Paul Coldwell • Genji's World

Home , Conus Marmoreus (print), Francis Grose, Paul Coldwell, The State Bed, The Three Crosses, The Three Trees (print)

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 “ W stand 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.

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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 W prepare 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 collaboration 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 envelope 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. The half- identity, and a pattern on the surface. It limitation of means constitute style.5 tone dot is here symbolic rather than is there in the first set of prints Coldwell Like Johns, Coldwell is also concerned functional, as digital technology has designed with the computer, the poignant with the function of the “index”—the superseded it as a means of reproducing etching series My Father’s Coat (1995), mark that is also a physical trace, lead- photographs. As a convention, it carries where it suggests a palpable presence, in ing the mind from the image to the thing connotations of 1960s Pop artists such as counterpoint to the empty coat that it that caused it.6 Coldwell uses the com- Roy Lichtenstein, and of Pop prints that partially obscures. The prints feature a puter to blunt the indexical force of the used photolithography and screenprint litany of familiar objects—book, chair, photographic sources he overlays in his to challenge the concept of the ‘origi- necktie—but the personal associations prints, reducing detail and adding inter- nal print.’ Coldwell particularly admires they suggest remain sadly out of reach. ference to make the task of reading the Lichtenstein’s series of prints of cathe- image more problematic and draw atten- drals and haystacks after Monet, “where tion to the graphic, printed surface rather he takes on Monet’s emotional, direct use than the photographic illusion beyond.7 of the mark as an equivalent of experi- Coldwell emphasizes the surface most ence in the open air, and reconstitutes it obviously by spreading a screen of half- in the studio as a proposition.”9 tone dots across it. The halftone dot, he Working digitally, Coldwell is able to writes: transform the regular halftone screen, enlarging a dot here, removing one there ...not only references the way in which and turning another from black to white. a photographic image must be treated Instead of delivering the instantaneous in order to work within printmaking, “sock to the jaw” of Lichtenstein prints, but also [refers] to press photography Coldwell’s manipulated halftone denies a and the reproducible image. Whereas direct approach to the image, setting up before the computer, the nature of temporal and spatial complexities. the dot could only be set across the In his lithograph and line block print whole image, the computer allows for Plane, from the series Means of Escape each individual dot to be modified if (2001), Coldwell plays with scale in a way required. For me this makes the pho- that once again confuses the indexical tograph, which was previously a set property of the photograph: the plane of fixed relationships, a totally fluid in the photograph is a model and the form, infinitely malleable.8 landscape is the studio floor. He further The screen of dots, so characteristic interferes with the authority of the pho- Paul Coldwell, My Father’s Coat III (1994), intaglio printed relief, image 55 x 40 cm, sheet of Coldwell’s prints, accentuates the sur- tograph by removing the shadow cast 76 x 56 cm. Edition of 10. Printed and published face, frustrates our perceptions and acts by the plane and then painstakingly by the artist, London.

4 Art in Print May – June 2013 Paul Coldwell, Kafka’s Doll—Envelope/Crystal (2007), inkjet with archival inks, image 36 x 28 cm, sheet 50 x 42 cm. Edition of 10. Printed by the artist, London. Published by Eagle Gallery, London.

At the time Coldwell made this series point about these numbers is that they Coldwell has noted that one of the of prints, ink-jet technology was not yet exist in simultaneity in the same single paradoxes of working with the computer archival, so Coldwell photo-etched the stratum.”12 In a classic essay on non- is that, while it facilitates a multilayered images onto copper plates and printed mimetic constituents of the image-sign, approach to the image, “no matter how them on an etching press. Intaglio print- Meyer Schapiro pointed out that while we many layers are used, each individual ing has, Coldwell observes, “an assertive- may take for granted such conventions as pixel still only represents a single piece ness about it that is different from the way a picture field bounded by a frame within of coded information.” The final print, inkjet remains on the surface. The idea of which figures are distinguishable from a of course, does not consist of a Photo- the fingerprint in these prints seemed to consistent ground, the Stone Age artist shop file, but of ink on paper—a physical demand that sense of pressure.”11 working on the rough surface of the cave entity meant, in most cases, to be hung Photoshop allows Coldwell to weave wall drew on “a field with no set boundar- on a wall. This has implications for the superimposed planes together, but this ies and thought so little of the surface as a scale of the design and its address to the tendency to think in layers is also intrin- distinct ground that he often painted his beholder. sic to etching, and has long been part of animal figure over a previously painted Coldwell’s approach—as in the etching image without erasing the latter, as if I have found it more appropriate, when set Chairs (1993), where objects and pat- it were invisible to the viewer.”13 Simi- working with the computer, to think terns based on fingerprints float and larly ancient is the impulse to trace pat- in terms of textiles or carpets where overlap in a dream-like space. The prac- terns that give form and meaning to the all the information is woven into tice of layering images is both ancient and immensity of the heavens—and tracing and across the surface, rather than of utterly contemporary: think of works like constellations, whether astral or the net- painting or printmaking where there Jasper Johns’ 0 Through 9 (1960) in which, works of domestic intimacies, is intrin- can be a wide range of physical sur- Leo Steinberg argued, the numbers are sic to the dot-to-dot drawings Coldwell faces on a single canvas or print and not exactly superimposed because “the makes across his halftone screens. an actual build up of layers.14

Art in Print May – June 2013 5 emotional chords through a tonally restrained palette. Morandi’s library of forms—his collection of bottles, vases, jars and bowls (some of which he covered in paint to reduce their visual interest)— are both familiar and disconcertingly odd. Coldwell has similarly sought out and deployed a personal archive of ambiguous objects that recur as motifs throughout his oeuvre: coat, case, chair, envelope, open book, picture frame, bouquet of flowers, coat hanger, shaving kit. Finally, for Morandi printmaking was at least as significant as painting. From his deceptively modest etchings Coldwell recognized how a shimmering network of crosshatches could be both a renuncia- tion of dramatic gesture and a powerful means of destabilizing things. He has described the surface of Morandi’s Still Life in Broad Strokes (1931) as “a mass of lines, trapping the forms in its web. The image asserts the language of its mak- Paul Coldwell, Sites of Memory—Book (2006), screenprint, image 40 x 53 cm, sheet 59 x 71 cm. ing; this is not naturalism but the most Edition of 15. Printed by Advanced Graphics, London. Published by the artist, London. appropriate form of reconstruction.”18 Coldwell’s Pestle & Mortar (1999) pays trib- ute to Morandi through a simple image of This is why screenprints such as Sites resulted in the faceting of space and tools for grinding pigments, suggesting of Memory (2006) appear a pointillist blur objects, Coldwell’s rigorous analysis of the painter’s honest toil in the domestic up close but resolve into separate layers the means of representation, alongside laboratory of his Bologna studio, but it when the beholder takes a more distant the means of reproduction, takes the also stakes a claim for Coldwell through viewing position. As Sartre commented form of an intricate, digitally woven sur- the superimposed fingerprint. of Giacometti’s sculpture, the print itself face. Like cubist painting, the Canopy In 2006 Coldwell curated the exhibi- “determines the distance from which it prints remain rooted in things seen in tion “Morandi’s Legacy,” which created must be viewed, just as courtly manners the world: the folds of cloth take their a conversation between Morandi and determine the distance from which the cue from Francisco de Zurbarán’s Veil of a diverse group of British artists rang- king must be addressed.”15 This is also Veronica in Stockholm, one of Coldwell’s ing from Ben Nicholson to Tony Cragg. why Coldwell often varies and combines favorite paintings. (He first used it in Coldwell likes to trace points of contact, printing techniques, reintroducing layers the 1993 etching Chair—Veil.) The sudar- among artists as well as objects. (Reveal- where digital technology had flattened ium—the legendary cloth miraculously ingly, his preferred mode of writing is them out. Take, for example, his latest imprinted with the face of Christ when dialogue: the Morandi catalogue featured series, Still Lives (2012), which combines Veronica wiped his face with it—has fas- transcribed conversations with fellow digital printing with the humble linocut. cinated printmakers from Albrecht Dürer artists Michael Craig-Martin and Patrick The use of digital and traditional tech- to Claude Mellan, and can be seen as the Caulfield; his 2005 lecture “Finding Spaces niques complements Coldwell’s explora- ultimate indexical print, with Christ’s Between Shadows, Layering Memory” was tion of the semiotic variables of figure, face as both subject and template. delivered as a conversation with himself.) ground and frame. As a result his prints Perhaps the deepest influence on Cold- A similar dialogue exists within Cold- achieve, at times, a representational com- well, however, has been Giorgio Morandi. well’s own oeuvre between prints and plexity and subtlety that can make it dif- Coldwell was introduced to Morandi’s sculpture: the sculptures, whose skeletal ficult to apprehend the image at all. This art while a student at Canterbury, and it forms describe negative spaces and the quality culminates in the print series led him to consider art as an experimen- shadows cast by absent objects, enter the Canopy (2011), printed from laser-cut tal process in which subtle changes arise prints as photographs, modified and sub- woodblocks, in which a photograph of through varying the strictly limited ele- jected to halftone interference, and the London plane trees is barely discernible ments of an equation with “dedication, quality of that interference has in turn behind a drawn pattern that Coldwell application and sacrifice.”17 Morandi’s inspired surface treatments of bronzes. derived from tracing the drapery of hang- art, like Coldwell’s, manipulates space Coldwell has long been an advocate for ing cloth.16 It is in the Canopy series that and scale relationships to conflate still the importance and ambition of the con- Coldwell comes closest to abstraction, life and landscape; it complicates the temporary print—an art form Susan Tall- or at least the near-abstraction of ana- distinction between figure and ground man has described as “simultaneously lytical cubism. Where cubism’s attempt through the use of shadow and negative one of the most successful and one of the to reconcile three with two dimensions space; and it strikes subdued but potent most disparaged art forms of our time.”19

6 Art in Print May – June 2013 He dislikes discussions of printmak- also acts as a reminder of human suffer- 4. Paul Coldwell, Finding Spaces Between Shad- ing that confine themselves to details of ing (Smoke [2006]). ows, Layering Memory, inaugural professorial technique and relegate printmaking to a Layered images with overlapping lecture presented at Chelsea College of Art and craft. If I have dwelt at some length on the objects have been a constant in Coldwell’s Design, 7 March 2005 (London: The Camberwell Press, 2005), 40. technical details of Coldwell’s practice, work since Chairs (1993) and have come to 5. George Braque, “Thoughts and Reflections on my purpose has been to articulate the represent the intermingling of memory Art” (1917), Herschel B. Chipp (ed.), Theories of relationship between his process and the and imagination, the melancholy oscilla- Modern Art (1968) (Berkeley, Los Angeles and resulting prints’ semiotic depth. Take for tion between absence and presence that London: University of California Press, 1996), 260: example the inkjet prints Border (2001). Gaston Bachelard—one of Coldwell’s “Limitation of means determines style, engenders new form, and gives impulse to creation.” The title refers to the framing device, also favorite authors—found in the nature of 6. For a classic treatment of this subject that reso- used in Landscapes (2002) and Family Tree the print: nates with aspects of Coldwell’s art, see: Rosalind (2009), which subtly colors the viewer’s Krauss, “Notes on the Index: Part 1” and “Part 2” response to an essentially monochrome A hermit’s hut. What a subject for an in The Originality of the Avant-Garde and Other image in a way that recalls Braque’s color engraving! Indeed real images are Modernist Myths (Cambridge, Massachusetts and London: MIT Press, 1985), 196–19. lithographs of the 1940s. The title also engravings, for it is the imagination 7. The reappraisal of the print’s surface occa- suggests that the mountains shown may that engraves them on our memories. sioned by digital technology has been a preoccu- constitute a border—a threshold of exile They deepen the recollections we have pation of Coldwell’s academic research: “beyond or liberation. Coldwell has superimposed experienced, which they replace, thus the digital surface,” “the surface as meaning,” a hand-drawn bouquet of flowers over becoming imagined recollections.20 “digital and physical surfaces” and “the personalized surface” are some of the descriptive titles of the mountains, and through their petals, research projects he has been involved with. stems and leaves, the viewer sees the orig- 8. Paul Coldwell, “The Surface as Meaning,” in inal colors of the mountain photograph Ben Thomas is a lecturer in history and Beyond the Digital Surface (London: University of beneath. The emotional tone is accessed philosophy of art at the University of Kent the Arts London and Seoul: Ewha Womans Uni- and curator of Kent’s Studio 3 Gallery. through the flowers, but what they sig- versity, 2004), 48. nify is left ambiguous—do they mark cel- 9. Where quotations from the artist are not attributed to his published writings they derive, as here, Notes: ebration or commemoration? from interviews and correspondence with the 1. Meyer Schapiro, “On Some Problems in the The flowers, like Coldwell’s other author carried out in August 2012. Semiotics of Visual Art: Field and Vehicle in Image motifs, are oneiric objects that give rise 10. Paul Coldwell, “Envelope/Crystal from Kafka’s Signs,” in Theory and Philosophy of Art: Style, Doll” in FADE, Digital and Physical Surfaces (Lon- to potentially conflicting associations in Artist, and Society, Selected Papers (New York: don: University of the Arts London, 2007), 22. the mind of the beholder. They appear George Braziller, 1994), 1. 11. Coldwell, Finding Spaces between Shad- 2. Paul Coldwell, “A Layered Practice—Graphic to be symbolic, suggesting that while it ows… 31. Works 1993–2012,” Studio 3 Gallery, University is through form we arrive at meaning, 12. Leo Steinberg, “Jasper Johns: the First Seven of Kent, Canterbury, 14 January–5 April 2013, the means of apprehension restricts our Years of His Art” (1962) in Other Criteria (Chicago and The Stephen Lawrence Gallery, University of and London: University of Chicago Press, 2007), knowledge. Circulating throughout Cold- Greenwich, London, 14 June–11 July 2013. 52. well’s oeuvre, such objects carry multiple 3. Richard S. Field, Jasper Johns: Prints 1960– 13. Meyer Schapiro, “On Some Problems in the 1970, Philadelphia Museum of Art, (New York, meanings: a coat hanger can be read as an Semiotics of Visual Art...” 1-3. Washington and London: Praeger, 1970), unpagi- allusion to Johns, but twisted and placed 14. Coldwell, “The Surface as Meaning” 48. nated, but 31 after start of essay. above the skies of burning Baghdad it 15. Quoted by Coldwell in Finding Spaces Between Shadows... 44. 16. Plane trees also appear in the two Family Tree prints (2009), where their seed balls merge almost imperceptibly into the surface of halftone dots. 17. Paul Coldwell, Morandi’s Legacy: Influences on British Art, Abbot Hall Art Gallery, Kendal and Estorick Collection of Modern Italian Art, London (London: Philip Wilson, 2006), 13. 18. Ibid., 30. 19. Paul Coldwell, Printmaking. A Contemporary Perspective (London: Black Dog Publishing, 2010) and also numerous contributions to Print Quarterly and Art in Print. Susan Tallman, The Contemporary Print from Pre-Pop to Postmodern, London: Thames & Hudson, 1996, p. 7. 20. Gaston Bachelard, The Poetics of Space (first published 1958), trans. Maria Jolas (Boston: Beacon Press, 1994), 31-2.

Paul Coldwell, Canopy II (2011), relief print from laser cut blocks, image 37 x 56 cm, sheet 56 x 76 cm. Edition of 4. Printed and published by the artist, London.

Art in Print May – June 2013 7 Genji’s World: The Shining Prince in Prints By Mary Davis MacNaughton

Fig 1. Utagawa Kunisada, detail of The Courtesan Takigawa of the Kukimanjiya Reading Inaka Genji (1838), uchiwa-e. Published by Iseya Ichiemon. Collection of Paulette and Jack Lantz. Photo: Steve Crise.

ritten in the 11th century by and other languages appeared, that many recently the subject of “Genji’s World in W the Japanese noblewoman and inside and outside Japan read The Tale of Japanese Woodblock Prints,” an exhibi- lady-in-waiting Murasaki Shikibu, The Genji or its 19th-century update, A Rustic tion organized by Bruce Coats and a book Tale of Genji is epic in scope, with 54 chap- Genji by a Fraudulent Murasaki. Until then edited by Andreas Marks. The following ters devoted to the political intrigues and most people learned of Genji not from the discussion of aspects of Genji-related amorous adventures of the handsome text but from the prints that illustrated prints is largely based on this work.1 Prince Genji—also known as the Shin- his many loves. In the 19th century Rustic Genji, the ing Prince. Genji has proved to be a hero, Genji scenes appear in handscroll story was reworked by writer Ryutei or at least a lothario, for the ages. Com- paintings from the 12th to 16th centu- Tanehiko and publisher Tsuruya Kiemon, monly considered the world’s first novel, ries, but by the 17th century the story was and illustrated by print designer Utagawa the story has enthralled audiences for a more frequently seen in book and print Kunisada. It focuses on the romantic life thousand years, largely through the vast illustrations. The increasing availability of a latter-day Genji-like character, Mit- array of images—from prints to video and popularity of prints in the mid–19th suuji. In contrast to the 11th-century orig- games, movies to manga—that have con- century expanded Genji’s popularity: inal, which had been written for an elite tinued to reinterpret the tale for new gen- between 1838 and 1898 some 1300 original audience using an archaic, courtly form erations. It wasn’t until the 20th century, Genji designs were published by 100 pub- of Japanese, the characters here speak in when translations in modern Japanese lishers. The Genji print phenomenon was contemporary vernacular. Among urban

8 Art in Print May – June 2013 Fig. 2. Tsukioka Yoshitoshi, A Rustic Genji by a Fraudulent Murasaki (Nise Murasaki Inaka Genji), V (1884), ōban triptych. Published by Akiyama Buemon. Collection of Paulette and Jack Lantz. Photo: Steve Crise. readers in 19th-century Edo (Tokyo), A More than half of the 1300 print to protect Tasogare from her evil mother, Rustic Genji became better known than designs related to A Rustic Genji were who enters in the right panel and lunges the original. made by Kunisada.4 Although his early toward the couple; on the left a Buddhist The years between 1829 and 1842 saw Genji designs were single-sheet prints, in mountain hermit watches, but cannot the publication of 38 serialized chapters the early 1840s the artist began to make stop the action unfolding. Each vertical occupying 76 booklets.2 This monu- triptychs that offered multiple views of panel of the triptych occupies one ōban mental publishing project of illustrated each scene (and also encouraged pur- sheet (a standard paper size of approxi- fiction, known as gokan (“combined vol- chasers to buy three prints instead of mately 39 by 26.5 centimeters). Yoshitoshi umes”), generated a mass audience for one), launching a trend. Kunisada’s stu- heightens the drama with a long, diago- Genji.3 Reinventing the centuries-old tale dent and son-in-law, Kunisada II, created nal smoke plume that billows through for their own time, Tanehiko, Kunisada more than 300 Genji-themed prints. In each panel and inexorably links the char- and Kiemon developed a new form of the 1850s and 1860s, other artists, includ- acters and their fate. commingled image and text that can be ing Utagawa Hiroshige and Tohyohara From the 18th century on, publish- seen as a precursor of the graphic novel, Kunichika, also fed the hunger for Genji ers had created market demand and and A Rustic Genji became a publishing works. responded to consumer tastes by issuing phenomenon. Readers eagerly waited for Tsukioka Yoshitoshi dramatically prints in named series, which they num- the next installment, their anticipation illustrated the scenes from Chapter 5 bered to prompt collectors to acquire a captured by Kunisada in his print The of A Rustic Genji in which 17-year-old complete set. Popular genres included Courtesan Takigawa of the Kukimanijiya Mitsuuji learns that a female thief has actors and beauties, as well as “Eight Reading Inaka Genji (1838) (Fig. 1), whose stolen a family treasure, Kogarasumara, Views,” an artistic and literary device for central figure is shown enjoying the art- a sword that symbolizes the shogun’s presenting famous scenic vistas.5 Genji ist’s own work. This young woman, like power. (Fig. 2) Though the thief eluded subjects allowed them to inject new life many others, was entranced by the looks capture, she left behind a fragment of into a well-established print tradition. and lifestyle of the dashingly handsome, her kimono, which Mitsuuji ultimately Kunisada, in his 1838 single-sheet series irresistible hero, Mitsuuji. connects to Shinonome, the mother of a A Rustic Genji, updated the traditional The long, convoluted tale of A Rustic woman named Tasogare, whom he met genre of beauties (bijinga) by insetting, Genji involves more than 150 characters in the pleasure quarters. Mitsuuji escapes next to the feminine full-length figure, in intricate plots. Scenes of eavesdrop- with Tasogare to a temple to avoid assas- Mitsuuji’s face framed in a clamshell (Fig. ping, betrayal, thievery, mistaken identi- sins sent by her mother, but Shinonome, 3). Other print artists combined Mitsuuji ties and spirit possession provided juicy dressed as a demon, follows them and and beautiful women with scenic views. subjects for artists, and many of the attempts to kill Mitsuuji. Before she can Print artists often found ways to match most important Japanese print artists— do so, her daughter Tasogare slashes her the Genji story to their own specialties: Kikugawa Eisen, Toyohara Kunichika, own throat. Utagawa Kuniyoshi, whose expertise was Utagawa Sadahide and Tsukioka Yoshi- Yoshitoshi uses the triptych format to warrior prints, paired Genji with warriors toshi in addition to Kunisada—capital- divide the scene into distinct narrative (although Genji was more a lover than a ized on the public’s appetite for Genji. moments: in the middle, Mitsuuji tries fighter); Kunisada, who specialized in

Art in Print May – June 2013 9 helped it find new audiences by publiciz- bringing to a close the country’s long his- ing famous Noh scenes, many inspired by tory of cultural seclusion. In the 1890s, Genji. Genji-themed prints began to reveal the The artist Yoshitoshi took his stepson influence of European art, as can be seen Tsukioka Kogyo to Noh performances, in Ogata Gekko’s Four: the Twilight Beauty and Kogyo produced 261 Pictures of (Fig. 6), a print from the 1892 series Fifty- Noh Plays between 1897 and 1902. In The Four Chapters of Genji. Seeing imported Twilight Beauty (Fig. 4), a male masked prints would have introduced Gekko to actor poses as the female spirit of Yugao, Western techniques of shading and ren- who had a love affair with Genji. Kogyo dering volume. Here he combined these places her against an open backdrop new elements with a traditional figural whose dramatic lighting evokes a stage style characteristic of the 14th–15th cen- set. The name Yugao means “evening tury Tosa school of painting, melding face” and alludes to the night-blooming past and present to make this tale of love yugao vine that encircles the girl in the and loss engaging for a new audience. print. Through his mysterious, indeter- The Genji story naturally leant itself minate space, Kogyo takes the viewer to printed erotica, known in Japanese as into a realm of highly stylized theater. shunga (“spring pictures”). Genji-themed Kogyo meant not only to engage viewers shunga prints flourished in two brief in Noh drama but also to educate them, periods: 1835–1837 and later in the 1840s so in the margin he lists the characters and 1850s. Kunisada conquered the mar- Fig 3. Utagawa Kunisada, Tasogare, from the and summarizes the plot. ket for Genji erotica with eight books of series A Rustic Genji by a Fraudulent Muasaki In a later series, One Hundred Noh Plays shunga that were acquired by various lev- (Nise Murasaki Inaka Genji) (c. 1838), ōban. (1922–1926), Kogyo reprises the character els of society. A government censorship Published by Tsuruya Kiemon. Photo: Steve of Yugao with The Lattice Shutter (Fig. campaign in the early 1840s brought a Crise. 5), showing her under a latticed gateway crackdown on the Genji publisher Tane- woven with yugao vines. This poignant hiko, and artists, including Kunisada, actor prints, combined Genji and actors scene is the moment before Yugao begins were forced to sign agreements not to in the 25 prints of his series, Fifty-Four a dance in which she reflects on her love produce erotic prints. Nevertheless, Chapters in Edo Purple.6 Although the affair with Prince Genji. Kogyo captures erotic references to Genji continued: in Rustic Genji was supposedly set in the 15th the theatrical experience of Noh in which the Yoshiwara pleasure quarter of Edo, century, many prints featured the latest words, dance and stage settings transport some prostitutes assumed Genji-inspired in 19th-century kimono styles. Indeed, the audience to an imaginary world. names such as Wakamurasaki, Akashi prints like Kunisada’s of the 1840s and In 1853, Commodore Matthew Perry and Ukifune; others wore Genji motifs 1850s resemble fashion plates.7 signed the Treaty of Friendship and on their clothing.9 Erotic prints pro- Genji prints took part in all types of opened commercial relations with Japan, duced after the ban included sections of 19th-century Japanese entertainment, from theater to games to pornography. In a woodblock-printed board game called A Related Genji Picture Contest, participants had to connect a poem card and a picture card for each of the tale’s 54 chapters: one person would recite the poem, while others would race to find the matching face card, as seen in Kunisada’s 1849 design. Though the players may not have actually read The Tale of Genji, the game would introduce them to the story’s principal characters. Theater enthusiasts were especially keen for images of the Shining Prince. As early as the 15th century, Genji scenes appeared in Noh plays and later appeared in Kabuki.8 These two traditions had different audiences: Noh, which blended music and drama, appealed to the upper levels of Japanese society, whereas Kabuki, which combined dance and drama, was popular across social classes. Fig 4. Tsukioka Kogyo, The Twilight Beauty (Yugao) from the series Pictures of Noh Plays When, during the Meiji period (1868– (Nogaku zue)(1890), horizontal ōban. Published by Matsuki Heikichi. Scripps College, 1912), Noh’s patronage dwindled, prints Gift of Dr. Bruce A. Coats.

10 Art in Print May – June 2013 Fig 5. Tsukioka Kogyo, The Lattice Shutter (Hajitomi) from the series One Hundred Noh Plays (Nogaku hyakuban) (1925), ōban. Published by Matsuki Heikichi. Scripps College, Purchase by the Aoki Endowment for Japanese Arts and Cultures.

Art in Print May – June 2013 11 manga, The Tale of Genji, based on the original story, was the point of departure for an anime adaptation on Fuji TV in 2009. From 19th-century ukiyo-e to 21st- century manga, Genji’s tale has found an audience as artists have updated the story to reflect their own time. It is a story, not just of the Shining Prince, but of the power of prints, whose mass production and distribution transformed a rarified literary antique into an artistic and literary icon whose tale of adventure, love and loss still speaks to us.

Mary Davis MacNaughton is Director of the Ruth Chandler Williamson Gallery and Associate Professor of Art History at Scripps College, Claremont, CA.

Notes: 1. Thanks go to Dr. Bruce Coats, professor of art history and humanities at Scripps College, for reading drafts of the article. The exhibition “Gen- ji’s World in Japanese Woodblock Prints” began at the Ruth Chandler Williamson Gallery, Scripps, College, Claremont, CA, and travels to four other venues: Depauw University, Greencastle, IN (30 January–21 April, 2013); the Clark Center for Japanese Art and Culture, Hanford, CA (4 May– 27 July, 2013); Vassar College, Poughkeepsie, NY (20 September–15 December, 2013); and the Morikami Museum and Japanese Gardens, Delray Beach, FL (11 March–18 May, 2014). The exhibition is based on prints from the collection of Scripps College and from the private collection of Paulette and Jack Lantz. The book (Hotei Publish- ing, 2012) is the first in-depth English-language investigation of the craze for Genji prints, and includes essays by Michael Emmerich, Suzanne Formanek, Sepp Linhart, Rhiannon Paget, Coats and Marks (whose research on Genji began with his master’s thesis at the University of Bonn, Germany, in 2004). The book features copious illustrations of Genji subjects such as Flowers, Cherry-Blossom Viewing, Pleasure Boating, and Abalone Diving, as well as sections on Genji in Kabuki, Genji incense signs, and artist collabo- Fig 6. Ogata Gekko, Four: The Twilight Beauty (Yon: Hugao) from the series Fifty-Four Chapters rations. There is an index of Genji prints (by art- of Genji (Genji gojuyojo) (1892), ōban. Published by Yokoyama Ryohachi. Scripps College, ist), an index of erotic Genji prints and illustrated Purchase by the Aoki Endowment for Japanese Arts and Cultures. books, and an appendix of Genji poems frequently encountered in ukiyo-e. 2. Marks, “Genji Prints: A Nineteenth-Century Kunisada’s Realistic Portraits of Genji (1851) series appeared in 1898 with Utagawa Craze,” Genji’s World, 10. 3. Emmerich, “A Rustic Genji by a Fraudulent (Fig. 7) and Kunimori’s A Critical Study of Kunisada III’s Fifty-Four Chapters of Genji. Murasaki: A Sense of the Story,” Genji’s World, 18. the Charms of Women, in which the amo- In 1933, however, Arthur Waley trans- 4. Ibid. rous male figure wearing an ebi-chasen lated The Tale of Genji into English, and 5. For a detailed description of the serial format in topknot (Fig. 8) evokes Mitsuuji from A versions in French, Dutch, German, Ital- Genji-related prints, see “Serial Devices in Genji Rustic Genji. ian, Swedish and Hungarian followed, Series,” Genji’s World, 70. 6. Marks, 16. During the Meiji era that followed the giving the tale an international audi- 7. The connection between Genji and fashion was opening of Japan to the West, the coun- ence. It was also translated into modern not new: Genji imagery appeared frequently on try underwent a period of modernization Japanese, making the story more accessi- fans from the 15th through the 18th centuries. and industrialization. The story of the ble to Japanese readers, and Genji revivals 8. My discussion of Genji-themed prints in Noh Shining Prince, a symbol of traditional have begun once again to appear in mass- and Kabuki is indebted to Bruce Coats, “The Changing Face of ‘The Twilight Beauty’ (Yugao)” Japan, grew less compelling as the cen- market domains such as manga com- in Genji Prints,” Genji’s World, 22-31. tury drew to a close. The last Genji print ics and anime cartoons. Waki Yamato’s 9. Ibid., 56.

12 Art in Print May – June 2013 Connect to Art in Print

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If you would like to submit Above: Fig 7. Utagawa Kunisada, Newly Published Picture Contest Genji Sugoroku events, artworks or pub- (Shinpan e-awase Genji sugoroku) (1849). Published by Ebisuya Shochichi G154. lications for consideration: Collection of Paulette and Jack Lantz. Photo: Steve Crise. Please email us at

Below: Fig 8. Utagawa Kunimori, A Critical Study of the Charms of Women [email protected]. (Enshoku shina sadame), vol. 2, p. 6/7 (1852), Hanshibon, So39. A Rustic Genji, Chap. 19, 2b.

Art in Print May – June 2013 13 Between Text and Image: Francis Grose’s Rules for drawing caricaturas and its French and German Editions By Camilla Murgia

Fig 1. Francis Grose, Plate 3 from Rules for drawing caricaturas, first edition (1788), etching, 13.4 x 21.8 cm. Courtesy of The Lewis Walpole Library, Yale University.

he author of this little piece begs points out apologetically, are simply illus- himself to a military career and retired “ T it may be understood, that the trations of principles, not models of art. with sufficient income to cultivate his sketches given in the different plates are This was unusual, as early how-to books interests in antiquarianism, antiqui- not to be considered in any other light on caricature often emphasized images ties and fine arts as both a collector and than as mathematical diagrams, illustrat- rather than text (Mary Darly’s 1764 creator. Grose’s scholarly activity was ing the principles here laid down.” These A book of caricaturas, for instance, marked by ambitious publications such lines are the conclusion of a pamphlet included 59 copper plates but only two as the Antiquities of England and Wales published in London in 1788 entitled pages of text).2 After Grose’s death in (1773–1789), which ran to several volumes Rules for drawing caricaturas. Its author, 1791, however, the pamphlet was repub- and included 580 views and 40 plans.3 Francis Grose, provided two texts: a lished several times, and while the text Between 1769 and 1774 he exhibited his guide to drawing caricatures—individual remained unchanged, two separate drawings of British towns and monu- figures whose character is exaggerated groups of images were appended to it: a ments as an “Honorary Exhibitor” at the through physical representation and dis- set of Grose’s own etchings and a set of Royal Academy,4 including works such tortion—and a study of “comic painting,” illustrations appropriated from other as Strollers in the characters of Anthony by which he meant the kinds of farcical artists. This article will review these and Cleopatra that revealed his interest scenes found in the work of artists such additions to the Rules with regard to the in caricature, a popular pastime among as William Hogarth.1 Though the pam- editors’ choices and how the function of British artists and amateurs in the late phlet is 40 pages long, it includes only the image developed. 18th century.5 four plates (Figs. 1, 2), which, as Grose Born in 1731, Francis Grose devoted Grose published the first edition of

14 Art in Print May – June 2013 Fig 2. Francis Grose, Plate 2 from Rules for drawing caricaturas, first edition (1788), etching, 13.5 x 21.6 cm. Courtesy of The Lewis Walpole Library, Yale University. the Rules in 1788.6 Intended as a guide any particular illustrations. The plates the Society of Antiquarians who was for draftsmen and engravers, the Rules that were added with the new edition, certainly acquainted with Grose, with defines caricature as a deformation of however, serve to illustrate Grose’s ideas a face resembling a dog (Figs. 4, 5). Anti- human proportions, and following de- about both caricature and comic paint- quarians peeping into Boadicia’s night bates of the time, refers particularly to ing. As an instance of “caricature,” the urn (Fig. 6) illustrates Grose’s definition Hogarth’s 1753 Analysis of Beauty, mea- plate titled Antiquarian mastiff depicts of comic painting as associating incom- surements of the human head, and ideal Michael Lort (1725–1790), a member of patible characters with qualities that are proportions.7 A second edition of the “totally unfit.”10 Here a group of anti- Rules was published in 1791, the year of quarians, seated around a table, look not Grose’s death, by the original publisher, at a treasure but at a broken chamber pot Samuel Hooper. The text remained while a dog pees on a couple of books unchanged, but Hooper added a fron- lying on the ground. tispiece and 16 new illustrations based Subsequent English editions contin- on amateurish etchings Grose had made ued to publish Grose’s text with these in the 1770s and 1780s.8 All subsequent extra plates.11 When the text was trans- editions of the Rules would also contain lated into French and German, however, these new images with the exception more sophisticated satirical images were of the frontispiece (Fig 3). (Bearing the introduced. This was due to another inscription “[Capricci fatti per] Capit- amateur artist whom Grose probably ain Grose’s visiting card / with his Stick never met: Johann Gottfried Grohmann Cuddy,” the frontispiece depicts Grose (1763-1805). Professor of philosophy in with his characteristic walking stick; the Leipzig, writer, translator and amateur word “Capricci” in the title alludes to the printmaker, Grohmann became famous caricature albums combining fantastic in Germany for his Ideen-Magazin für and real models, such Jacques Callot’s Gartenlieber on garden architecture and Capricci di varie figure (1617).)9 decoration.12 Grohmann’s German trans- Though Grose’s instructions on draw- lation of Grose’s Rules, Regeln zur Cari- Fig 3. Francis Grose, Frontispiece for the Rules ing caricatures refer to specific plates, for drawing caricaturas, second edition (1791), caturzeichnung, was published in 1800 the text on comic painting does not cite etching, 9.8 x 6.4 cm. Private collection. and welcomed Grose’s attempt to

Art in Print May – June 2013 15 legitimize satirical imagery.13 Two years wider range of satirical imagery and cast- a ghost seen by a group of drunk men in later, this German text was translated ing light on caricature’s function. These what looks like a castle cellar. Grohmann into French—once by Antoine-Augustin additions can be separated into three cites Newton’s work, inscribing “R. New- Renouard (1765–1853), who published it in groups, the first consisting of two head ton inv.” at the bottom left, but appends Paris, and once by a certain M. de L***, studies, the second of a single print and his own signature, “J.G. Grohman del. who published it in Leipzig. The trans- the third of six folding plates. et fc.,” as well. The German printmaker lations are almost identical and bear The two head studies (Figs. 7, 8) were copied Newton’s original, which explains the same plates.14 The subtitle of the etched by Grohmann after drawings by why the print appears in reverse and the Paris edition suggests some additions— Carl Moritz Berggold (1759-1814), a Dres- changes in execution of the different “Traduit en français, avec des augmenta- den lieutenant who apparently studied characters (Fig. 10). Moreover, Newton’s tions”—though the English, German and fine arts and taught drawing for applied plate was produced using a combination French texts are virtually equivalent; it is arts at Leipzig Academy.17 The plates of hand-colored etching and aquatint, not the text that is augmented, but the support Grose’s first four illustrations of while Grohmann’s image was quickly illustrations.15 “principles” and depict the deformation etched with rushed and inaccurate Grohmann reworked Grose’s etchings of ideal head proportions as developed in hatchings. in a loose manner suggesting rapid execu- the treatises quoted in the Rules, such as The third group, consisting of six tion rather than thoughtful illustration, those by Giambattista Porta and Charles foldout illustrations containing four to and then inscribed them “F. Grose del.” Lebrun.18 six scenes each, is the most interesting and “J.G. Grohmann fec.”16 Although The single print provides a clear addition. Grohmann took the images both scholars were amateur printmakers, example of a complete comic image. It from comic strips designed around 1799 Grose’s command of printmaking tech- reproduces a work by Richard Newton, by George Murgatroyd Woodward (1760– niques was much stronger than Grohm- a talented caricaturist who worked with 1809), an important figure in the develop- ann’s. In addition to these appropriated the great British satirist Thomas Row- ment of the form, which embraced a wide images, Grohmann also produced nine landson.19 Entitled One too many (Fig. 9), range of social satires.20 Most of these new plates, providing the reader with a it denounces alcohol abuse and depicts strips are horizontal with three rows of

Left: Fig 4. Francis Grose, caricature bust portrait of Michael Lort (1725-1790), also know as the Antiquarian Mastiff (1780), etching, 9.7 x 6.5 cm. ©Trustees of the British Museum. Right: Fig 5. Johann Gottfried Grohmann after Francis Grose, Frontispiece. Le dogue d’antiquaire, Plate from Principes de caricature (Leipzig 1800/ Paris 1802), etching. ©Staatsbibliothek zu Berlin - PK / Abteilung Historische Drucke / Signatur: Nu 4406 : R. ©bpk - Bildagentur für Kunst, Kultur und Geschichte.

16 Art in Print May – June 2013 four to five scenes each and feature dwarf figures with small bodies and gigantic heads, images whose “intention is purely to amuse.”21 Their titles often allude to Gulliver’s Travels, as in Pigmy Revels or all alive at Lilliput, a set of etchings executed by Rowlandson after Woodward’s designs around 1800.22 Woodward had used this structure for decorative designs in which each row was to be cut and used as a frieze border to decorate a room.23 In May 1799, Rudolf Ackermann published Borders for rooms and Screens and Borders for Rooms and Halls, a set of hand-colored etchings by Rowlandson after Woodward’s drawings in which Lilliputian figures were used together with other caricatures, each scene captioned in the printed image.24 Antony Griffiths has pointed out that because of the way they were used, it is now extremely difficult to find the complete sets of these borders to learn more about them.25 But another set of borders he describes is extant: produced by Woodward in 1799 and 1800, the scenes from Grotesque Borders for rooms and halls were vertically or horizontally arranged one beside the other, separated only by a rule.26 While meant to be used as decora- tions—each sheet bears up to four strips to be cut out and fixed to a wall—they also provided a wide range of satirical images for Grohmann, who borrowed them to illustrate Grose’s Rules. Each of the six folding plates he added bears the engraved inscription “Woodward inv.” as well as Grohmann’s initials, “J.G.G.fc.,” and each is identified with a letter that links it to a caption at the end of the book. Plate 25 (Fig. 11) of the Rules reproduces scenes from Grotesque Borders’ Plate 5 (Fig. 12) in which Lilliputian characters Fig 6. alternate with full-size figures, though Francis Grose, Antiquarians peeping into Boadicia’s night urn (ca. 1770), etching, 15.2 x 10.1 cm. ©Trustees of the British Museum. the scenes have been re-arranged from a vertical column to a horizontal row to fit the book size. As with the Newton print, used hand coloring to confer volume to wide range of satirical images and with a Grohmann’s copy is printed in reverse of the designs, the black-and-white prints consistent corpus of visual references. the original, and when compared in detail, need more lines to create volume. Indeed, Samuel Hooper’s insertion of Grose’s the prints reveal different engravers. the cap’s right rim in Grohmann’s print amateurish etchings maintains continu- Grohmann’s reproductions are character- is filled with parallel hatchings to pro- ity with the author; Grohmann expanded ized by rigid, clumsy and heavy-handed duce shadow and space, while an edged on the text with comic designs for every- hatchings. Their parallel structure is Z-shape across the hatchings strongly day use. Both make clear how essential redundant and strikingly in contrast with contrasts with the white surface and the imagery was thought to be in a work of Rowlandson’s freer lines. This becomes softer lines of Rowlandson’s print. visual analysis. clear if we compare the Lilliputian lady’s Grohmann’s appropriation of the Gro- nightcap in Plate 25 (scene C) (Fig. 11a) tesque Borders, along with the other picto- with the corresponding strip of the rial additions to the Rules, are meant to Camilla Murgia studied History of Art at Grotesque Borders (Fig. 12a). Grohmann’s support Grose’s text, which remains Neuchâtel and Oxford Universities. She has been Junior Research Fellow at St. John’s cap knots are made of much sharper untouched. The diversity of the new College Oxford and has taught at Neuchâtel hatchings. Further, while Rowlandson illustrations provides the reader with a University.

Art in Print May – June 2013 17 work from its foundation in 1769 to 1904 (London: Henry Graves and Co. Ltd and George Belle and sons, 1905), 3: 331–332 6. Tamara L. Hunt, Defining John Bull: caricature, politics and national identity in late Georgian Eng- land (Aldershot: Ashgate Publishing Limited), 5. On British interest in caricature, see especially chapter 1, “Caricature and the British Public,” 1–22, and 5n5. 7. In a note on Grose’s Rules, The Monthly Review suggests that Hogarth’s “Analysis of Beauty may be considered as the Analysis of Deformity”: “Art. XV. Rules for Drawing Caricaturas,” The Monthly Review (July 1788), 61. On the attention paid by contemporaries to the human head’s ideal proportions and caricature, see: Martial Guédron, “Corps idéal, imitation de la nature et caricature au XVIIIe et XIXe siècles. Quelques aspects des connexions entre sciences et arts,” online article (2007) http://www.caricaturesetcaricature.com/ article-10641611.html. On caricature’s relation to physiognomy in general, see: Deidre Shauna Lynch, The Economy of Character, n1. She points out that Grose’s Rules were joined to Hogarth’s Analysis when published, 70. 8. Mary Dorothy George, Catalogue of Political and Personal Satires preserved in the Depart- ment of Prints and Drawings in the British Museum (London: The British Museum, 1870– 1954), 6:565. 9. Grose was portrayed several times by his contemporaries with his walking stick, which he may have needed because of his girth. 10. “... a very simple though general rule, appli-appli- cable to all compositions of the ludicrous kind in painting—a rule comprised in these few words: let the employments and properties or qualities of all the objects be incompatible; that is, let every person and thing represented, be employed in that office or business, for which by age, size, profes- sion, construction, or some other accident, they are totally unfit.” Rules for drawing caricaturas, 1788 edition, 23. 11. The 1791 edition was reprinted in 1795 by Simon Bagster with the texts and plates unchanged. After that edition we have to wait until 1810 to see the Rules reprinted in another of Grose’s works, published after his death and entitled The antiquarian repertory: a miscellaneous Figs. 7, 8. Johann Gottfried Grohmann after Carl Moritz Berggold, Plates 5 and 6 from Principes de assemblage of topography, history, biography, caricature (Leipzig 1800/ Paris 1802), etching, 15.5 x 9.8 cm each. ©Staatsbibliothek zu Berlin - customs and manners intended to illustrate and PK / Abteilung Historische Drucke / Signatur: Nu 4406 : R. ©bpk - Bildagentur für Kunst, Kultur und preserve several valuable remains of old times. Geschichte. Here the Rules were reprinted with some of the plates of the second edition. 12. Louis Gabriel Michaud, Biographie Univer- Notes: Press, 2008), 47. selle ancienne et moderne (Paris: Michaud, 1. On the notion of caricature in British visual cul- 3. See Grose’s obituary published in The Scots 1817), 18:521. Georg Kaspar Nagler is very pre- ture and the term “comic painting,” see: Deidre Magazine, vol. 53 (June 1791), 307–308. cise about the printmaking activity of Grohmann, Shauna Lynch, The Economy of Character: Nov- 4. John H. Farrant, “Francis Grose,” Oxford Dic- pointing out that he etched (geätzt) some plates: els, Market Culture, and the Business of Inner tionary of National Biography (Oxford: Oxford Neues allgemeines Künstler-Lexikon (Munich: Meaning (Chicago: The University of Chicago University Press, 2004, online edn, May 2005). E.A. Fleischmann, 1837), 5:389. Press, 1998), 56–70. Little research has been done on Francis Grose. 13. Regeln zur Carikaturzeichnung nebst einem 2. Mary Darly and her husband, the print-seller See: John Kay, A series of original portraits and Versuche über die Komische Malerei (Leipzig: Matthew Darly, were both caricaturists and pub- caricature etchings, with bibliographical sketches Baumgartnerischen Buchhandlung & Wien: Mollo lishers of political satires. The illustrations in A and anecdotes (Edinburgh: Hugh Paton, 1842), und Comp., 1800). The review published in the book of caricaturas were meant to function as 1:46–48, 46-48; John H. Farrant, “The travels and Allgemeine Literatur-Zeitung makes the intention a set of instructive models to be followed by the travails of Francis Grose, FSA,” The Antiquaries’ explicit: “Die Ausführung verräth Talent; allein wis- average artist. This work was indeed a “how- Journal, 75 (1995), 365-380. senschaftliche Kunst und Geschmack, wodurch to guide to caricature,” as Amelia Faye Rauser 5. Algernon Graves has detailed the works exhib- sie sich doch gleichsam als Kunstwerke legitim- points out: Caricature Unmasked: Irony, Authen- ited by Grose and indicated that he exhibited as ieren sollten, fehlt alle ohne Ausnahme,” no. 96 ticity and Individualism in Eighteenth-Century “Honorary Fellow”: The Royal Academy of Arts. (March 1801), 765–766. English Prints (Newark: University of Delaware A complete Dictionary of contributors and their 14. Principes de caricatures, suivis d’un essai sur

18 Art in Print May – June 2013 Fig. 9. Richard Newton and John Hassell, One too many (1794), hand-coloured etching and aquatint, 35.6 x 47.3 cm. ©Trustees of the British Museum.

la peinture comique (Paris: chez Augustin Ren- ouard, an X – 1802). The Leipzig French edition was published “au Comptoir d’Industrie, et chez Baumgärtner, libraire, et à Vienne, chez Mollo et Compagnie.” 15. Quérard insists on the editions’ similarity and points out that Renouard only arranged the French translation: Joseph-Marie Quérard, La France littéraire ou Dictionnaire bibliographique des savants, historiens et gens de lettres de la France (Paris: Didot, 1829), 3:487. 16. Grose’s name is omitted from plates I/IV while Grohmann signs all the plates, sometimes with “fec.,” sometimes with “fecit.” 17. Robert Naumann, Archiv für die zeichnen- den Künste mit besonderer Beziehung auf Kupferstecher und Holzschneidekunst und ihre Geschichte (Leipzig: Rudolph Weigel, 1857), 3:146. 18. See: Martial Guédron, “Corps idéal, imita-imitation de la nature et caricature au XVIIIe et XIXe siècles. Quelques aspects des connexions entre sciences et arts,” footnote 8. 19. On Newton, see: David Alexander, Richard Newton and English Caricature in the 1790s Fig 10. Johnann Gottfried Grohmann after Richard Newton, Le revenant de la cave du château parmi (Manchester: Manchester University Press, les buveurs, Plate 25 from Principes de caricatures (Leipzig 1800/ Paris 1802), etching, 11.5 x 17.5 1998). cm. ©Staatsbibliothek zu Berlin - PK / Abteilung Historische Drucke / Signatur: Nu 4406 : R. ©bpk - 20. David Kunzle, The Early Comic Strip: Nar- Bildagentur für Kunst, Kultur und Geschichte. rative Strips and Picture Stories in European

Art in Print May – June 2013 19 Fig. 11. George Moutard Woodward, Plate 5 of Grotesque Borders for Screens, Billiard Rooms, Dressing Rooms, &c., &c., Forming a Caricature Assemblage of Oddities, Whimsicalities & Extravaganzas!! (1799), hand-colored etching, 48.7 x 34.1 cm. (London: R. Ackermann). Firestone Library, Princeton University Library, Rare Books and Special Collections, Graphic Arts Collection (GAX) Oversize 2007-0006E.

20 Art in Print May – June 2013 Above Left: Fig. 11a. George Moutard Woodward, detail of Plate 5 of Grotesque Borders for Screens, Billiard Rooms, Dressing Rooms, &c., &c., Forming a Caricature Assemblage of Oddities, Whimsicalities & Extravaganzas!!. Below: Fig. 12. George Moutard Woodward and Johann Gottfried Grohmann, Plate 25 from Francis Grose’s Principes de caricatures. ©Staatsbibliothek zu Berlin - PK / Abteilung Historische Drucke / Signatur: Nu 4406 : R. ©bpk - Bildagentur für Kunst, Kultur und Geschichte. Above Right: Fig. 12a. Detail of Plate 25.

Broadsheet from c. 1450 to 1825 (Berkeley: Uni- character of these borders and describes their Firestone Library at Princeton University (Rare versity of California Press, 1973), 1:372. use as “continuous frieze”: “Printed Borders,” Print Books and Special Collections). The Derbyshire 21. Ibid. Quarterly, no. 3 (September 1998), 287–288. Record Office in Matlock holds some prepara- 22. Jeanne K. Welcher and George E. Bush, 24. Joseph Grego, Rowlandson the Caricaturist tory drawings and some plates of these decora- Gulliveriana VII: Visual Imitations of Gulliver’s (London: Chatto and Windus, 1880), 1:364. tive borders: D5459/2/23 for the drawings and Travels 1726-1830 (New York: Scholars’ Facsim- 25. Antony Griffiths, n 24. D5459/2/23/1–18 for the prints. ile & Reprints, 2000), 585. 26. Ibid. The British Museum in London owns nine 23. Kunzle explains that the strips were meant to of the 24 plates of the Grotesque Borders while decorate screen edges: The Early Comic Strip, many fragments can be found. The only complete 372. Antony Griffiths also notes the decorative set I have been able to identify belongs to the

Art in Print May – June 2013 21 EXHIBITION Kate McCrickard: Kid By Catherine Bindman

Kate McCrickard, Childhood Scenes (Boys!) (2012), softground etching, drypoint and roulette, 8 x 9.5 inches. Edition of 5. Printed and published by the artist, Paris.

n her debut solo show at David Krut If the sometimes old-fashioned cloth- who had done it before.” I Projects, British artist Kate McCrick- ing and haircuts of the children initially A fin de siècleelement is present not ard showed recent paintings and prints invite comparison with the etchings of only in McCrickard’s themes but in incorporating images of young children. Mary Cassatt [simultaneously on view the abundantly detailed compositions This is dangerous territory for a female at the New York Public Library; see that allow her to explore pattern, color artist, as McCrickard is well aware, but review this issue], further investigation and mark-making in the manner of she has nonetheless surrendered to an reveals that McCrickard’s work is any- Vuillard and Matisse. Children, she infinitely rich source of material: “Before thing but conventional. McCrickard, observes, are “a damn good resource for I had children I didn’t have a subject—I who lives, somewhat ambivalently, in movement and color.” French motifs are never dreamt of this as being a subject. Paris, concedes that part of the city’s clearly visible, for example, in the series But I wanted to get back to figuration and artistic legacy has seeped into her work. of prints she calls “postcard monotypes,” intaglio is made for the figure.” “As soon as you represent figures in inte- printed with water-based inks in a While not denying its emotional riors it is inevitable that you will think restricted palette. At 7 1/2 x 9 1/2 inches, appeal, McCrickard sees her subject mat- of that French tradition of children and these vignettes of daily life with young ter pragmatically: “Children fit nicely domestic scenes. It was not deliberate children are actually double the size of a into the formats I like,” she says. “It’s and it is not even a tradition I studied. postcard, but the modest format provided about composition. A tall gangly adult But I realized it wasn’t twee to show kids McCrickard with a discipline she found wouldn’t do it. ” at home because I thought of the people helpful in building up a body of work. “It

22 Art in Print May – June 2013 is a very good way to start the day—on a small scale in the studio,” she says. (In addition to the images McCrickard has extracted from the coalface of childrear- ing, she has also found time to write a book on William Kentridge in the Tate Gallery’s Modern Artists series 2012). One “postcard” shows two little girls (the artist’s daughters) in the foreground of what appears to be a Parisian café, determinedly defying the most basic rules of etiquette. The younger one sits on the table, perilously close to a steaming cup of coffee; imminent disaster is suggested by her beady gaze and outstretched hand. In the background at the zinc and at a table nearby, three men have turned away from the children; the broad-brimmed hat of one of them and the fur-collared coat of another conjure the costumes of an earlier era—touches of Toulouse- Lautrec perhaps. Despite the allusions and the incipient drama, the artist’s concentration on form and composition remains primary. In other postcards, abstract shapes emerge in the spaces Kate McCrickard, Spaghetti (ghost) (2013), oil monotype, 23.5 x 27.5 inches. Unique image. between small heads leaning together or Printed and published by David Krut Projects, Johannesburg / New York. in the pattern of a child’s dress. A little girl, face pressed up against the picture sometimes at peace, being read to or piled Beginning with a base of lithographic ink plane in one corner of a print, is champi- together in a heap like kittens in the big rolled onto a Plexiglas support, McCrick- oned over the sketchy figures of adults in bed. These Parisian kids, products of a ard drew with cotton swabs through to the background. Some of the black-and- contemporary liberal parenting regime, the paper to create a white line and wiped white images in this series also look a would surely have awakened Cassatt’s the surface with rags before building up bit like vintage snapshots, small in scale, contained, sleepy enfants with their trum- the image with water-based acrylics and with heads and other details cropped at peting and run riot through Vuillard’s extender. The interaction between the the edges. decorous dining rooms, upsetting the tea oil- and water-based pigments introduces Unlike her grand 19th-century pre- things, dislodging the cat, and alarming often surprising results that are depen- decessors, however, who presumably the voluminously black-clad grandmère. dent on the specific liquidity and drying retreated to their ateliers after breakfast, McCrickard loves the discipline of time of each pigment. It allows for large leaving women to clear the accumulated working in series and has a predilection bleeds and even rips where the paint has detritus, McCrickard printed this series for a conservative practice that is firmly dried; sometimes the paint squishes into at home. Her “studio” is a small open rooted in her formal training—she stud- the reductive white lines or bleeds across space one step up from her sitting room, ied Fine Art at Edinburgh University— whole areas, creating passages of unex- mere yards from that sticky, toast-littered but printmaking is nonetheless a place pected tone and tertiary colors. breakfast table, and thus embedded in of experimentation for her, a medium In these large (22 x 30 inches), elabo- the domestic fray she depicts so viscerally in which she finds ways to represent her rate, boldly colored works, the figures in in her work. The tabletop press used to subject in anything but obvious guises. the postcards seem to have been blown print these monotypes is usually stored at To this end, she has been collaborating up, almost as if in cinematic close-up. the foot of the marital bed. It is almost as recently with master printers in Paris There are charming details: a group of though the cluttered scenes in these and and South Africa. Michael Woolworth, three tiny children, hands gesturing in McCrickard’s other works in “Kid” have the American printer who has lived and apparent negotiation; two little girls at emerged organically from the unavoid- worked in Paris for some 30 years, gave the piano in matching blue skirts. But able chaos of modern life with young her the idea of making monotypes with there are moments of disturbing grotes- children—foodstuffs (served by an adult acrylic, and 12 of the works they produced querie here too—distorted faces with big whose presence is sometimes reduced together were shown at David Krut. staring eyes; a pair of pale legs appear- to an arm extending into the frame) Woolworth clearly understands McCrick- ing in the foreground against a tangle of are consumed randomly with fingers or ard’s fascination with techniques that forms the color of blood. In one of several forks or large wooden spoons; children incorporate unpredictability. Making monotypes of a carousel, among the most are frequently seen in motion—whirling monotypes with acrylic is a demanding successful works made with Woolworth, dervishes running, dancing, playing with technique in which the image-making abstraction emerges in the printing of an toys and musical instruments—and only time is limited to about 15 minutes. image that, McCrickard says, “was quite

Art in Print May – June 2013 23 not reflect the kind of bold risk-taking seen in the acrylic monotypes, these aus- tere works, like the postcard monotypes, benefit from their intimate format and lend themselves to both expressiveness and exquisite passages of abstraction. In the print Bedtime Stories, the heads of a parent and two children are united by a single undulating line, and the figures are further established as a unit by the pages of the open book held before them; in Boys!, the sole of a man’s foot, crossed over his leg as he reads to a child on the bed, forms a curious conjunction with the bowl haircut of the girl who walks, pouting, toward the right edge of the sheet. (There is more than a little Edward Ardizzone and Quentin Blake in such eccentric details—the artist cannot escape either children’s book illustration or her English origins, it seems…) This is subject matter that will never Kate McCrickard, Untitled (2013), acrylic monotype, 22 x 30 inches. Unique image. Printed by Atelier dry up. But it does mean, says McCrick- Michael Woolworth, Paris. Published by David Krut Projects, Johannesburg / New York. ard, that “you develop a mercenary eye. You are always looking for shapes and legible on the plate.” The figures of chil- as the line in my sketchbooks and soft- compositions in everyday life.” From tra- dren and painted horses are unexpect- ground seemed to be the best way.” She ditional themes and a conservative train- edly subverted to an overall scheme that had attempted to achieve this by her- ing, the artist has wrested a vivid body of is decorative and dynamic. self in Paris, but without success. Jillian work. Though she continues to paint as In the series of delicate soft-ground Ross at DKW created a ground sensitive well, print is ultimately at the absolute etchings called Childhood Scenes that enough to take fingerprints and to record center of her production. Indeed, she McCrickard made mostly at David Krut fine detail as the artist worked through says, “I can’t imagine trying to paint Print Workshop (DKW) in Johannes- a sheet of thin paper applied to the sur- without making prints. All the masters I burg in February, she returned to the face. Each plate was bitten two or three admire in the history of art have painted small format of the postcard monotypes. times to achieve gradations of gray that and made prints. The press is magical—it The aim was to achieve “a line as quick read almost like graphite. While they do makes everything better.”

Catherine Bindman is an art critic and editor specializing in museum catalogues. She is a frequent contributor to Art in Print.

Exhibition: “Kid” Kate McCrickard David Krut Projects, New York 28 March–18 May 2013

Catalogue: The exhibition was accompanied by a fully illustrated catalogue with an essay by Jacqueline Nurse. Kate McCrickard: Kid Published by David Krut Publishing, 2013 26 pages, 32 illustrations

Kate McCrickard, Untitled (2013), acrylic monotype, 22 x 30 inches. Unique image. Printed by Atelier Michael Woolworth, Paris. Published by David Krut Projects, Johannesburg / New York.

24 Art in Print May – June 2013 EXHIBITION Daring Methods: The Prints of Mary Cassatt By Britany Salsbury

he art of Mary Cassatt has, since Tthe blossoming of social and femi- nist art histories in the 1970s, come to be understood in the discourse on Impres- sionism primarily as representative of female experience in late 19th-century Paris. As a result, her subject matter— motherhood and domestic life—has been emphasized far more extensively than her technical process. Her remarkable prints have, likewise, been absorbed into scholarly accounts through their reliance on this same material.1 The New York Public Library’s current exhibition, “Daring Methods: The Prints of Mary Cassatt,” explodes this limited view, concentrating instead on Cassatt’s interest in experimentation and the profound technical expertise she brought to printmaking. A retrospective that runs from the artist’s earliest attempts at etching through to the late color prints, the show emphasizes the processes of con- ception, development and refinement. Cassatt’s subject matter remains significant, but here it is a means through which to trace the development of her thinking. “Daring Methods” begins with one of Cassatt’s earliest graphic works, a costume study after a caricaturist of the prior generation named Paul Gavarni (1878). Cassatt’s friend Edgar Degas was actively encouraging her to make prints, and the etching shows her exploratory interest in the medium. Over the course of several states, she used a quotidian and borrowed subject—a bourgeois woman in formal dress composed by another artist—to investigate the formal effects of various techniques. In the first state, etching and drypoint are combined in a sketchy rendering of the woman, who is surrounded by blank space marked only by light flicks of the needle. Apparently dissatisfied with this composition, Cas- satt produced a second state in which the background is filled entirely with aquatint. In the third and final state, the plate Mary Cassatt, Sewing on the Grass, State i (ca. 1884), etching and drypoint, image 22.3 x 14.1 cm, has been burnished to leave only blurred sheet 33.8 x 27.8 cm. New York Public Library, Samuel Putnam Avery Collection. shadows of aquatint and ghostly traces of the female sitter. The dramatic transi- uneven—suggest an artist embarking on the viewer with a rare opportunity to tion between these states and the imper- a methodical exploration of printmaking. study the development of each image in fect use of technique—the application of In presenting multiple states of indi- detail; offered insight into the making aquatint in the second state is especially vidual prints, the library has provided of “original” prints at a time when they

Art in Print May – June 2013 25 Mary Cassatt, Costume Study after Paul Gavarni, New York Public Library. Wallach Fund. Left: State i (ca. 1878), etching and drypoint, image 20.5 x 13.7 cm, sheet 26.2 x 20.4 cm. Center: State ii (ca. 1878), etching, drypoint and aquatint, image 20.5 x 13.7 cm, sheet 26.2 x 20.4 cm. Right: State iii (ca. 1878), plate burnished with traces of etching and aquatint, image 20.5 x 13.7 cm, sheet 25.1 x 20.1 cm. were subject to considerable new inter- Over the past few decades, however, a campaign to translate modern experi- est; and clearly demonstrated Cassatt’s body of scholarship—including Michel ence into art. preference for experimentation over per- Melot’s landmark study, The Impres- fection. Rather than working toward a sionist Print, and the Frick Collection’s Britany Salsbury is an Andrew W. Mellon single, ideal state of a composition, Cas- current exhibition and catalogue The Curatorial Fellow in the Department of Drawings satt often altered the appearance of her Impressionist Line from Degas to Toulouse- and Prints at the Metropolitan Museum of Art works slightly in ways that seem intended Lautrec—has illuminated the centrality where she focuses on print culture in late as variations rather than as part of a of prints and print techniques for many 19th-century France and Germany. dialectical progression toward a final Impressionist artists.2 product. In the impressions of Sewing on “Daring Methods” furthermore in- Notes: the Grass (c. 1884), we see two very dif- vites consideration of the roles of print- 1. There have been several notable exceptions ferent images pulled from the same etch- makers and patrons in the 19th century. to this trend, especially Nancy Mowll Mathews, ing plate. The first is lightly inked and The exhibition was put together from Mary Cassatt: The Color Prints, exh. cat. (Wash- includes a dog in the foreground, high- prints that were given to the library in ington, D.C.: National Gallery of Art; Boston: lighting the unusual use of perspective; 1900 by the art dealer Samuel Putnam Museum of Fine Arts; Williamstown, MA: Williams College Museum of Art, 1989). in the second, far more heavily inked Avery, and the social connection between 2. Michel Melot, L’Estampe impressionniste. print, the animal is screened out along Cassatt and Avery is fully acknowledged: Paris: Flammarion, 1994 (published in English as with the entire lower half of the compo- the single lithograph in the show, for The Impressionist Print, New Haven: Yale Univer- sition. By emphasizing a multiplicity of instance, is one of several prints bear- sity Press, 1996). For other examples, see Sue states, the exhibition suggests both the ing personalized inscriptions to Avery Walsh Reed and Barbara Stern Shapiro, Edgar Degas: The Painter as Printmaker, exh. cat. additive nature of print processes and the (in this one Cassatt describes the work (Boston: Museum of Fine Arts, 1984) and Anto- artist’s commitment to experimentally self-deprecatingly as an “early and only nia Lant, “Purpose and Practice in French Avant- reworking an image. attempt at lithography”). Dealers were Garde Printmaking of the 1880s,” Oxford Art In its focus on Cassatt’s experimental- vital to the careers of artists in the late Journal 6, 1 (1983): 18-29. ism as a means of fusing subject matter 19th century as patrons and as advocates, and formal qualities, the exhibition also and the exhibition includes an etched contributes to a deeper understanding trade card by George Cruikshank and a of the relationship between printmak- painting by Ignacio de Léon Escosura, ing and Impressionism. For a century, both depicting Avery showing art objects Impressionism’s pursuit of instanta- to clients in his gallery. Exhibition: neity was thought to be incompatible “Daring Methods” presents an inclu- “Daring Methods: The Prints of with the comparatively laborious prac- sive and informative vision of an artist Mary Cassatt” tices of graphic art, and the printmak- and her time, and shows how the print, New York Public Library, New York ing of artists such as Cassatt, Degas far from being irrelevant to Impression- 8 March–23 June 2013 and Pissarro remained little explored. ism, became an essential element of the

26 Art in Print May – June 2013 Mary Cassatt, The Letter, State iv (1891), color drypoint and aquatint, image 34.6 x 22.8 cm, sheet 43.6 x 30.3 cm. Samuel Putnam Avery Collection, Print Collection, The Miriam and Ira D. Wallach Division of Art, Prints and Photographs of the New York Public Library.

Art in Print May – June 2013 27 EXHIBITION Giorgio Morandi: Lines of Poetry By Paul Coldwell

Giorgio Morandi, Still Life of Vases on a Table (1931), etching, 24.9 x 33.6 cm. Courtesy Galleria d’Arte Maggiore G.A.M., Bologna, Italy.

ince opening in 1998, the Estorick private collections, and organized in col- Morandi is an artist’s artist, one repeat- SCollection of Modern Italian Art laboration with Galleria d’Arte Maggiore edly cited as an influence and whose work has established itself as one of the best- Bologna (Italy), it was one of the most and life seems to touch on many contem- known secrets on the London art map. comprehensive overviews of Morandi’s porary themes and approaches. Perhaps This intimate, beautifully designed graphic art ever mounted outside Italy as a consequence of the modest scale of gallery is housed in a Georgian Grade and a rare opportunity to see such a sub- his work and the unassuming nature of II listed building in North London and, stantial selection of his prints in London. his practice, viewers seem to feel they under the direction of Roberta Cremon- Morandi’s prints focus almost exclu- have discovered him for themselves. cini, has consistently punched above its sively on still lifes, landscapes and flower The exhibition covers all periods of weight, staging exhibitions that would compositions rendered in black and white his work, beginning with the Cézanne- be the envy of many of the national through intricate webs of cross-hatching. influenced etching Landscape Grizzana museums. It is fitting that its 15th anni- His oeuvre lacks both the spectacular (1932), in which Morandi sought graphic versary is marked with an exhibition innovation of a printmaker like Picasso equivalents to Cézanne’s brush mark, of Giorgio Morandi featuring some 80 and the dramatic subject matter of a Rem- and quickly followed by the delicate Still works—mostly etchings—from all peri- brandt or Goya. Instead, an image both Life with Bottles and Pitcher (1915) where ods of his life. Drawn from the Estorick’s straightforward and loaded with nuance the influence of Cubism can be felt. Here own holdings, alongside a number of and poetry is relentlessly pursued. Morandi discovered how cross-hatching

28 Art in Print May – June 2013 Giorgio Morandi, Grizzana Landscape (1932), etching, 19.9 x 17.7 cm. Estorick Collection, London.

Giorgio Morandi, Still Life with Bottles and Pitcher (1915), etching, 15.4 x 12.5 cm. Courtesy Galleria d’Arte Maggiore G.A.M., Bologna, Italy.

made possible the modulation of tone. he articulated an extraordinary sense of Paul Coldwell is Professor in Fine Art at the This print also established the mod- stillness, which belies the shimmering University of the Arts London. He is a frequent est still life subject matter that would effect of the myriad of lines that seem to contributor to Art in Print. become Morandi’s lifelong obsession. map out the visual relationships under Morandi summered in Grizzana, a investigation. small town in the hills an hour by train The still lifes often have the quality of from Bologna, where he explored, in formal photographs, objects presenting compositions similar to his still lifes, themselves as if for the camera, as in the relationships between houses and Large Still Life with Coffee Pot (1933). It is trees and the effects of changing light. As easy to associate these objects with peo- Exhibition: always, these effects are translated from ple and to speculate on their familial rela- “Giorgio Morandi: Lines of Poetry” perception to ink on paper through the tionships. In addition to the etchings, a Estorick Collection of use of etched, crosshatched lines. group of delicate watercolors complete Modern Italian Art, London Whether scrutinizing a distant view the exhibition. These works are extraor- 16 January–7 April 2013 or an arrangement of his bottles, jars and dinary for the way figuration is taken to bric-a-brac in his studio (a chaotic small the very brink of abstraction, leaving the Catalogue: room in the flat where he lived with his barest clues from which the viewer is left Giorgio Morandi: Lines of Poetry three sisters), Morandi was concerned to construct the picture. As with all the Published by Silvana Editoriale, 2012 with the intervals between positive and work in this exhibition, it demands a one- 96 pages, 31 color, 48 b/w illustrations negative shapes. Shadows are just as pal- to-one dialogue with the viewer and time £12.95 pable as the objects themselves. Above all to reveal the riches within.

Art in Print May – June 2013 29 EXHIBITION Bonnie Marin: What are you scared of? By Courtney R. Thompson

Bonnie Marin, “They can’t hear you when you scream!” (2012), wood wax collage, 61 x 91.4 x 5.1 cm. Photo: Ernest Mayer.

onnie Marin’s solo exhibition skewed utopian domesticity culled from contemporary newspaper clippings and B “What are you scared of?” is a suffo- mid-20th century advertising. In I have ephemera such as postage stamps, War- cating encounter with image. This newest something to tell you (2012), a female figure burg attempted a psycho-historic tabula- body of work addresses fear and anxiety provides understated tension to a blissful tion of visual culture in a time of critical through collage in both two-dimensional vision of modern underwater living; in flux. Marin’s investigation of anxiety fol- and sculptural forms. Her material is Keep off the Grass (2012), a neighborly lawn lows a parallel path that reverberates with largely selected from art books and repro- congregation turns violent. our own culture of fear. However, unlike duced through black-and-white and color In addition to the paper collages, Warburg’s eclectic image selection, Marin photocopies carefully cut to integrate Marin has more than a dozen wood wax looks to specific dramatized moments in figures in pastoral and urban settings. collage pieces that resonate with Aby painting, largely from the Renaissance In a series set in wood with wax, genre Warburg’s Mnemosyne Atlas, an image and Baroque, and seedy pulp fiction cov- and gender are subverted and exploited archive conceived in 1925 and developed ers as a blueprint for heightened tension. through her techniques of image rep- until his death in 1929. Warburg wanted The wood wax pieces offer a cinematic etition—sets of photocopied images are to illuminate collective social memory by montage of high and low culture. While positioned within a fragmented grid of identifying “pathos formulas”: repetitive her image selection can appear didactic, uneven levels, mimicking a broken film- instances of gesture or expression that Marin’s use of fragmentation produces a strip and suggesting loose narratives. link trauma and the mnemonic through- complicated relationship to the dissemi- While the generous amount of artwork out history; his project manifested nation of an image. on display evokes terror and forebod- itself in nearly 80 constructed panels, “They can’t hear you when you scream!” ing, the most successful paper collage of which only a fraction survive. Using (2012) consists of 29 panels, includ- pieces present more subtle depictions of images from Renaissance paintings to ing color photocopies of Caravaggio’s

30 Art in Print May – June 2013 constructs, although some pieces feel more resolved than others. It is heartening to see Marin’s diverse strategies receive their due in a solo exhibition, her first in many years. “What are you scared of?” recognizes fear as its own assemblage and illuminates our relationship to historic (re)constructions of trau- matic events. Perhaps most telling is the subjective response to the exhibition; an illumination that hints at our own pathos formulas and the visual equations that mark them.

Courtney R. Thompson is an arts professional living in Winnipeg, Manitoba.

Bonnie Marin, I have something to tell you (2012), paper collage, 14.6 x 21.3 cm. Photo: Ernest Mayer. shockingly violent The Martyrdom of Saint as arrogant rebels or martyrs, depending Matthew (1599–1600), Judith Beheading on the framing, accompanying text and Holofernes (1599) and David with the Head publication venue. Hamilton revisited of Goliath (1606); 11 panels on the left are this image extensively with a series of six devoted to Richard Hamilton’s Swingeing paintings; studies on paper; an etching London, 67 II (1968). In an interview with with aquatint, die stamping and collage; gallery director Mary Reid, Marin says and a poster composed from a collage the piece could have been titled “I don’t by Hamilton of newspaper coverage of want to see what’s going on.” The obser- the trial. His title ironically juxtaposes vation is apt in light of the anticipation, the free expression attributed to the act and aftermath of canonical moments image of 1960s “swinging London” with in biblical execution. At the lower left, a the restraints placed on that freedom figure from The Martyrdom of Saint Mat- through the “swingeing,” or severe, sen- thew is disconnected from his original tence, as the judge himself put it; Marin’s context. He is now a fascinated witness alternate title speaks to the power of to Holofernes’ death and David’s look of images and to our own inaction or silence ambivalent triumph over Goliath, though in response to representations of violence Exhibition: the figures above avert their eyes. and/or injustice. “Bonnie Marin: What are you scared of ?” A further complication is produced by The sculptures—more accurately School of Art Gallery the inclusion of Hamilton’s painting, itself tableaux—in the exhibition cover the University of Manitoba, Winnipeg based on the transformation of an appro- gamut of collage practices. It is as if 18 January−1 March 2013 priated image. In 1967 Daily Mail photo- Edward Kienholz and Kurt Schwitters grapher John Twine caught Robert Fraser got together and read nothing but Freud. Catalogue: (Hamilton’s art dealer) and Mick Jagger in Giant rubber boots appear with femmes The exhibition was accompanied handcuffs after their arrest in conjunc- fatales, zombies and fishing hooks in by a fully illustrated catalogue with tion with a drug raid at Keith Richards’ bizarre, indeterminate encounters. The a conversation between Marin and home. Jagger received a 12-month con- sculptures function as spatial narratives School of Art Director / Curator ditional discharge on appeal, but Fraser with an uneasy concurrence between Mary Reid. was sentenced to six months in prison. interiority and exteriority. Their sense Bonnie Marin: What are you scared of? Andrew Wilson has written extensively of dread derives from both their subject School of Art Gallery on Hamilton’s selection of Twine’s pho- matter and materials—old mail order University of Manitoba, 2013 tograph—there were several published, catalogs, children’s toys, fun fur. Marin 13 pages, fully illustrated and Fraser and Jagger alternately appear plays with identity politics and social

Art in Print May – June 2013 31 EXHIBITION / CATALOGUE Rembrandt’s Century By Susan Tallman

Rembrandt van Rijn, The Landscape with the Three Trees (1643), etching, drypoint, and engraving, 21.3 × 27.8 cm. Collection of Marie and George Hecksher. ©Fine Arts Museums of San Francisco.

he Dutch “Golden Age” is having ambitious thing: exploiting the generic study of an unknown girl’s head is a T a celebrity moment—its artists popularity of the Golden Age to present a celebrity painting if ever there were one feature in movies, novels and popular subtle and thoughtful investigation of the (how many pictures get played by Scarlett biographies; its artworks appear on tote intentions, materials, logistics and belief Johansson?), and it is accompanied by 34 bags, throw pillows and iPhone cases. systems that built one of the most magi- other major works sent on tour while the These 400-year-old artifacts have proved cally productive moments in the history Mauritshuis, itself a gem of the Dutch smoothly adaptable to contemporary of art, and doing so through hundreds of Golden Age, undergoes renovations.1 consumer desires, but the actual lives works on paper, primarily prints. Although several of the museum’s behind them—the thoughts, motives and Organized by James A. Ganz, curator most famous works—Vermeer’s great technologies of the people who made of the Achenbach Foundation for Graphic View of Delft, Rembrandt’s shocking them—seem ever more inaccessible Arts, “Rembrandt’s Century” coincides Anatomy Lesson of Dr. Tulp, Paulus Pot- (or perhaps, from the marketing angle, with the San Francisco run of “Girl with a ter’s endlessly popular, sloe-eyed Young irrelevant). The Fine Arts Museums of Pearl Earring: Dutch Paintings from the Bull—stayed behind in The Hague, the San Francisco’s exhibition and cata- Mauritshuis,” and the two shows appear traveling show includes Carel Fabri- logue “Rembrandt’s Century” attempt an side-by-side in the museum. Vermeer’s tius’ magical goldfinch (1654), Jacob van

32 Art in Print May – June 2013 Ruisdael’s splendid view of bleaching fields on the edge of Haarlem (1660) as well as Frans Hals portraits, Pieter Claesz still lifes, rambunctious Jan Steens and a slew of other great paintings. This is tough material to compete with, especially, one might think, for small, black-and-white, linear images behind glass. But those 35 paintings are a lure to a certain world—the world lovingly detailed by its brush-wielding inhabitants in all its glimmering, side- lit glory—and viewers are likely to leave the Mauritshuis show wanting more. The easy thing would have been to tack on a single room of some name-brand etchings to breeze past on the way to the gift shop; instead the museum seized the opportunity to present a show as grand and time-consuming as the painting show next door. As any curator knows, historical prints take time to reveal themselves, particularly to audiences used to bright color, large scale and, increasingly, to things that move. It is a sign of both the quality of the art and the clever engineering of the presentation that the galleries were packed with visitors walking slowly and looking carefully. It is a big show, but laid out as a series of small spaces with a handful of prints in each so that from the point of entry it seems quite manageable. By the time the scale of the endeavor is evident, the viewer is hooked. The focus of the show is not Rem- brandt’s biography, but rather the way Rembrandt van Rijn, Self-Portrait Drawing at a Window (1648), etching, drypoint, and engraving, 17th-century prints—of which his are 15.7 × 12.9 cm. Bruno and Sadie Adriani Collection, 1959.40.19. ©Fine Arts Museums of San the preeminent example—functioned to Francisco. disseminate ideas, discoveries and styles. In the museum, this sets up a graceful vulnerability of Rembrandt etchings. world is quickly established in these first complementary relationship with the Self-depiction, by contrast, was a far two sections, as is the distance between Mauritshuis show; in the catalogue, it more inventive game than portraiture. what we, as dwellers in the 21st century, provides a fluid structure for moving Ganz begins his chapter “The Artist is value in these pictures and what the art- between broad cultural observations and Present” with Hendrick Goltzius’ The Cir- ists who made them had in mind. the concrete facts of the objects at hand. cumcision (1594), a crowd scene into which The third section takes as its mascot The 251 works are grouped in astute the artist sneaked his own visage, the Rembrandt’s 1650 etching of a marbled and sometimes surprising ways: portrai- eyes above the natty beard fixed firmly on cone shell, the only still life among his ture is one category, self-depiction by the viewer. In the century that followed hundreds of prints. He presents this artists is another. This actually makes Goltzius’ engraving, the presence of the object in all its seductive material par- good sense: 17th-century portraiture was artist was asserted through innovations ticulars—its scale, its pattern (though largely a field of pomp, circumstance and in style and subject matter as much as the swirl is reversed in printing), the way profitability, as is made clear by a pair through overt self-portraiture—the act of it sits on a surface—but typically stages of mezzotints that initially appear to be depicting became the subject of depict- it, emerging from darkness with melo- mirror images of each other, though one ing (there is a bevy of pictures of people dramatic panache. Wenceslaus Hollar’s depicts the wood carver Grinling Gib- drawing), and in works like Rembrandt’s shells, on the other hand, are specimens bons and the other the painter Pieter van purposely half-finished etching The Art- free-floating on the white page, objects der Plass. With audiences of the time, ist Drawing from a Model (1639), process is of study divorced from the dramas of van Dyck’s formal and occasionally soul- left boldly exposed. The tension between the world. The end of this trajectory less portraiture engraving was a far more the demands of conventional prototypes can been seen in the spectacular foot- popular prototype than the intimate and the delights of rendering the visible high ant engraved after Robert Hooke’s

Art in Print May – June 2013 33 tied to the material world, suggestive of a curiosity, abstraction and desire we can relate to. But that is only part of the story. They also document the startling cosmo- politanism of 17th-century Amsterdam. The sea snail that provided the shell for Rembrandt’s etching lived and died in the Indian Ocean. Rembrandt printed on papers handmade in Japan; he made drawings modeled on Mughal and Dec- cani miniatures that he may well have owned. Rembrandt’s shell is “nature,” but it is also wealth. And wealth—like beauty—was not an unalloyed good. The various components of the Still Life with Skull, Pocket Watch and Roses by Jean Morin after Philippe de Cham- paigne are beautifully depicted objects, but they are also sententious props, dour reminders that life is fleeting and death awaits us all. Jacob and Joris Hoefnagel’s engravings of insects, flowers, rodents and vegetation are easy for contemporary viewers to love since most of us cannot read the Latin inscriptions: “Gather, girl, the roses, while spring is new and our youth is fresh, and be mindful how your life rushes by,” advises one sheet of pea- pods, lilies, mosquitos and caterpillars. “Rembrandt’s Century” keeps such complexity in view, mixing compelling moments of century-skipping recognition (“These people really were like us!”) with persistent reminders that people in the past did things differently, thought differently, and that sometimes we just don’t know what they were up to. In the section on landscapes, Ganz discusses Rembrandt’s famous Three Trees: Despite the vast scholarship devoted to this print, it remains one of Rem- brandt’s most fundamentally elusive creations… While persuasive in its naturalism, attempts to pinpoint its Above: Rembrandt van Rijn, The Shell (Conus Marmoreus) (1650), etching, drypoint, and engraving, actual site—and even the species of its 9.7 × 13.2 cm. Museum purchase, gift of Dr. T. Edward and Tullah Hanley by exchange, Achenbach trees—have proven inconclusive. And Foundation for Graphic Arts Endowment Fund and Anonymous Bequest, 1997.42. ©Fine Arts while the three trees are potentially Museums of San Francisco. Below: Wenceslaus Hollar, Shell: Major Harp (Harpa major), from a series of shells (ca. 1646), etching, 9.3 × 14.1 cm. Museum purchase, Achenbach Foundation for rich symbols of both the Holy Trinity Graphic Arts Endowment Fund 1992.3. ©Fine Arts Museums of San Francisco. and the Three Crosses of Calvary, there is no proof that the artist saw them— or intended them—that way. microscope studies. Early natural history in Early Modern Europe in Art in Print, Vol. illustrations like these seem to embody a 2, No. 4].2 The look of printed imagery Most of the thematic sections are 17th-century edge-of-the-Enlightenment became the look of knowledge, much defined by subject matter—portraits, moment when close observation was the as 1960s printerly syntax embodied the landscapes, history, myth. But the final driving force of knowledge and discovery look of commerce for Pop artists. Jan van one, “Art of Darkness,” focuses on the inky in both art and science. Kessel II and Johannes Bronkhorst made blackness pursued by Rembrandt and his Prints were a critical—perhaps the beautiful paintings, included here, in imi- peers, a development whose roots can be critical—element in the visual codifica- tation of natural history prints. traced to Caravaggio, to drypoint, or to tion and transmission of science [see the Such images are instantly appealing: a broader zeitgeist. The show includes a review of Prints in the Pursuit of Knowledge beautiful and smart, conceptual and fine impression of Rembrandt’s famous

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Christ Crucified Between Two Thieves (The introduction to one of the densest arenas Three Crosses) (1653), but it is the smaller, of art historical scholarship, it is nimble, Exhibition: lesser-known Descent from the Cross by subtle and beautifully produced. As with “Rembrandt’s Century” Torchlight (1654) that provides Ganz with a Rembrandt etching, a world of meaning de Young Museum the opportunity to mesh the fine details is packed within. The Fine Arts Museums of of connoisseurship and the big picture of San Francisco cultural history: 26 January−2 June 2013 Susan Tallman is the Editor-in-Chief of The dramatic chiaroscuro is softened Art in Print. Catalogue: by the many subtle areas of velvety Rembrandt’s Century drypoint burr—the tiny bits of cop- Notes: 1. The other cities on the tour are Atlanta, By James A. Ganz per that form a ridge along the incised Bologna, Kobe, New York and Tokyo. The Maurits- Published by the Fine Arts Museums lines and catch ink—and retroussage, huis is due to reopen in 2014. In the meantime of San Francisco the use of a muslin to coax ink out of a selection of paintings is also on view at the 164 pages, 131 illustrations the etched and incised lines. Works like Gemeentemuseum in The Hague. $34.95 this one helped establish an alternate 2. See Susan Dackerman, et al., Prints and the Pursuit of Knowledge in Early Modern Europe set of criteria for print connoisseurs, (Cambridge and New Haven: Harvard Art Muse- for whom the aesthetic of the blur ums and Yale University Press, 2011). would come to be prized over the sharp line. In graphic terms, Rembrandt’s dark-manner etchings marked the ultimate triumph of the irrational over the rational. “Rembrandt’s Century” is a large show but a modestly sized book; the entire volume can be read with ease in an afternoon. It is not loaded with new, groundbreaking research, but as an

Art in Print May – June 2013 35 NEW EDITIONS Serena Perrone: Maintaining a Safe Distance and Living to Tell By Sarah Andress

Serena Perrone, from the suite Maintaining a Safe Distance and Living to Tell (2012), photolithograph and screenprint.

Maintaining a Safe Distance and he eruptions at Mt. Etna in Febru- The 2009 work was inspired by the Living to Tell (2012) T ary are the type of event one might poet Craig Arnold—the self-dubbed “vol- 20 photolithographs and screenprint with expect to catch Serena Perrone’s atten- cano pilgrim”—whose disappearance colophon in a linen box, 11 x 15 inches tion. The St. Louis-born, Philadelphia- and presumed death were reported that each (11 inches x 26 feet 5 inches installed). based artist, who spent many childhood year. Arnold had been in Japan in search Edition of 6. Printed by the artist and holidays visiting Sicilian family in Etna’s of volcanic inspiration; footprints found published by the artist and Cade Tomp- shadow, has been depicting volcanoes after he went missing indicated he had kins Projects, Providence, RI. $16,000. in her work for the past five years, most fallen from a steep cliff. Perrone began recently in the expansive print series reading his poetry and the blog Arnold Maintaining a Safe Distance and Living to had kept in the days leading to his death. Tell (2012). The 20-part work revisits some Volcano Pilgrim, which incorporates of the sites pictured in the artist’s earlier intaglio, monotype, silkscreen and let- series, A Volcano Pilgrim in Exchange for terpress, also exists in 20 parts, one for Fire (2009), in Italy, Peru, Colombia, Nica- every day the poet blogged from his trip. ragua, Guatemala, Mexico and Japan, but Each print offers a landscape in blues, views them from new perspectives, for- blacks and occasional reds. The volca- mally and thematically. noes are depicted from a great distance

36 Art in Print May – June 2013 so that even the dramatic scenes of erup- Perrone had encountered the poem after tion evoke meditation rather than fear. completing the series and was struck by Each is printed with excerpts from one its relevance to her Sicilian connections of Arnold’s entries and the post’s date and her use of the volcano as metaphor. and time, in red, in the upper right cor- The poem ends with a paradox: geog- ner. These stamps tie the work to one of raphy had taught Dickinson about dis- its clear antecedents, Hiroshige’s Thirty- tant volcanoes but she can contemplate Six Views of Mount Fuji, which bear a red “the Vesuvius at home.” While the poet’s imprint in the upper right corner, but famously secluded life marks a stark con- they are also reminiscent of snapshot trast to Arnold’s adventuring, Perrone time stamps. Now as outmoded as film told me that for her Dickinson’s “ability to cameras, time stamps were once a tour- access things remotely” and to communi- ist’s badge of having actually been some- cate experience so powerfully “dissolves where, in real space and time; of being the boundaries between the physical and close to something image-worthy yet the cerebral.” still a safe camera-distance away. The As it happens, at the time of Mount dichotomy between venturing out and Etna’s eruptions Perrone was in Iceland, remaining within, between proximity another geological hotspot. Her visit was and distance, fascinates Perrone. part of a yearlong multi-artist collabora- Arnold offered his life in exchange tion for the exhibition “Due North” for for the experience of geologic drama Philagrafika in 2014. As a metaphor, Ice- that inspired him, and he paid. If Vol- land can be seen as the inverse of Etna— cano Pilgrim was a carefully articulated in place of an icon of destructive power it questioning of that exchange from afar, offers a vision of what Perrone describes Maintaining a Safe Distance is Perrone’s as the earth “in the process of creating multi-faceted answer. Despite the title, itself.” Perrone has described making art it ventures into situations that feel more as a process of discovery comparable to threatening. In several places the distant discovering new terrain, and she exhibits volcanoes have been upstaged by what is both daring and control in wrangling the happening in the foreground. Structures power of the earth into print. yanked from their real settings—the St. Louis Art Museum, a circus train cart, domestic homes, a tree house—crop up Sarah Andress is the former Managing Editor of out of nowhere to merge with the volca- Art on Paper magazine. She has contributed noes. They are the stuff of dreams: one articles to FlashArt, TimeOut London and artlog. apparent volcanic eruption is, on closer look, a house fire; downed trees spark an electrical fire that billows sky-high; an uprooted tree is moments from top- pling onto a house, having revealed an eerie, lone chair in the earth in which it grew. In some images the earth seems to be opening up to swallow the scene; in others, manicured homes and gardens sit obliviously at the foot of active eruptions. Scenes of destruction are countered with scenes of regeneration and growth. Serena Perrone, four from the suite Maintain- Trees abound. The prints of Maintaining ing a Safe Distance and Living to Tell (2012), a Safe Distance are more overtly imagina- photolithograph and screenprint. tive constructions than those in Volcano Pilgrim, but they are also more grounded in reality. They depict significant places and events from Perrone’s own life, transformed into geologic metaphors for experience. A daunting leap is required to venture into one’s past. When Maintaining a Safe Distance was exhibited at the Editions/Artists’ Book Fair earlier this year in New York, the artist installed it alongside a poem by Emily Dickinson, “Volcanoes be in Sicily.”

Art in Print May – June 2013 37 ≤100

Olaf Breuning I Hate Email (2013) Digital print, 42 x 29.7 cm. Edition of 10. Printed and published by Art Across the City, Swansea, Wales. www.locwsinternational.com £100. Cecily Brown Towel (2012) 100% cotton beach towel, 70 x 60 inches. Edition of 1600. Printed and published by Art Production Fund, New York, NY. www.artproductionfund.org $95. Charlotte Dumas Untitled [Hipodromo La Favorita, Palermo 2006] (2012) Untitled [Lake George, CO 2005] (2012) Photomechanical reproductions of original polaroids, 16.5 x 22.9 cm each. Edition of 50 each. Published as a benefit for Printed Matter, New York, NY. www.printedmatter.org $100 each. Simon Fowler Ensemble Pearl (2013) Four-color screenprint with hand coloring, 76 cm x 56 cm. Edition of 50. Printed and published by Cataract Publishing, London, UK. £49.99. Cecily Brown, Towel (2012). Photo: James Ewing, Courtesy Art Production Fund. Joseph Kosuth Water Bottle (2012) Stainless steel water bottle, 20 oz. Edition of 5000. Fabricated and published by Art Production Fund, New York, NY. www.artproductionfund.org $28. Livia Mezovská Dutch sky—clouds color modes #1 and #2 (2012) Screenprints, 54 x 65 cm. Edition of 2 each. Printed and published by the artist, Amsterdam. Available through Amsterdams Grafisch Atelier. €70. Dylan Neuwirth PUNKNOTPUNK (2013) Two-color screenprint, 22 x 22 inches. Edition of 25. Printed by Ryan McIntosh, published by Art Is Shit Editions, Los Angeles, CA. $58. Michael Waugh The Honour of a State (The Wealth of Nations, part Ω) (2012) Screenprint on mylar, 15 x 11 inches. Edition of 99. Printed by Marginal Editions, Brooklyn, NY. Published by Schroeder Romero Editions, Brooklyn, NY. Simon Fowler, Ensemble Pearl (2013), screenprint with hand coloring. $100.

38 Art in Print May – June 2013 Artists’ Editions available for under $100 / €100 / £100

Dylan Neuwirth, PUNKNOTPUNK (2013), screenprint.

Charlotte Dumas, Untitled [Hipodromo La Favorita, Palermo 2006] (2012).

Michael Waugh, The Honour of a State (The Wealth of Nations, part Ω) (2012), screenprint on mylar.

Livia Mezovská, Dutch sky—clouds color Olaf Breuning, I Hate Email (2013), Joseph Kosuth, Water Bottle (2012). Photo: modes #1 (2012), screenprint. digital print. James Ewing, courtesy Art Production Fund.

Art in Print May – June 2013 39 News of the Print World

New Editions

Alexandre Arrechea, No Limits (2013) Individual titles: Hemsley, Chrysler, Flatiron, US Court House, Citycorp, Metlife, Empire State, Sherry Netherland, Seagram, Metropolitan Life Insurance. Portfolio of 10 photolithographs with aluminum dusting, 15 x 15 inches each. Edition of 30. Printed Tauba Auerbach, Mesh/Moire IV (2012), etching. by Brodsky Center for Innovative Editions, New Manuel Burgener, Untitled (A4) (2013), Brunswick, NJ. Published by Magnan Metz Richard Benari and Lauren Henkin, handmade object. Gallery, New York, NY. $1000 each, $8000 for the Pictures (2013) portfolio of ten. Pigment photographs, 4 x 6 inches and 8 x 8 inches in handmade box. Edition of 10. Printed Peter Linde Busk, by the artists. Published by Vela Noche, New Armageddon Days Are Here Again (2012) York, NY. $2800. Six-color lithograph. €500. Close The Lights (2012) Four-color lithograph. €450. Unconditional Surrender (2012) Four-color lithograph. €450. Executioner (2012) Three-color lithograph. €400. 64 x 51.5 cm each. Editions of 10 each. All printed and published by Keystone Editions, Berlin.

Alexandre Arrechea, Empire State (2013), photolithograph with aluminum dusting.

Monika Auch, STITCH_MY_BRAIN (2013) Screenprint, 55 x 38 cm. Edition of 50. Printed by the artist, Amsterdam. Published by CBK, Richard Benari and Lauren Henkin, Amsterdam. $160. Pictures (2013), pigment photograph.

Victoria Burge, Azimuth (2012) Etching with digital, chine collé, embossing and hand-painted enamel, 15 x 18 inches. Edition of 20. Printed by C.R. Ettinger Studio, Philadelphia, PA. Published by Philagrafika, Philadelphia, PA. $500. Peter Linde Busk, Armageddon Days Are Here Again (2012), five-color lithograph.

Mel Cook Objects For Still Life With Frame (2013) Objects For Still Life With Rug (2013) Objects For Still Life With Table (2013) Objects For Still Life With Window (2013) Monotypes with collaged paper elements and graphite, 44 1/4 x 30 inches each. Unique images. Printed and published by Manneken Press, Bloomington, IL. $3200 each. Still Life With Hydrangeas (2013) Monika Auch, STITCH_MY_BRAIN (2013), Still Life With Irises (2013) screenprint. Still Life With Peonies (2013) Monotypes, collaged paper and fabric, oil pastel Tauba Auerbach, Mesh/Moire (2012) and graphite, 30 x 22 inches. Unique images. Series of six etchings, 40 1/4 x 30 inches. Edition Victoria Burge, Azimuth (2012), etching with Printed and published by Manneken Press, of 40. Printed and published by Paulson Bott digital, chine collé, embossing and hand-painted Bloomington, IL. $2200 each. Press, Berkeley, CA. Price on request. enamel. Enzo Cucchi, Prisca (2013) Christiane Baumgartner, Nguyen Thai Hoc (2013) Manuel Burgener, Untitled (A4) (2013) Lithography on 3 paper cubes in a screenprinted Woodcut, image 46.5 x 61 cm, sheet 60.5 x 75 Handmade object (MDF, A4 glass, screws, clips), box, each cube 11 x 11 x 11 cm, overall 33 x 11 x 11 cm. Edition of 16. Printed by the artist, Hanoi, 20.8 x 31.4 x 2.5 cm. Edition of 10. Produced in cm. Edition of 30. Lithography by Bulli, Rome, Vietnam. Published by Alan Cristea Gallery, Bern, Switzerland. Published by morepublishers, screenprint by Stamperia Berardinelli, Verona. London, UK. $1250. Belgium. Sold out. €3500.

40 Art in Print May – June 2013 Shaun Doyle and Mally Mallinson, Ecce Homo Disco (2013), screenprint. Mel Cook, Objects For Still Life With Frame (2013), monotype with collaged paper elements and graphite. Magne F, Norwegian Wood (2013) Series of 10 woodcuts, 140 x 100 cm. Edition of 3. Printed by Atelje Larsen, Helsinborg. Published Frank Gehry, Memory of Sophie Calle’s Flower by Paul Stolper Gallery, London. Price on request. (2012), cast urethane. ©2012 Frank Gehry and Gemini G.E.L. LLC. Photo: Douglas M. Parker.

Florin Hategan, Transit Gallery series (2012/2013) Individual titles: Mamma, assembly line worker; Paint line worker; Gerald, the janitor; The forklift driver; Agency worker; Breast cancer survivor. Linocuts, 24 x 18 inches each. Edition of 30 each. Printed and published by the artist, Toronto, Canada. $600. Enzo Cucchi, Prisca (2013), lithographs on paper cubes.

Peter Dean, Being for the Benefit of Mr Kite(2013) Letterpress and wood engraving, 49.4 x 27.3 cm. Edition of 1967. Wood engraving by Andy English, letterpress by Graham Bignell, editioned by Peter Dean, published by TAG Fine Arts, London and New York. £294. Magne F, Norwegian Wood (2013), woodcut.

Rafael Ferrer Jingo (2012) Color lithograph, 20 x 34 inches. Edition of 25. $1600. Full (2012) and Why (2012) Lithographs, 15 x 22 inches each. Edition of 15. $600 each. Florin Hategan, Gerald, the janitor All printed and published by Shark’s Ink, Lyons, (2012), linocut. CO.

Nicky Hoberman, Froth I from the Disguise series (2012) Monotype, 90 x 72.5 cm. Printed by the artist at Thumbprint Editions, London. Published by World House Editions, Middlebury, CT. $2500.

Peter Dean, Being for the Benefit of Mr Kite (2013), letterpress and wood engraving. Rafael Ferrer, Full (2012), lithograph.

Shaun Doyle and Mally Mallinson Ecce Homo Disco (2013) Frank Gehry, Memory of Sophie Calle’s Flower Screenprint with hand finished spray paint, wax (2012) crayon and gouache, 76 x 56.5 cm. Edition of 19. Cast urethane on pedestal, urethane 24 x 16 x 25 Printed by Omni, London, with hand-finished inches, pedestal 43 x 16 x 16 inches. Edition of 28. details by the artists. Published by Paul Stolper Fabricated and published by Gemini GEL, Los Nicky Hoberman, Froth I from the Gallery, London. £300 (pre-launch price). Angeles, CA. $15,000. Disguise series (2012), monotype.

Art in Print May – June 2013 41 Mildred Howard, Avenues Along the Anna Platten, For Fleur Elise Noble and Key System Route (2013) Our Heart Thanking Shuffle—(Dance!)(2012) Series of monoprints with chine-collé, 30 x 22 Photopolymer etchings hand colored with inches each. Printed and published by Magnolia watercolor, 42 x 29.7 cm each. Edition of 25 each. Editions, Oakland, CA. $6000 each. Printed by Dianna Longley, Adelaide, Australia. Published by the Art Gallery of South Australia, Adelaide, Australia. $1500 each. Available through the Art Gallery of South Australia (smith. [email protected].)

Steve McClure, Untitled (Stage) (2013), stone lithograph.

Mildred Howard, Avenues Along the Key System Route (2013), monoprint.

Alex Katz, Six Portraits (2013) Set of six etchings, 76 x 86 cm each. Edition of 25. Printed by Chris Creyts, St. Petersburg, FL. Anna Platten, Our Heart Thanking Shuffle— Published by Lococo Fine Art, St. Louis, MO. (Dance!) (2012), photopolymer etching. $24,000 for the series of six.

Large Black Hat Ada (2013) John Schiff, Markers (2012) Three-color screenprint, 157 x 147 cm. Edition of Set of 10 monotypes, 13 1/2 x 25 inches. Printed 25. Printed by Brand X Editions, Long Island City, Todd Norsten, Wayland (2013), screenprint and published by the artist, New York, NY. NY. Published by Lococo Fine Art, St. Louis, MO. and lithography. Available through VanDeb Editions, New York, $7000. NY. $6000 Panamarenko, Blimp (2013) Large Black Hat Ada (2013) Screenprint and collage, 24 x 32 cm. Edition of One-color screenprint on brown craft paper, 75. Printed by Dictus, Kapellen. Published by 157 x 147 cm. Edition of 10. Printed by Brand X Graphic Matter, Antwerp. $800 / €625. Editions, Long Island City, NY. Published by Lococo Fine Art, St. Louis, MO. $9000.

John Schiff, Markers (2012), set of ten monotypes.

Alyson Shotz, Fluid State (Intervals of Time) (2012) Alex Katz, Large Black Hat Ada (2013), Panamarenko, Blimp (2013), screenprint. screenprint. Courtesy of the artist Pigment print, 61 x 50 inches. Edition of 8. and Lococo Fine Art Publisher. Printed by Laumont, New York, NY. Published by Freya Payne, Second Shadow (2013) Carolina Nitsch, New York, NY. $7500. Etching, image 30 x 30 cm, sheet 45 x 38 cm. Steve McClure, Untitled (Stage) (2013) Edition of 15. Printed and published by the artist, Stone lithograph, 12 5/8 x 17 inches. Edition of 7. Fife, Scotland. Available through Flowers Gallery, Printed and published by Bleu Acier, Tampa, FL. London. Price on request. $500.

Todd Norsten, Wayland (2013) Screenprint and lithography, 43.25 x 31.5 inches. Edition of 23. Printed and published by Highpoint Editions, Minneapolis, MN. Price on request.

Julian Opie Summer Landscapes: Apple tree, Evening sun, Daisies and Jet stream (2013) Series of four lenticular prints in aluminum frames specified by the artist, 106.2 x 60.5 cm each. Edition of 35. Published by Alan Cristea Alyson Shotz, Fluid State (Intervals of Time) Gallery, London. Price on request. Freya Payne, Second Shadow (2013), etching. (2012), pigment print.

42 Art in Print May – June 2013 Serena Smith, Psalter 1’, Psalter 2’, Psalter 4’ (2012) Exhibitions of Note Three stone lithographs, 70 x 96 cm each. Editions of 5. Printed and published by the artist, BERLIN Leicester, UK. Available through Eagle Gallery, “Lyonel Feininger: Drawn from Nature, London. £900/ $1360. Carved in Wood” Through 13 July 2013 Moeller Fine Art www.moellerfineart.com An exhibition of more than 50 woodcuts from Feininger’s personal collection, alongside related nature studies, including the curious woodblock oil on canvas, Chapel in the Woods (1943).

CHICAGO “Zarina: Paper Like Skin” Richard Woods, Remnant No. 2 (under the 27 June - 22 September 2013 back stairs) (2013), woodcut. Art Institute of Chicago www.artic.edu Displacement, memory and a keen yearning for Serena Smith, Psalter 1’ (2012), stone lithograph. Luc Tuymans, Peaches, Technicolor (2013) order, are the key themes running through the Two screenprints, 30 x 22 inches. Edition of 75. compelling survey, “Zarina: Paper Like Skin.” Printed by Roger Vandaele at Tubbax, Antwerp. Spanning 50 years of work, this is the Indian- John Stezaker, Blind (2012) Published by Graphic Matter, Antwerp. $4500. Archival inkjet print, image 25.4 x 33.9 cm, sheet born artist’s first retrospective on a life lived in exile and a catalogue of her remarkable breadth 38.2 x 45.8 cm. Edition of 50. Published by Ingleby Darren Waterston and Mark Doty, A Swarm, A of technique. The show was previously on Gallery, Edinburgh. £500. Flock, A Host: A Compendium of Creatures (2013) view at the Hammer Museum in Los Angeles Portfolio of 12 color etchings with letterpress (29 September - 30 December 2012) and the poem, 16 x 12 inches. Edition of 30. Printed by Guggenheim Museum, New York (25 January - 21 Paulson Bott Press, Berkeley, CA. Published April 2013). as a benefit for the Achenbach Foundation for Graphic Arts, San Francisco, CA. Price on request. COBURG, GERMANY Richard Woods “Slanderous Times—Pictorial Polemics at the Offcuts (2013) Time of the Reformation” Six woodcuts, image 64 x 45 cm, sheet 68.4 x 49.4 14 June - 8 September 2013 cm. Edition of 20 each. Printed by Thumbprint Kunstsammlungen der Veste Coburg Editions, Camberwell, UK. Published by Alan www.kunstsammlungen-coburg.de Cristea Gallery, London. £600 each, £3000 for Against the background of contemporary the set. debates about tolerance and blasphemy, the John Stezaker, Blind (2012), archival inkjet print. Remnants (2013) Kunstsammlung der Veste Coburg has put Six woodcuts, image 64 x 45 cm, paper 68.4 x 49.4 together an exhibition of polemical images cm. Edition of 20 each. Printed by Thumbprint from both sides of the Protestant Reformation. Editions, Camberwell, UK. Published by Alan It is a reminder that, at the time, the technology Cristea Gallery, London. £750 each; £3750 for of prints was a vehicle for both democracy and the set. fanaticism, much like the internet.

Luc Tuymans, Technicolor (2013), screenprint.

Darren Waterston and Mark Doty, Plate X from In Coburg “Slanderous Times—Pictorial Polemics at the Time of the Reformation”, through 8 A Swarm, A Flock, A Host: A Compendium of September. Matthias Gerung (attr.), David de Negker (attr.), Spottblatt auf die katholische Creatures (2012), color etching. Geistlichkeit (ca. 1545-1559), woodcut. Kunstsammlungen der Veste Coburg.

Art in Print May – June 2013 43 LONDON, UK “Magne F: Norwegian Wood” 3 May - 1 June 2013 Paul Stolper Gallery www.paulstolper.com “Norwegian Wood” uses the music of the Beatles as its central reference. The artist uses the lyrics and titles of Beatles songs, he says, “both for composition and conceptually, as a kind of emotional architecture,” transforming these well-known word combinations into a new visual language.

MINNEAPOLIS, MN “LOOK/SEE Annual Student Exhibition” Through 11 May 2013 Highpoint Center for Printmaking www.highpointprintmaking.org Highpoint regularly hosts hands-on printmaking classes for schools from the Twin Cities and beyond. The “LOOK/SEE” Student Exhibition showcases the relief, drypoint and monotype prints created by these students.

MINNEAPOLIS, MN “ACCESS/PRINT Teen Project Exhibition” In New York: “Kate McCrickard: Kid” through 18 May. Kate McCrickard Untitled (café) (2012), Through 11 May 2013 monotype. Private collection. Highpoint Center for Printmaking www. highpointprintmaking.org Fondation Custodia, Collection Frits Lugt and The Access/Print Project is a free mentorship FORT WORTH, TX private collections. After Leuven, the show will program that hosts 8–10 outstanding teen artists “Leonard Baskin: Indian Portraits” travel to the Institut Néerlandais in Paris, 18 each school year. 22 June - 21 September 2013 September - 15 November 2013. Amon Carter Museum of American Art www.cartermuseum.org NEW BRUNSWICK, NJ This series of large-scale prints and drawings LONDON, UK “Henri-Gabriel Ibels” of American Indians was inspired by Thomas “Richard Woods: DIY” Through 8 September 2013 Berger’s novel Little Big Man, which Leonard Through 1 June 2013 Zimmerli Art Museum, Rutgers University Baskin (1922–2000) read in the 1960s and Alan Cristea Gallery www.zimmerlimuseum.rutgers.edu continued to return to the topic for decades. www.alancristea.com Henri-Gabriel Ibels (1867-1936) was a prominent A solo exhibition featuring prints, sculpture and Parisian printmaker, illustrator and poster installation work. designer. Like his friend and collaborator Henri GREENWICH, UK “A Layered Practice: Paul Coldwell Graphic Work 1993-2012” 11 June - 11 July 2013 University of Greenwich Paul Coldwell is an influential British artist who has made print central to his practice. This exhibition features prints from 1993 to 2012, made through traditional means as well as with digital technologies. A fully illustrated 96-page catalogue with essays by Ben Thomas (University of Kent) and Christian Rümelin (Cabinet d’arts Graphiques, Geneva) accompanies the exhibition. [See article this issue, page 3.]

LEUVEN, BELGIUM “Hieronymus Cock—The Renaissance in Print” Through 9 June 2013 M - Museum Leuven www.mleuven.be This is the first major exhibition in 25 years of prints from Hieronymus Cock’s “Aux Quatre Vents”—Northern Europe’s earliest print publishing venture—and includes more than 150 rarely seen 16th-century works on paper. Cock and his wife Volcxken Diericx published prints after Raphael and Bronzino as well as works by Northern artists such as Maarten van Heemskerck, Hieronymus Bosch and Pieter Bruegel the Elder. Traveling across Europe, these images helped spread the styles and ideals of the Renaissance. The core of the exhibition comes from the Royal Library of Belgium In New York: “John Baldessari: Eight Soups”, through 1 June. John Baldessari, Eight Soups (2012). with additional prints and drawings from the ©2012 John Baldessari and Gemini G.E.L. LLC.

44 Art in Print May – June 2013 to a larger, hidden narrative. Artists include Gemini G.E.L. at Joni Moisant Weyl Kymia Nawabi, Rebecca Bird, Liz Zanis, Megan www.joniweyl.com Berk, Daniele Genadry, Amanda Keeley, Charles This small exhibition celebrates the birthday of Koegel, Brad Ewing and Fumi Mini Nakamura. contemporary art’s great master of chromatic form with a selection of works produced with NEW YORK, NY Gemini G.E.L. “1913 Armory Show Revisited: The Artists and their Prints” NEW YORK, NY Through 23 May 2013 “Editions ‘13” IPCNY 15 May - 14 July 2013 www.ipcny.org Lower East Side Printshop “1913 Armory Show Revisited: the Artists and www.printshop.org their Prints” examines prints by artists who took This exhibition features new works by recipients part in the original ground-breaking exhibition, of the Printshop’s Publishing and Special Editions and includes work by the American organizers Residencies: Alison Elizabeth Taylor, Sebastiaan such as Walt Kuhn and Arthur B. Davies. Bremer, Joell Baxter, Jonggeon Lee, and Steven Millar. A reception and catalogue launch on will NEW YORK, NY take place on Wednesday, 22 May, 6-8pm. “Kate McCrickard: Kid” Through 18 May 2013 David Krut Projects In New York: “EK@90: Celebrating www.davidkrut.com Ellsworth Kelly’s 90th Birthday,” through The first New York solo exhibition by this Paris- 15 June. Ellsworth Kelly, Blue with Black I based artist includes paintings, drawing and (1974). ©1974 Ellsworth Kelly and Gemini prints that, like the works of the Nabis a century ago, use casual scenes of domestic life as their G.E.L. LLC. starting point. [See review this issue, page 22.] de Toulouse-Lautrec, Ibels often featured NEW YORK, NY performers from the theater, café-concert and “John Baldessari: Eight Soups” circus in his works, capturing their gestures Through 1 June 2013 NEW YORK, NY using his signature vigorous line. This exhibition Gemini G.E.L. at Joni Moisant Weyl “Visualizing Time: Narrative Prints from features prints, drawings, pastels, posters and www.joniweyl.com the National Academy Museum, Selected by illustrated books by the artist. In his most recent collaboration with Gemini Andrew Raftery, NA” G.E.L., John Baldessari has created a series 23 May - 8 September 2013 NEW BRUNSWICK, NJ of colorful screenprints derived from Henri National Academy Museum “Stars: Contemporary Prints by Matisse’s 1912 painting, Goldfish and Sculpture, in www.nationalacademy.org Derrière L’Étoile Studio” the collection of the Museum of Modern Art. [See Showcasing a selection of narrative prints from Through 29 September 2013 review in Art in Print, Vol. 2, No. 5] the Academy’s collection, National Academician Zimmerli Art Museum, Rutgers University Andrew Raftery’s examination focuses on how www.zimmerlimuseum.rutgers.edu NEW YORK, NY printmakers structured the representation This is the first installment of a two-part survey “EK@90: Celebrating Ellsworth Kelly’s of time as they created narratives that were of prints produced by master printer Maurice 90th Birthday” comprehensible to their original audiences and Sanchez at his Derrière l’Etoile Studio in New 2 May - 15 June 2013 compelling today. York. (The second part will take place in the fall.) This section includes works from 1980 to 1995 by artists such as Vito Acconci, John Baldessari, Mel Bochner, Sarah Charlesworth, Agnes Denes, Leon Golub, Yvonne Jacquette, Jeff Koons, Barbara Kruger, Robert Longo, Robert Mangold, Susan Rothenberg and Laurie Simmons, among others.

NEW YORK, NY “The Impressionist Line from Degas to Toulouse- Lautrec: Drawings and Prints from the Clark” Through 16 June 2013 The Frick Collection www.frick.org This major exhibition of works on paper from the Sterling and Francine Clark Art Institute is a treasure trove of Impressionist and Post- Impressionist masterpieces from Degas to Gauguin. It includes some 60 prints and drawings that have rarely traveled and marks the first loan show of the Clark’s works on paper. It is accompanied by a substantial catalogue.

NEW YORK, NY “Part of the Story” Through 12 May 2013 Lower East Side Printshop www.printshop.org Each of the prints in this exhibition, curated by In New York: “Editions ‘13,” through 14 July 2013. Sebastiaan Bremer, Publishing Resident, artist and critic Julian Kreimer, is a partial clue working in the studio, 2012.

Art in Print May – June 2013 45 NEW YORK, NY ZURICH, SWITZERLAND Magne Furuholmen / In Transit “New Prints/ New Narratives: Summer 2013— “Faces of Distinction: Anthony van Dyck 400 pages, fully illustrated Selected by Andrew Raftery” and his Portraits of an Illustrious Circle” Published by Press Publishing, Oslo, 2013 13 June - 2 August 2013 Through 28 June 2013 £75 IPCNY ETH Collection of Prints and Drawings www.ipcny.org www.gs.ethz.ch Visual narrative has been a powerful presence An unprecedented exhibition of van Dyck’s in printmaking since its origins. Juror Andrew ambitious Iconographia portraits of more than Raftery has sought out new prints that reinvent 100 17th-century luminaries. It includes a this tradition for contemporary viewers. The number of very rare early prints in addition to exhibition was conceived as a counterpart to a large selection of the Iconographia engravings. “Visualizing Time: Narrative Print/ from the National Academy” on view at the National Academy Museum in New York. New Books

PARIS, FRANCE The Impressionist Line from Degas to “Allan McCollum: The Book of Shapes” Toulouse-Lautrec: Drawings and Prints Through 18 May 2013 from the Clark mfc-michèle didier Jay A. Clarke, ed. www.micheledidier.com 160 pages, 80 color illustrations “The Book of Shapes” is part of Allan McCollum’s Published by Sterling and Francine Clark Art ongoing Shapes Project, the artist’s system for Institute and Yale Universty Press, 2013 producing over 31 billion unique shapes, enough $45 for everyone on the planet to have their own. Accompanying the eponymous exhibition, the catalogue elucidates masterpieces of French The Book of Shapes Impressionism and Post-Impressionism with Allan McCollum PHILADELPHIA, PA essays on the social context and artistic moti- Two volumes: Volume I, 632 pages; Volume II, “Forth Estate: Recent Editions” vations behind the dynamic development of 360 pages. Edition of 70 and 10 APs. Through 24 May 2013 graphic art, by five important scholars in the Published by mfc-michèle didier, Brussels, 2010 The Print Center field: Mary Weaver Chapin, Anne Higonnet, Price on request. www.printcenter.org Richard Kendall, Alasteir Wright and the book’s This two volume publication emerges from The exhibition brings together more than 20 editor, Jay A. Clarke. McCollum’s Shapes Project, a system that uses works published by Forth Estate as well as proofs six groups of elements to generate (potentially) and plates used in the making of the editions, 31 billion individual shapes, one for every person offering insight into the printmaking process. on the planet with plenty left over. Volume I contains the patterns, while Volume II includes TORONTO, CANADA instructions for the factorial combinations. The “What Lies Beneath: Laura Bydlowska, Shapes Project raises profound questions about Susan Cunningham, Jae Lee, Liz Menard, the distinction between uniqueness, originality, Jennie Suddick and Daryl Vocat” and authenticity. Through 11 May 2013 Open Studio www.openstudio.on.ca This group exhibition explores the notion of the urban myth—stories that are one step up from rumor one step down from fiction: “Incorporating printerly strategies of replication and repetition, these artists engage narrative visions of the social environment that hover between truth and fiction, history and myth.” Rembrandt’s Century James A. Ganz 164 pages, 145 color illustrations Published by Fine Arts Museums of San Francisco and DelMonico Books/Prestel, 2012 $35 Published to accompany the museum’s ambitious exhibition of the same name, this catalogue places Rembrandt’s etchings in the context of the social, intellectual, and art histories of 17th- Auctions century Europe. [See review this issue, page 32.] NEW YORK, NY “Maps & Atlases, Natural History & Historical Prints, Ephemera” 6 June 2013 Swann Auction Galleries www.swanngalleries.com/

NEW YORK, NY “Vintage Posters” 7 August 2013 Swann Auction Galleries www.swanngalleries.com/

46 Art in Print May – June 2013 Benefits Non-Toxic Printmaking Sites The virtual library of non-toxic printmaking TORONTO, CANADA information continues to grow online with “100 Prints” several new sites that share information on 16 May 2013 techniques, suppliers, and medical findings. Palais Royale www.substratum.org is organized by the people www.openstudio.on.ca/ at Zea Mays Printmaking and Artists in Context 100 Prints is a fundraising event in support in conjunction with a number of scientists; it of Open Studio, a not-for-profit printmaking specifically focuses on substrates. In addition to studio in Toronto. The event features prints their own findings, the site’s organizers have put donated by nationally and internationally together a concise and essential list of links on recognized Canadian artists. 100 tickets are everything from Low Emission Plywood to Glove sold, guaranteeing each ticket holder to take Selection. www.nontoxicprint.com is a vast site home an original fine art print. In addition, six that shares information and the experiences of artists will be recognized for their achievements artists working in a wide variety print techniques. in printmaking during the sixth annual Open It also includes with fundamental necessities like Studio National Printmaking Awards. a “Health & Safety Checklist for Workshops.” www.greenart.info is a smaller site that explains one particular set of techniques.

New Online—Rembrandt’s Three Crosses The Metropolitan Museum of Art has posted a new online resource examining Rembrandt’s great etching Christ Crucified between the Two Thieves: The Three Crosses (1653). The museum owns fine impressions of the first, third and fourth states of the print, and the site allows the viewer to look at all three side-by-side and Fairs to zoom in to the same detail on the all three simultaneously. In the accompanying video, BASEL, SWITZERLAND Met curator Nadine Orenstein links the print’s Art Basel technical mastery to the human content that 13 - 16 June 2013 makes this one of Rembrandt’s greatest works. MCH Swiss Exhibition http://82nd-and-fifth.metmuseum.org/altered- www.artbasel.com states.

Month of Printmaking in Denver Join the Crown Point Press HONG KONG Denver will be host to a city-wide, month-long Art Basel Hong Kong Seasons Club in July and celebration of prints and printmaking in the 23 – 26 May 2013 Spring of 2014. Titled “Mo’Print” (for Month buy any print in our Luk Kwok Centre of Print), the event is being sponsored by the www.artbasel.com inventory dated 2008 or Denver-based not-for-profit Invisible Museum, which is looking for participants. For more earlier for half price. information, visit http://invisiblemuseum.org/ Other Events MoPrint/. www.crownpoint.com MINNEAPOLIS, MN Open Portfolio III 8 June 2013, 1:30-7:00 pm Highpoint Center for Printmaking www.highpointprintmaking.org The event will feature two portfolio review sessions and a group discussion with guest reviewers (including special guest R.L. Tillman of Printeresting.org).

Other News

MoMA Restructures Print Department Effective 1 July, The Museum of Modern Art’s Department of Prints and Illustrated Books will merge with its Department of Drawings to become the Department of Prints and Drawings. The new entity will be headed by Christophe Cherix, who has been Abby Aldrich Rockefeller Chief Curator of Prints and Illustrated Books since 2010. Connie Butler, formerly The Robert Lehman Foundation Chief Curator of Drawings, will be taking up new responsibilities in Los Angeles as co-curator of the Hammer Museum’s Please submit announcements of biennial and visiting faculty at the University exhibitions, publications and of Southern California’s Roski School of Fine other events to Arts. She will continue her curatorial work on [email protected]. upcoming MoMA retrospectives of Mike Kelley (Fall 2013) and Lygia Clark (2014).

Art in Print May – June 2013 47 Tauba Auerbach PAULSON BOTT PRESS NEW LIMITED EDITIONS

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Art in Print_May 2013.indd 2 4/8/13 5:33 PM 48 Art in Print May – June 2013 center street studio New Print Projects Mark Cooper Jeff Perrott Rachel Perry Welty Bill Thompson

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Jeff Perrott,Untitled Assemblage (SAA.WCM.LV.13.4.8.13.IV), watercolor monotype, 2013

Art in Print May – June 2013 49 Contributors to this Issue

Sarah Andress is the former Managing Editor of Art on Paper magazine. Before that, she was in the exhibitions department of Independent Curators International. She earned an MA in Art History from the Courtauld Institute in London and has contributed articles to FlashArt, TimeOut London and artlog.

Catherine Bindman is an art critic and editor specializing in museum catalogues. She was Deputy Editor at Art on Paper magazine and lives in New York.

Paul Coldwell is Professor in Fine Art at the University of the Arts London. As an artist his work includes prints, sculpture and installation. He has written widely, particularly on printmaking, his most recent publication, Printmaking: A Contemporary Perspective was published by Black Dog Publishers.

Mary Davis MacNaughton is Director of the Ruth Chandler Williamson Gallery and Associate Professor of Art History at Scripps College. She has written many articles and exhibition catalogues on contemporary art. In 2012 she wrote for and edited Clay’s Tectonic Shift: John Mason, Ken Price and Peter Voulkos, 1956–1968. Professor MacNaughton teaches courses in 20th-century European and American art, including seminars on Dada, Surrealism, Abstract Expressionism and topics in contemporary art.

Camilla Murgia studied History of Art at Neuchâtel and Oxford Univer- sities. She was awarded her PhD at Oxford University (Merton College) and published her dissertation on Pierre-Marie Gault de Saint Germain Wildwood Press (ca. 1752–1842). Artistic Models and Criticism in Early Nineteenth-Century France, 2009, VDM Verlag Dr. Müller). She has been Junior Research Fellow at St John’s College Oxford and has taught at Neuchâtel University. She is currently Gary Paller completing her book on the Paris Salons of the First Empire and is interested New Monoprints in art and visual culture of 18th- and 19th-centuries England and France.

2013 Britany Salsbury is a PhD candidate in Art History at the Graduate Center, City University of New York, where she focuses on print culture in artnet.com late 19th-century France and Germany. She is an Andrew W. Mellon Cura- torial Fellow in the Department of Drawings and Prints at the Metropolitan Museum of Art.

Ben Thomas is a lecturer in history and philosophy of art at the University of Kent, and curator of Kent’s Studio 3 Gallery. He has worked previously as a print cataloguer at Worcester College in Oxford, and has published widely on the history of prints from the Renaissance to the present day. Exhibi- tions he has curated focusing on prints include “The Paradox of Mezzo- tint” (Strang Print Room, University College London, 2008), “In Elysium: Prints by James Barry” (Studio 3 Gallery, 2010) and “Paul Coldwell: A Layered Practice” (Studio 3 Gallery, 2013).

Courtney R. Thompson is an arts professional living in Winnipeg, Manitoba.

Susan Tallman is the Editor-in-Chief of Art in Print. She has written extensively about prints, issues of multiplicity and authenticity, and other aspects of contemporary art.

Special Thanks to Sanford Schulert, Kathryn Hedgepeth and Mary Murphy of the Chicago Arts & Business Council / Business Volunteers for the Arts. Their advice and support have been essential to the future of Art in Print.

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In This Issue In This Issue Susan Tallman / On Prints and Exhibitions Susan Tallman / On Making Sarah Andress / Jacob Samuel and the Peripatetic Printshop April Vollmer / Mokuhanga International Britany Salsbury / The Print Portfolio in “Print/Out” & “Printin’ ” Anna Schultz / New Observations on Eugène Carrière’s Prints John Ganz / In, Out, and Shaken All About at MoMA Paul Coldwell / Artists’ Projects at Paupers Press Aprile J. Gallant / Copycat at The Clark Art Institute Gill Saunders / The V&A Takes Street Art to Libya Courtney R. Thompson / Prints and the Pursuit of Knowledge in Sarah Grant / Highlights from the Fitzwilliam Museum Collection Early Modern Europe Charles Schultz / Martin Kippenberger; Nicole Eisenman M. Brian Tichenor & Raun Thorp / Ellsworth Kelly at LACMA Paul Coldwell / Picasso’s Vollard Suite at the British Museum Volume 2, Number 1 Volume 2, Number 2 Charles Schultz / Carlos Garaicoa; Jordi Alcaraz Sarah Kirk Hanley / John Baldessari’s Alphabet at Gemini G.E.L. Andrew Blackley / Glenn Ligon Julia Vodrey Hendrickson / Alexander Massouras; Mit Senoj Reviews & News Reviews & News

In This Issue In This Issue On the Past Susan Tallman / On Stanley William Hayter Susan Tallman / German Conclave Prints Andrew Raftery / Genealogies: Tracing Stanley William Hayter Evelyn Lincoln / An Example of a Coffret à Estampe Ann Shafer / Hayter: Content and Technique Séverine Lepape / Remaking Dürer Julia Beaumont-Jones / Stanley Jones on Hayter Angela Campbell & Andrew Raftery / Jesse Feiman / The Matrix and the Meaning in Dürer’s Rhinoceros Liza Folman / Stanley William Hayter and Viscosity Printing Ben Thomas / John Evelyn’s Project of Translation Amelia Ishmael / Susan Tallman / Hayter—Essential Reading Charles Schultz / Bruce Conner: Afterimage Courtney R. Thompson / Inuit Prints; Paper as Dialogue at CBPA Reviews & News Volume 2, Number 3 Reviews & News Volume 2, Number 4

In This Issue In This Issue Susan Tallman / On Visibility Susan Tallman / On Words and Pictures Faye Hirsch / Nicole Eisenman’s Year of Printing Prolifically Mark L. Smith / Rauschenberg’s & Robbe-Grillet’s Traces Suspectes New Editions 2012 / Reviews A–Z Amy Peltz / The Visual Turn: Comics and Art after the Graphic Novel <100 Paul Coldwell / Stephen Chambers: The Big Country Charles Schultz / Wade Guyton OS Christina von Rotenhan/ Louise Bourgeois: Between the Lines M. Brian Tichenor & Raun Thorp / Zarina: Paper Like Skin Catherine Bindman / Jürgen Partenheimer: Folded Spirits New Editions Listings <100 News Annual Directory 2013 Volume 2, Number 5 Volume 2, Number 6 Reviews and News

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