Paul Coldwell • Genji's World
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May – June 2013 Volume 3, Number 1 Paul Coldwell • Genji’s World: The Shining Prince in Prints • Francis Grose’s Caricaturas • Kate McCrickard Mary Cassatt • Giorgio Morandi • Bonnie Marin • Rembrandt’s Century • Serena Perrone • Under 100 • News MATTHEW PALLADINO NEW LITHOGRAPHS Bad Map (2013) ten color lithograph on white Rives BFK paper 30 x 44.5 inches edition of 25, plus proofs Also by Matthew Palladino Wonder Box: Expulsion (2013) thirteen color lithograph on white Rives BFK paper 44.5 x 30 inches edition of 25, plus proofs Please contact Shark’s Ink for more information. SHARK’S INK. 550 Blue Mountain Road Lyons, CO 80540 303.823.9190 www.sharksink.com [email protected] May – June 2013 In This Issue Volume 3, Number 1 Editor-in-Chief Susan Tallman 2 Susan Tallman On Our Anniversary Associate Publisher Ben Thomas 3 Julie Bernatz Paul Coldwell: A Layered Practice— Graphic Works 1992–2012 Managing Editor Annkathrin Murray Mary Davis MacNaughton 8 Associate Editor Genji’s World: The Shining Prince Amelia Ishmael in Prints Manuscript Editor Prudence Crowther Camilla Murgia 14 Between Text and Image: Francis Grose’s Design Director Rules for drawing caricaturas and its Skip Langer French and German Editions Design Associate Reviews Shelby Baker Catherine Bindman 22 Kate McCrickard: Kid Britany Salsbury 25 Daring Methods: The Prints of Mary Cassatt Paul Coldwell 28 Giorgio Morandi: Lines of Poetry Courtney R. Thompson 30 Bonnie Marin: What are you scared of? Susan Tallman 32 Rembrandt’s Century Sarah Andress 36 Serena Perrone: Maintaining a Safe Distance and Living to Tell <100 38 News of the Print World 40 On the Cover: Paul Coldwell, detail of Contributors 50 Means of Escape—Plane (2001), lithography with line block, image 36 x 52 cm, sheet Membership Subscription Form 51 42 x 62 cm. Edition of 25. Printed and published by Paupers Press, London. Guide to Back Issues 52 This Page: Bonnie Marin, detail of I have something to tell you (2012), paper collage, 14.6 x 21.3 cm. Photo: Ernest Mayer. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. On Our Anniversary By Susan Tallman ithout prints you don’t under- bound magazine, introduced a weekly faced, appropriation of printed matter “ Wstand the culture of the world.” newsletter and in June will begin hosting as a creative principal links 18th-century Two years ago we launched Art in Print Sarah Kirk Hanley’s blog, INK. Tens of caricature (Camilla Murgia) and the cur- with that observation, stolen from the thousands of visitors have gone to the rent work of Bonnie Marin (Courtney R. late art historian Leo Steinberg. Stein- Art in Print website and read about prints Thompson) and Serena Perrone (Sarah berg made the comment in reference to whose origins span 514 years and 86 Andress). a print from his own vast collection— degrees of latitude. Two years ago, we invited readers “to a Descent from the Cross, derived from This heterogenous profusion of print become involved, to contribute content, Marcantonio Raimondi’s engraving is clearly visible in the current issue, as opinion, suggestions, information, and/ after Raphael, but executed in the impe- is the road map of connections, legacies or financial support.” The international rial Mughal style sometime after Jesuit and adaptations that Steinberg found so print community responded with an missionaries introduced engraving to engaging: Mary McNaughton examines enthusiasm we could not have anticipated, India. It is a document of what happens how the elite 11th-century Japanese volunteering advice, labor, donations, fan when one set of visual rules collides Tale of Genji was transformed into a mail and suggestions for improvement. with another set of preferences; it makes mass-market pop cultural phenomenon We are enormously grateful. visible the intercultural aspirations, by 19th-century print artists; Britany As we enter our third year we face appropriations and misinterpretations Salsbury writes about Mary Cassatt, new challenges: there is more we want through which the world is transformed. who found in those Japanese prints to cover while the journal content and Steinberg’s statement expressed, with the tools to transform European art subscriber base have expanded beyond simple clarity, our reasons for founding at the turn of the 20th century; and the capacities of our current website. In Art in Print: we wanted to build a venue Catherine Bindman shows how those the coming months we will be launching for examining the multitude of ways in Cassatt prints have become an indelible our first donation campaign. But money which prints transform culture and are paradigm for 21st-century artists such as is only part of the story. We also depend transformed by it. Kate McCrickard. Artist Paul Coldwell’s on you, our readers, to let us know how Over the past 24 months Art in essay dissects the transcendent rigor we’re doing. What are we missing? What Print has published twelve issues of Giorgio Morandi’s etchings, while could we do better? occupying 650 pages, dozens of articles, art historian Ben Thomas anatomizes The culture of the world is waiting. hundreds of reviews and thousands Morandi’s influence on Coldwell’s own, Let’s go. of announcements for new editions, decades-long investigation of repro- exhibitions and books. We expanded duction and representation. Finally, Susan Tallman is the Editor-in-Chief of from a PDF publication to a printed-and- the sometimes subtle, sometimes bald- Art in Print. Art in Print is the single most comprehensive resource for serious writing on, and timely information about, the most important art form of the past 500 years. Subscriptions and advertising cover less than 30% of our operating costs. The rest comes from people like you. Please Donate Now... www.artinprint.org. 2 Art in Print May – June 2013 Paul Coldwell: A Layered Practice— Graphic Works 1993–2012 By Ben Thomas Paul Coldwell, Border I (2002), inkjet, image 52 x70 cm, sheet 65 x 80 cm. Edition of 7. Printed and published by the artist, London. We take for granted today as indis- on the top floor where a laptop lay open serious printmaking, the computer is not pensable means the rectangular form on the worktable.Knowing Coldwell’s an end in itself but a means of working of the sheet of paper and its clearly work, I found this a suggestive spatial through fundamental artistic concerns defined smooth surface on which one arrangement: it is tempting to draw lines derived from the artists who have most draws and writes. But such a field between these objects and spaces that are influenced him, notably Jasper Johns and corresponds to nothing in nature or domestic and creative, emulating the way Giorgio Morandi. Coldwell shares Johns’ mental imagery where the phantoms Coldwell’s prints link together common- fascination with the logic of print—with of visual memory come up in a vague place objects in allusive sequences. One doublings, reversals, series and trans- unbounded void. —Meyer Schapiro1 of these lines (which might be reassuring fers—not for its technical cleverness but to those who are suspicious of computer- for the quality Richard S. Field identi- hen I visited his London house to generated art) would root the artist’s fied in Johns’ work as “the transference Wprepare for the retrospective ex- top-floor digital practice in the ground- of memory imprints from one object to hibition “A Layered Practice—Graphic floor foundation of traditional print another.”3 Works 1993–2012,” the eminent British technique. Other lines, criss-crossing on Drawing with a mouse rather than artist Paul Coldwell showed me an old- the stairs, would trace the constellation a brush or needle, Coldwell is able to fashioned etching press in a ground-floor of influences that inform his oeuvre and obtain a neutral line that betrays no trace room looking onto the garden.2 He then situate it within a history of modern art. of artistic performance. “I didn’t want to led me upstairs, past framed prints by For Coldwell, who was a pioneer be expressive in a gestural way,” Coldwell Giacometti and Paula Rego, to the studio of digital image manipulation within has written. “For me, the gesture would Art in Print May – June 2013 3 redrawing it halftone dot by halftone dot. This labor-intensive process allows him to dwell in the image “so that you begin to actually understand what you want.” For the print Envelope/Crystal from the artist’s book Kafka’s Doll (2007) (a collab- oration with the poet Anthony Rudolf), Coldwell manipulated a photograph of glasses and decanters, reducing the visual information so viewers had “just enough visual clues” to recognize the presence of glass, without any level of detail. The halftone screen laid on top provided the structure for a simple line drawing of an open envelope, constructed by linking selected halftone dots, rendered in white like stars in a constellation. The joined dots anchor the drawing to the surface, but the diagonal orientation of the enve- lope complicates the tension between surface and depth of field.10 The most persistent sign of Coldwell’s Paul Coldwell, Means of Escape—Plane (2001), lithography with line block, image 36 x 52 cm, preoccupation with the index, and an sheet 42 x 62 cm. Edition of 25. Printed and published by Paupers Press, London. appropriate motif in a printmaker’s work, is the fingerprint: at once a sign made just lead into self-indulgence.”4 For him as a semi-permeable membrane through by an impression, the signature mark of as for Georges Braque, restraint and a which we access the image.