe, he dif- esizes that as the universe expands, other series was made with pennies, while the ferentiated each impression by the total universes are created in the vacuum silver one used nickels, dimes and quar- value of the coins used to print it, which pockets that arise, and our observable ters. In reality, however, pennies have not calls attention to another disparity— universe is likely the product of another been predominately copper since 1982. metals prices have risen, making some universe’s expansion.2 Thomson points Nickels contained silver only for a short vintages of coins now worth more as raw us toward a commonality between the period during World War II, and dimes metal than their face value; though it is mundane coins in your pocket and the and quarters have not been principally illegal to melt down coinage, some people mysteries of space-time. silver since 1964.1 In keeping with this hoard coins awaiting a reversal of the law. —Benjamin Levy slippage, though Thomson’s copper foil (Thomson encountered this numismatic is real copper, his “silver” is aluminum, a subculture through an earlier project Notes: metal used in no U.S. coinage. about misstrikes.) The carving, molding 1. The exception is bicentennial quarters pro- Thomson likes to tweak our assump- and casting of coin production has, of duced from 1975 to 1976. 2. Alan H. Guth, “Autobiography.” The Kavli Prize tions about value. His Wind Chimes series course, many parallels with the reversals in Astrophysics profile, 7 Sept. 2014, http://bit. begun in 1999 pokes fun at the slippery and impressions of printmaking. ly/2lPnOtL. Accessed 30 Dec 2016.

22 Art in Print March – April 2017 Samantha Wall

Dark Matter (Universal Body #1), Dark Mat- ter (Universal Body #2), Dark Matter (Uni- versal Body #3) and Dark Matter (Universal Body #4) (2016) Two-color lithographs, 30 x 22 inches each. Edition of 20 each. Printed and published by Crow’s Shadow Institute of the Arts, Pendleton, OR. $900 each.

hese intriguing prints are some Tthing of a departure for Samantha Wall, a Portland-based artist whose delicate monochromatic drawings focus on the depiction of young multiracial women. While her work usually makes use of wide expanses of white paper, the enigmatic silhouettes in these four lithographs are printed in metallic silver ink on flat black. Devoid of identifying facial features, the four figures are nonetheless full of visual information. As in some of Mungo Thomson, Pocket Universe #7 (Silver) (2016) and Pocket Universe #10 (Copper) (2016). her drawings, Wall used ink on Mylar to Photo: David Kern. create blooming pools of swirling liquid. Wandering the surface of the unrecep- tive film, the ink dries in puddles, form- with new types of images. The Mylar specific, individual facial features, the ing radiating strata. It is a fickle medium, drawings she made for the project were mask of the silhouette transforms the requiring confidence (or fearlessness); used as negatives for the photolitho- figures in these prints into a kind of any hesitation is visible. For Wall, the act graphic plates, evoking X-rays—literal everywoman. The subject she has drawn of drawing is akin to thinking; it allows portraits of what lies inside us. The paris herself, but Wall does not consider her to scrutinize small parts while tak- enthetical title, Universal Body, and the these to be self-portraits and does not ing in the whole. This is manifest in the churning of silver in darkness also sug- want them to be read as such. In these way the free-flowing eddies of ink meet gest galaxies and cosmic dust storms—a prints she articulates instead the fron- the tight delineation of the figure’s con- cosmos under the skin—while the pri- tier between internal and external life, tours. mary title, Dark Matter, refers to invis- the life inside and the surface the world This is the artist’s first professional ible glue of the universe, matter inferred sees, two territories separated by the experience with lithography, and the rather than observed. border of the skin. new medium freed her to experiment While many of her drawings detail —Benjamin Levy

Samantha Wall, Dark Matter (Universal Body #1), Dark Matter (Universal Body #2) and Dark Matter (Universal Body #3) (2016).

Art in Print March – April 2017 23 sum limit of line—the edge before it slips into nothing at all. Würth offers a luscious false start in the form of dappled mauve covers with an adhered hot-pink strip succinctly indicating author and title; just inside are shocking, bright-green Kozo endpa- pers. That is where maximalism ceases, however: Würth selected for his engravings an Echizen Gampi, just 18 grams per 44 x 33 cm sheet, so pale and light as to barely weigh in as substance. Each sheet was engraved, then folded into four parts to constitute the book’s 16 pages. The paper is nearly translucent, so that, as you leaf through, you glimpse one page of images—little more than marks, really, in the artist’s usual dance between notation and picture—through the previous page, and vice versa. (Würth reports that the placement of the images on the original unfolded sheet was made improvisation- ally, and that the interstitial choreography among pages is merely serendipitous.) At the start (and the finish) of the book the pages bear just small simple curved lines, little more than eyelashes, arranged sparingly upon the page; from these he graduates to a small square of parallel lines (arguably the essence of hatching, in turn the essence of engraving) and then, in the center pages, to a double lozenge that, when this delicate form appears, feels like a crash of cymbals compared to the pianissimo of the initial curved lines. “It is about rhythm and duration,” the artist told me, indicating the slight change in density over the run of pages. He signs off with a red stamp that con- tains the name given him by his Zen master in Japanese—“Dai-Gu,” or, roughly translated, “Big Idiot.” The artist insists it is justly bestowed, though the logic is not Anton Würth, from Carnet 19 (2016). so transparent to those outside the inti- order, as he has rather enigmatically mate relationship of student and teacher. Anton Würth written, “to sum up an occasional idea of Perhaps this Carnet was inevitable, given Carnet 19 (2016) a small sequence.”1 This is to distinguish the artist’s professional and personal 16-page artist’s book hand-bound by the Carnets from his more elaborate book odyssey. Himself a Zen Buddhist monk, the artist, 27.5 x 19.5 cm. Edition of 10. projects, which have preoccupied him Würth has in his latest book performed a Printed and published by the artist in throughout his 30-year career. feat of paradox and subtlety, surely the Offenbach-am-Main, Germany. Available Carnet 19 has to count as the most corollary of aspects of his spiritual call- at CG Boerner, New York. $1,800. remarkably understated of Würth’s ing. In some ways a clever challenge, the books to date—a grand claim indeed, book allows a contemplation on how lit- t’s been a few years since Anton Würth given the rarified nature of his oeuvre. tle it takes, really, to open a universe. I last issued one of his Carnets, now In the past, mainly in engraving, he has —Faye Hirsch numbering 19. These are slim volumes playfully addressed—and often balanced self-published irregularly, in small edi- on a hair—such weighty matters as rep- Notes: tions, since 1993. Each sets out a formal resentation and abstraction, text and 1. Stefan Soltek, Faye Hirsch and Eva Hanebutt- problem that unfolds in the artist’s typi- image, art and decoration, art history and Benz, Anton Würth: Buchprüfung, Museum für Angewandte Kunst (MAK), Frankfurt. 5 Septem- cally understated yet conceptually rigor- contemporaneity. This time he seems to ber–17 November 2002, and Gutenberg-Museum ous manner as the pages are turned—in be challenging himself to seek the zero- Mainz, 15 November–29 December, 2002, 32.

24 Art in Print March – April 2017 John Zurier

Summer Book (2016) Portfolio of eight etchings, image 20 x 14 cm; sheet 35.5 x 27 cm. Edition of 12. Printed and published by Niels Borch Jen- sen, Copenhagen. €7,350 portfolio; €1,100 each.

Indigo (2016) Image 7 x 8 1/2 inches; sheet: 14 x 14 1/2 inches. $1,500. Lighthouse (2016) Image 15 x 9 1/2 inches; sheet 22 x 15 1/2 inches. $1,500. Northern Sea (2016) Image 9 1/2 x 15; sheet 15 1/2 x 22. $1,500. Pale Spring, Echo and Drifting (2016) Image 15 x 9 1/2 inches; sheets 22 x 15 1/2 inches. $1,800 each. Remember (2016) Image 18 1/4 x 15 1/2 inches; sheet 25 1/4 x Left: John Zurier, Summer Book black hardground (2016). Right: Summer Book pink drypoint 18 1/2 inches. $2,200. (2016). Below: John Zurier, Drifting (2016). Color etchings. Edition of 15 each. Printed by Emily York, Crown Point Press, San Francisco. Published by Crown Point Press. and Summer Book pink drypoint—triggers ohn Zurier is best known for large a visceral sense of a drypoint needle J abstract canvases inspired by, and evoc- dragged along the surface of a plate, just ative of, perceptions of nature. In his first as in so many of his paintings thought- prints made at Niels Borch Jensen and fully placed brushstrokes are left visible Crown Point Press, he produced glowing for the viewer’s inspection. monochrome etchings that evince his At both Niels Borch Jensen and Crown fascination with visual properties of light Point Press, Zurier composed images by and rich surface textures. drawing with pencil on a sheet of paper Summer Book is a portfolio of eight lying atop softground—a technique that etchings created at Niels Borch Jensen Edi- has been used for centuries to produce tions in Copenhagen during the summer the crumbly irregularity of chalk draw- of 2016. The look of the city—the light ing. Both sets are rooted in nature and reflecting off water, trees against the sky, both connect to techniques used in his and shadows cast in the city’s parks in the painting: scraping copper plates, he evening—inspired what the artist calls noted, was comparable to scraping away a “book of random visual vignettes . . . layers of paint. But while the Copenhagen where the pleasure comes from finding prints emphasize immediacy of touch the subtle connections and contrasts.”1 and texture, those done in California rely When installed as a group on the wall, on light-drenched, aqueous color. Zurier they form an array of unified, quivering calls his preparatory sketches “notations,” surfaces. and the final prints carry the lightness Working with small plates—each just and brevity that his terminology sug- 7 1/2 x 5 1/2 inches—reminded Zurier of gests. He captures, rather than describes, the intimacy of looking through a book. a half-glimpsed moment of being. While this quality may not characterize —Allison Rudnick the typical confrontation with Zurier’s often-massive oil and distemper paint- Notes: ings, the prints of Summer Book none- 1. John Zurier quoted in Niels Borch Jensen, theless have much in common with his “John Zurier: Summer Book,” press release, October 2016. canvases. Both are largely monochromatic and support highly tactile surfaces. An examination of two prints in the portfolio—Summer Book black hardground

Art in Print March – April 2017 25 Dot Dot Dot

he human brain is hard wired for Tpattern—early humans found pictures in the stochastic display of stars; current humans spot trends in the caco- phony of cultural production. So it is that during New York Print Week, among the thousands of works of art laid out at the IPFDA Print Fair, the E/AB Fair, the Satellite Fair, the SPI Fair, as well as all the galleries and museums mount- ing print exhibitions, some subject or quality always seems to rise up in unexpected profusion. Last year it was birds. While animal portraits were conspicuous again this year—most dramatically in the form of David Barthold’s monumental engraving of an African Black Rhinoceros named Sababu—the subject that seemed sprinkled most liberally throughout the fairs and exhibitions was the humble dot. There were big dots and little dots, jolly dots and somber dots, dots in profusion and dots all alone. There were familiar dot strategists, like Damien Hirst, showing new woodcuts with Paragon Press, and canonic dots, like Richard Artschwa- ger’s rubberized hair ellipse and explana- tion point multiple at Brooke Alexander. [See image on page 2 of this issue]. Andrew Spence’s etching Dots, produced with Jennifer Melby, presents a tidy starburst of orange and red dots against horizontal gray stripes, set off-kilter by the scattering of small, pale dots, symmetrically arranged but dancing to a different rhythm. The Swiss artist John Armleder has Andrew Spence, Dots (2015), five-color aquatint, image 14 1/2 x 10 3/4 inches, sheet 21 x 16 1/4 worked with dots for decades, and this inches. Edition of 15. Printed and published by Jennifer Melby Editions, Brooklyn, NY. $1,200. year weighed in with two screenprints and one rubber stamp, all with World House Editions. End of Line offered a bouncy responded to an eponymous poem by Nowhere, however, was dot diversity arrangement of uniform red spots (pos- Annie G. Rogers, which opens with the more on display than in Janine Wong’s sible fodder for a joke about Swiss chaos), line, “The work on the page begins a bliz- monoprints at Oehme Graphics—work- while the dots of Divisions marched in zard. You fill in all the spaces and once ing in a square, Wong took a tight six-by- sorted order diagonally in one direction they are filled, the scene is weightless.” six grid of dots, and by varying their by size and in the other by color. These For her contribution, Louise Kohrman colors and applying an assortment of were augmented by the funky Baronial filled in the spaces of two plates with smaller, looser dots (some little more (2016), each impression bearing a single concentric rings of hundreds of dots— than smudges), illuminated a seemingly imperfectly rubberstamped large red small ones printed in black and larger limitless array of options, moving from dot, embodying formal perfection and ones printed in gray. Joined together the orderliness of 1950s floor tiles to the material limits in equal measure. they combine the cosmic calm of a man- joyous mayhem of confetti. For the Traces portfolio from Zea dala and the jittery potential of a Mays Printmaking, participating artists speaker cone. —Susan Tallman

26 Art in Print March – April 2017 Clockwise from top left: Louise Kohrman, Filling in All the Spaces (2016), coffee-lift aquatint etching on Gampi, 15 x 11 inches. Edition of 15 (5 available individually, 10 as part of portfolio). Printed by the artist at Zea Mays Printmaking Studio, Florence, MA. Published as part of the Traces portfolio by Zea Mays Printmaking. $350 for individual print, $4,000 for portfolio. John Armleder, Baronial (2016), rubber stamp print, 9 1/2 x 9 1/2 inches. Edition of 60 (placement and density of dot varies with each impression). Printed by the artist with the assistance of Brad Ewing at The Grenfell Press, New York. Published by World House Editions, Middlebury, CT. $400. William Wood, Rotation VII (2016), aquatint with sugarlift, image 35 1/2 x 24 inches, sheet 40 x 28 inches. Printed by Burnet Editions, New York. Published by Restoration Hardware, New York. $1,500. Janine Wong, Dot Variant #19 (2016), oil and watercolor monoprint, 18 1/2 x 18 inches. Printed and published by Oehme Editions, Steamboat Springs, CO. $1,100.

Art in Print March – April 2017 27 Alan Cristea in Conversation with Paul Coldwell: Papering the World in Original Art

aul Coldwell I wonder if we could P start by setting the scene of you arriving in Cork Street as a young man?

Alan Cristea I remember exactly—it was November 1972. But for three years previous to that I had worked at Marlborough Fine Art. I’d studied the history of art in Cambridge, where I’d written a thesis on a 19th-century printmaker called Charles Meryon. I managed to get a job, a week after finishing my exams, where they asked if any of the interviewees on that day had any experience of prints. I said, “Well, I’ve just written a thesis on a printmaker… I don’t know if that helps.” So I was sent across to a gallery on the other Video still of the interview with Alan Cristea (right) by Paul Coldwell (left). side of Bond Street, which was then called Marlborough New London, which tended to show the younger artists in the Marl- get a wider audience for art—to be more in the States, and you can argue till the borough stable. But also it was from there democratic about it. They were using cows come home about who did what that they had this whole print publish- everyday, mundane imagery, which leant first—and actually, who cares who did ing exercise, and that was of enormous itself perfectly to collage, to screenprint, what first? Obviously I was excited by appeal to me because it meant working what have you. In those days screenprint what was going on on the other side of with—I have to add, in a very subsidiary was a dirty word—the equivalent of digi- the Atlantic also—Johns, Rauschenberg, role—contemporary artists on the publi- tal now. Most of them had been to the Lichtenstein. cation of editions of original prints. Royal College and had done printmaking Marlborough was probably the most there, and they were dragging their deal- PC When you were at Marlborough, were successful gallery in London. They were ers kicking and screaming to the print you travelling to and fro to America? publishing prints by an older generation workshops. The galleries—certainly a of artists such as Henry Moore, Barbara gallery like Marlborough— could see the AC No, mostly I was making tea. I was Hepworth, even Oskar Kokoschka, who commercial desirability of making edi- making tea and packing the prints and was still alive at that point . . . Ceri Rich- tions, but it was an awful lot of trouble, typing invoices with two fingers. I was ards, Ben Nicholson, Graham Suther- and they were selling million-pound 21 years old when I got to Marlborough, land. So that was one tranche, and then Monets or what have you, so it was really but at the same time, I was meeting these beneath that there was a younger genera- the artists’ initiative. Of course, I abso- artists, and when you first meet an art- tion of artists, some sculptors, but also lutely loved it. I was a child of the ’60s. ist you’re just standing there with your artists such as Joe Tilson, and then Alan I’d been at university between ’66 and mouth open because it’s like meeting a Jones joined Marlborough briefly after I ’69 and I had all of these fantasies about film star. Fortunately it doesn’t take too did. And it was really that generation of bringing original art to a worldwide audi- long for them to become human beings artists—what are referred to now as the ence. The phrase I adopted sometime rather than film stars, so I began talking Pop artists, although I don’t think a single later was “papering the world in original to them. Some were kinder than others in one of them would accept the term... art.” So these were my kind of heroes. terms of talking to this minion at Marl- As a teenager, I would have gone along borough, so conversations started. And I PC No. to Brian Robertson’s Whitechapel exhibi- must have done okay because after three tions of those younger artists. I saw the years, Leslie Waddington seemed very AC It was really they who were at the fore- first Jasper Johns exhibition ever in Lon- keen on hiring me, so he must have heard front of all this print business because it don. So I was very much of that period, that I did okay. suited their way of working. They really but I have to emphasize that I was going wanted to make prints. I mean, we are to Whitechapel in the same way that I PC Waddington ran a more avant-garde talking in clichés about the ’60s, but it was going to Carnaby Street or listening gallery? was the decade of possibility. And they to Top of the Pops. were very much artists who wanted to There was the equivalent movement AC Leslie Waddington—who is now dead;

28 Art in Print March – April 2017 he passed away in November—was in a sense following the Marlborough model. And he was not that interested in prints.

PC Didn’t he say something to the effect that if he spent more than 15 minutes selling a print he was making a loss?

AC He probably did say something like that because he always liked to be out- spoken. He certainly didn’t know that much about prints, but he was interested in what interested the artists. And I suppose in a way hiring me was quite a good idea—although I was very young and very naïve—because I was really interested.

PC What was your role?

AC At my interview Waddington said, “I need somebody to run the print gallery. Would you do that?” And I said, “Yes, yes.” And he named a salary, and I said, “Oh that sounds terribly generous, thank you very much.” And I started from there, but he already had several artists under contract who were very interesting—certainly Patrick Caulfield; I loved Patrick Caulfield—and then were people of an older generation like Patrick Herron, John Hoyland . . .

PC Alan Jones?

AC Alan Jones moved to Waddington’s afterwards, as did Joe Tilson. And then there was Peter Blake, of course. So more so-called Pop artists.

PC These are artists whom you’ve now worked with for decades.

AC Forever. Richard Hamilton, Picasso’s Meninas (1973), hard, soft-ground and stipple etching, open-bite and lift-ground aquatint, engraving, drypoint and burnishing, image 57.1 x 49.1 cm, sheet 75.5 x 56.7 cm. Edition of 90. Printed at Atelier Crommelynck, Paris. Published by Propylaen Verlag, Berlin. PC And were you given lots of freedom in ©R. Hamilton. All Rights Reserved, DACS and ARS 2017. terms of publishing ventures?

AC I think Leslie was a bit nervous to gate Archway, and we knocked on the PC That’s the one he did with Cromme- start with, but then I got going. And of front door. Richard answered and Leslie, lynck. course when you’re that age, you’re abso- who’d never met him, said, “Oh, the rea- lutely convinced you’re right about all son we’re here, Richard, is completely to AC Yes, the first print he did with Aldo sorts of things. The classic case is Rich- do with Alan, because I don’t actually like Crommelynck. I was kind of nudging Les- ard Hamilton: I went on and on and on your work.” lie, and saying, “we have to buy that.” And about Richard Hamilton, and Leslie kept he said, “Yeah, we’ll buy one,” and I said, saying, “I don’t like Richard Hamilton, PC That’s a good start. “No, buy them all.” And that was the start I don’t get what he’s trying to do.” So I of the relationship with Richard. would find 20 different ways of bringing AC Which Richard thought was abso- PC You worked with Leslie for what, 15 up the subject. Because Richard was the lutely hysterical. And fortunately he years? ultimate printmaker. I mean, if you’re always had a sense of humor. I always going to work with anybody, you wanted remember that visit because he’d just AC I worked for Leslie for 22 years. I’m to work with Richard Hamilton. So even- finished signing his edition of Picasso’s now about 110. tually he caved in: Leslie and I went up Meninas and the whole edition was sitting to his studio, which was then in High- on the table in his sitting room. PC And you made the decision to . . .

Art in Print March – April 2017 29 AC Well, the decision was partly made you as well as I possibly can, and I want the difference. But I suppose that’s rather for me, I have to say, because we hit that you to look at it.” arrogant and pompous of me. recession in 1991. We had been so successful at Waddington’s financially. And the PC Your shows have a reputation of being PC Do you feel that digital has com- trouble is, if you’re really, really success- what’s termed “museum quality.” Even at pounded that? ful, you’ve got loans from here and there, Frieze Masters, when you devoted your and suddenly if the market disintegrates, whole space to Albers, it was impeccably AC Well, people would have argued they don’t call it a loan anymore—they displayed. 40 years ago that screenprinting com- call it an overdraft. So Leslie was having pounded that, and they certainly say it to cut back and one obvious area to get AC We do our best. I mean, the gallery is about digital printing. And it certainly is rid of was the whole print operation. So I completely artist-led. Without the art- used in a reproductive way. But the fact said, “Okay, I’m willing to take it on.” ists I am nothing. So—what do artists is, the originality of a print—and this is want? They want their art to be shown why it’s so difficult to define what consti- PC I think one of the things that singled as well as it can possibly be shown. They tutes an original print—lies in the atti- out your gallery from the outset was the then rather like the idea that people are tude of the artist. It’s as simple as that. sense that you were giving print the same going to buy the art. They then like it Because Richard Hamilton doing a digi- status as painting and sculpture, whereas even better if they actually get paid by tal print—it’s totally original. But on the most galleries were showing their prints their dealers for sales, and if they can other hand, you can say the same thing in plastic wallets in bins. You were pre- have a conversation with the guy who’s about etching—photo-etchings or offset senting the work in a way where it looked representing them—that’s kind of cream lithos or photo-silkscreens—it applies to its finest, and I wondered if that was a on the cake. That pretty well covers it, every medium. It happens that, because conscious thing on your part. and the same criteria apply to prints as we are now in the digital world, it’s the to painting. The artists themselves give easiest way of replicating imagery and AC It certainly was, and I think there the prints the same importance as they many people use it for that, but I’ve done were different reasons for it. First of all, I do their unique works, if they’re taking it digital prints here, Richard being the can’t stand most aspects of the art world. seriously. prime example, which are as original as I can’t stand the pretentiousness, the van- I’m interested in people who are seri- anything being done. ity, the showing off, the multi-million- ous. Some artists—you see Francis Bacon In just the same way that you can use pound prices, the putting on your dinner prints turn up at auction and sell for Picasso as a sort of benchmark for print- jacket for evening auctions at Sotheby’s, £20,000 or £30,000, and of course the making for a certain generation, I got in people buying things to impress other only thing he ever did was sign them. the habit of using Richard as a benchmark people. I mean all of that is really such a He had no interest in prints whatsoever. for his generation and the one beyond. pain in the ass. I wanted to be the catalyst Other people were interested in produc- for artists to make really original art. I ing prints that were “by Francis Bacon” PC He had such precision about match- had such a belief in all the different forms because they had serious financial poten- ing process to idea and seemed to me to of printmaking and the things that could tial. I’ve never had them here. I don’t want follow that through to the nth degree. be achieved, and I wanted to make those them here, because they’re not original available at prices that more people could prints—they are completely dependent AC A genuinely intellectual artist, total afford. I was constantly yelling in people’s on preexisting work. And that applies to confidence, complete belief in what he faces, metaphorically, “This deserves quite a few people. I’m still disappointed was doing, would never cut corners, your attention. I am going to present it to after all these years that people can’t tell knew exactly what he wanted to achieve.

Installation view: “Christiane Baumgartner: Reel Time,” Alan Cristea Gallery, London, 2011. Photo: FXP Photography.

30 Art in Print March – April 2017 You know, every relationship I’ve had with an artist has been different. Obvi- ously, because they’re all different human beings. But Richard would never compro- mise on anything at all. And my relationship with him, as I wrote after he died, was: he spent 30 years telling me what to do, and I did it. That’s how we got on.

PC You’ve worked very closely with that generation that you’ve talked about, but you’ve also been involved with the YBA Generation.

AC I’ve always gone for things where I thought there was preexisting evidence that these people were interested in prints or could make good prints, or that there was potential there for doing so. But I’ve always been looking at individual artists rather than at schools of artists.

PC But in those individual artists there is a sense that you’ve been more drawn to the more reflective artists, rather than the more sensationalist artists.

AC Maybe I am a bit. It’s the first time anyone’s ever said that to me and maybe that’s true. I am a bit wary of the trap- pings of the art world as I mentioned minutes ago. Maybe I veer away from things that are obviously glitzy, glamorous, too ostentatiously blingy or something.

PC Would you say at heart you’re a clas- Patrick Caulfield, Les Demoiselles d’Avignon vues de Derrière (1997), screenprint, image 106.2 x 92.2 cm, sheet 132.1 x 111.7 cm. Edition of 65. Printed by Advanced Graphics, London. sicist? Published by Alan Cristea Gallery. Image courtesy of Alan Cristea Gallery, London.

AC Nothing wrong with that. because the subsequent generation, drop dead. I think that is the right way to PC No, absolutely. And at a time when after that generation that went through work. Unfortunately, it does mean that everything is so immediate, there is a Royal College, kind of viewed prints as I’ve come to represent more and more characteristic... something you did in a mud hut in the artists, if I’m going to keep going with middle of a field somewhere in the Eng- the other ones, along with the neces- AC In that sense I’m a classicist, because lish countryside. They thought it was all sity of taking on new ones. Because if I’m dying for people to look at things. In crafty, wood-engravingy, etchingy things you always work with the same people, the sense of looking . . . contemplating. that not-very-good artists did because people get bored with the model. Please look. Don’t buy the brand. Have they were kind of boring. You have to a look. Try and understand what you explain to people—I mean with Julian, I PC Can I bring it round to the other side like . . . And because I always encourage— just started talking about Andy Warhol. of your gallery, which is contemporary it’s really I and my co-directors here— Clearly the work lends itself so well to masters? we’re always saying to artists, “how about printmaking. if you tried this?” I’m not telling them So then you work away. You start on AC Why do I do contemporary masters? what to do. I’m just saying, “if you used the first project rather tentatively and First of all, because I love the work. You this, I think it could be quite interesting.” the artist isn’t sure if they trust you, know, I’m not terribly keen on Chagall. Or, “let me introduce you to this printer, and you’re not quite sure what your I like the early prints, I’m not so keen because I think you would get on really relationship is with the artist. And then on the later ones. At one time I did buy well.” you build on that. I always say to art- some later ones thinking it makes com- I remember about 20 years ago, when ists that the intention, if it goes accord- mercial sense, but it didn’t work at all I first spoke to Julian Opie about making ing to plan, is that we’ll still be working because I never showed them to anybody prints. He was terrified of making prints together on the day that either you or I because I couldn’t get passionate about

Art in Print March – April 2017 31 Dine given to the British Museum in your name.

AC It was very sweet, and kind of embar- rassing.

PC I thought that was such an indication of the depth and strength of your relationship, but also the importance of your role within print within this country.

AC Well, what’s weird is if you do something for long enough, people come and interview you about what you’ve been doing. It’s quite extraordinary.

PC On that note—you’re leaving Cork Street after more than 20 years... Michael Craig-Martin, History 1 (2001), screenprint from a set of four prints, image 28 x 50 cm, sheet 55.9 x 76.2 cm. Edition of 50. Printed by Advanced Graphics, London. Published by Alan Cristea AC Hang on—I’ve been in Cork Street Gallery, London. Image courtesy of artist and Alan Cristea Gallery, London. since 1972; that’s 44 years one way and another. them. But with Picasso—how can you that he’s the most wonderful curator. I not be passionate about Picasso’s prints? should add that the word curator didn’t PC It was Londinium then, wasn’t it? Do It’s mind-boggling. That’s one reason for even exist when I started. And he’s got you have one overriding memory that doing it—because they’re just so good and such an in-depth knowledge of 20th- you’re going to take away? they set the bar. There’s a commercial century art and the beginning of the reason for doing it, which is you’re put- 21st century. It was a lovely opportunity AC I don’t think of it that way. I’m fed up ting hundreds of thousands of pounds to say, “Have a burrow through the print about Cork Street because it’s so much into publishing projects, and occasion- drawers downstairs and see what you can about property development, and I’m still ally it’s quite useful to sell a Picasso for come up with.” Just in the same way as a champagne socialist and I rather disap- £50,000—you think, wow, that’s a relief; at Chatsworth he burrowed through the prove of all these empty flats that are I can use that money to put into this. archive of drawings and came up with going to be owned by people from abroad these wonderful, mostly Renaissance, for the wrong reasons. But I always have PC A bit of security. drawings. And he did choose Nauman to look forward—I’m terrified of the past. and Warhol and Kelly and Mangold and I didn’t choose Pall Mall. I found a space AC Plus which, I’ve got this gallery space what have you. And indeed yes, those down there that suited our requirements. and I’m hoping that it’s in some way a kind things are here. They don’t often get an It’s very nice because it gives an opportu- of center of excellence for printmaking. outing, but they are here to be seen. nity for a fresh start and to make it really So I will buy prints from other publish- beautiful to start with, and then the ers, and I will buy prints from previous PC Now that the extension to the new ambition remains the same. We keep generations, in order for it to be a place Tate is about to open, do you have hopes spreading the gospel in the way that we where people can come and see. I’ve never that print will have a bigger wall space? have for so long. worked with Jasper Johns, for instance, but I will always have Jasper Johns prints AC I still feel like the country cousin. And in the gallery because they’re such superb I think in most museum prints are still Paul Coldwell is Professor in Fine Art at the prints, and I think that’s interesting for the country cousins. But I think that’s University of the Arts London. people. a lot to do with the pressures that are brought about on museums. I mean, lis- Alan Cristea is the founder of Alan Cristea PC You very interestingly had a show ten, we’ve got the British Museum here. Gallery and has been publishing artists prints recently of Michael Craig-Martin where They have the most wonderful collection for four decades. he showed in your main gallery and you of prints. gave him the run of your stock to curate a Notes: show. In a way it was like an essay without PC Stephen Coppel has been so active... To view the interview, please visit https://vimeo. words. com/channels/1192525/200844981. AC And he is a genuine print enthusiast AC The fact is, if you do this for long and specialist. enough—I have been doing it for 44 years—you accumulate quite a lot of PC One of the benefits of a curator like things. I took the opportunity because Stephen is that you have this wonder- Michael has proved over and over again ful donation of almost 200 prints by Jim

32 Art in Print March – April 2017 EXHIBITION REVIEW From Tabletop to Eternity: Andrew Raftery’s Plates by Thomas Piché Jr.

Installation view: “Andrew Raftery: Autobiography of a Garden,” Ryan Lee Gallery, New York, 2016. Courtesy of RYAN LEE, New York.

“Andrew Raftery: ing, and employs it here to transform the ist. Accompanying this grouping were Autobiography of a Garden” homey genre of commemorative plates 12 compositions painted, en grisaille, on RYAN LEE, New York into art objects that wink at the mass- round panels, works that served the art- 10 September – 5 November 2016 produced dinnerware of yore. ist as guides for the engravings that are The Autobiography of a Garden is a printed on the ceramic plates. The Autobiography of a Garden vividly picturesque narrative cycle that Raftery’s practice is painstaking and by Andrew Raftery, with thoughts by chronicles the occupations of a com- sequential: first, plein air sketches were Cary Liebowitz. mitted gardener (Raftery) during the made of the garden and surroundings; Published by the artist, Providence, RI, months of a year, from planning, propa- human figures were then modeled in 2016. gating, designing, and all that follows, wax, drawn first naked and then clothed; up through a kind of post-mortem that preparatory drawings and layouts deter- ndrew Raftery’s group of twelve takes place as winter begins. Each scene mined the final compositions; finished A transferware plates, entitled The includes the artist-gardener in either paintings were then traced onto acetate, Autobiography of a Garden, is an inven- interior or landscape settings, and each reduced in scale, and transferred to the tive amalgam of several time-honored art describes an idealized world of comfort- copperplates for engraving. practices. The series combines the artist’s able, middle-class domesticity. Raftery depicts himself as a tall, passion for 19th-century transferware, As displayed at Ryan Lee Gallery, the lanky fellow, with wavy, light-colored for American-scene typology, and for plates were hung in a symmetrically hair, receding hairline, long face, always historical printmaking techniques. Raf- stacked format on top of a horizontal shaved—patrician looking. He wears, tery is well regarded for his revival of the panel of wallpaper, whose abstract veg- variously, pajamas, a shawl-collared robe, Renaissance art of copper plate engrav- etal pattern was also devised by the art- chinos with cuffs, proper leather bluch-

Art in Print March – April 2017 33 The transition to engraving, and then to ceramics, alters and to some extent muffles the atmosphere of the paintings. The compelling specificity of the paintings—surface texture, meticulous representation, the rich range of tones— is subdued as the loose hand of painting gets straightened out and ordered by engraving. The careful and effective shading of dark to light is also simpli- fied. In the deluxe, fully illustrated book that accompanied the exhibition, Raftery writes of the struggle to transfer the compositions from painting to print to plate. An intricate play of line is the reward engraving offers for these sacrifices, but that experience arises from the kind of slow intimacy that is difficult to achieve viewing the plates en masse, hanging on the wall. Consider “September, Mowing.” The painting captures the late-summer feel of a still-strong sun shining from its low- ered angle. The sun lights upon the back of the gardener pushing a lawnmower, the side of the shingle-clad house and aspects of other houses that stand in the background. The sky is strewn with cir- rus clouds, and even though the work is painted in gray scale, a sense of how the scene might be colored is easily imag- ers. His figure exudes a certain buttoned- ing someone who is totally lost within ined—a cerulean sky contrasting crisply down timelessness, dressed in a way that himself, outwardly unaware of anything with the blindingly white highlights on would not look out of place in an image save the task at hand. This isolation is the architecture and foliage. Raftery of a gentleman farmer from the mid-20th reinforced by how the neighborhood sur- transfers the effects of bright light to the century. This characteristic underscores rounding the garden is depicted: there plate and deftly portrays the sky with the unchanging nature of gardening—it are cars and homes and streetscapes, only horizontal lines and stippling, but takes the same planning, patience, care but no other people. Windows are blind the backdrop of houses falls into shade. and diligence now as it did generations throughout. In the bedroom, they are The dynamic compositional pinwheel ago. covered with shutters. Other houses’ found in the painting is stuttered by the Raftery’s avatars reflect a sort of windows reflect light; there is no oppor- need for descriptive linearity. Gothic elongation and assume similarly tunity for looking in and no one looks Raftery has titled the works in this stylized attitudes that are exactly expres- out. It is a hermetic world. series collectively an autobiography, and sive of the purpose pursued—water- Raftery carefully deploys formal pic- he writes of the inspiration he derived ing, pruning, weeding, even pondering. torial values throughout the series. For from Gertrude Stein’s The Autobiography They have a frozen appearance, as if we all the scenes’ detail and incident, they of Alice B. Toklas and its idea of the proxy were viewing someone caught on a single are remarkably coherent. He constructs narrator. But there is an earlier source frame from a reel of film. This quality a precise scaffold of vertical and horizon- that came to my mind as I viewed the seems related to his system of construct- tal lines that are formed by architectural exhibition, and that progenitor is the ing detailed sculptural maquettes and elements, landscape details, and by the calendar. contributes to a latent psychological sub- figure of the gardener. This strategy pro- Humankind’s interest in recording text that adds complexity to the work. vides stability for the myriad particulars the days that make up months and the Raftery, the gardener, never looks out of his landscape and interior settings. months that turn into seasons and then of the compositions. He is always totally The compositions also conform to their years has been with us seemingly since immersed in his chore, countenance circular perimeter, and various key fea- the start. Recognizable calendars have serene, or else his face is turned from us. tures curve in harmony with the format’s been organized since antiquity, and even The circular form of the compositions edge. He uses a dramatic, raking light the henges of the Neolithic and the caves might be seen as an aperture, but the tab- throughout these scenes, and light and of the Paleolithic record the cycles of the leaus don’t feel photographic; maybe “spy shadow are described in blocks of tone heavens and nature. A subcategory of the hole” would be a better analogy, and the that also help to configure formal orga- genre is referred to as “the labors of the viewer becomes voyeur. We are observ- nization. months,” a series of 12 compositions that

34 Art in Print March – April 2017 depict the year as a round of seasonal, endlessly repeated agrarian activities— sowing, mowing, pruning vines, harvest- ing, etc. During the medieval period, these depictions often involved groups of people moving in a fully developed landscape, but they could be reduced to single figures placed in quatrefoils or roundels, accompanied by the requisite implements of the seasonal task. They are found in manuscripts and stained glass, on the sculpted doorways of cathedrals, and on tableware. That meditative serenity, like the psychological interiority of Raftery’s alter- ego, noted earlier, is characteristic of a spiritual practice. Calendars, too, can be regarded as humankind’s expression of faith in a divine ordering of the universe. Signs of the zodiac typically accompanied antique calendars and the labors of the months, a manifestation of the sun’s annual journey through the constella- tions that describe the canopy of the sky. The Autobiography of a Garden, beyond medium or support, process or intent, is a similar timeless record, where one man’s experience may stand for many and for the ages.

Thomas Piché Jr. is director of Daum Museum of Contemporary Art in Sedalia, Missouri, and an independent curator and critic.

Opposite Page: Andrew Raftery, September: Mowing (2016), flashe on panel, 16 x 16 inches. This Page, Above: Andrew Raftery, September: Mowing (2016), engraving transfer printed on glazed white earthenware, 12 1/2 x 12 1/2 inches. This Page, Below: Andrew Raftery, May: Cultivating Lettuce (2016), engraving transfer printed on glazed white earthenware, 12 1/2 x 12 1/2 inches. ©Andrew Raftery. Courtesy of the artist and RYAN LEE, New York.

Art in Print March – April 2017 35 EXHIBITION REVIEW Richard Pousette-Dart’s Flurries of Invention By David Storey

“Altered States: The Etchings of Richard Pousette-Dart” Del Deo & Barzune, New York 6 October 2016 – 16 January 2017

Altered States: The Etchings of Richard Pousette-Dart Essay by Charles H. Duncan 48 pages, 24 color illustrations Published by Del Deo & Barzune New York, 2016 $20

he recent exhibition “Altered States” T at Del Deo & Barzune in New York has brought together for the first time a group of etchings that Richard Pousette- Dart (1916–1992) produced between 1974 and 1980. Documenting this rarely seen work is an illustrated catalogue with an essay by Charles H. Duncan. A painter associated with the first generation of Abstract Expressionists, Pousette-Dart, like Mark Rothko, made the transition from gestural, mildly surrealist abstrac- Richard Pousette-Dart, Black Moving (1979), etching with acrylic mounted on card, image 8 x 10 tion to a luminous, spiritual minimal- inches, sheet 14 x 15 7/8 inches. Art ©2017 Richard Pousette-Dart. The Richard Pousette-Dart Estate / ism. Rather than approach the prints as Artist’s Rights Society (ARS), New York. Courtesy Del Deo & Barzune, New York. they relate to his painting, however, it is productive to consider this body of work black-and-white etchings as jumping-off that flirts with shape and event. But there as an independent graphic enterprise. points for direct manipulations, produc- is also a sympathetic connection to the Though he made some etchings early ing related groups of unique works on arm’s-length objectivity of the late ’70s, on in his long career, these prints, done paper. Given this premise, it is remark- with its minimal fields, lack of figuration in collaboration with the printer Sylvia able just how print-like the affect of the and focus on process. Roth of Hudson River Editions, consti- work is. With a few exceptions there are The earliest print in the show, Gal- tute Pousette-Dart’s most substantial no faux paintings or de facto monotypes axies of Being (1974), predates the rest by involvement with printmaking. here. several years. Its foundation is a field of The plates Roth and Pousette-Dart Establishing the cycle of technical etched lines and small gestures similar to worked with were of two sizes: slightly elaboration and experimentation, Light Sublime Light, over which Pousette-Dart under 18-by-24 inches or 8-by-10 inches. Sublime (1979) begins as simplicity itself. laid cloud-like billows of white acrylic None were printed in editions, but the The 18-by-24-inch plate is covered with and graphite that swirl and coalesce in prints fall into distinct groups of varia- a field of pulsing, sharp, fine lines and delicate patterns. At the center one can tions arising from particular plates— dashes, swirling and energized. We see just make out the presence of a subtle cir- overpainted impressions from the same just the hand and etching needle at work. cular shape; five years later this structure plate, or sequential proofs from a plate The brevity of the marks and their thin- reappears, echoed and enhanced, in the as it was reworked, or both. Many have ness relative to the large plate generate unadorned line etching Center of Being IV additions made by hand: unusual ink an atmospheric endlessness, an airy field (Original Black Circle) (1979). A sequence is applications on the plate after wiping but in motion. Its aura is closer in spirit and established here: a proof printed in black, before printing; acrylic paint or print- connotative potential to Mark Tobey’s overworked with paint and graphite, fol- ing ink applied to the printed impres- calligraphic white writing than to the lowed by further work on the plate, and sion directly by brush; and/or graphite physicality of late Abstract Expression- a new stand-alone etching that is not gestures drawn on top. Pousette-Dart’s ism. There is a sense of image in Pousette- meant as part of an edition, but as a new strategy seems to have been to use Dart’s weather, an immanent subjectivity moment of thought. Left: Richard Pousette-Dart, Galaxies of Being (1974), etching with graphite and acrylic, image 17 3/4 x 23 3/4 inches, sheet 22 1/2 x 28 1/2 inches. Right: Richard Pousette-Dart, Black and White Landscape (1979), etching with acrylic, image 17 7/8 x 23 7/8 inches, sheet 22 3/8 x 31 1/4 inches. Art ©2017 Richard Pousette-Dart. The Richard Pousette-Dart Estate / Artist’s Rights Society (ARS), New York. Courtesy Del Deo & Barzune, New York.

Black Moving (1979) and Upon This was one of Pousette-Dart’s preoccupa- gestures, the fields, and the emerging Field (1979) are smaller plates that exert tions, along with conjuring up animated forms dissolve into color. This work could their physicality through graphic tactil- voids; he invokes the presence of nothing easily stand alone, yet in the context of ity. Their gestures are less atmospheric, and everything at the same time. this exhibition we can recognize it as the more concrete, and rely less on build- In another group of 18-by-24-inch result of an extended process of printing with line. Black and White Landscape unaltered etchings, floating glyphic based experimentation. In these four (1979) goes further in this direction: forms emerge from antic geometries of works we can see Pousette-Dart attempt- the calligraphic events that make up its line. Evanescent shapes ease in and out of ing to reconcile printmaking—its linear underlying field are enlarged and wildly focus, meshed in an oceanic visual buzz. roots and permutational invitations to dramatic. They seem to leap about the Jasmine Lights (Master, 1979) and Angled explore—with his other work. plate to avoid being swallowed by the Lights II (1979) aim for this sense of medi- At certain points his additions to the loose grid of misaligned blobs (these tative, all-enveloping nonevent. Without etchings push into the realm of painting, blobs have near relations in some smaller the graphic dramatics that drive some a threshold that coincides with the prints such as White Driving Black [1979]). of the other prints, these ask us to slow increased appearance of color. Pousette- The drama of Black and White Landscape down, take a deep breath and concentrate Dart extends and transforms the graphic was produced by selectively enlarging on something just on the verge of visibil- persistence of the black-and-white etch- certain elements, which reduces the reg- ity. What we see is in front of our eyes but ings, looking for transcendence—some- ularity of the patterning and allows the also a little bit somewhere else. The fast thing, nothing and everything at the image to assert itself in barely controlled glance holds no water here. These works same time. There is a climate of genesis in expansion. function as triggers for an introspective this body of work, of origins moving for- Naples Paths (1979) and Etching–3 connection that came to define Pousette- ward and backwards. The aptly named (1979) are also small, strong, black-and- Dart’s later work in painting. black-and-white Etching–1 (1979) defines white etchings. Both were printed from By contrast, one group of four small the elements and techniques that emerge the same plate of languid, tangled line prints forms a stage for spontaneous and evolve through the prints that follow. (one plate is inverted vertically), then ink elaboration; these are true painting- With a dark mass in the center of a field of was poured onto the wiped plate to make print hybrids. Each consists of a sharply manic linear gesture, the simplest of discrete freehand meanders that are dif- defined, hefty oval nestled in a rectangle images echoes all the separations that ferent in each impression, creating two that echoes the edges of the plate. The made the world, beginning with darkness similar but distinct images. These exag- four constitute a sequence that proceeds and light. gerated gestures, floating on top and through variations of inking followed seemingly disconnected from the field by layers of paint, ending with color below, are the closest connection here to emerging as the dominant theme. This David Storey is a painter who makes prints. painterly Abstract Expressionism rather exploration of innovation and variety He lives in New York and teaches at Fordham University. than the integrated field. ends up neatly straddling the spheres of As much as the exhibit seems to be printmaking and painting. In Blue Sonata about intuitive transformation and (1980), buoyant blue and white acrylic experimentation, 11 of the 25 prints on applied over the pale gray-green print- view were straight black-and-white etching ink rises into dematerialized chro- ings. Spinning out graphic gymnastics matic radiance. The tactility of the linear

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38 Art in Print March – April 2017 EXHIBITION REVIEW Rocky Shores By Owen Duffy

“Leah Beeferman: Cold Color” Rawson Projects, New York 14 September – 23 October 2016

he prints in Leah Beeferman’s recent Texhibition, “Cold Color,” at New York’s Rawson Projects update time-honored conventions of landscape painting and photography to address our increas- ingly mediated relationship with nature. Through digital drawing and digital collage, Beeferman manipulates space, density, color and perspective to shape formally conscious pictures of the environment. Rather than offering expansive photographic vistas as Ansel Adams did in the 20th century or Luminist water views à la the 19th-century painter John Frederick Kensett, Beeferman confronts viewers with photomechanical snippets of rocks, water and sand. The large digital Leah Beeferman, Spectrums 1 (2016), digital C-print, 32 x 48 inches. Courtesy the artist and C-print Spectrums 1 (2016) includes eight Rawson Projects, New York. image clusters of gray-green water and steely rocks on a saturated sea-foam-green background. Evenly dispersed throughout The photomechanical information oscil- immersed in a material and social web the picture plane, and disparately scaled to lates between high-resolution clarity and that joins “geology, climate, power and create figure-ground tension, the clipped blurry distortion, between crispness and exploitation.” Her sophisticated formal- photographs of rocks and water are lay- noise, data and uncertainty. The formal ism is a seduction and goad to thought. ered with varying degrees of transparency, structure of Spectrums 1 is inverted here: overlapping and melding. rather than occupying most of the pic- Beeferman took the photographs for ture plane as a background, the flat black Owen Duffy is an art historian, curator and writer Spectrums 1 on the shores of a harbor in and slate “negative spaces” join together living in New York. Ireland. As in every littoral zone, solids in oblong shapes. Beeferman plays the and liquid meet to form a complex geo- time-honored game of confusing figure- Notes: logical entity—both rock and water are a ground relationships, intermingling real- All quotes from an interview with the artist, part of the coast, and the coast is a part world subjects and formal devices. In place 26 November 2016. of both the land and the sea. Today these of meditative communion with nature, unstable entities are among the most vis- she offers a cold and distanced artificial- ible registers of climate change—the wan- ity that she hopes, she says, will challenge ing frontlines of our livable landmasses. what viewers “consider natural.” The coast, as a conceptual meeting space, The verdant green Shores 2 (2016) is not, can be understood in a larger sense as an like the other works in the show, a digi- metaphor for this work: the liminal ambi- tal C-print. It is a dye sublimation print guity of the shoreline mirroring the peren- on aluminum; color is embedded in the nial uncertainty of when, exactly, pictures substrate. The result is an image—ocean become “works of art.” and rocks and flat digital color—imbued She offers no concrete answers. In with luminosity and fused to an unyield- Monodynamics 2 (2016) she intercuts blocks ing surface. of solid color with densely sutured clusters Like myriad artists and thinkers before of Icelandic rocks and sand, which the art- her, Beeferman argues that nature and ist collected while on a residency and digi- culture are inseparable, and that digital tized on a flatbed scanner in her studio. technologies are, like everything else,

Art in Print March – April 2017 39 Prix de Print No. 22 PRIX de Aerial, Other Cities #9 PRINT by Susan Goethel Campbell Juried by Katie Michel

This iteration of the Art in Print Prix usan Goethel Campbell’s perforated results into a three-hour video, Detroit de Print has been judged by Katie S woodblock print Aerial, Other Cit- Weather, 365 Days. This close observation Michel. The Prix de Print is a ies #9 (2015) captures the contemporary of nature in an urban setting was a cata- bimonthly competition, open to all landscape with ambivalent, quiet ele- lyst for her ongoing series of large, night- subscribers, in which a single work is gance. In a sea of swirling night, spots time, birds-eye views of cities. selected by an outside juror to be the sub- of light pick out a map—freeways, city Campbell’s subject matter taps into a ject of a brief essay. For further informa- streets, the tight grids of residential real long tradition in American printmaking, tion on entering the Prix de Print, please estate—interrupted by irregular swathes and her work has some of the romantic go to our website: http://artinprint.org/ of blackness: the edge of water or the rise cadence of Arthur Wesley Dow’s New about-art-in-print/#competitions. of undeveloped hills, perhaps. A multi- England woodblocks from the early 1900s disciplinary artist concerned with the and Charles Sheeler’s later precisionist Susan Goethel Campbell, Aerial: Other relationship between human industry screenprints of industrial America. In the Cities #9 (2015) and nature, Campbell has spent most of decades between Dow, Sheeler and our- Woodblock print with perforations, 23 1/2 her adult life in Detroit (she is currently selves, however, technology has changed x 30 3/4 inches. Edition of 10. Printed and interim head of print media at Cranbook the way we view the world and also the published by P.R.I.N.T. Press, Denton, TX. Academy of Art), a city whose decay has nature of the world we view. First, there $2,000. become iconic of urban Rust Belt decline. is the commonplaceness of flight: com- Residential neighborhoods and once- mercial aviation has given us a different humming factories have given way to perspective on the landscape, and Camp- empty open space; the municipal fabric is bell always takes a window seat when in constant flux. In 2011 she spent a year she flies. Second, there are our digital documenting the skies of her hometown devices: Campbell uses her iPhone the with a webcam, compiling the sped-up way previous generations used graphite

Susan Goethel Campbell, video still from Detroit Weather, 365 Days (2011).

40 Art in Print March – April 2017 Susan Goethel Campbell, Aerial: Other Cities #9 (2015). Photo: Tim Thayer. pencils and paper. She takes photographs become wind, clouds, immense sky and welcome one. In her print, one can see from her plane window and edits them in solid land. The grain and its imperfections allusions to the cycles of civilization and Photoshop to prepare the compositions are translated onto delicate paper so that the ongoing dialectic of development and that she then makes through traditional you sense the fragility of the environment decay between human society and non- craft means. The prints, like the land they in her choices of paper and wood. The pat- human nature. More immediately, her depict, bear the footprint of industry, tern of lights is formed by holes punched image acknowledges the excitement and and Campbell, like Sheeler, recognizes through the printed paper with a Japanese mystery of coming and going via air, but the mixed blessing this is. The spray of screw punch, following a Mylar map pre- also leaves us to wonder about our impact lights is spectacular and beautiful, even pared by the artist. on our skies and land. Its rich ambiguity as it marks human intervention and the Aerial, Other Cities #9, was realized reminded me of these lines from Eliza- destruction of nature. The phrase “light through P.R.I.N.T. (Print Research Insti- beth Bishop’s poem “Questions of Travel”: pollution” comes to mind, with its trou- tute of North Texas) at the University of bling conflation of the first good (“and North Texas, a fine-art press where art- Continent, city, country, society: there was light”) with CO2’s dire threat to ists and master printers work with stu- The choice is never wide and never all life on the planet. dents and faculty on collaborative print free. For Campbell, the qualities of the projects. With the aid of student printers, wooden matrix are as critical as the lay- Campbell was able to produce an edition And here or there… No. Should we out of the city portrayed. She usually of ten; her earlier woodblocks—produced have stayed at home, works with birch and lets it be the muse: on her own or with one assistant—exist Wherever that may be? rather than carving or cutting the block, only as unique works or in editions of just she roughs its surface to exacerbate two or three. Katie Michel is a graphic designer and printer the grain. Printed in multiple layers of The Prix de Print was my first intro- at The Grenfell Press. She is also co-director of graduated blacks and grays, its patterns duction to Campbell’s work—a very Planthouse Gallery in New York City.

Art in Print March – April 2017 41 Doug Bosley, The Fold (2016) Dexter Davis, Skulls and Guns (2016) News of the Mezzotint, image 24 x 40 inches, sheet 29 x 44 Woodcut, 26 1/8 x 40 1/8 inches. Unique image. inches. Edition of 30. Printed and published by Printed and published by the artist, Cleveland. Print World the artist at Hoofprint, Chicago, IL. $2,000. Available at Dolan/Maxwell, Philadelphia. $3,500.

Selected New Editions

Carlos Andrade, Untitled (2016) Mixed media monotype, 29 1/2 x 21 inches. Unique image. Printed and published by Man- neken Press, Bloomington, IL. $2,500. Dexter Davis, Skulls and Guns (2016). Doug Bosley, The Fold (2016). Lesley Dill, LIGHT THRILL SWOON TRUTH Richard Bosman, Side View/Night A (2016) FLAME (2016) Monoprint: uniquely hand painted archival pig- Relief on muslin, synthetic stuffing, hand-dyed ment print, 21 3/4 x 29 3/4 inches. Unique image. and stitched horsehair, 15 x 6 x 3 inches. Variable Printed and published by Stewart & Stewart, edition of 12. Printed by Bruce Crownover, Madi- Bloomfield Hills, MI. $2,500. son, WI. Published by Tandem Press, Madison. $4,500.

Carlos Andrade, Untitled (2016).

Frances B. Ashforth, Playa 6 (2017) Unique waterbase monotype, 10 x 10 inches. Unique image. Printed and published by the artist, Summerlake, OR. $400. Richard Bosman, Side View/Night A (2016).

Nancy Campbell, Temane (2016) Screenprint, 15 x 37 inches. Edition of 12. Printed and published by the artist, Amherst, MA. Avail- Lesley Dill, LIGHT THRILL SWOON TRUTH able from Stewart & Stewart, Bloomfield Hills, FLAME (2016). MI. $1,100. Steven Ford, Untitled (2016) Two unique linocuts with chine collé, 44 x 30 inches and 44 x 60 inches. Unique images. Printed and published by the artist, Philadelphia. Available at Dolan/Maxwell, Philadelphia. $7,000 and $14,000. Frances B. Ashforth, Playa 6 (2017).

Anders Bergstrom, Double (2016) Softground etching and surface roll with steel Nancy Campbell, Temane (2017). pins, 9 1/2 x 15 inches. Edition of 7. Printed and published by the artist, Brooklyn, NY. Available at Matthew Carter, a–z (2016–17) Dolan/Maxwell, Philadelphia. $1,100. Portfolio of 26 aquatints with chine collé, 14 x 14 inches. Edition of 52. Printed and published by James Stroud at Center Street Studio, Milton, MA. $20,000.

Steven Ford, Untitled (2017).

Don Gorvett, Bow and Ceres, Bend in the River (2016) Reduction woodcut, 21 x 40 inches. Edition of 25. Printed and published by the artist, Portsmouth, NH. Available through Piscataqua Fine Art, Anders Bergstrom, Double (2016). Portsmouth. $3,500.

Matthew Carter, a–z (2016–17).

Don Gorvett, Bow and Ceres, Bend in the River (2016).

42 Art in Print March – April 2017 Joanne Greenbaum, Untitled (2016) Judith Linhares, Horselaugh (2016) Set of two prints, black-and-white aquatint and Seven-color aquatint, image 12 x 16 inches, sheet softground, image 20 x 15 1/4 inches each, sheet 18 x 21 1/4 inches. Edition of 15. Printed and pub- 27 x 21 1/4 inches each. Edition of 15. Printed lished by Jennifer Melby, Brooklyn, NY. $1,200. and published by Jennifer Melby, Brooklyn, NY. $1,200.

Mary Judge, Untitled (Eclipse) (2016).

David Kelso, Watch (2016) Softground etching, hardground etching and aquatint, image 15 7/8 x 11 3/4 inches, sheet 30 x Judith Linhares, Horselaugh (2016). 22 1/2 inches. Edition of 40. Printed and published by the artist, Oakland, CA. Available at Robert McNally, Ännus Horribilis (2016) Dolan/Maxwell, Philadelphia, PA. $1,800. Photogravure, 88 x 67 cm. Edition of 12. Printed and published by Niels Borch Jensen Editions, Copenhagen. €1,700. Joanne Greenbaum, from Untitled (2016).

Takuji Hamanaka, 5 Years and One Summer Night (2016) Water-based woodcuts mounted on museum board, 32 x 25 inches each. Unique images. Printed and published by the artist, Brooklyn, NY. $4,000 each.

David Kelso, Watch (2016). Robert McNally, Ännus Horribilis (2016). Sam Nhlengethwa, Looking Around I and Hugh Kepets, Stanley V (2016) Tired (2016) Archival pigment print, 32 x 24 inches. Edi- Single color chine collé lithographs, 33 x 39 tion of 35. Printed and published by the artist. cm each. Edition of 22 each. Printed by Mark Available from Stewart & Stewart, Bloomfield Attwood & Jacky Tsila, White River, South Africa. Hills, MI. $800. Published by The Artists’ Press, White River. Takuji Hamanaka, 5 Years (2016). R6,800 each.

Valerie Hammond, Reverse Reflection (2016) Set of six drypoint prints, image 5 7/8 x 5 7/8 inches each, sheet 16 x 15 1/2 inches each. Edition of 18. Printed by Nathan Catlin and Yujin Lee, LeRoy Neiman Center for Print Studies, Colum- bia University, New York. Published by LeRoy Neiman Center for Print Studies, Columbia Uni- versity. $800 each, $4,500 for the set.

Sam Nhlengethwa, Looking Around I (2016). Hugh Kepets, Stanley V (2017). Todd Norsten, Untitled (Targets #6) (2016) Karen Kunc, Branching Fate, Windward Axis, Monoprint with collaged elements from a series Panoply and Waves of Riches (2016) of unique monoprints, 33 x 24 inches. Unique Color woodcuts and pochoir on Japanese paper, image. Printed and published by Highpoint Edi- 13 1/2 x 57 inches each. Branching Fate and Wind- tions, Minneapolis, MN. $3,000. ward Axis, edition of 6 each. Panoply and Waves of Riches, edition of 5 each. Printed by the artist, Lincoln, NE. Published by Constellation Studios, Lincoln, NE. $3,000 and $3,200 each. Valerie Hammond, Reverse Reflection (2016).

Mary Judge, Untitled (Rondel Tint) and Untitled (Eclipse) (2016) Etching and aquatints, image 24 x 24 inches each, sheet 28 x 28 inches each. Edition of 12 each. Printed and published by Manneken Press, Karen Kunc, Branching Fate, (2017). Bloomington, IL. $2,000 each.

Todd Norsten, Untitled (Targets #6) (2016).

Art in Print March – April 2017 43 Ryan Parker, Folly 1–4 (2016) Planthouse, Neon (2017) Ron Rumford, Tinman (2016) Color screenprints with chine collè, 20 x 14 3/4 Six-color screenprint, 12 1/4 x 10 1/2 inches. Edi- Drypoint and relief with chine collè , 24 1/2 x 26 inches. Edition of 5. Printed and published by the tion of 26. Printed by Brad Ewing and Marco 1/8 inches. Unique image. Printed and published artist, Philadelphia, PA. Available at Dolan/Max- Lawrence, New York. Published by Planthouse, by the artist at the Ballinglen Arts Foundation, well, Philadelphia. $800 each. New York. $250. Ballycastle, Co. Mayo, Ireland. $2,400.

Ron Rumford, Tinman (2016). Ryan Parker, Folly 1 (2017). Planthouse, Neon (2017). Alison Saar, Haint Blue (2016) Robyn Penn, The Map is not the Territory III Relief, cotton muslin, shellac, 24 3/4 x 14 1/2 (2016) Tal R, Spiegel (2016) inches. Variable edition of 12. Printed by Bruce Sugarlift, aquatint, etching, 90 x 79.5 cm. Edi- Woodcut, three plates, image 183.5 x 100 cm, Crownover, Madison, WI. Published by Tandem tion of 6. Printed and published by David Krut sheet 200.5 x 112.5 cm. Edition of 16. Printed Press, Madison. $2,500. Workshop, Johannesburg, South Africa. Available and published by Niels Borch Jensen Editions, through David Krut Projects, New York. $2,000. Copenhagen. €4,100.

Robyn Penn, The Map is not the Territory III Alison Saar, Haint Blue (2017). (2016). Hunt Slonem, Lucky Charm 7 (2016) Serena Perrone, Something is About to Happen Archival pigment print, 30 x 22 inches. Edition of (2016) Tal R, Spiegel (2016). 10. Printed and published by Stewart & Stewart, 18 gum-bichromate prints in accordion book, Bloomfield Hills, MI. $1,500. 60 inches x 47 inches in diameter. Edition of 4. Thomas Roma, Plato's Dogs (2016) Printed by the artist and Andrea Buffolo, Phila- Set of 8 photogravures in a paper folio with a delphia. Published by Cade Tompkins Projects, screen-printed colophon, image 10 3/4 x 14 1/2 Providence, RI. $10,000. inches each, sheet 19 1/2 x 22 3/4 inches each. Edi- tion of 18. Printed by Nathan Catlin and Yujin Lee, LeRoy Neiman Center for Print Studies, Columbia University, New York. Published by LeRoy Neiman Center for Print Studies, Colum- bia University. $1,000 each; $7,000 for the set.

Hunt Slonem, Lucky Charm 7 (2017).

Serena Perrone, Something is About to Elisabeth Stevens, Sunset at Marina Jack’s Happen (2016). (2017) Etching with aquatint and drypoint, 25 x 26 Deborah Pinter, #43 (2016) inches. Edition of 50. Printed by Bleu Acier, Monotype, triptych: 29 7/8 x 22 1/4 inches. Tampa, Florida. Published by Gosspress, Sara- Unique image. Printed and published by the art- sota, Florida. $800. ist at Zygote Press, Cleveland. Available at Dolan/ Maxwell, Philadelphia. $4,800.

Thomas Roma, Plato's Dogs (2016).

Deborah Pinter, #43 (2016). Elisabeth Stevens, Sunset at Marina Jack’s (2017).

44 Art in Print March – April 2017 Philip Van Keuren Exhibitions of Note CHARLOTTE, NC “Toward What Sun? Volume I (2016) “Alison Saar: The Nature of Us” Portfolio of ten photogravure prints with letter- ALExANDRIA, VA 28 January – 8 July 2017 press printed title page and colophon, housed in “Process & Innovation: 20 years of Harvey B. Gantt Center for African-American a hand-crafted clamshell box covered in silver- Partnerships in Print at Hand Print Arts & Culture gray bookcloth, with title debossed in black on Workshop International” http://ganttcenter.org the front cover, 19 x 14 3/4 x 1 inches (portfolio). 26 February – 2 April 2017 Prints are printed in editions of 12, with 5 com- The Athenaeum CHICAGO plete sets of the prints reserved for distribution as nvfaa.org/exhibitions/ “Classicisms” portfolios. Printed and published by Manneken 16 February – 11 June 2017 Press, Bloomington, IL $7,200. AMSTERDAM Smart Museum of Art “Good Hope? South Africa & http://smartmuseum.uchicago.edu/ The Netherlands from 1600” 17 February – 21 May 2017 CHICO, CA Rijksmuseum “Know Their Name: Women http://rijksmuseum.nl Printmakers and Shojo Manga Artists” 20 March – 15 April 2017 ANDOVER, MA The Janet Turner Print Museum at California “Frank Stella Prints: A Retrospective” State University, Chico 16 April – 21 July 2017 http://www.theturner.org/ Addison Gallery of American Art http://addisongallery.org CLEVELAND “Cutting Edge: Modern Prints from Philip Van Keuren, “Toward What Sun? And: Atelier 17” Volume I (2016). “Throwing Up Bunnies: The Irreverent 9 April – 13 August 2017 Interlopings of Triple Candie, 2001–2016” Cleveland Museum of Art 21 January – 2 April 2017 https://www.clevelandart.org/ Jacob Van Schalkwyk A Single Gestural Event and Open-Close (2016) ASPEN, CO DALLAS, Tx Open bite with aquatint and sugarlift aquatint, “Adam McEwan: I Think I’m In Love” “Richard Serra: The Prints” 54 x 39.5 cm and 34.8 x 30.7 cm. Edition of 12 each. 13 January – 28 May 2017 28 January – 23 April 2017 Printed and published by David Krut Workshop, Aspen Art Museum Nasher Sculpture Center Johannesburg, South Africa. Available through http://aspenartmuseum.org http://www.nashersculpturecenter.org/ David Krut Projects, New York. $600 each. ATLANTA DAVENPORT, IA “Cross Country: The Power of Place in “19th- and 20th-Century Japanese Prints” American Art, 1915–1950” 14 January – 23 April 2017 12 February – 7 May 2017 Figge Art Museum High Museum of Art http://figgeartmuseum.org http://high.org And: BALTIMORE “The Art of Persuasion: American “Shifting Views: People & Politics in Propaganda Posters and the Great War” Contemporary African Art” 28 January – 14 May 2017 18 December 2016 – 18 June 2017 Baltimore Museum of Art EASTON, MD http://artbma.org “Parts and Labor: A Survey Exhibition of Print and Collage Works by Steven Ford” Jacob Van Schalkwyk, A Single Gestural And: 22 April – 9 July 2017 Event (2016). “Off the Shelf: Modern & Contemporary Academy Art Museum Artists’ Books” http://academyartmuseum.org/ John Walker, Catlin Lee (2016) 12 March – 25 June 2017 Set of nine photogravures with hand-coloring, And: FORT WORTH, Tx image 14 1/2 in. x 11 1/4 inches each, sheet 23 “Front Room: Adam Pendleton” “Between the Lines: Gego as Printmaker” 1/4 in. x 19 1/2 inches. Edition of 10. Printed by 26 March – 13 August 2017 11 February – 6 August 2017 Nathan Catlin and Yujin Lee, LeRoy Neiman Amon Carter Museum of American Art Center for Print Studies, Columbia University, BLOOMINGTON, IL http://cartermuseum.org New York. Published by LeRoy Neiman Center “Recent Prints and Projects from And: for Print Studies, Columbia University. $3,000 Manneken Press” each, $24,000 for the set. “Homer and Remington in 27 February – 30 March 2017 Black and White” Wakeley Gallery, Illinois Wesleyan University 4 March – 2 July 2017 http://mannekenpress.com And: BOSTON “Fluid Expressions: The Prints of “Terry Winters: The Structure of Things” Helen Frankenthaler” 3 September 2016 – 18 June 2017 18 March – 10 September 2017 Museum of Fine Arts, Boston http://mfa.org FRANKFURT AM MAIN, GERMANY “Into the Third Dimension: CANNES, FRANCE Spatial Concepts on Paper from the “Stanley William Hayter: Bauhaus to the Present” Metamorphosis of the Line” 15 February – 14 May 2017 10 December 2016 – 30 April 2017 Städel Museum John Walker, Catlin Lee (2016). Centre d'art la Malmaison http://www.staedelmuseum.de/en http://www.cannes.com/

Art in Print March – April 2017 45 GAINESVILLE, FL “Meant to Be Shared: The Arthur Ross Collection of European Prints” 29 January – 8 May 2017 Harn Museum of Art, University of Florida http://www.harn.ufl.edu/

IOWA CITY, IA “Come Together: Collaborative Lithographs from Tamarind Institute” 18 February – 17 May 2017 University of Iowa Museum of Art http://uima.uiowa.edu

ITHACA, NY “Escaping the Ordinary: Artistic Imagination in Early Modern Prints” 21 January – 28 May 2017 Herbert F. Johnson Museum of Art Cornell University http://museum.cornell.edu/

LA LOUVIèRE, BELGIUM “Encore Sous Pression: Atelier Michael Woolworth, Paris” 4 February – 7 May 2017 In Philadelphia through 6 September: “Witness: Reality and Imagination in the Prints of Francisco Centre de la Gravure et de l'Image Imprimée Goya.” Francisco José de Goya y Lucientes, The Agility and Audacity of Juanito Apiñani in [the http://centredelagravure.be ring] at Madrid (1816), etching and aquatint, image 8 × 12 1/8 inches. Philadelphia Museum of Art, Purchased with the Edgar Viguers Seeler Fund, 1953. LINCOLN, NE “Unfolding the Map” “Another Russia: Post-Soviet Printmaking” MUNICH 3 March – 20 May 2017 8 December 2016 – 15 August 2017 Constellation Studios “In Focus: The Fantastic Alphabet of Victoria & Albert Museum http://constellation-studios.net Master E. S.” http://vam.ac.uk 21 October 2016 – 11 June 2017 Pinakothek der Moderne LIVERPOOL LOS ANGELES http://pinakothek.de “Tracey Emin and William Blake In Focus” “LA Exuberance: New Gifts by Artists” 16 September 2016 – 3 September 2017 30 October 2016 – 2 April 2017 Tate Liverpool NEW BRUNSWICK, NJ Los Angeles County Museum of Art http://tate.org.uk “Innovation and Abstraction: http://lacma.org Women Artists and Atelier 17” 17 January – 31 May 2017 LONDON And: “The American Dream: Pop to the Present” “The Prints of Albrecht Dürer: Jane Voorhees Zimmerli Art Museum 9 March – 18 June 2017 Masterworks from the Collection” http://www.zimmerlimuseum.rutgers.edu/ British Museum 17 December 2016 – 11 June 2017 And: http://britishmuseum.org “Guerrilla (and Other) Girls: MADRID Art/Activism/Attitude” And: “Bruce Conner: It’s All True” “Iranian Voices: Recent Acquisitions of 4 February – 30 July 2017 21 February – 22 May 2017 Works on Paper” Museo Nacional Centro de Arte Reina Sofia 26 November 2016 – 2 April 2017 NEW ORLEANS, LA www.museoreinasofia.es/en “Mickalene Thomas: Waiting on a Prime-Time Star” “Small Print International” MINNEAPOLIS 18 January – 9 April 2017 23 April – 21 May 2017 “Alexa Horochowski: Vortex Drawings” Newcomb Art Museum London Print Studio 3 February – 25 March 2017 http://newcombartmuseum.tulane.edu http://www.londonprintstudio.org.uk/ Highpoint Center for Printmaking http://highpointprintmaking.com “David Hockney” NEW YORK “Dove Allouche: Le beau danger” 9 February – 29 May 2017 MIRFIELD, UK Tate Britain 23 February – 8 April 2017 “Small Print International” Peter Freeman, Inc. http://tate.org.uk 18 February – 15 April 2017 http://peterfreemaninc.com West Yorkshire Print Workshop “Wolfgang Tillmans” http://www.wypw.org/ 15 February – 11 June 2017 “Michael Joo: Seven Sins” Tate Modern 3 February – 1 April 2017 MONTREAL Carolina Nitsch http://tate.org.uk “Chagall: Colour and Music” http://carolinanitsch.com 28 January – 11 June 2017 “Paul Coldwell—Temporarily Accessioned: Montreal Museum of Fine Arts “/ atm s fir/” Freud’s Coat Revisited” http://mbamtl.org ˈ ə ˌ 22 January – 7 May 2017 9 February – 25 March 2017 The Freud Museum David Krut Projects http://freud.org.uk http://davidkrut.com

46 Art in Print March – April 2017 “Idols and Impossible Structures: SEATTLE New Prints 2017 / Winter” “Jacob Lawrence: The Migration Series” 19 January – 1 April 2017 21 January – 23 April 2017 International Print Center New York Seattle Art Museum http://ipcny.org http://seattleartmuseum.org

“Kiki Smith: Portraits, Celestial Bodies, ST. LOUIS and Fairy Tales” “Learning to See: Renaissance and Baroque 23 February – 8 April 2017 Masterworks from the Phoebe Dent Weil Mary Ryan Gallery and Mark S. Weil Collection” http://maryryangallery.com 3 March – 30 July 2017 Saint Louis Art Museum “Love in Venice” http://slam.org 10 February – 26 August 2017 Stephen A. Schwarzman Building, New York ST. PETER, MN Public Library “Made in USA: Rosenquist & Ruscha” https://www.nypl.org/ 13 February – 1 April 2017 Hillstrom Museum of Art “Pulp as Portal: Social Engaged Papermaking” https://gustavus.edu/finearts/hillstrom/ 3 February – 20 April 2017 The Center for Book Arts TULSA, OK http://centerforbookarts.org “Text Without Message: Christopher Wool” 7 January – 30 April 2017 “Chantal Zakari: Narratives of Conflict” Philbrook Museum of Art 3 February – 20 April 2017 http://philbrook.org The Center for Book Arts http://centerforbookarts.org UNIVERSITY PARK, PA “Morris Blackburn: Prints and Paintings “Lygia Pape” in Process” 21 March – 23 July 2017 In Washington, DC through 6 August: “The Urban 17 January – 30 April 2017 The Met Breuer Scene: 1920–1950.” Martin Lewis, Building a Palmer Museum of Art, Pennsylvania State http://metmuseum.org Babylon, Tudor City, N.Y.C. (1929), etching University and drypoint, image 32.7 x 20 cm, sheet: 40.64 http://palmermuseum.psu.edu/ “The Mysterious Landscapes of x 27.94 cm. National Gallery of Art, Washington, Hercules Segers” Gift of Bob Stana and Tom Judy. WAIBLINGEN, GERMANY 13 February – 21 May 2017 “Lyonel Feininger. Zwischen den Welten The Metropolitan Museum of Art (Between the Worlds)” http://metmuseum.org 18 February – 14 May 2017 “Rebecca Gilbert: wonder” Galerie Stihl Waiblingen And: 16 December 2016 – 22 April 2017 http://www.galerie-stihl-waiblingen.de/ “Seurat's Circus Sideshow” The Print Center http://printcenter.org 17 February – 29 May 2017 WASHINGTON, DC “The Urban Scene: 1920–1950” NORWALK, CT PORTLAND, OR 26 February – 6 August 2017 “2016 Screenprint Biennial” “Constructing Identity: National Gallery of Art Petrucci Family Foundation Collection of 22 January – 25 March 2017 http://nga.gov Center for Contemporary Printmaking African American Art” https://contemprints.org/ 28 January – 18 June 2017 Portland Art Museum “Toulouse-Lautrec Illustrates http://pam.org the Belle Époque” OxFORD, UK 4 February – 30 April 2017 “Degas to Picasso: Creating Modernism The Phillips Collection SAN DIEGO, CA in France” http://phillipscollection.org 10 February – 7 May 2017 “British Modern—Prints from the The Ashmolean Museum British Museum: From the Great War to http://ashmolean.org the Grosvenor School” 10 February – 19 May 2017 Auctions PARKES ACT, AUSTRALIA Hoehn Family Galleries, University of San Diego “Frank Stella: The Kenneth Tyler Print http://sandiego.edu/galleries LONDON Collection” “Prints and Multiples” 19 November 2016 – 31 July 2017 SAN FRANCISCO 22 March 2017 National Gallery of Australia “Landscape: Urban & Rural” Bonhams, Knightsbridge http://nga.gov.au 9 February – 31 March 2017 http://bonhams.com Crown Point Press PERTH, AUSTRALIA http://crownpoint.com And:“British Master Prints” “Paul Coldwell: Small Traces” 4 April 2017 23 March – 18 April 2017 SANTA FE, NM Edith Cowan University “New Impressions: Experiments in “Prints & Multiples” http://ecu.edu.au Contemporary Native American 29 MARCH 2017 Printmaking” CHRISTIE'S PHILADELPHIA 20 January – 15 June 2017 http://www.christies.com/ “Witness: Reality and Imagination in the Museum of Contemporary Native Arts Prints of Francisco Goya” https://iaia.edu/ “Prints & Multiples” 22 April – 6 September 2017 4 April 2017 Philadelphia Museum of Art Sotheby's http://www.philamuseum.org/ http://www.sothebys.com/

Art in Print March – April 2017 47 LOS ANGELES PERTH, AUSTRALIA Alcohol: Soviet Anti-Alcohol Posters “Prints and Multiples” “Forming and Deforming Images: Edited by Damon Murray, Stephen Sorrell. 18 April 2017 The Creative Process in Flux” Text by Alexei Plutser-Sarno Bonhams 27 March 2017 248 pages, 475 color illustrations https://www.bonhams.com/ Edith Cowan University Published by FUEL Publishing, London, 2017 http://ecu.edu.au $32.95. NEW YORK “Prints” PHILADELPHIA 19 – 20 April 2017 “Objects of Study: Paper, Ink, Christie's and the Material Turn” http://www.christies.com/ 31 March – 1 April 2017 Philadelphia Museum of Art “Prints & Multiples” http://objectsofstudy.com 1 May 2017 Doyle http://doyle.com/auctions New Books

“Evening & Day Editions” The Print Collection of 18 April 2017 Cassiano dal Pozzo: Ceremonies, Phillips Costumes, Portraits and Genre https://www.phillips.com/ Mark McDonald 3 volumes, 1,032 pages, 1,712 b/w illustrations “Prints & Multiples” Published by Brepols Publishers 27 – 28 April 2017 Turnhout, Belgium, 2017 See Red Women’s Workshop: Sotheby's $286. Feminist Posters 1974–1990 http://www.sothebys.com/ Foreword by Sheila Rowbotham. Text by Prudence Stevenson, Susan Mackie, Anne “Old Master Through Modern Prints” Robinson, Jess Baines. 2 May 2017 184 pages, 90 color and 25 b/w illustrations Swann Auction Galleries Published by Four Corners Books, London, 2017 http://www.swanngalleries.com/ $39.95.

Fairs

ARLINGTON, VA “Capital Art Fair” 25 – 26 March 2017 Holiday Inn, Rosslyn Westpark Hotel http://www.capitalartprintfair.com/

BALTIMORE “Baltimore Contemporary Print Fair” 1 – 2 April 2017 Baltimore Museum of Art Robert Rauschenberg https://artbma.org/go/printfair Edited with text by Leah Dickerman, Achim Borchardt-Hume. Text by Yve-Alain Bois, Andri- anna Campbell, Hal Foster, Mark Godfrey, BOSTON Hiroko Ikegami, Branden Joseph, Ed Krcma, “Boston Print Fair” Hercules Segers: Painter, Etcher, Michelle Kuo, Pamela Lee, Emily Liebert, A Catalogue Raisonné 6 – 9 April 2017 Richard Meyer, Helen Molesworth, Kate Nesin, Edited by Huigen Leeflang, Pieter Roelofs The Cyclorama at the Boston Center for the Arts Sarah Roberts, Catherine Wood 700 pages, 223 color illustrations http://www.ad2021.com/the-boston-print-fair 392 pages, 475 color illustrations Published by nai010 Publishers, Rotterdam, Published by The Museum of Modern Art Netherlands and Rijksmuseum, Amsterdam, LONDON New York, 2016 Netherlands, 2017 “London Original Print Fair” $75. 4 – 7 May 2017 $150. Royal Academy of Arts http://www.londonprintfair.com/

Symposia/Conferences

ATLANTA “SGC International Conference 2017” 15 – 18 March 2017 Loews Atlanta Hotel http://sgciatlanta.com/

LOUGHBOROUGH, UK “Printed in Books: The Materiality, Art History and Collection of Illustrations” 6 – 8 April 2017 Loughborough University http://www.aah.org.uk/

48 Art in Print March – April 2017 Left: From “The Legacy of Ancient Palmyra” online exhibition: Jean-Baptiste Liénard after Louis-François Cassas, Temple of Baalshamin (ca. 1799), etching, image 31 x 45 cm. From Voyage pittoresque de la Syrie, de la Phoénicie, de la Palestine, et de la Basse Egypte (Paris, ca. 1799), vol. 1, pl. 75. The Getty Research Institute, 840011. Right: Jules Chéret, Les Girard (1879), lithograph, 22 5/8 x 17 inches. Image courtesy of Milwaukee Art Museum. Promised gift of James and Susee Wiechmann. Included in the promised gift to the Milwaukee Art Museum.

Other News Getty Research Institute Presents after the symposium. To submit, send in one “The Legacy of Ancient Palmyra” email an abstract (one page) of your proposed Kunsthalle Mannheim Digital Collection Online Exhibition contribution and a short CV (two pages) to The Kunsthalle Mannheim has announced the The classical ruins of the ancient caravan city of [email protected] by 1 April 2017. digitization of its graphics collection (some Palmyra, celebrated for centuries, have suffered 30,000 works) as part of the larger “Sammlung irreparable damage during the current conflict Association of Print Scholars Online” project. High resolution images of the in Syria, including targeted destruction by ISIS. Grant Program first 1,500 works are now available at http:// The Getty Research Institute is currently pre- The Association of Print Scholars is pleased to sammlung-online.kunsthalle-mannheim.de/eMu- senting an online exhibition that captures Pal- announce a grant program beginning in Sep- seumPlus. Images will continue to be added every myra as it was illustrated in the 18th century by tember 2017 to support innovative scholarship month. the architect Louis-François Cassas and when on printmaking and collaboration within the photographed for the first time by Louis Vignes print community. Grants will range from $500 Crow’s Shadow Institute of the Arts 2017 in 1864. The site features more than 100 large- to $1,000 and may support (but are not limited Golden Spot Residency Awards format etchings and dozens of never-before-seen to) research projects, programs and publications Crow’s Shadow Institute of the Arts, located on photoengravings. http://www.getty.edu/research/ that advance knowledge of printmaking. Guide- the Umatilla Indian Reservation in Oregon’s Blue exhibitions_events/exhibitions/palmyra/index.html. lines for applying are intentionally broad: award- Mountains, has announced the 2017 recipients ees should aim to further the mission of APS and of Golden Spot residencies: Demian DinéYazhi’, Call for Papers: “Laid Down on Paper: provide opportunities to bring together diverse Modou Dieng and Marie Watt. Each of these Print Making in America, 1800 to 1865” print scholars and types of expertise. A panel of Oregon-based artists will spend two weeks at Organized in conjunction with the Cape Ann the field’s senior members will review applica- Crow’s Shadow developing limited-edition prints Museum’s exhibition “Drawn from Nature & tions. Grants will be awarded twice per year. with Crow’s Shadow’s Master Printer. Founded in on Stone: The Lithographs of Fitz Henry Lane,” Applications are due by February 1 (for March 1992 by artists James Lavadour and Phillip Cash this conference will explore the print world in award) or August 1 (for September award). All Cash, Crow’s Shadow provides a conduit for edu- America during the first half of the 19th century current APS members are eligible to apply. For cational, social and economic opportunities for and the importance of printmaking to the grow- more information, please visit https://printschol- Native Americans through artistic development. ing nation. ars.org/awards/grants/. This symposium seeks papers that present Milwaukee Art Museum Receives original research on 19th-century American New Curator and More Than 500 prints. Possible topics include the work of Fitz Jules Chéret Works Henry Lane’s printmaking contemporaries, The Milwaukee Art Museum has announced a specific collections of prints, the relationships promised gift of work by fin de siècle artist Jules between artists and printmakers in Boston and Chéret from the collection of Susee and James elsewhere, influences on Lane’s style, the publi- Wiechmann. The gift encompasses the full range cation and reception of prints, the intersection of Chéret’s activity from posters to book design of commercial and art worlds, the role of prints to lithographic studies. in the home, abolition, industrialization, adver- The Wiechmanns have further underscored tising, global circulation and exchange, and the their commitment to the museum by underwrit- gendering of prints. ing a curatorial position in prints and drawings. Scholars, independent researchers, artists and Britany L. Salsbury—cofounder of the Associa- graduate students from diverse fields includ- Please submit announcements of tion of Print Scholars and a frequent contributor ing American art history, American studies and exhibitions, publications and to Art in Print—joins the museum as associate material culture that engage critically with these other events to curator. Salsbury had been the Andrew W. Mel- potential topics are urged to submit proposal lon curatorial fellow at the Museum of Art, Rhode papers. Selected papers will be published by the [email protected]. Island School of Design. Cape Ann Museum approximately 18 months

Art in Print March – April 2017 49 VOLTA ART FAIR MARCH 1–5 PIER 90 NEW YORK CITY FEATURING ROBERT OLSEN

Planthouse 55 WEST 28TH STREET NEW YORK NY 10001 PLANTHOUSE.NET

VISIT OUR WEBSITE TO SEE NEW PRINTS FROM ANDY BURGESS SUZANNE CAPORAEL LESLEY DILL SANDRA RAMOS DAN RIZZIE ALISON SAAR

WWW.TANDEMPRESS.WISC.EDU Andy Burgess Bank of America, Palm Springs, 2016 [email protected] Etching, ed. 30 608.263.3437 21 1/2 x 18 inches

50 Art in Print March – April 2017 RODNEY CARSWELL NEW LITHOGRAPHS

“Root” (2016) color lithograph 26 x 30½ inches edition of 25

SHARk’S INk. sharksink.com

DON GORVETT WOODCUTS AD 20/21 & Boston Print Fair Piscataqua Fine Arts / Portsmouth, NH / 603.436.7278 / www.dongorvettgallery.com APRIL 6-9, 2017

Art in Print March – April 2017 51 P.R.I.N.T proudly collaborated with Susan Goethel Campbell for the Prix de Print.

Visit http://print.unt.edu for work by Kiki Smith, Enrique Chagoya, Jaune Quick-to-See Smith, Albert Paley and more.

Stay informed via eBlast.

New issues. New edition releases. New book releases. Opening exhibitions. Auction information.

Receive Art in Print’s weekly News of the Print World via email. Free with your subscription. www.artinprint.org Side View/Grey C, 2016, monoprint/uniquely hand painted, sh: 21.75” x 29.75” Side View/Night A, 2016, monoprint/uniquely hand painted, sh: 21.75” x 29.75”

Richard12 New Monoprints, Each Bosman Uniquely Hand Painted

Boston Print Fair • 6-9 April 2017 • Boston Center for the Arts/Cyclorama • Boston MA

SteStewartPrinter/Publisherwa rt& Dealer & of FineStewartStewa Prints Since 1980rt 248.626.5248 • [email protected] www.StewartStewart.com

2017

Art in Print March – April 2017 53 Carlos Andrade Monotypes

Untitled, 2016 Mixed-media monotype 42” x 29-1/4” Published by Manneken Press

(309) 829-7443 [email protected] www.mannekenpress.com Morris Blackburn: Prints and Paintings in Process through April 2017 | Palmer Museum of Art, Penn State University University Park, Pennsylvania Stanley William Hayter: Metamorphosis of the Line through April 2017 | Centre d’art La Malmaison | Cannes, France Paul Keene: Post-War Explorations in Painting through April 2017 | North Carolina Central University Art Museum Durham, North Carolina Cutting Edge: Modern Prints from Atelier 17 April 9 – August 13, 2017 | Cleveland Museum of Art | Cleveland, Ohio Steven Ford Parts and Labor Dolan/Maxwell April – July 2017 | Academy Art Museum | Easton, Maryland 2046 Rittenhouse Square Philadelphia, Pennsylvania 19103 New and Recent Works by 215.732.7787 Amze Emmons and Lynne Clibanoff www.DolanMaxwell.com April 27 – August 27 2017 |Brodsky Galleries of the Gershman Y [email protected] Philadelphia, Pennsylvania by appointment please Amze Emmons, Distribution Context 2016, graphite, gouache & watercolor, image/sheet 22 1/4 x 29 3/4”

ROBIN CAMERON three monotype portfolios

Maquette VII of XII , 2016 13.625 x 19 inches

Score III of V , 2016 Composition XVII of XX , 2016 39.5 x 28 inches 13.625 x 19 inches

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Art in Print March – April 2017 55 Contributors to this Issue

Julie Bernatz is the Associate Publisher of Art in Print.

Catherine Bindman is an editor and art critic who has written extensively on both old master Unfolding and contemporary prints. She was Deputy Editor at Art on Paper magazine and lives in New York. Alan Cristea has been a central figure in British print publishing for four decades. In 1994, after many years with Waddington Galleries, he founded the gallery that bears his name, which has the Map presented major exhibitions of modern and contemporary prints from Pablo Picasso to Richard Hamilton to Julian Opie. The gallery recently relocated from Cork Street to Pall Mall. March 3rd – May 20th 2017 Paul Coldwell is an artist and Professor in Fine Art at the University of the Arts London who Constellation Studios writes frequently on art. His work includes prints, sculpture and installation. His exhibition “Tem- Lincoln, Nebraska porarily Accessioned: Freud’s Coat Revisited” is on view at the Freud Museum London through 7 May, 2017.

Morgan Dowty is a printmaker and art historian based in Baltimore. She is Curatorial Assistant for the Department of Prints, Drawings & Photographs at the Baltimore Museum of Art.

Owen Duffy is an art historian, curator, and writer living in New York. He received his PhD in art history from Virginia Commonwealth University.

Sarah Kirk Hanley is an independent print curator, writer and appraiser based in the New York area. She is a frequent contributor to the journal and an adjunct instructor at NYU.

Faye Hirsch is Editor at Large at Art in America, and teaches in the MFA program at SUNY Purchase.

Brian T. Leahy is a multi-disciplinary artist living in Chicago. He holds an MA from the School of the Art Institute of Chicago and is currently a PhD student and a Mellon Fellow in Rhetoric and Public Culture at Northwestern University.

Benjamin Levy is a Seattle-based curator, art historian and trained printmaker. He is the Assistant Curator of Collections and Academic Programs at the Henry Art Gallery, University of Washington. Lipopods, Carrie Ann Plank, 2014, 11” x 14” Previously he was the Curatorial Assistant in the Department of Prints, Drawings & Photographs at the Baltimore Museum of Art. He is a graduate of the Maryland Institute College of Art.

is a graphic designer and printer at The Grenfell Press. She is also the co-director of Diana Behl, Brookings, South Dakota Katie Michel Planthouse Gallery in New York City. Sage Dawson, St. Louis, Missouri Tallmadge Doyle, Eugene, Oregon Thomas Piché Jr. is director of Daum Museum of Contemporary Art in Sedalia, Missouri. He has Jill Jepsen, Ann Arbor, Michigan organized over 50 art exhibitions nationally and internationally, and has contributed to numerous Nichole Maury, Kalamazoo, Michigan books and periodicals, including work published by George Braziller Inc., Syracuse University Press Emma Nishimura, Toronto, Canada and Hudson Hills Press. Carrie Ann Plank, San Francisco, California Allison Rudnick is a PhD candidate in art history at the Graduate Center, City University of New York, where she focuses on printmaking practices in Europe, post-1945. She is Assistant Curator in the department of Drawings and Prints at the Metropolitan Museum of Art.

Britany Salsbury is Associate Curator of Prints and Drawings at the Milwaukee Art Museum and a former Andrew W. Mellon Curatorial Fellow in the Department of Prints, Drawings, and Photo- graphs at the RISD Museum. She holds a PhD in art history from the Graduate Center of the City University of New York.

David Storey is a painter who makes prints. He lives in New York and teaches at Fordham 2055 ‘O’ Street University. Lincoln, NE 68510 Julie Warchol is the Associate Editor of Art in Print and the Curatorial Associate at the Terra [email protected] Foundation for American Art in Chicago. She holds an MA in art history from the School of the Art (402) 438-0049 Institute of Chicago.

Susan Tallman is the Editor-in-Chief of Art in Print.

56 Art in Print March – April 2017 Back Issues of Art in Print

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

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