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The Global Journal of Prints and Ideas January – February 2017 Volume 6, Number 5

Traumatic Memory • William Kentridge • Combat Paper Project • Eric Avery • China 1946 • Japanese War Games Gerald Cramer • Marcantonio • Kingdom of Images • Associated American Artists • Garo Antreasian • News Suscríbete a la revista sobre grabado más pionera

Subscribe to the most pioneering print magazine January – February 2017 In This Issue Volume 6, Number 5

Editor-in-Chief Susan Tallman 2 Susan Tallman On Trauma

Associate Publisher Kate McCrickard 4 Julie Bernatz William Kentridge: Drawing Has its Own Memory Managing Editor Isabella Kendrick Jared Ash 11 The Combat Paper Project Associate Editor Julie Warchol Marjorie B. Cohn 16 Eric Avery’s AIDS Works Manuscript Editor Prudence Crowther Shaoqian Zhang 20 Woodcuts in the Aftermath of War Online Columnist Sarah Kirk Hanley Rhiannon Paget 24 Sugoroku of Imperial and Wartime Japan

Editor-at-Large Exhibition Reviews Catherine Bindman Paul Coldwell 30 Design Director Gérald Cramer in Geneva Skip Langer Genevieve Verdigel 32 Stepping out of Raphael’s Shadow Carand Burnet 34 Creative Printmakers in Japan

Book Reviews Victoria Sancho Lobis 36 French Prints in the Age of Louis XIV Brian D. Cohen 38 Art in (Middle) America Peter S. Briggs 41 Garo Antreasian and American Lithography

Prix de Print, No. 21 44 Juried by Trevor Winkfield A Cloud in Trousers On the Mailing Bag: Eric Avery, RX (2014–16) for Art in Art in Print. Original artwork letterpress- by Thorsten Dennerline printed by the artist and Dave DiMarchi. Art in Art in Print Number 6 46 Eric Avery Cover: Eli Wright, Broken Soldiers (2009), Print Life: Neurogenesis 2016 screenprint on hand-stitched handmade paper from military uniforms. Courtesy the artist. News of the Print World 49

This Page: William Kentridge, detail of Contributors 64 Four Instruments (2003), drypoint. Printed by Randy Hemminghaus, Galamander Press, New York. Published by David Krut, New York.

Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org Art in Print is supported in part [email protected] by an award from the 1.844.ARTINPR (1.844.278.4677) National Endowment for the Arts. No part of this periodical may be published Art Works. without the written consent of the publisher. On Trauma By Susan Tallman

n September 2015 we published an Finally, this issue’s Prix de Print, I issue on artworks made in places of selected by Trevor Winkfield, returns crisis—internment camps, police states, in a sense to trauma. Thorsten Denner- the incinerated ruins of Dresden. Each line’s book of lithographs is set with of these situations had a terminus: even- Vladimir Mayakovsky’s 1915 poem tually the camp gates opened, the Wall “A Cloud in Trousers,” in which the came down, the world went on. For many writer braids the existential tumult who live through it, however, trauma has of the early 20th century into the per- way of sticking around, of superimpos- sonal story of an unhappy love affair: ing the excoriating past on the present, Hey! of never ever really being over. Traumatic Gentlemen! memory refuses to be filed away in our Lovers neat mental archives; it lurks furtively in of sacrilege, the primitive corners of the brain, wait- crime, ing for a chance to burn the house down. carnage— That shade is our current subject. have you seen If trauma is not quite an equal oppor- After Martin Schongauer, The Tribulations of St. the worst horror of all— tunity employer (the poor almost inevi- Antony (ca. 1480–1500), engraving, 28.6 cm x my face, tably suffer more), it is catholic in its 21.5 cm. ©Trustees of the British Museum. when manifestations: war and pestilence, I assault and accident, systemic oppression print artists transformed that war and am utterly calm? and random cruelty, the myriad disasters its predecessors into visually compelling that can suddenly overtake an ordered games of chance. The Combat Paper Proj- Private traumas occur incessantly, but life. The authors and artists represented ect, profiled by Jared Ash, operates in the 2016 was remarkable as a year of public here consider all these visitations, and aftermath of military service, both mate- trauma—millions grieved the passing of also the strategies of recuperation that rially and psychologically. David Bowie and Prince as if they had enable us to move on. Meanwhile, this issue’s exhibition lost intimate friends. Millions more have In this sense Eric Avery’s Art in Art in and book reviews survey the competing found themselves suddenly and unex- Print project, which runs through these forces behind the production of art and pectedly mourning the electoral defeat pages as a cover sticker, flipbook, double- the varied visions of what a print “should” of the principles of evidence and reason sided print and digital video, is emblem- be, from the aesthetic populism of Asso- that have guided social and technologi- atic of the issue as a whole. A doctor and ciated American Artists (Art for Every cal progress for the past three centuries. an artist, Avery understands trauma as Home, reviewed by Brian Cohen) to the The world changed course. And fear— both a physiological process and a visual enlistment of art in the service of l’état visceral, debilitating fear—has taken up subject. His brain woodcut is also a tem- c’est moi absolutism (Kingdom of Images, residence in cities and institutions that porary garden, a metaphor for neural reviewed by Victoria Sancho Lobis). once fancied themselves beacons of hope regeneration. Similarly, in his earlier In his review of “Gérald Cramer et to the darker places on earth. work on AIDS, discussed here by Marjo- ses artistes” at Geneva’s Musée d’art et This issue was planned long before rie Cohn, Avery used physical agency as a histoire, Paul Coldwell considers the piv- these events took place. If, on the one weapon against incapacitating terror, fill- otal role of the print publisher in 20th- hand, it can be seen to document the per- ing galleries with virus-shaped, condom- century Europe. At the Whitworth sistence of suffering, it can also be taken filled piñatas. Gallery, the exhibition “Marcantonio as a guidebook to resilience: trauma is An effective manipulator of human Raimondi and Raphael” (reviewed by imposed by circumstance; the resolution behavior, trauma is also a time-honored Genevieve Verdigel) affirms Marcantonio is in our hands. Those of you who receive instrument of politics. Kate McCrickard as more than just Raphael’s burin-wield- the printed journal may have noticed an examines William Kentridge’s attempts ing Mini-Me, opening broader questions extra sticker on the package demanding to map the moral tangle of Apartheid and about collaboration and originality. that you “ACT LIKE A NORMAL PERSON.” the “extraordinary shock” experienced by Peter Briggs discusses the memoirs of This is also a part of Avery’s project. He a child who discovers his world is built on Garo Antreasian and the professionaliza- explains, “The sticker is the false public a crime. Shaoquian Zhang investigates tion of artistic lithography in the United self. What we do inside ourselves is repre- Chinese woodcuts at the end of the sec- States, while the “Hanga Now” exhibition sented in our art, inside the issue, and we ond Sino-Japanese war, when political (reviewed by Carand Burnet) looks at the all are doing the best we can.” allegiances led artists to focus on either marriage between Japanese aesthetics present suffering or the idyllic future; and Western notions of the print as a per- Susan Tallman is the Editor-in-Chief of and Rhiannon Paget shows how Japanese sonal, gestural expression. Art in Print.

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Art in Print January – February 2017 3 William Kentridge: Drawing Has its Own Memory By Kate McCrickard

murderous truth came rudely to the A South African artist William Ken- tridge when, as a six-year-old boy, he mis- took a yellow Kodak box on his father’s desk for a box of chocolates. Inside were photos of a woman with her back blown off, someone with only half her head vis- ible. The pictures were evidence of the Sharpeville massacre, the killing of 67 anti-apartheid demonstrators by security forces in a black township south of Johan- nesburg on 21 March 1960, and the artist’s father, attorney Sir Sidney Kentridge, was representing some of the victims’ fami- lies. “The shock was extraordinary.”1 President F. W. de Klerk freed Nelson Mandela from 27 years of imprisonment in 1990. South Africa’s rapacious apart- heid system finally buckled in 1994 after the first free and democratic elections in which the African National Congress William Kentridge, from Domestic Scenes (1980), etchings with soft ground and aquatint, each from one copper plate, images varying 11.5 x 13.5 or 16 cm, sheets varying 28.5 x 38 cm. Edition of 30 took power, appointing Mandela as presi- incomplete. Printed and published by the artist, Johannesburg. dent elect. Across the world, a bonfire of hope took light. In the court-like setting Speaking in 1990, before the abolish- stroll by, is the laboratory for incep- of the Truth and Reconciliation Commis- ment of apartheid, he observed: tive drawing, collage and print work. A sion (1995–2002), Archbishop Desmond second, much larger public studio sits These two elements—our history and Tutu sought restorative justice through in downtown Johannesburg and is the the moral imperative arising from publicly airing experiences of trauma social space where his kinetic sculptures, that—are the factors for making that from both victims and amnesty-seeking theater and opera rehearsals, films and personal beacon rise into the immov- perpetrators. Some testimonies were pro- other large-scale productions are built. able rock of apartheid. To escape this jected live on national television and radio, But behind the hubbub of these grand rock is the job of the artist . . . the rock but despite such laudable achievements, multimedia endeavors lies the persis- is possessive, and inimical to good traumatic memory, of course, persists. tent, quiet medium of print. work . . . you cannot face the rock Kentridge acknowledges that there are Kentridge has been making prints head-on; the rock always wins.2 no such things as clean endings in his- since the 1970s and has employed inta- tory, and he makes art that tows beauty It is a fractious relationship, but Ken- glio, woodcut, screenprint, linoleum cut, out of suffering and ties social injustice tridge needs his home city of Johan- lithography and monotype within a huge to personal responsibility. A screenprint nesburg as a different kind of rock. body of work, though he remains wary theater poster from 1976, The Fantasti- Africa’s richest city provides an arena of the digital, associating it with our age cal History of a Useless Man, presents the for his catholic cast of local characters, of flux and spin. Kentridge was an etcher young artist’s glumly ironic response to recurring shapes and forms that turn in before relaxing into the sooty fastness of witnessing brutal injustice. He blocked gyres around subjects far grander than charcoal, which, made magical on film, out the simplified shapes of three dis- themselves. Kentridge knows that the garnered him international acclaim, and tinguished-looking white heads sourced way to engage in an abstract theme like it is typical of his working process that from various historical periods, using a traumatic memory is through the par- the taxing demands of intaglio came reduced palette printed on brown paper. ticular. People can only identify with before, and somehow led to, something The poster sums up of a sense of impo- the personal. But unlike James Joyce, far more immediate and supple.3 tence residual in many white South Afri- who gleaned fiction from the streets of An early suite of 40 etchings, Domes- cans at that time and beyond. Dublin while living in Switzerland and tic Scenes (1980), exemplifies Kentridge’s Kentridge has had to circumnavigate France, Kentridge remains tethered to indirect approach to the apartheid rock what he calls “the rock” of apartheid his riven country, living and working in and its larger associations —the domes- (among other political histories) in order his father’s house in the forested neigh- tic arena was the chief place of con- to articulate his existence as a South borhood of Houghton. His home studio, tact between blacks and whites. The African Jew of Lithuanian descent. hidden by lush vegetation where ibises prints were made in conjunction with a

4 Art in Print January – February 2017 William Kentridge, from Domestic Scenes (1980), etchings with soft ground and aquatint, each from one copper plate, images varying 11.5 x 13.5 or 16 cm, sheets varying 28.5 x 38 cm. Edition of 30 incomplete. Printed and published by the artist, Johannesburg.

Junction Avenue Theatre Company presence of the past when working on the the specificity of these erasings. We see play, Dikhitsheneng (The Kitchens), set- ten Drawings for Projection (1989–2011). Kentridge’s antihero, corporate magnate ting a pattern where printmaking would “Poorman” and “stoneage” are two of Soho Eckstein, driving through lashing provide the joinery in a broader overall the terms that Kentridge coined for his rain; his melancholy eyes (the artist’s) are design. Though he failed to complete new methodology: creating an anima- seen in the rear-view mirror, glancing the edition —“to do thirty prints seemed tion of roughly eight minutes took days back at the black broken shapes of bod- like an act of hubris,” he observed4—Ken- of “stalking” (his verb, perhaps implying ies strewn along the road. The swipe of tridge printed the plates himself, wiping the hunt for imagery through process) a the eraser echoes the rhythmic swish of a pale gray plate tone around the isolated sheet of paper pinned to a wall opposite the windshield wipers, erasing charcoal, shapes realized in softground and aqua- a borrowed 16mm Bolex movie camera. raindrops and victims, leaving contours tint. In these gently satirical images, we Kentridge adjusted the drawing along en abyme. observe a world of rotund black maids an unplanned narrative, walking back In a recent letter to the London Review carrying parasols, serving endless cups of and forth as the camera recorded every of Books lamenting the expurgation of tea and fluffing out towels for their pool- slight change. So each filmic sequence history when a statue of British min- side masters. The artist’s profile appears, was wrestled out of a single sheet of paper ing magnate and African colonizer Cecil sharpening questions about his relation- (typical drawn animation, in contrast, Rhodes was toppled at Cape Town Uni- ship to the legions of black nannies, night uses a new sheet for each frame) and each versity in 2015, Marina Warner cited Ken- watchmen, cooks and cleaners that ser- “battered and rubbed-out” drawing car- tridge’s mnemonic commitment: viced Johannesburg’s elite. At the same ried the traces of earlier marks.5 “The time, we see him playing with multiple idea was that you would see a drawing William Kentridge has thought a lot lines and sequential progressions, query- drawing itself . . . I really just wanted to about South Africa’s past and the ing the depiction of movement on a flat see a drawing continually making itself— people who made it, and has evolved surface and prefiguring the animation marking, erasing, and eventually chang- methods of drawing—smudging and work to come. ing into different images.”6 overscribbling and erasing—which Kentridge fell upon his faute de mieux A scene from one of these animations, retain the memory of what went before discovery that the subtractive gesture of the fifth Drawing for Projection, History while at the same time rubbing it out, erasure might express the ineradicable of the Main Complaint (1996), illustrates literally. Transmuting the meaning of

Art in Print January – February 2017 5 William Kentridge, from Copper Notes, States 0-11 (2005), series of 12 drypoints in progressive states, burnished and some with engraving, image 16.5 x 20.7 cm each, sheet 28.5 x 33 cm each. Edition in varying numbers for each state of the series of 12 prints. Printed by Tim Foulds, Artist Proof Studio, Johannesburg, Published by the artist, Johannesburg.

his historic subjects, communicating In State 0 of Copper Notes, the pale French term, baveuse— velvety and rich.9 profound anger and pity, he manages plate tone is broken with open shapes In The Magic Flute: Doves, Kentridge to instill in his work a sense of the sketched in light drypoint. A few deft yokes the image of a bird in flight to longue durée, crucial to developing geometric lines make a triangle that the flow of line. The dove belongs to an ethics against forgetting.7 intersects parallel bars; hints of calli- Papageno, the opera’s buffoon and comic graphic writing appear behind, written relief; the line belongs to Kentridge. For Kentridge’s removals—whether nega- in reverse. In State 1 Kentridge adds an the first state, a dove was painted in black tive marks rubbed out of charcoal dust anamorphic cylinder placed on a sheet of carborundum, poised to fly; a hint of a or burnished out of drypoint barbs—are paper, beneath a spray of electric sparks.8 second figure hovers behind. By State VII, never eradications. In State 2, the cylinder has been (partially) all traces of carborundum have been bur- Kentridge’s imagery shifted from the burnished out and a rotary telephone sits nished away, leaving the faintest outline overtly sociopolitical as South Africa in its place. In State 3, the phone trans- of folded wings, offered in the softest of settled into ANC rule and the challenges mogrifies into a hefty, blaring megaphone grays; darts of frustrated movement flut- of life in the wake of apartheid. Two sets walking on set-square legs. The trans- ter about. In State VIII, the dove is made of prints that query the perseverance of forming continues over the subsequent solid again in reworked, heavy drypoint; memory using different imagery are Cop- states, as the megaphone collapses into a beady eye looks out. In the final state, per Notes, States 0–11, a series of 12 dry- a jug, followed by a skull, a flag bearer, a the background pentimenti are grayed points made in 2005, and The Magic Flute: dove, and a self-portrait, which is even- out into a filigree history of the process. A Doves, ten intaglios linked to Kentridge’s tually obliterated in the final state in a rooted dove sits on top in thick drypoint, 2006 adaptation of Mozart’s opera. Both storm of choppy drypoint dashes. Line trapped within the boundaries of the suites were conceived as animations in becomes object, then bone, flesh and copper plate, its flight aborted. By leaving copper; all were printed from the same darkness. Specters of the earlier states of the history of his marks in evidence, Ken- plate, on which a sequential drawing was being hover behind, becoming more dis- tridge “thickens” or slows down time and reworked and altered, pulling states at tant with each successive state and hint- calls attention to its disappearances.10 If selected points in a kind of kinetic copper ing that the art to come might itself be a art can give, it can also take away. sketchbook. chimera. The closing inking is, to use the The subject that walks through

6 Art in Print January – February 2017 Kentridge’s oeuvre most persistently is that of a beleaguered and slightly sedi- tious procession marching in profile. Such processions tramp through his films and installations and also across many of his prints, most strikingly the panels of his 14-foot-long (when unfolded) leperello book, Portage (2000). To make Portage, disjointed, silhouette figures were torn from black Canson paper and chine col- léed to pages from the Nouveau Larousse Illustré Encyclopédie (ca. 1906). (To com- plete the edition, about 6,000 torn black fragments and three volumes of the ency- clopaedia were used.) The solid shapes we see in the collage are the manifesta- tion of shadows cast by Kentridge’s stock troupe of characters. The treeman, Harry the tramp, pylon man, umbrella man, bowler, Sisyphus, the Ingoma Zulu stom- per (the Ingoma is a frantic Zulu dance involving impressive high kicks, usually performed at transition ceremonies), the flag bearer, the political leitmotif of the porter and Tatlin’s Monument to the Third International (Kentridge’s personal sym- bol for hope) are drafted into this line dance of the downtrodden, an exodus set in motion by unnamed exterior forces. These marchers are puppet-inspired, gimcrack assemblages of children’s toys, household objects and quotations drawn from the urban landscape such as adver- tising boards and pylons. Kentridge uses the opaque, torn black fragment to denote shadows and asserts that their blankness offers a lack of psychological depth that may be an asset—“understanding the world not through individual psychology is often appropriate and stronger.”11 His sideways approach, earlier applied to apartheid, is here addressed to the problem of seeing and knowing. Tearing breaks and both- ers identity; it disrupts habit and opens up holes in our visual field, it upends our perception in an “unwilling suspen- sion of disbelief.”12 The viewer has to work to see the loosely composed shapes William Kentridge, The Magic Flute: Doves (2007), two from the suite of 10 prints in progressive states, in Portage as figures rather than as torn drypoint and carborundum, images 19.7 x 24.7 cm each, sheets 38.8 x 43 cm each. Edition variable. bits of paper, and we enjoy being fooled: Printed by Jill Ross at the David Krut workshop, Johannesburg. Published by David Krut, Johannesburg. “It’s not a mistake to see a shape in the cloud,” states Kentridge. “That’s what it is These aged texts lay an abstract road of off” or to “take leave.” Two pages along, to be alive with your eyes open: to be con- printed linguistic knowledge beneath the head of a marcher sits under the stantly, promiscuously, putting things his marchers, allying the two realities of illustration for a lave-pinceaux, a paint- together.”13 the concrete and the allusive. “Chance” brush cleaner used when making art. But Kentridge has ripped up many revered juxtapositions between text and image self-reference aside, the undercurrent texts on which to set his troubled fig- arrive, cajoling us: In one example of Por- is darker: Kentridge persistently pulls ures, among them a copy of Hobbes’s tage, the shadow marchers tramp over thought toward one of his key substrates: Leviathan from 1651 and a 1750 copy of the Larousse entry for filer, a French verb Does the quest for knowledge result in the Christian tract De Peccato Originali. whose many meanings include to “make barbarity?

Art in Print January – February 2017 7 William Kentridge, detail from Portage (2000), chine collé figures on multiple spreads from Le Nouveau Larousse Illustré Encyclopaedia (ca. 1906), on paper folded as a leperello, image 27.5 x 423 cm, laid flat, portfolio 29 x 25.5 x 2 cm. Edition of 33. Printed by Mark Attwood, Paul Emmanuel and Joseph Legate, The Artists’ Press, White River, South Africa. Published by the artist, Johannesburg.

Kentridge dreamed up the three Small visions of achieved paradise represented suited businessman (Kentridge’s short- Atlas Procession etchings (2000) after spot- an inadmissible state of grace that belied hand for Soho Eckstein), a sextant with a ting a sketch from the school of Rogier the misery he saw around him in South prosthetic leg and a skirted coffee pot, all van der Weyden on display at the Met- Africa, in history and everywhere else. going nowhere in particular. The print ropolitan Museum of Art. This curious On one tondo, figures stand on the outer concentrates Kentridge’s taste for absurd drawing, Men Shoveling Chairs (Scupstoel, rim, heads toward the center; on another, anthropomorphizing and the fusing of 1444–1450), is a design for an ornamental they pace the smaller inner circle, heads commonplace objects, particularly those capital and aligns male figures (indeed directed outwards to flip our vision back of the predigital era, whose mechanisms shoveling chairs) around a half circle. and forth, telling us that there is no up or lay exposed to the eye: the desktop rotary Kentridge began placing his own parad- down and that all is reversible. phone, the typewriter and the Bialetti ing figures on arcs, then extended those In the nine Zeno at 4am etchings (2001) Moka espresso pot—so satisfying and arcs into complete circles without a Kentridge brings each member of the pro- consequential to draw. These outmoded beginning or end. With a nod to Tiepolo’s cession to life on its own page in loose things are talismans that recall the clear- taste for spreading characters around the sugar-lift aquatints. The shower and cof- sightedness of childhood; he draws the margins of ceilings, he wraps his figures fee grinder/meat mincer stand still; the outside of them as if it were their soul, around the circle as if walking inside caged man, caged woman, telephone lady unsentimental and poetic at the same a wheel. He also quotes expressly from and dancer move to the left; while the time. Goya’s ceiling painting on the miracles of pylon lady, wrapped man and cowed figure Kentridge has always laced his work Saint Anthony painted inside the dome nailed to his umbrella-on-wheels move to with a fine, if black, visual wit, but as he of the San Antonio de la Florida chapel the right. These are concentrated, poised grows away from the earnest political artist in Madrid (1798). But in these prints, works that overturn Kentridge’s purpose- who declared his support for “an art (and a unlike the peachy celestial spaces of the ful rejection of lyricism—quiet moments politics) in which optimism is kept in check masters, Kentridge fills his central oculi of virtuosity. and nihilism at bay,” his tragicomic talent with the terrestrial printed world of maps A last example of procession is the has become more present in the work.14 torn from a 1906 Steilers Hand-Atlas. For drypoint Four Instruments (2003). Here a Journey to the Moon, a film from the Kentridge, Tiepolo’s and Goya’s painted nutcracker with antlers leads a pinstripe- series 7 Fragments for George Méliès (2003),

William Kentridge, Small Atlas Procession (2000), set of three etchings, each from one copper plate on a map spread from Steilers Hand-Atlas (Gotha: Justus Perthes, 1906), image 43.6 x 35.5 cm, sheet 53 x 45.3 cm. Edition of 24. Printed by Malcolm Christian, The Caversham Press, Howick, KwaZulu-Natal, South Africa. Published by the artist and Malcolm Christian, Johannesburg.

8 Art in Print January – February 2017 introduces the celluloid presence of the artist and gives a rare look at the loneli- ness of the artist/magician longing to escape the studio. Kentridge squints through his espresso cup at shadow fig- ures stepping across a paper plate moon, among them his naked wife, Anne. He shifts paper fragments across his table, he spills lampblack ink and watches ants trek through sugar trails—scenes that seem in one moment to describe a univer- sal condition and in the next to be simple statements of the particular minutiae of studio life. One of the strengths of his work lies in the acknowledgment that indecision, struggle and fiddling are the inevitable underpinning to the sensuous drawing and filmmaking we see. Back in 1999, just a few years after the demise of apartheid, Kentridge made Rand Mines, an etching of a desolate landscape printed on pages from the 1913 ledger of a Johannesburg mining company. The prompt for the drawing is unexpected: a reproduction of Meindert Hobbema’s The Avenue at Middelharnis (1689) on the cover of a book given to him by his grand- father. As a child he had been fascinated by Hobbema’s muddy road in its unas- suming familiarity. Johannesburg is a young city built for its geological treasures rather than any natural beauty, but it sits close to the heart of lush, beautiful Africa. Like Hobbema, Kentridge chose the non- descript; in Rand Mines he drew the slag heaps, posing the question of how much of Kentridge’s Johannesburg is Kentridge, and how much is Johannesburg. In 1977 the poet and painter Breyten Breytenbach wrote an essay outlining the landscape that Kentridge and other young artists faced: The White author or artist . . . cannot dare look into himself . . . He with- draws and longs for the tranquility of a little intellectual house on the plain by William Kentridge, Zeno at 4am (2001), nine etchings on one sheet with sugarlift aquatint, from nine a transparent river . . . The artist who copper plates, each image 24.5 x 19.8 cm, sheet 98.2 x 81.8 cm. Edition of 12. Printed by Maurice closes his eyes to everyday injustice Payne, New York. Published by David Krut, New York. and inhumanity will without fail see are memorials to the black masses, made the joint presence of history and contin- less with his writing and painting eyes slaves to the extraction of minerals and gency; how he glues image above text to too. His work will become barren.15 the enrichment of others. The landscape, question the manipulation of knowledge:

Kentridge does see blood in the soil. in short, is a threat to disremembering. pages to be torn, just like the child’s rup- Through the stipple of aquatint sky in Kentridge’s work springs from a thicket tured innocence when he learns that bru- Rand Mines, the jottings of the old min- of cultural and philosophical references. tality undermines all that he knows. ing corporation and its perpetrators can He sees a direct line from man’s faith Kentridge reminds the viewer that be read. The elegance of the script is bal- in certainty and reason to violence: wrongs must not be forgotten. He shows anced against the artist’s spiky drypoint rationality can make such atrocities as us how he, and we, must unforget. markings denoting stakes and reeds colonial pillage, the Holocaust and apart- below. This manhandled landscape is a heid possible. We have seen how he layers Kate McCrickard is an artist and writer scarred witness to a culture; the slag heaps sequential drawing and erasure to suggest based in Paris.

Art in Print January – February 2017 9 Notes: 1. William Kentridge, Black Box/Chambre Noire (Berlin: Deutsche Guggenheim, 2005), 99. 2. Carolyn Christov-Bakargiev, William Kentridge (Brussels: Palais des Beaux-Arts, 1998), 75. 3. Judith B. Hecker, William Kentridge: Trace. Prints from the Museum of Modern Art (New York: Museum of Modern Art, 2010), 64. 4. Susan Stewart, William Kentridge Prints (Iowa: David Krut Publishing and Grinnell College, 2006), 26.

5. See Rosalind Krauss, “ ‘The Rock’: William Kentridge’s Drawings for Projection,” for a thor- ough discussion of the topic, October 92, Spring 2000 (Cambridge: MIT Press, 2000), 3. 6. Michael Auping, Double Lines, A “Stereo” Interview about Drawing with William Kentridge, William Kentridge Five Themes (San Francisco Museum of Modern Art, 2009), 241. 7. Marina Warner, Letters, London Review of Books, 21 April 2016. 8. An anamorphic image is a distorted projection of an image that appears true when viewed either at a particular angle or on a curved, polished sur- face. Hans Holbein the Younger’s Ambassadors (1533) incorporates the most famous example. Kentridge has produced many anamorphic prints and drawings and the first anamorphic animated film, What Has Come (Has Already Come), in 2007, the subject of which is the 1936–7 annexa- tion of Ethiopia by Mussolini and the exodus of Ethiopian Jews to Israel during the 1984–5 famine. 9. “Dribbly, runny.” The term can also describe the cooked state of an omelet. 10. Movement is circular rather than progressive here, a concept Kentridge explored in depth with Harvard physicist Peter Galison for their 2012 project, The Refusal of Time. 11. William Kentridge, In Praise of Shadows: An Insubstantial Essence (Turin: Castelo di Rivoli, 2004), 159. 12. Dan Cameron, “An Interview with William Kentridge,” William Kentridge (Chicago: Museum of Contemporary Art; New York: New Museum of Contemporary Art; New York: Harry Abrams, 2001), 69. 13. Jane Ure-Smith, Magic out of Mayhem, Financial Times, 24 September 2010. 14. Bakargiev, 14. (Quoted from a statement in William Kentridge: Drawings for Projection. Four Animated Films (Johannesburg: Goodman Gallery,1992). 15. Breyten Breytenbach, “How Apartheid Works,” Above: William Kentridge, Four Instruments (2003), drypoint from one copper plate, image 21.5 x New York Review of Books, 4 August 1977. http:// 27 cm, sheet 39 x 52 cm. Edition of 40. Printed by Randy Hemminghaus, Galamander Press, New York. www.nybooks.com/articles/1977/08/04/how- Published by David Krut, New York. Below: William Kentridge, Rand Mines (1999), etching, softground, apartheid-works. aquatint and drypoint, from one copper plate, on spreads from a ledger of 1913, image 37.2 x 62.3 cm, sheet 55.8 x 79.6 cm. Edition of 24. Printed by Malcolm Christian, The Caversham Press, Howick, KwaZulu-Natal, South Africa. Published by Malcolm Christian.

10 Art in Print January – February 2017 The Things Paper Carries: The Combat Paper Project By Jared Ash

Why can’t our veterans see themselves as we see them—luminous in their service and lucky to have the rest of their lives ahead of them? Why can’t they leave the war behind? The truth, of course, is that warriors bring their war home with them, not like a tan acquired on holiday but like a secret they wish they hadn’t been told. —Robert Emmet Meagher1

or nearly ten years, the Combat F Paper Project has worked with veterans to lift the burden of that secret through the process of making paper—in most cases, paper made from the cut-up and pulverized uniforms they once wore. The brainchild of two young men, one Drew Cameron and Drew Matott, Breaking Rank (2007), pulp stencil print on handmade paper from coming out of the Army and the other military uniforms, 29 x 51 inches. Courtesy Drew Cameron. coming out of art school, it is part cathar- sis, part community and part conceptu- by myself in the winter, I was making and found that many of his peers found ally compelling art endeavor. More than paper . . . making books . . . and journals the process as restorative as he had. The one participant has said it was life-saving; and giving them away. They were always organization was gearing up to publish at the same time, it has offered a window blank, like I didn’t have anything to say. a volume of writing and art by Iraq War into an experience that remains, for most That’s all I did. I was just making paper, veterans, and Cameron thought they Americans, fundamentally unknown. making paper, making paper.”3 might make handmade paper covers In 2004, Drew Cameron was a 22-year- Cameron was pursuing a degree in for it.5 old Iraq war veteran who had left his forestry, but he found himself increas- Matott was then studying book and home in Iowa for Vermont. “Like a lot ingly occupied with the impact of the war paper arts at Columbia College in Chi- of people who survive traumatic expe- on himself, other veterans, their fami- cago, where he had seen an exhibition riences,” he has explained, “I moved to lies and society at large. Two years after of “social papermaking” that included a place where I didn’t have any friends returning from Iraq, Cameron attended Eric Avery’s paper made from the shirts or family, and started going to college. I his first peace rally and became active in of AIDS patients he treated as a doctor tried to bury and distance myself from Iraq Veterans Against the War (IVAW). and prints about landmines by John Ris- any experiences I had.”2 In Burlington he There he met veterans who shared his seeeuw on paper made from the clothing served with the National Guard and took misgivings about the conflict and were of landmine victims, plants from mine- classes at a community college, where an grappling with the same debilitating fields and currencies from landmine ad led him serendipitously to a paper- guilt, anger and anxiety about things producing countries.6 It brought home, making workshop taught by a recent that they had witnessed, done (or not Matott says, “the power of actual paper college graduate named Drew Matott. done), or simply the fact that they had content; the story of the content carries Cameron had learned basic papermak- returned, while friends and family had a lot of weight.”7 Speaking with Cameron ing as a teenager from his father and was not. Troubled by the disconnect between about the book project, Matott thought: excited to take it up anew—slicing and what was being reported about the war to “How are you going to layer more con- macerating fibers with a beater to make the American public and the actual expe- tent into that book cover? Well, pulp a the pulp, dipping the mould and deckle riences of service members, Cameron uniform and that becomes the content. into the slurry to form the sheet, draining cofounded Warrior Writers, a group that That was the ‘aha moment.’ I asked Drew, and “couching” the sheet onto felt, then encourages veterans to articulate and tell ‘Would you ever consider pulping your hanging it to dry and beginning again. their own stories through writing, read- uniform?’ ”8 Cameron found a “meditative” calm in ings, performances, publications, and Cameron did just that: he invited the repetition and began working with exhibitions.4 As part of a Warrior Writers a photographer to his studio, put on Matott on a weekly basis. “Once I found event in April 2007, Cameron conducted his desert uniform, and cut and tore it paper again, I couldn’t stop. Late hours an impromptu papermaking workshop from his body. He then spent two days

Art in Print January – February 2017 11 Drew Cameron, from the portfolio Beyond Zero: 1914-1918 (2014), pulp stencil prints on handmade paper from military uniforms, 11 in x 14 inches. Courtesy the artist. slicing the fabric into postage stamp– University in Canton, New York. it as a conscious deconstruction of her size pieces, cooking them and mulching The filmmaker Sara Nesson became macho self-image to make way for a new, them through the beater, pulling sheets, involved with the project in Burlington, post-service identity, and she marvels couching them, pressing them and hang- and produced two related documenta- that something positive can be made ing them to dry. His uniform generated ries—Iraq, Paper, Scissors (2012), which from something “so intensely negative.”11 30 sheets of 18 x 12 inch grayish-green looks at the project itself, and the Oscar- Iraq, Paper, Scissors features, among paper, many of which he gave away. Later nominated Poster Girl (2010), which others, Eli Wright, an army medic who that year, he and Matott used photo- focuses on Robynn Murray, a one-time had served in Iraq. Wright began work- graphs of the uniform-cutting action as “all-American high school cheerleader” ing with Cameron while still in active source material for the print Breaking who came home from Iraq broken by the service; stationed at Fort Drum, New Rank (2007).9 (Additional photographs anxiety and depression of PTSD. In the York, he would drive six hours to Burling- from the series were used as the basis of film Murray discusses Healing (2008), a ton to make paper on weekend leaves. In the six-print portfolio You Art Not My cast she made of her torso using paper the film we see Wright pelting a 4 x 2-1/2 Enemy (2008), also printed on paper made made from her uniform. She describes foot black paper substrate with handfuls from Iraq war uniforms. Other veterans began volunteering their uniforms to be pulped, and sev- eral Warrior Writers had begun making paper regularly in Burlington. In Chi- cago Matott was developing new tech- niques for painting and printing with paper pulp; in a method that came to be used frequently by Combat Paper artists, photomechanical printing screens were created, but instead of being stretched on frames for screenprinting, they were laid directly on newly formed sheets of paper and emulsified, pigmented pulp was sprayed through them to merge with the wet fibers of the underlying sheet.10 In October 2007, Cameron and Matott gave a presentation on “Pulp Politics” to the Friends of Dard Hunter, an important hand papermaking organization, describ- ing their work with what Cameron had now dubbed “Combat Paper.” Paper art- ists at institutions around the country were eager to get involved, and the next month, on Armistice Day (November 11), the first formal Combat Paper Proj- David Keefe, Take Me With You (2012), solar etching, monoprint on handmade paper from military ect workshop took place at St. Lawrence uniforms, 16 x 20 inches. Courtesy Combat Paper NJ.

12 Art in Print January – February 2017 of pink pulp to make his searing paper- work, Open Wound (2007).12 At its center is a black hole, a reminder of, Wright says, “the wounds we all come home with [that eat] us from the inside out.”13 Combat Paper workshops for vet- erans usually begin with a day of “lib- erating rag” (cutting up uniforms and sharing stories), followed by a day of reading poetry and looking at art. The next two days are occupied with form- ing paper sheets and writing. On the final day the created work is shared with the wider community, through a reading and exhibition.14 Though often organized through universities and student veter- an’s groups, the workshops are generally open to the public, and welcome partici- pants across the full spectrum of political leanings, genders, generations, ethnici- ties, branches of service, personal experi- ences and deployments. Jim Fallon was a medic during the Vietnam War. His Combat Paper print U-turn (2012) recalls a young girl—one of the many orphans he looked after. Fal- lon was coming into the village in his jeep one day when she ran into the road, warning him to turn back. He made an immediate U-turn, and in the rearview mirror saw her shot by the Viet Cong. The print incorporates images of children, a red cross, and the text, “She was gone, and there was nothing I could do.”15 For artist and former Marine David Keefe, it is a two-year-old Iraqi boy named Rasul who lingers in memory. One day on patrol, Keefe was inspecting a family’s tent for weapons and uninten- tionally broke the boy’s toy gun. A pho- tograph taken at the time shows Keefe crouching down, trying unsuccessfully to console the child. He saw the family sev- eral times after that, until one day they and their entire village were just gone. He has made several prints from that photo- graph, including the Combat Paper etch- ing Take Me With You (2012), in which he imagines himself as the monster that he must have appeared to be to Rasul. In their art veterans memorialize lives lost, ruptured or transformed: those over whom they kept watch, and against whom they fought; battle buddies lost in combat or to suicide or substance abuse back home; and themselves through self- and That Which Didn’t Kill Me, Haunts Me Above: Jim Fallon, U-Turn (2012), screenprint portraits. PTSD, moral anguish and moral (Joe Kerstetter, 2013). on handmade paper from military uniforms, injury are other frequent subjects across Profound feelings of helplessness are 14 x 11 inches. Courtesy Combat Paper NJ. Below: Jesse Violante, No One Can Change the project.16 The despair is apparent in part of the pathology of PTSD, but Cam- the Animal I’ve Become (2013), screenprint on titles such as No One Can Change the eron believes that the double process of handmade paper from military uniforms, 10 x 20 Animal I’ve Become (Jesse Violante, 2013) destroying the uniform and making the inches. Courtesy Combat Paper NJ.

Art in Print January – February 2017 13 international therapeutic project, Peace Paper.18 The artists’ books, prints and port- folios produced in conjunction with Combat Paper are held by many public collections, including the Library of Con- gress’s Rare Books Division, the Boston Athanaeum, Princeton University and Yale University. Combat Paper artists have been featured in exhibitions at the Brooklyn Museum, the Corcoran Gal- lery, the Courtauld Institute of Art, the National Veterans Art Museum in Chi- cago, and elsewhere. Combat Paper art- ists have participated in projects with a variety of other organizations including the artists’ book collaborative Booklyn and Justseeds Artists’ Cooperative.19 Combat Paper also served as an inspira- tion for the book Paper Dolls: Stories from Women Who Served (2013), a collection of writings by 20 women veterans from all Donna Perdue, Amani/My Culture (2009), pulp stencil print on handmade paper from military uniforms, branches of the military, reflecting on 44 x 69 inches. Courtesy the artist. service spanning 40 years. It was edited by Pam Deluco, the owner of Shotwell paper “gives [veterans] the hope to carve somebody called us Paper Mill, and exists in both a trade a path through which to reenter civilian broken toy soldiers . . . version on standard paper and a limited life, not by distancing themselves from somebody said we were swept edition printed on paper made from uni- their experience and the accompany- under the rug . . . forms donated by women veterans (6,500 ing guilt, but by taking responsibility for somebody said we fought sheets, each formed by hand).20 Star their actions.”17 for freedom . . . Lara, one of the contributors, remarked: Donna Perdue’s print, Amani/My Cul- somebody said we fought “My story is one out of twenty and we all ture (2009), is both a powerful work of for empire . . . share a common thread. The most in- art and a testament to the camaraderie somebody thanked me spiring part of this project is that through and resourcefulness that characterize for my service, the project. The image portrays an Iran- and I felt confused . . . ian refugee woman whom Perdue, a U.S. because I forgot what I fought for, Marine Corps Media Coordinator with but now I know. 22 years of service, met while stationed so I’m taking back what you took. in Ethiopia. At four by six feet, the work i see through your symbols. required innovative and collaborative so i will destroy them solutions: the mould was made from a and make them beautiful. bed sheet stretched over a wooden frame, and seven veterans waded into the ocean Combat Paper has now facilitated (the workshop was held in the Florida more than 150 multi-day workshops in 30 Keys) to hold it while others added pulp states, serving thousands of veterans. And made from a uniform worn by Perdue while most come with no prior arts train- during her Ethiopia deployment. Back ing, many have continued printmaking on shore, the mould was set down on the and papermaking, and some have gone beach, and emulsified black pulp applied on to set up similar practices in their own through a screen to form the image; the communities. Augmenting the traveling particles of sand that adhere to it speak to workshops, Combat Paper now has four both the place of its making and the place affiliated paper mills around the country: where Perdue came to know Amani. Combat Paper Nevada in Reno (run by Eli Wright’s Broken Soldiers (2009) is the David J. Drakulich Art Foundation); situated beyond the hopelessness of his Combat Paper NJ, in Branchburg, led by Open Wound pulp painting. Drawing Eli Wright and Kevin Basl; the Veterans’ on his skills as a medic, Wright sutured Sanctuary, led by Nathan Lewis in Ithaca, small pieces of combat paper together New York; and Shotwell Paper Mill in Paper Dolls: Stories from Women who Served, into a single large sheet, on which he San Francisco, which Cameron joined edited by Pam DeLuco, illustrated by Annemaree screenprinted his poem: in 2011, when Matott left to begin an Rea (San Francisco: Shotwell Paper Mill, 2013).

14 Art in Print January – February 2017 that common thread we are now one historical narrative.”21 The idea of that thread has recently compelled Cameron to expand his focus beyond the personal experiences of indi- vidual soldiers to the collective trauma that war inflicts on society. In 2015, he pro- duced a portfolio of pulp stencil prints in conjunction with Beyond Zero: 1914–1918, a multimedia project by Kronos Quartet, that pairs a score by Aleksandra Vrebalov, with a compilation of archival 35mm silver nitrate films from World War I, recovered and transferred to digital media by Bill Morrison. In the colophon for his portfo- lio, Cameron writes: “May we one day be able to stop telling war stories.” Until then, it seems that there will be ample uniforms to make the paper on which to record them.

Jared Ash is Slavic and Special Collections Librarian at the Thomas J. Watson Library, The Metropolitan Museum of Art, New York.

Notes: 1. Robert Emmet Meagher, “Just Killers, Moral Injuries,” Cicero Magazine, 17 June 2014. http:// www.ciceromagazine.com.php56-15.dfw3-1.web- Eli Wright, Broken Soldiers (2009), screenprint on hand-stitched handmade paper from military sitetestlink.com/features/moral-injury-and-just- uniforms, 33 x 28 inches. Courtesy the artist. Photo: Jared Ash. war/. 2. “Tearing Up the Uniform,” interview with Drew Cameron, The State We’re In, Radio Netherlands http://www.peacepaperproject.org/pulp_printing. to establish papermaking as a form of trauma Worldwide. RNW, 10 Nov 2009. http://archief. html. therapy. Peace Paper sets up permanent paper- wereldomroep.nl/english/article/tearing-uniform. 11. Robynn Murray in Poster Girl. making facilities, outlines sustainable practices, 3. Drew Cameron in “Combat Papermakers Drew 12. Iraq, Paper, Scissors, special feature, on trains art therapists, and in this way has a pro- Cameron and Drew Matott: An Interview in Two Poster Girl. longed positive effect on communities, both state- Voices,” by Barbara Gates, Works & Conversa- 13. Eli Wright, “The Combat Paper Project: side and internationally. We’re offering workshops tion, 30 Nov 2012, www.conversations.org/story. Eli Wright,” The Odysseus Project Blog, 1 Oct to a range of communities from Basque youth to php?sid=331. Much of the information about the 2009, odysseus.nervegarden.com/2009/10/01/ the Tibetan refugees in Dharamsala in the Dalai formative moments, development, and growth of the-combat-paper-project-eli-wright/. Lama’s papermaking studio.” From Gates, “Com- Combat Paper presented in this article is derived 14. For visual demonstrations of the process bat Papermakers,” Works & Conversation. from this interview and from Iraq, Paper, Scissors, to transform uniforms into paper, watch: “Mak- 19. War is Trauma (2012) is a portfolio of 30 a 43-minute documentary on Combat Paper that ing Your Own ‘Combat Paper’: A Step-by-Step screenprints and 4 offset prints by 30 artists, appears as a special feature on the DVD Poster Tutorial,” PBS NewsHour video, posted by PBS produced by Justseeds in collaboration with Iraq Girl, directed and filmed by Sara Nesson (Brook- NewsHour, 30 April 2012, https://youtu.be/ Veterans Against the War. The paper for the port- lyn, NY: Portrayal Films, 2012). T9pCO4xC8rg; and “Combat Paper: Veterans folio cover was made by Cameron from combat 4. The other founders were Aaron Hughes and Battle War Demons with Paper-Making,” PBS uniforms worn in Iraq. Images from the War is Lovella Calica. View artwork and writing by War- NewsHour video, posted by PBS NewsHour, 30 Trauma portfolio are available for free download rior Writers at www.warriorwriters.org. April 2012, https://youtu.be/p067FY-41jo. and distribution at: https://www.ivaw.org/war- 5. Lovella Calica, ed., Warrior Writers: Re-making 15. Kevin Coughlin, “Combat Paper: Vets Turn is-trauma. For the list of contributing artists see Sense (Philadelphia, PA: Iraq Veterans Against War Trauma to Art in Morristown,” Morristown- “War is Trauma,” accessed 29 Nov 2016, www. the War, 2008). Green.com, 10 Sept 2014. morristowngreen. justseeds.org/portfolio/war-is-trauma-portfolio/. 6. “Politics on Paper: Global Tragedies/Personal com/2014/09/10/combat-paper-vets-turn-war- 20. Pam DeLuco, ed., Paper Dolls: Stories from Perils,” 7 Oct–9 Dec 2006. The exhibition also trauma-to-art-in-morristown/ Women Who Served (San Francisco: Shotwell included work by Robbin Ami Silverberg. 16. For discussion and definition of “moral injury,” Paper Mill, 2013). Illustrated by Annemaree Rea. 7. Gates, “Combat Papermakers,” Works & see Shira Maguen and Brett Litz, “Moral Injury in 21. Star Lara. ”Paper Dolls,” accessed 29 Nov Conversation. the Context of War,” PTSD: National Center for 2016, www.shotwellpapermill.com/collaborations/ 8. Ibid. PTSD, U.S. Department of Veterans Affairs. www. paperdolls/. 9. In the Gates interview, Cameron and Matott ptsd.va.gov/professional/co-occurring/moral_ mention making polymer plates from the photo- injury_at_war.asp. graphs and printing them letterpress. The edition 17. Dahr Jamail, “Art as Resistance,” Truthout, 6 of Breaking Rank, however, appears to have been Sept 2009. www.truth-out.org/archive/component/ stencil printed with paper pulp. k2/item/85961:art-as-resistance. 10. Matott provides a basic how-to for this method 18. Matott describes Peace Paper as “bringing on the website of his Peace Paper project: together survivors of trauma and art therapists

Art in Print January – February 2017 15 DocArt Trauma: Eric Avery’s AIDS Works By Marjorie B. Cohn

forearm is stretched full length, his work, appropriating their aesthetic A veins up. The fist is clenched, a cord strength as well as their signification, but knotted around the lower bicep. We’ve all he reimagines them for his own purposes. been there—when our blood is taken or, Blood Test harks back to Vesalius; his in a different human context, when we America Discovers Columbus (1992) cop- give blood—but not everyone has felt the ies a detail from Conquest, a 1930 fresco intensity of fear, or been able to represent by Diego Rivera. In Avery’s version, a it in such a visceral way, as Eric Avery did jaguar—the anthropomorphic personifi- in Blood Test (1986). The print is colossal: cation of the powerful native American— the hand and arm fill a four-foot plank rapes Columbus as well as stabs him. that tapers, crowding against the limb’s Avery found the required immersion outline. The forms are cut grossly, with in the medical curriculum traumatic, yet repeated visible gashes by knives and this did not deter him from plunging into gouges. Distended, ropey veins mar the more traumatic situations. In his subse- inner arm and a white scar interrupts the quent career as a physician and a social base of the bicep. activist he worked in refugee camps in To give only three of many possible Southeast Asia and Somalia in 1979–1980 characterizations of the artist: Avery is a and also in his home state of Texas a gay man, an artist and a physician, spe- decade later, when people fleeing human cifically a psychiatrist. Blood Test docu- rights crises in Central America sought ments his first HIV test, taken in 1986 refuge north of the border. The ultimate when death was the certain outcome of existential trauma, however, was the rec- AIDS: “My pretest counseling indicated ognition in the 1980s of a new plague, that I was at risk for getting a positive rampant and mortal among gay men. result. During the stressful two weeks Avery has acknowledged all of this, while I waited for my results (HIV nega- and has identified printmaking as tive), I drew my arm and cut the image.”1 his means of working toward psychic To draw blood and to draw its represen- resolution: tation is a strange enough confluence of language, but to compound this with Traumatic spaces . . . are for me places the verb “cut,” with its implication of of overwhelming experience . . . That bleeding… happened for me in medical school, Blood Test, however, also draws on and it happened again in Africa . . . a deeper history. In 1969, during the Eric Avery, Blood Test (1986), molded paper working with AIDS . . . going into the Vietnam War, as Avery was nearing his woodcut, 48 x 16 inches. Smith College Museum prison [to work with HIV positive con- of Art, Northampton, MA. Purchased with the gift university graduation, the United States of Sue Reed, class of 1958. Courtesy of the artist. victs]. I continually put myself in these initiated the first draft lottery since overwhelming experiences. All my World War II: “There were 366 num- repressed anger that I have for all the bers and the first third was told to pre- screenprinted a grainy reproduction of a bad stuff that has happened to me, you pare to be drafted. My number was 97.”2 16th-century portrait of the pioneering know, could be really destructive. So I His father was a physician—a pediatric anatomist Andreas Vesalius (1514–1564). channel all that stuff into my chopping hematologist (a specialty that, in the In the 1972 version Vesalius is reflected on and grinding and pounding.4 most pedantic sense, is based on blood himself like an ink blot (though his right- tests)—but Harlow Avery did not want hand version wears a bright red nose This quote comes from a 1997 inter- his son to become a doctor; it was Avery’s cone). In the 1973 version, we see the full view with the cultural anthropologist printmaking professor at the University portrait, in which he is shown dissecting Michael J. Fischer, who posits that Avery’s of Arizona who counseled him to attend the forearm of a cadaver. (Only bodies artistic actions are freighted with the medical school so he could continue his taken down from the gallows were avail- same mission as psychiatry—to relieve student deferment. The convergence of able to Vesalius.)3 It was only recently, trauma. In his book Emergent Forms of art and medicine that would inform his when we were discussing this image, that Life and the Anthropological Voice, Fischer adult life and work began early. he recognized the link between his 1972 writes: As the “class artist” he was enlisted to Vesalius with the flayed arm and the Blood design the covers of Syndrome, the Univer- Test of 13 years later. The physicality of the work to pro- sity of Texas Medical Branch yearbook, Throughout his career Avery has duce this art operates also as a psy- in 1972 and 1973. On the front of each he incorporated preexisting images into chological technique of Freudian

16 Art in Print January – February 2017 mented with plaster prints, much as Roger Vieillard and Stanley William Hay- ter had done earlier in the century, mak- ing casts of their deeply engraved plates. Avery, however, found plaster reliefs to be both heavy and fragile, and it occurred to him to use paper pulp instead. This opened up new avenues of printed tex- tures, sculptural forms, and even color and light, as he began to mix pigments into the pulp. Returning to Blood Test, we can now understand the raised white scar—a keloid at the base of the bicep—as a trauma experienced by the plank some- time before Avery gouged the image of his own trauma into it; the board, previously used and discarded, had experienced its own wounds. As a phy- sician always looking toward disease

Eric Avery, Syndrome (Class Book Covers, University of Texas at Galveston Medical Branch) prevention through education, in 1990 (1972–1973), photomechanical reproduction, each image 9 3/4 x 7. Courtesy of the artist. he produced a sequence of Blood Test impressions with pulp mixtures that “working through” the body, trans- in graphite, then gouged the design graduated from white to brown, collec- muting anxiety and stress for the art- into wood—recasting elite intaglio as a tively illustrating the change in the pop- ist, but also tapping into more general demotic block print, except in this case ulation infected with AIDS, from whites cultural and generational anxieties. it is a “bowl print,” cut into the outside to people of color. The language of emotional working of a large wooden serving dish used at Trauma and our emotional response through comes naturally to this art- Mexican fiestas. to it have always been the basis of Avery’s ist . . . whose professional language is Printing from the top surface of a art. In 2009, using a found tree root one of repeated “retraumatizations.” curved, carved object requires something that had, astonishingly, grown in the In its full-blown psychiatric usage, other than a standard sheet of paper shape of an open rectangle, he carved a retraumatization means recognizing as a receiving surface. Intrigued by the matrix evoking the “Circuit of Papez,” psychodynamic patterns . . . of com- three-dimensional potential of a print- the brain’s neural structure for control- pulsion to place oneself in situations ing matrix cut into wood, Avery experi- ling emotional expression. On his web in which one is at risk of undergoing traumatic experiences.5

In another interview Avery com- mented, “the only part of my life that I feel I’ve really mastered is my ability to make a print. To cut a wood block, to ink the wood block, and to print it… The physical process [has] a rhythm in it and repetitive motion … that, for me, is very soothing.”6 Though this observation details ther- apeutic motions specific to the making of woodcuts, Avery has produced prints of practically every sort: he has used tra- ditional hand processes such as lithogra- phy, screenprint, etching and monotype, as well as techniques more often thought of as mechanical or reproductive— letterpress, relief photo-engraving and digital printing. He has sometimes inverted the traditional printmaking hierarchy: when he was working through ideas for America Discovers Columbus, he drew Rivera’s composition on a small Eric Avery, America Discovers Columbus, 1492–1992 (1992), etching with graphite additions, zinc etching plate, retouched the proof 7 1/2 x 9 3/4 inches, Collection of Marjorie B. and Martin Cohn. Courtesy of the artist.

Art in Print January – February 2017 17 Left: Eric Avery, America Discovers Columbus, 1492–1992 (1992), carved Mexican bowl. Collection of Jane Petro and Carolyn Becker. Right: Eric Avery, America Discovers Columbus, 1492–1992 (1992), molded paper woodcut, 28 1/2 x 38 1/2 x 5 inches. Courtesy of the artist. page, Avery quotes from a medical atlas He titled it The Square Root of Trauma. staff who had their blood drawn for HIV to explain the anatomy: Avery’s most sculptural molded-paper testing. woodcut is the HIV Condom Filled Piñata The event was set within Avery’s In 1937 James Papez suggested that he made in 1993—an object that incor- installation The Stuff of Life (1993)—the emotion is appreciated by higher cog- porates art, medicine and popular imag- gallery was hung with virus piñatas and nitive centers via reciprocal commu- ery; violence, infection and diagnosis; its walls covered with six-foot-high nication between deep structures in activism, humor and play. The piñata swaths of paper printed with linoleum the brain…the hypothalamus, mamil- takes the form of a globe built from two block renderings of red blood cells and lary bodies, anterior thalamic nuclei, woodcuts that were molded and printed the dreaded HIV-infected white cells in cingulated gyrus and hippocampal from the inked interior of wooden hemi- blue. These gigantic cell forms were formation [plus] the amygdala and spheres into which multiple holes had derived from enlargements of a smear of orbitofrontal cortex. Emotional infor- been drilled. Paper pulp, extruded into his own blood, embodying the traumatic mation and responses are coordinated the holes, form white “receptor sites” that blood test when he had imagined his own through this system in the brain.7 stud the completed black paper “virus.” infection. In 1994, anti-HIV drugs were That is the physician’s description. The half-shells, each 8 1/2 inches in still in their developmental stage and the The artist’s visualization was simpler: diameter, were filled with condoms and only viable medical responses to the dis- he carved words — THINKING … FEED- then bonded together at their equator. ease were informative clinical advice,

BACK … MEMORY … FEELING — into the Hung in clusters, these virus piñatas have blood testing and practicing safe sex. The root, which he inked and pressed into starred in several of Avery’s art/medicine artist and psychiatrist within Avery col- wet paper pulp impregnated with lumi- actions, perhaps the most memorable of laborated to create an aesthetic setting— nescent pigment. The resultant, roughly which was Healing Before Art: HIV Pub- Blood is beautiful!—and prescriptive art quadriform woodcut — really a sculp- lic Blood Testing, which took place on 11 objects—Hit those viruses! Grab those tural object — glows green around the May 1994 at Mary Ryan Gallery in New condoms!—to engage, retraumatize and stark black words. We can imagine it York City and involved an invited group educate all who would want to go on liv- shining underground or within a skull. of artists, museum curators and gallery ing and to know life as it is.

Eric Avery, The Square Root of Trauma (2009), printing matrix from a naturally formed tree root (left) and molded paper woodcut (right), both 21 x 26 1/2 x 5 inches. Courtesy of the artist.

18 Art in Print January – February 2017 Installation view: “Healing Before Art: HIV Public Blood Testing,” for Mary Ryan Gallery, New York, 1994, showing Eric Avery, The Stuff of Life (1994), linocut panels, each sheet 72 x 32 inches, and HIV Condom-Filled Piñatas (1993), molded paper woodcuts with condoms, 8 1/2 inch diameter each. Courtesy of the artist.

5. Ibid., 91. Marjorie B. (Jerry) Cohn is the Carl A. Weyer- 6. Conversation between Eric Avery and Mary haeuser Curator of Prints, Emerita, at the Harvard G. Winkler, historian of art at the Institute for Art Museums /Fogg Art Museum. the Medical Humanities, The University of Texas Medical Branch at Galveston, 23 February 1994, typescript transcript. Notes: 7. The quotation is taken from www.ericavery- 1. Eric Avery’s website, www.ericaveryartist.com, artist.com, where B. Greenstein, The Limbic Sys- consulted 10 May 2016. See this website for the tem, Color Atlas of Neuroscience, 2000, p. 316, artist’s biography and a catalog with images of is cited. his prints and art actions. The actual, complex processes of making many of the prints are often illustrated, as well as the sources of many of the images in earlier artworks. 2. Eric Avery to Marjorie B. Cohn, email, 13 May 2016. 3. The back cover of the first volume is a black void, with only the red nose cone from the front disrupting it. The back cover of the second vol- ume pictures a medical student, as Avery [?] saw himself: His head is covered by a bag, his arms are trussed with rope; he is ready for execution. 4. Michael J. Fischer, Emergent Forms of Life and the Anthropological Voice (Durham and Lon- don: Duke University Press, 2003), 99. Avery is the subject of Chapter 4, “Cultural Critique with a Hammer, Gouge, and Woodblock: Art and Medi- cine in the Age of Social Retraumatization.”

Art in Print January – February 2017 19 Dark and Bright Art: Woodcuts in the Aftermath of War By Shaoqian Zhang

n a talk given at Jinan University in I Shanghai in 1927, the leftwing artist Lu Xun (1881–1936) argued, “contempo- rary art describes our society, and even we are written into it. Previous art, like a fire across a river, had little to do with us. In contemporary art even we ourselves are burning.”1 Lu believed that artworks should enhance or transform social ideo- logies, and he initiated a serious debate over the role of modern art in the renewal of Chinese society.2 Speaking as one of the most prominent figures in Chinese literature and education, he called for a new form of art based on an ancient technology that would give voice to the people: the woodcut. The New Woodcut movement, broadly associated with the circle around Lu, emerged as the domi- nant mode of representation among pro- gressive Chinese artists in the 1920s, ’30s and ’40s. Lu’s influence was profound and long- lasting. Nearly 20 years after Lu’s talk, the catalogue of the influential exhibi- tion “Woodcuts of War-Time China” (“抗 戰八年木刻選集”) was dedicated to him3 (Fig. 1). Held in Shanghai in September and October 1946, one year after Japan’s surrender to Allied and Chinese forces, China’s first juried woodcut exhibition included 897 works by 113 artists and was broken into four chronological sections, covering phases of the Second Sino- Japanese War (1937-45).4 China, officially under Nationalist (Kuomintang, or KMT) control at the time of the exhibition, had fought with Japan sporadically since 1931. The full- blown conflict commenced in 1937 and Fig. 1. Cover Page of Woodcuts of War-time China. Reproduced from Zhonghua muke xiehui 中華全 key cities in China’s east quickly fell, 國木刻協會(The Association of Chinese Woodcuts), Kanzhan banian muke xuanji 抗戰八年木刻選集 prompting the KMT to join forces with Woodcuts of War-time China (Shanghai: Kaiming shudian, 1946). the Chinese Communist Party (CCP), despite their mutual mistrust. The ensu- that range from Chinese folk art to Euro- focuses on the exhibition’s fourth sec- ing eight years of combat opened the way pean Cubism, Expressionism and Sur- tion, which covered the immediate post- for the rise of the CCP, and for their even- realism. Dramatic compositions, visible war period from late 1945 to late 1946, as tual overthrow of the KMT in 1950. traces of the cutting knife, and expressive the alliance between the Kuomintang The war with Japan also stimulated use of light and shadow echoed the emo- and the Communists broke apart and Chinese political art. New Woodcut had tions of the Chinese people. artists adopted visibly different styles been influenced by international socially The first three sections of the exhibi- and subject matter depending on their progressive art, and the prints included in tion addressed experiences in Japanese- geographical situation. While some the Shanghai exhibition show influences occupied China.5 This article, however, continued to explore the war’s trauma

20 Art in Print January – February 2017 protesting the Japanese invasion and the decaying KMT government. The jubila- tion suggested by the title of his print Celebrate the Surrender of Japan and the Victory of China (慶祝日本投降，中國勝利, 1945-6) (Fig. 2), is belied by the image: on the left, a soldier in KMT uniform bran- dishes a whip as an anguished woman kneels before him, her emotions vividly expressed through her distorted and emaciated body; on the right, a sleazy- looking man, dressed in typical Chinese landholder attire, holds a long smoking pipe while speaking arrogantly to two peasants who are bound with ropes. A crying child pulls at the legs of a wail- ing, bound figure; the other peasant’s head is lowered in despair. A dark figure in the background seems to be loosening the ropes on one peasant; he is barefoot, which suggests he is also at the bottom of Fig. 2. 慶祝日本投降，中國勝利 Li Hua, Qingzhu Riben touxiang, Zhongguo shengli (Celebrate the society and is trying to help his suffering Surrender of Japan and the Victory of China, 1945–46), woodcut, 20 x 27 cm. Reproduced from Hua Li, Li Hua Hua Ji 李樺畫集 (Collection of Pictures from Li Hua) (Tianjin: Tianjin renmin meishu chuban- fellows. The threadbare appearance of she, 1987), 32. the peasants makes a sharp contrast with their well-dressed oppressors. The clear and its dark aftermath, others saw it as the KMT government to assuage the suf- implication is that though the war with a purifying process, and strove to point fering of the Chinese people. Victory did Japan is over, injustice persists under the their viewers toward a bright future. not translate into relief from poverty and new regime. oppression. Another example of “dark” art by Li is “Dark” Woodcuts Li Hua (1907–1994), one of the most the woodcut Struggles (掙扎, 1946) (Fig. 3), influential artists of the New Wood- in which four barefoot men drag a primi- For Chinese New Woodcut artists cut movement, was one of the exhibi- tive plow through a barren field. Their working in the 1930s, the prints of Euro- tors. Working in the Japanese and later anguished expressions and contorted bod- pean artists such as Käthe Kollwitz, Frans KMT-controlled regions throughout ies, the sharp contrast of black and white, Masereel and George Grosz, reproduced in the 1940s, he produced many woodcuts the strong diagonals of the furrows, and journals, had provided crucial inspiration. With their condensed compositions and focus on the suffering inflicted by war and poverty, these works offered an invigorat- ing model for artists who wished to engage with social and political issues.6 Art his- torian Julia Andrews suggests that after the outbreak of the Second Sino-Japanese War, the idea of art as propaganda was fully embraced by artists of varying politi- cal orientations.7 After the war, woodcut artists further refined their techniques to create complex and imaginative images.8 Though KMT was recognized inter- nationally as the legitimate government of China, it failed to maintain popular support after the defeat of Japan. In the words of historian Suzanne Pepper, “the discovery came abruptly that the KMT’s wartime prestige would be no measure of its post-war behavior.”9 Collaboration between KMT officials and the Japanese, ongoing corruption and inflation stoked public fury.10 Some of the exhibition’s most powerful images were directed, not Fig. 3. Li Hua, Zhengzha 掙扎 (Struggles, 1946), woodcut, 20 x 27 cm. Reproduced from Hua Li, Li Hua against the Japanese, but at the failure of Hua Ji 李樺畫集 (Collection of Pictures from Li Hua) (Tianjin: Tianjin renmin meishu chubanshe, 1987), 25.

Art in Print January – February 2017 21 as 1940–41, in the Communist-controlled area of Northern Shannxi, artists had married nianhua imagery to New Wood- cut styles to create a new genre of utopian art. The celebratory atmosphere of Gu Yuan’s (1919–1996) 1946 woodcut We Sup- port Our Own Army (擁護咱們老百姓自己 的軍隊) is conveyed through a procession of sheep and goats, happy children, well- fed and dressed adults, and lavish amounts of red, green and yellow, the colors most frequently used in nianhua (Fig. 4). Pep- pered throughout are helpful soldiers in CCP Army uniforms. The message is neatly engineered: the CCP will protect the people in the manner of the mythi- cal door guardians who safeguard fami- lies in traditional nianhua.14 Despite the explicit military presence, Gu eschewed any depiction of the human costs of war, concentrating on the cooperation of soldier-heroes and rural Chinese in con- structing a happy future. The interplay between European-inspired woodcut and auspicious nianhua continued to pro- duce effective political imagery through the late 1940s. Artists such as Yan Han (1916 – 2011), Li Qun (1912–2012), Xia Feng (1914–1991) and Zhang Wang (1916–1992) followed this hybrid artistic style and fre- quently published their work in pictorial magazines and art books. CCP-affiliated artists also used por- traits of idealized political leaders as an avenue for picturing an imminent utopia (Fig. 5). Yang Yanbin’s (1916–2011) impos- ing 1945 woodcut portrait of Mao Zedong shows the young leader as powerful yet compassionate and anti-militaristic; one hand is folded into a fist forcefully placed against a table while the other is Fig. 4. Gu Yuan, Yonghu zanmen laobaixing ziji de jundui 擁護咱們老百姓自己的軍隊(We Support held out in benediction. Yang exploits the Our Own Army, 1946), woodcut, 27 x 37.5 cm. Reproduced from Yuan Gu, Gu Yuan Muke Xuaji 古元木 linear vocabulary of woodcut, using sub- 刻選集 (Selection of Woodcuts from Gu Yuan) (Beijing: renmin meishu chubanshe, 1962), 52. tle and soft lines in the face (suggesting a leader who could be relied on to protect a the lonely, leafless tree on the horizon “Bright” Woodcuts family and ensure they were well-fed and all contribute to an atmosphere of bleak- clothed), and harder, more chiseled lines ness and fear. These are among the many During the war, Chinese artists had in the Sun Yat-sen jacket (conveying a woodcuts in the show that reflect disen- continued to produce woodcuts inspired determination to take on the dark forces chantment, even fury, with the KMT. In by European Expressionism, as well as menacing society). This image departs the months following the defeat of Japan, those that adopted visual motifs from from the classical Chinese conception frequent strikes and student protests traditional New Year pictures (nianhua), of an emperor wielding the “mandate inspired a surge of like-minded woodcuts. which had been China’s most familiar of heaven.” It maintains the imperial Pepper observes, “there were few sectors and prevalent form of shared imagery sense of authority but emphasizes Mao’s of Chinese society that had neither expe- since the Ming Dynasty (1368–1644). humanity and individuality. By 1945 Mao rienced nor witnessed at close hand the Despite obvious links to the most conser- had consolidated his dominance within adverse effects of KMT rule.”11 Represen- vative of Chinese customs, these expres- the party and replicated the Soviet strat- tations of disaffection addressed issues sions of hope for prosperity in the coming egy of legitimizing institutional power from inflation to police violence, hunger year12 were a highly versatile form of through his cult of personality. With Mao and government corruption. popular art in modern China.13 As early in charge of propaganda, literature and

22 Art in Print January – February 2017 artwork, artists, writers and journalists War of Resistance), in Muke yishu 木刻藝術 felt compelled to propagate his image. In (Woodcut Art), no. 2 (Shanghai: 中華全國木刻協 會 contrast to the bleak vision of life con- [The Association of Chinese Woodcuts]), Sep veyed by Li Hua and other artists, Com- 1945. 6. Xiaobing Tang, Origins of the Chinese Avant- munist prints emphasized rural hope and Garde: The Modern Woodcut Movement (Berke- contentment. Mao’s guidelines, spelled ley: University of California Press, 2007), 89. out at the famous Yan’an Forum on Art 7. Julia F. Andrews and Kuiyi Shen, “The Modern and Literature in 1942, declared that art- Woodcut Movement,” A Century in Crisis: Moder- ists “should primarily focus on represent- nity and Tradition in the Art of 20th-Century China. ed, Julia F. Andrew and Kuiyi Shen (Guggenheim: ing the brightness” and that darkness New York, 1998), 213. should only be used as “the foil of the 8. Andrew and Shen, “The Modern Woodcut brightness.”15 Movement,” 224. 9. Suzanne Pepper, Civil War in China: The Politi- Art for the People cal Struggle 1945–1949 (Lanham, MD: Rowman & Littlefield Publishers, 1999), 7. 10. Ibid., 9. Lu Xun’s passion for woodcut arose 11. Ibid., 199. in part from the fact that print was a 12. Ellen Johnston Laing, Selling Happiness: Cal- medium of multiplicity with the power endar Posters and Visual Culture in Early Twen- to reach multitudes. According to Lu, tieth-Century Shanghai (Honolulu: University of Hawai’i Press, 2004), 25–6. woodcut “belongs to the mass, thus it 13. The versatility of nianhua and how they is ‘secular’ in its essence.”16 The scholar adopted different styles and contents into their Fig. 5. Ye Shengtao (1894–1988) shared a simi- Yang Yanbin, Mao Zedong (1945), wood- forms in China’s modern period have been cut, 15 x 20 cm. Image courtesy of Weizhong Yuan. lar opinion: “It is completely a folk art, addressed by a number of art historians includ- which is to say, it is not from the studios ing Wang Shucun, Bo Songnian and Tanya The art included in the “Woodcuts of McIntyre. See Wang Shucun, Zhongguo nianhua 17 of the literati.” For artists, the choice War-Time China” exhibition was intended shi (2002); Bo Songnian, Zhongguo nianhua shi of medium could be nearly as impor- to function as a weapon against enemies (2008); Tanya McIntryre, Chinese New Year Pic- tant as the choice of style in declaring of the people, even while exploring new tures: The Process of Modernisation, 1842–1942 their political orientations. New Chi- (1997). formal ideas and hybrid stylistic vocabu- 王 樹 村， 中國民間門神藝術史話 nese woodcuts were meant to reach the 14. Wang Shucun laries. The last section—with its visible [History of Chinese Folk Art of Gate Guardians] proletariat, rather than the elite. At the contrast between art focused on present (Tianjin: Baihua wenyi chubanshen, 2008). same time, however, they arose from a trauma and that emphasizing the promise 15. 寫光明為主and 光明的陪襯.Mao Zedong毛 澤東 在延安文藝座談會上的講話 cosmopolitan awareness of modern fig- of the future—showcased the difference , “ ” [Talks at the Yan’an Forum on Art and Literature],” 毛澤東選集 uration. In the words of Sinologist Tang between CCP and KMT approaches to Xiaobing, New Woodcut artists “greatly [Selected Works of Mao Zedong], Vol. 3 (Beijing: coordinating art and politics. It illumi- Beijing renmin chubanshe, 1990), 808. extended the vocabulary, grammar, and nates the divide that expanded into the 16. 它本來就是大眾的，也就是俗的Lu Xun 魯迅, versatility of the black-and-white wood- Civil War that raged across the country for “中国木刻展展序 [Preface to the Woodcut Exhi- block print and promoted it as a superbly the next four years. bition in China],” Ershi Shiji Zhongguo Meishu expressive and evocative common visual Wenxuan中國美術文選 [Anthology of Chinese Art in the 20th Century]. ed. Shui Tianzhong and Lang language of the modern age.”18 Shaojun (Shanghai: Shanghai Fine Art Publisher, Unlike the CCP, which carefully Shaoqian Zhang is an assistant professor of art 2001), 374. Translation mine. strategized and exploited images, the history at Oklahoma State University. 17. 它是徹底的民間藝術, 就是說, 並非士大夫書 KMT had no consistent central policy 齋里的東西Shengtao Ye葉聖陶, “ Banian kangri for coordinating art and politics. Harriet muke yishu xuanji 八年抗日木刻藝術選集序 [Pref- Evans and Stephanie Donald describe Notes: ace to the Florilegium of Woodcuts in the Eight 1. Lu Xun, “The Divergence of Art and Politics,” Years’ Anti-Japanese War],” Ershi Shiji Zhongguo woodcuts produced in areas under their Modern Chinese Literary Thought: Writings on Meishu Wenxuan中國美術文選 [Anthology of Chi- governance as “graphic reminders of Literature, 1893–1945, ed. Kirk Denton (Stanford: nese Art in the 20th Century], ed. Shui Tianzhong mass insecurity, arbitrary violence, and Stanford University Press, 1996), 333. and Lang Shaojun (Shanghai: Shanghai Fine Art personal trauma.”19 2. Julia F. Andrews, “Commercial Art and China’s Publisher, 2001), 646. Translation mine. In September 1946, the Association Modernization,” A Century in Crisis: Modernity 18. Tang, Origins of the Chinese Avant-Garde, 1. and Tradition in the Art of 20th-Century China, 中華全國木刻協會 19. Harriet Evans and Stephanie Donald, Pic- of Chinese Woodcuts ( ) ed, Julia F. Andrew and Kuiyi Shen (Guggenheim: turing Power in the People’s Republic of China: published a statement in the Commu- New York, 1998), 184. Posters of the Cultural Revolution (Lanham, MD: nist newspaper Xinhua Ribao (新華日報) 3. On the title page of this book is written in both Rowman & Littlefield, 1999), 5. that called for woodcut artists to keep Chinese and English: “Dedicated to the Late Mr. 20. The Association of Chinese Woodcuts was fighting for democracy and freedom Lu Hsin, the Arch-Sponsor of Woodcutting in founded by Lu Hongji (1910–1985) and Ding China, on the Occasion of the Tenth Anniversary Zhengxian (1914–2000) in Chongqing in 1942. In 20 after the defeat of Japan: of His Death.” 1946 it was relocated to Shanghai. Before 1949, it Woodcut workers should make the 4. First (1937–1938), Second (1938–1939), Third did not officially belong to KMT or CCP. people’s will their will. The direction (1940–1944) and Fourth (1945–1946). Qi Fengge 21. 木刻工作者即以人民意志為意志。那麼今天的 for today’s work should be oriented 齊鳳閣, Zhongguo xiandai banhua shi 中國現代版 工作方向，自然也應以人民的要求為方向──很明 畫史 顯，也即是爭取和平民主的方向 toward the people’s needs—obviously, [History of Modern Chinese Print] (Guang- Zhonghua muke zhou: Lingnan meishu chubanshe, 2010), 98. xiehui 中華全國木刻協會 [The Association of Chi- [it is] also about fighting for democracy 5. See “抗戰八年木刻展告全國木刻同志” (Inform nese Woodcuts], in Xinhua ribao 新華日報 [Xin- and freedom.21 the Woodcut Artists from the Eight Years of the hua Daily], 20 Sep 1946 .

Art in Print January – February 2017 23 Games of Conquest: Sugoroku of Imperial and Wartime Japan By Rhiannon Paget

Left: Fig. 1. Watanabe Nobukazu, Fukushima chōsa ensei sugoroku (Pictorial Board and Dice Game: Lieutenant Colonel Fukushima’s Expedition, 1893), set of joined color woodblock prints, 80.8 × 50.2 cm overall. Published by Yokoyama Enshō. Saint Louis Art Museum, Gift of Mr. and Mrs. Charles A. Lowen- haupt 839:2010a-f. Right: Fig. 3. Ogata Gekkō, Shōbu sugoroku (Pictorial Board and Dice Game: The Warlike Spirit, 1893), set of joined color woodblock prints, 97.8 x 74 cm. Printed by Azuma Kenzaburō. Published by Kikuchi Teiji. Saint Louis Art Museum, Gift of Mr. and Mrs. Charles A. Lowenhaupt 838:2010a-h. Images courtesy Saint Louis Art Museum. Photos: Jean-Paul Torno.

n the late 19th and early 20th cen- article relates to a different aspect of this the late 17th century.1 The board was I turies, mass-produced printed board transition—Japan’s early empire-building typically made of standard-sized sheets games celebrated Japan’s astonishing rise and the professionalization of the mili- of woodblock-printed paper pasted as a military and imperial power. Called tary between the 1870s and 1890s, the together, and players compete to navigate sugoroku, these objects have not received First Sino-Japanese War (1894–1895), the their game pieces from the start toward a great deal of scholarly attention, and Russo-Japanese War (1904–1905), and the a winning final space by rolling a die.2 because they were meant to be played Second Sino-Japanese War (1931–1945). Early sugoroku were apparently intended with, examples in good condition are And each represents a meeting of popular for spiritual edification: in Pure Land rare. The Saint Louis Art Museum is culture and national policy, art and pro- sugoroku, played since at least the 15th fortunate to have received a recent gift paganda. They are fascinating for their century, players progressed from the from Charles and Rosalyn Lowenhaupt aesthetic qualities, for what they reveal earthly sphere through the ten realms of of almost 1,400 objects—prints, paint- about the culture that produced them, the Buddhist cosmos.3 Depending on the ings, books, textiles, postcards and toys— and for what they can teach us about the whim of the die, one might reach the Pure related to Japan’s modern wars, including persuasive power of images. Land (Buddhahood) or descend into hell. a number of remarkable sugoroku prints. Sugoroku is a “race game” similar to Secular versions of sugoroku came Each of the five games discussed in this Snakes and Ladders that flourished from to the fore with the rise of Japan’s

24 Art in Print January – February 2017 commercial woodblock printing indus- try in the late 17th century, supported by an increasingly literate and wealthy merchant class.4 At the end of each year, publishing houses released new games to be played during the New Year’s holiday. Relatively cheap, they wore out quickly, ensuring steady demand. Publishers competed by commissioning fashion- able artists such as Utagawa Hiroshige (1797–1858) to create attractive designs that reflected popular contemporary sub- jects: kabuki actors, travel and themes such as worldly self-advancement, as well as overtly promotional sugoroku designed to advertise new goods or services. With the Meiji Restoration of 1868, the Fig. 2. Utagawa Kunimasa IV, Fukushima chūsa tanki ensei: Fukushima chūsa: Fujisawa Asajirō military government that had ruled Japan (The Lone Cavalryman Lieutenant Colonel Fukushima on His Expedition: Actor Fujisawa Asajirō as for more than 200 years was replaced Lieutenant Colonel Fukushima, 1893), triptych of color woodblock prints, 37.8 x 73 cm mounted. by an administration centered on the Engraved by Toku. Published by Kodama Yakichi. Saint Louis Art Museum, Gift of Mr. and Mrs. Charles emperor, and a newly assertive nation A. Lowenhaupt 8:2015a-c. Image courtesy Saint Louis Art Museum. Photo: Jean-Paul Torno. state was forged. Japan had been forced into unequal treaties with the United and adults, in textiles and ceramics and, just those born to the samurai class. The States and Britain in the 1850s and had of course, sugoroku. This board game pic- Conscription Act of 1873 made it the right watched as Western empires carved up tures 12 episodes from his adventures, and duty of every young man to defend the the world between them. Acutely aware including parting with his beloved steed honor of the Emperor. of the necessity of military might in the Gaisen, who fell lame and died three A December 1893 advertisement in modern world, Japan now set forth on months into the journey; an encounter the Asahi newspaper announced Ogata a project of rapid modernization and with bedbugs that robbed him of sleep; Gekkō’s (1859–1920) Warlike Spirit game industrialization, including the forma- scolding Chinese officials; and his hero’s (Shōbu sugoroku) (Fig. 3), explaining that it tion of a Western-style army and navy welcome at Ueno Park in Tokyo. (The St. had been devised by Admiral Ogasawara manned by national conscription. The Louis example is remarkable in still hav- Naganari (1867–1958), tutor to the crown ensuing imperial adventures included ing its original envelope, printed with prince, Yoshihito (1879–1926), who was to the two Sino-Japanese Wars (1894–1895 the image of the gallant Fukushima tra- become the Taishō emperor in 1912.8 It and 1937–1945), the Russo-Japanese War versing a frozen landscape.) In the final is described as a beloved educational toy (1904–1905), and World War I (1914–1918), box, he reports to the Emperor, who of the young prince, which would help all of which were fodder for popular bestows upon him an Order of Merit. instill correct values in any home.9 media, including sugoroku. The red space above each picture gives In this game, all players begin in the a key indicating where the player moves schoolroom at lower right and compete Building the Empire next depending on the number rolled; to distinguish themselves in a military each player becomes a more or less suc- career, although success or failure in the The star of Pictorial Board and Dice cessful version of Fukushima. The game game is of course a matter of chance. Game: Lieutenant Colonel Fukushima’s presented the personal hardships and As with the previous game, each space Expedition (Fukushima chōsa ensei sugo- triumphs of service to the Empire, as includes a key dictating how the player roku, 1893) by Watanabe Nobukazu well as the thrills of penetrating foreign moves next. There are two ways of pro- (1872–1944) (Fig. 1) was Fukushima Yasu- landscapes that were gradually becoming ceeding: conscription (which applied to masa (1852–1919), who became a national knowable to Japanese. all men between 18 and 40 years of age) hero after riding on horseback from and volunteering, which was an option Berlin, where he had been posted as a A Nation of Warriors for those of higher levels of education military attaché (and Japan’s first intelli- and the means to defray their own costs. gence agent in Europe) to Vladivostok—a Self-improvement had been a theme in Volunteers had greater freedom of choice journey of 8,700 miles that took 16 Japan from the Edo period onward, and as to the branch and place of military months to complete.5 an 1871 translation of Self-Help, by the service, as well as the possibility of early The public followed Fukushima’s trav- Scottish reformer Samuel Smiles, revived discharge. In the game, this elite path- els through newspaper correspondents the promise of risshi shusse (“rising in the way begins with the boy studying in the who visited him en route,6 and before he world”): with diligence and pluck, even bottom left, and moves through cadet, had even returned to Japan his exploits those born into humble circumstances cadet officer and trainee officer stages— were the subject of kabuki productions, could achieve prosperity and respect- a sequence corresponding roughly to the including one immortalized by Utagawa ability.7 In the Meiji period, the mili- military school system modeled on that Kunimasa IV (1848–1920) (Fig. 2). His tary offered a distinctly modern route to of Prussia in the 1870s. story appeared in literature for children advancement and was now open to all, not The game gives opportunities,

Art in Print January – February 2017 25 however, to transfer from the conscrip- tion pathway to the volunteer pathway, and though beginning as a volunteer implies advantages, it does not guarantee a smooth rise to the top—a cadet has a one-in-six chance of flunking out, and a trainee officer may be demoted to a ser- geant major for a poor reputation.10 Players can move forward by distin- guishing themselves in battle or other- wise, but barriers complicate their progress. A colonel might be retired from the game early due to advanced age, and privates risk the far more dire threat of elimination by firing squad for violat- ing military law. Finally, Gekkō’s game is unusual in that it has not one but two winning endpoints: promotion to the rank of general, or an honorable death followed by enshrinement at Tokyo’s Yasukuni Shrine. The game thus encour- ages players to consider their own death for the country as a victory equivalent to military honors, and normalizes the idea of military service as a career to which all (male) children should aspire. Gekkō, who had trained as a painter, designed the board as a trompe l’œil arrangement of overlapping papers. This device adds visual sophistication, while emphasizing the compositional integrity of each individual scene. It is worth not- ing that the artistry of sugoroku boards Fig. 4. Kobayashi Kiyochika, Seishin gentō sugoroku (Pictorial Board and Dice Game: Magic Lantern was long ago recognized independent of the Subjugation of China, 1894), set of joined color woodblock prints, 79.1 x 74.3 cm mounted. of their game function: some publish- Published by Inoue Kichijirō. Saint Louis Art Museum, Gift of Mr. and Mrs. Charles A. Lowenhaupt ers released printed sheets unjoined and 837:2010a-g. Image courtesy Saint Louis Art Museum. Photo: Jean-Paul Torno. without instructions, to be enjoyed as a set of single-sheet compositions.11 are intended to evoke the projections of published in December 1894—months magic lanterns, popular at the turn of before the May 1895 landing of Japanese Sugoroku of the First the century, and they effectively pres- troops in Taiwan, but several weeks after Sino-Japanese War (1894–1895) ent a distant conflict as a spectacle for the Imperial Japanese Army drove Chi- those at home; indeed, this was Japan’s nese troops out of Korea. It seems likely Arguably the most visually striking of first major international conflict after that the triptych was actually inspired by these sugoroku is Kobayashi Kiyochika’s lifting prohibitions against published the conquest of the riverside fortress of (1847–1915) Pictorial Board and Dice Game: commentary on contemporary events Fenghuangcheng in October 1894, and Magic Lantern of the Subjugation of China in 1869. Through these labeled figures, the cartouche adjacent to this image in (Seishin gentō sugoroku, 1894) (Fig. 4), one places and events, players would become the sugoroku does identify the scene as of at least 11 extant woodblock sugoroku familiar with key aspects of the war. Fenghuangcheng (Fig. 6). The print was relating to the war against the Qing Kiyochika designed many of the most probably first published on the occa- dynasty over control of Korea.12 beautiful and stirring images of the First sion of the capture of Fenghuangcheng, The game starts in the rectangular Sino-Japanese War and Russo-Japanese and then reissued with a new title when space at the bottom, where a Japanese War, and while this sugoroku is unsigned, Japan invaded Taiwan the following May, ambassador presides over a meeting with elements are adapted from other works avoiding the expense of an entirely new Korean officials following a pro-Japa- by him, including the woodblock triptych design.13 nese coup in Korea. From there players Our Elite Forces Occupying the Pescadore jump between brightly colored circular Islands of Taiwan (1894) (Fig. 5). This trip- Sugoroku of the Russo-Japanese images of battle sites, ships and mili- tych exists in two versions, one with and War (1904–1905) tary figures vying to reach the winning one without the title. Though all major space at the top, which shows a meeting museum databases use the title, even for By the time Japan went to war against of commissioned officers. These bright impressions that don’t carry it, the pub- Russia in 1904, lithography had super- circles, set against a black backdrop, lisher’s colophon states that the print was seded woodblock for commercial print-

26 Art in Print January – February 2017 Fig. 5. Kobayashi Kiyochika, Seiei naru waga gun Taiwan Hōkotō o senryō suru no zu (Our Elite Forces Occupying the Pescadore Islands of Taiwan, 1894), triptych of color woodblock prints, 37.5 x 72.9 cm mounted. Published by Matsuki Heikichi V. Saint Louis Art Museum, Gift of Mr. and Mrs. Charles A. Lowenhaupt 455:2010a-c. Image courtesy Saint Louis Art Museum. Photo: Jean-Paul Torno. ing and new Western papers allowed tive visions of Japanese forces pursuing what looks like a bolt of lightning, but games to be produced on both sides of a the enemy in the Ural Mountains, the is described in the text as a “death ray” single large sheet rather than one side of Indian Ocean, the Red Sea, the Mediter- (satsujin kōsen) (Fig. 10). During the first several joined sheets. Sugoroku became ranean and Moscow (none of which came half of the 20th century, British, German, cheaper and were often folded into the to pass). The winning box is titled “Sur- American and Japanese militaries all tried New Year’s supplements of magazines. render of the Enemy.” While individual and failed to develop a death ray, an elu- Newly Designed Game Board of the State players can be knocked out along the way, sive potential application of electromag- of the War against Russia (Shin’an sei-Ro there is no possibility here of collective netic waves. Rumors of its existence had senkyoku sugoroku) was issued in the (i.e., national) defeat. been a source of Japanese anxiety since holiday edition of Photographic Pictorial (Shashin gahō) (Fig. 7). Sugoroku of the Second The composition is made up of inde- Sino-Japanese War (1937–1945) pendent vignettes of military and politi- cal leaders, and real and fictional battles. The most recent sugoroku print in the Players begin by “joining” one of four Lowenhaupt collection is the Implements army or two naval divisions. Beginning of War in the Present World (Gensekai in the box at bottom right, “Departure gunki sugoroku), issued by the Nagoya for war,” they then disperse to different publishing house Tomidaya, probably battlefields according to the number they soon after Japan’s full-scale invasion of roll. Initially, the players’ progress fol- China in 1937 (Fig. 8).14 The board’s 29 lows the historical development of the spaces show modern technologies and war, with spaces depicting events such as strategies of war, from poison gas and the crossing of the Yalu River (April 30– “blowing up a bridge” to wireless radio, May 1, 1904) and the Battle of Nanshan airships, anti-aircraft guns and a mili- (May 24–26, 1904). In the latter, players tary pigeon with an enormous camera may be ejected from the game by becom- strapped to its breast (Fig. 9). The bright, ing entangled in barbed wire—a known childlike colors seem at odds with the hazard of Nanshan. Players can also be threat and the grave faces of the young directed to miss a turn or be eliminated men discharging their honorable duty.15 from the game in battles or camps. One vignette stands out as a departure As the game was issued in January from the industrial realism evinced else- 1905, eight months before the end of where in the game: the first step shows Fig. 6. Detail of Fig. 4 identifying the scene as the war, the scenes at left are specula- an enemy soldier being struck down by Fenghuangcheng.

Art in Print January – February 2017 27 Fig. 7. Odake Kokkan, Shin’an sei-Ro senkyoku sugoroku (Pictorial Board and Dice Game: Newly Designed Game Board of the State of the War against Russia, 1905), color lithograph, 53.3 x 77.5 cm. Printed by Mizutani Kagenaga. Published by Saiki Hironao. Retailed by Hakubunkan. Saint Louis Art Museum, Gift of Mr. and Mrs. Charles A. Lowenhaupt 10:2013. Image courtesy Saint Louis Art Museum. Photo: Jean-Paul Torno.

1916, sometimes conflated with H.G. inculcate values in the young is unique to society and producers of sugoroku turned Wells’s Martian heat ray from “War of Japan. They appear across cultures and instead to the nation’s rapid economic the Worlds.”16 In 1930, false reports that down through the centuries. Although growth and blossoming consumer cul- Germany had developed such a weapon the messages of nationalism, sacrifice ture for inspiration. Although it is some- prompted the Japanese Army General and loyalty certainly served the needs times claimed that production of these Staff to conduct a feasibility study, but of the state, it is important to recognize games dwindled in the postwar period, the enormous amount of energy required that these objects were largely the prod- dozens of different versions on the mar- to stop an internal combustion engine ucts of private enterprise, created to turn ket today, with themes that run from (the threat anticipated) or severely injure a profit by exploiting the popular enthu- dinosaurs to Disney’s Frozen, would humans was deemed prohibitive. Unlike siasm for empire building and military suggest that for sugoroku, it is not game the British, the Japanese did not then conquest. Their creation and circula- over yet. move systematically to develop radar; tion suggests that individual citizens, as at the time this game was published, producers and consumers of popular Rhiannon Paget is the Andrew W. Mellon Fellow Japan lacked the technology to reliably media, supported, implicitly or other- for Japanese Art at the Saint Louis Art Museum. detect aircraft even within relatively wise, the ideologies promoted by the short distances.17 state. The bravado and levity with which the games, played on the most auspicious Concluding Thoughts and joyous day of the year, treated war, perhaps also functioned to mitigate or Sugoroku from the late 19th to early contain, at least momentarily, the very 20th centuries are intriguing documents real horror of Japan’s military ambitions of Japan’s rapid social and political trans- for its citizens. formation from a poor, isolated back- After its defeat in World War II, Japan water to a formidable world power, but began to rebuild itself as a liberal democ- neither militaristic toys nor the desire to racy. Militarism fell out of favor in polite

28 Art in Print January – February 2017 Notes: 1. Sugoroku can refer to two different kinds of games: ban-sugoroku, which is similar to back- gammon, and e-sugoroku, meaning “pictorial sugoroku.” 2. Analogous versions exist in other parts of Asia, including the Indian Moksha Patam, which served as the model for Western iterations. 3. A courtier’s diary from 1474 mentions playing the game. Matsukawa Koichi, “Scenic Views: E-Sugoroku,” in Irving L. Finkel and Colin Mack- enzie, eds., Asian Games: The Art of Contest (New York: Asia Society, 2004), 77. 4. Earlier games might be painted or printed, but it was not until the late 17th century that they were produced in such high volume, variety and quality. 5. The official rationale for the journey was to gather information about Russia’s activities in East Asia, particularly with regards to the con- struction of the Trans-Siberian Railway, but he also provided intelligence on the capabilities of the Chinese military. Remembered as the father of Japan’s secret military police, he went on to hold a succession of senior military posts over the course of the Sino-Japanese War, Boxer Rebel- lion, and Russo-Japanese War. Stewart Lone, Clockwise from above: Fig. 8. Gensekai gunki sugoroku (Pictorial Board and Dice Game: Japan’s First Modern War: Army and Society in Implements of War in the Present World, ca. 1937), color lithograph, 79.4 x 109.7 cm. Published by the Conflict with China, 1894–95 (Houndmills, Tomidaya. Saint Louis Art Museum, Gift of Mr. and Mrs. Charles A. Lowenhaupt 100:2012. Image Basingstoke, Hampshire: Macmillan Press, courtesy Saint Louis Art Museum. Photo: Jean-Paul Torno. Fig. 9. Detail showing game space with 1994), 25. military pigeon. Fig. 10. Detail with enemy soldier being struck down by “death ray” (satsujin kōsen). 6. James L. Huffman, “Commercialization and the Changing World of the Mid-Meiji Press,” in Helen Hardacre, ed., New Directions in the Study of Meiji Japan, Proceedings of the Conference on Meiji Studies, held at Harvard University from May 4–6, 1994 (Leiden: Brill, 1997), 565. 7. Saikoku risshi hen (Western Countries Book of Rising in the World), tr. Nakamura Masanao (Tokyo: Suharaya Mohei, 1870). 8. The advertisement can be found on page 8 of the December 10, 1893 issue of the Asahi news- paper (morning edition, Tokyo). For a discussion of the game in Japanese, see Ōhama Tetsuya, “‘Shōbu sugoroku’ ni yomiyoru rekishi,” Manabito 1 (March 2007). https://www.nichibun-g.co.jp/ magazine/history/001.html. 9. The advertised price of thirty sen was about that of two large bottles of beer. Nedanshi nenpyō: Meiji Taishō Shōwa (Tokyo: Asahi Shinbunsha, 1988), 174. 10. For an outline of the different routes possible in the game, see Ishide Midori, “Nihonshi Meiji jidai no kodomo ni natte yondemiyō! E-sugoroku ‘Shōbu sugoroku’ ni yomitoru rekishi (Kōkai kyōiku kenkyūkai hōkou 18 Kenkyū jugyō),” Kenkyū kiyō (Ochanomizu joshi daigaku fusoku kōtō gakkō) 59 (4 July 4 2014), 138. http://hdl. handle.net/10083/56159. 11. For example, Kobayashi Kiyochika’s Sino- Japanese War Comical Sugoroku (1894). An triptych, see Andreas Marks, “Meiji-Period War prints in more harmonious or muted colors. impression of this sugoroku is held at the Tokyo Prints and Their Publishers,” in Philip Hu, ed., 16. Known in Japan as the “super-powered light Metropolitan Library, http://archive.library.metro. Conflicts of Interest: Art and War in Modern Japan ray” (kairiki kōsen). tokyo.jp/da/detail?tilcod=0000000004-00000255. (St. Louis: Saint Louis Art Museum, 2016), 28 and 17. On the development of radar and death rays 12. Unknown numbers of wartime sugoroku 33n. in Japan, see Walter E. Grunden, Secret Weap- remain hidden in private collections, but it is to 14. This game is one of several similar sugoroku ons and World War II: Japan in the Shadow of Big be hoped that as scholarship on wartime games released at the time, such as Defending the Nation Science (Lawrence: University Press of Kansas, advances, more well-preserved examples will in Crisis Sugoroku (Hijōji kokubō sugoroku, 1937, 2005), 97–123. find their way into public collections. I am grateful private collection). to Andreas Marks for granting access to an 15. This jarring chromatic character was probably unpublished database of printed matter related to made possible by the availability of new inks and Japan’s modern wars. papers, though printers and designers continued 13. For a discussion of the publication of this to produce games and other kinds of commercial

Art in Print January – February 2017 29 EXHIBITION REVIEW Poetic Visions and Dead Elephants in Geneva By Paul Coldwell

Installation view: “Gérald Cramer et ses artistes. Chagall, Miró, Moore,” Cabinet d’arts graphiques du Musée d’art et Histoire, Geneva, 2016–2017.

“Gérald Cramer et ses artistes. Chagall, Joan Miró and Henry Moore— Cramer and printed by Jacques Frelaut, Chagall, Miró, Moore” each of whom worked with Cramer in dis- the book brings together text and image Cabinet d’arts graphiques du Musée d’art tinctly different ways to produce works so that each double-page spread can be et Histoire, Geneva that are among the best of their careers. seen as an independent composition. 21 October 2016 – 29 January 2017 Though the bulk of the exhibition is Throughout the book, subtle changes in devoted to Chagall, Miró and Moore, the the size and spacing of the type respond Gerald Cramer et ses Artistes; opening room places Cramer among a to the openness of Miró’s floating areas of Chagall, Miró and Moore broader swath of modern masters. All the woodblock color. The exhibition includes By Christian Rümelin works on view here—a beautiful, intense a number of the blocks themselves, which 144 pages, 169 illustrations blue watercolor by Georges Braque, draw- are something of a revelation: the artist’s Available in both English and French ings by Picasso, a richly colored work on motifs, cut from small pieces of wood, Published by Patrick Cramer Editions, paper by Miró—are personally dedicated were glued to a master block to ensure Geneva, 2016 to Cramer, testimony to friendships that accurate registration—a simple and basic 49 CHF went far beyond business. Underlining technology giving rise to astonishing this is a portfolio celebrating 30 years lightness and rhythm. his valuable exhibition celebrates of his publishing that includes work A very different approach is manifest T T the art of the print publisher, here in by Chagall, Moore, Picasso, Max Ernst in Chagall’s Poèmes (1968). Written by the person of Gérald Cramer, who over a and Marino Marini. Alexander Calder the artist in Russian and Yiddish, then period of 40 years worked with many of designed the clasp for the wooden folio in translated into French and rephrased by the major figures of European modern the shape of the letters G and C. Philippe Jacottet, the poems appear on art. Beginning as a bookseller in Geneva Each of the next three rooms is the left-hand side of the spreads, oppo- in the 1930s, Cramer developed into one devoted in turn to the three artists of the site full-page color woodcuts. Chromati- of Europe’s most important publishers of title. Miró’s book with the poet Paul Elu- cally and emotionally intense, the prints artists’ books, prints and other editions. ard, À toute épreuve (1958), is a fine exam- exhibit the fluidity and atmospheric qual- Condensing this singular career through ple of the grand livre d’artiste tradition, ities more associated with lithography an inspired selection of objects, curator demonstrating a commitment to the col- than with woodcut. On close inspection, Christian Rümelin has chosen to focus laborative process without compromise. it is clear that in addition to the master on his activities with three artists—Marc Eleven years in the making, published by block containing the drawing, multiple

30 Art in Print January – February 2017 Left: Joan Miró, pages 10 and 11 from À toute épreuve (1958), color woodcut and typography, 32.2 x 50.4 cm. Cabinet d’arts graphiques des MAH, Genève. ©Successió Miró / 2016, ProLitteris, Zurich. Right: Marc Chagall, Poèmes: Seul est mien, Gravure XII (1968), color woodcut and typography, image 32.3 25 cm, sheet 37 x 57 cm. Cabinet d’arts graphiques des MAH, dépôt de la Fondation Gérald Cramer, Genève. Chagall® / ©2016, ProLitteris, Zurich.

blocks of broken color were used to build some Degas monotypes belonging to Seldis and folded covers for each etching these compelling images. In the center Cramer in 1958, he followed the publish- that bear a comment or title by Moore. of this room, Chagall’s folded screen, er’s suggestion to take up the process. He These are not shown, undoubtedly due Pavevent (1963), stands alongside a screen seemed to revel in its mark-making possi- to lack of space, though the titles are made some 75 years earlier by Pierre bilities, from lines inscribed through the included in the wall text. When seen Bonnard, Promenade des mourrices et une ink to color applied with his fingers. alongside the etchings, however, these frise des fiacres (1897), showing how both In contrast to the color-saturated texts provide added insight into both the artists employed lithography to create rooms of Miró and Chagall, the final gal- deference with which Moore was held rich overlapping color. lery centers on Moore’s black-and-white and the poetic, reverential language that Completing the room, a wall of portfolio, The Elephant Skull (1970), a series was used in describing art practice at monotypes demonstrates what a natural of etchings the sculptor made of a skull that time. The prints, nonetheless, are graphic artist Chagall was. Having seen he received as a gift from Sir John Huxley powerful enough to stand on their own, in 1968. Following discussions with Cra- demonstrating Moore’s incisive line and mer, the object became the subject matter testifying to the printing skills of Frelaut. for what I consider to be Moore’s great- The exhibition concludes with Moore’s est graphic achievement. The portfolio Sheep portfolio (1975), a marked contrast takes the narrative structure of a book, to the earthy structure of the elephant leading the viewer on an immersive jour- skull prints. Again using etching, the ney that moves from images that take in sculptor observed the sheep seen from the skull as a whole, to details in which his studio window over a course of a year. its biomorphic forms suggest landscapes Here Moore’s recurring theme of mother and even the artist’s “shelter drawings” and child becomes touchingly transposed of people sleeping in the London Under- into ewes and their lambs within the ground during the Blitz of London in English landscape. 1940. The skull enabled Moore to work While it is the prints on display that objectively from the source, while also form the visual material for this vibrant releasing his imagination. Throughout exhibition, it is also the unseen hand of the folio there is a clear sense of the awe the publisher that is being celebrated. that Moore must have felt in its monu- Cramer’s unflinching commitment to mental presence. Keeping company with “his” artists, and to seeing each project the portfolio in the gallery is the skull conceived by them through to fruition, of Mademoiselle D’Jeck, a celebrated gave us important and visionary art that theatrical elephant who became aggres- would otherwise not exist… Henry Moore, Bones have marvellous struc- sive and was shot dead in Geneva in 1837. tural strength and hard tenseness of form, Set against Moore’s etchings, her skull, plate 10 from Elephant Skull (1970), etching, on loan from the Muséum d’Histoire Paul Coldwell is Professor in Fine Art at the image 25.2 x 19.8 cm, sheet 49.3 x 36.7 cm. Naturelle, offered a startling demonstra- University of the Arts London. Cabinet d’arts graphiques des MAH, dépôt de la tion of the way art can project ideas and Fondation Gérald Cramer, Genève. Photo: A. Longchamp. ©The Henry Moore Foundation, interpretations onto inanimate objects. All Rights Reserved, www.henry-moore.org / The complete Elephant Skull portfolio 2016, ProLitteris, Zurich. includes an essay by the critic Henry J.

Art in Print January – February 2017 31 EXHIBITION & BOOK REVIEW Stepping out of Raphael’s Shadow By Genevieve Verdigel

“Marcantonio Raimondi and Raphael” The Whitworth Gallery Manchester, UK 30 September 2016 – 23 April 2017

Marcantonio Raimondi, Raphael and the Image Multiplied Edited by Edward H. Wouk with David Morris 240 pages, 200 color illustrations Published by Manchester University Press, Manchester, 2016 £25

aphael’s engraver.” The title has “ R simultaneously assured Marcanto- nio Raimondi’s (ca. 1480–ca. 1534) status as the preeminent Italian Renaissance printmaker and overshadowed the rec- ognition of his independent artistic pro- ficiency. This dichotomy is exemplified Marcantonio Raimondi, Il Sogno (The Dream of Raphael, ca. 1509), engraving, 23.5 x 33.5 cm, in his engraving entitled The Dream of The Syndics of the Fitzwilliam Museum, University of Cambridge, P.5380-R ©Fitzwilliam Museum, Raphael (ca. 1509). A technical tour-de- University of Cambridge. force and iconographic enigma, the print was engraved prior to the commence- tory of his career, from his beginnings in and Giulio Romano. Rather than simply ment of his partnership with Raphael, the humanist environment of Bologna in reproducing existing models, Marcanto- prompting Beverly Louise Brown to ask: the workshop of the painter and niellist nio used his imagination to reinterpret “If the dream is not Raphael’s then whose Francesco Francia, and extending into the these sources.6 This distinction is made is it?”1 This question could be extended afterlife of his artistic output through the clear in the exhibition through engrav- to confront the central paradox that lies activities of followers including Agostino ings such as The Climbers (1510), in which at the heart of the Whitworth Gallery’s Veneziano and Marco Dente da Ravenna, three male nudes derived from Michel- recent exhibition on the artist and, more as well as copies in various mediums. angelo’s Battle of Cascina are set against broadly, of Marcantonio’s remarkable Rather than presenting a systematic a landscape that Marcantonio imported oeuvre. Of the more than 250 engrav- timeline, the exhibition’s individual sec- from an engraving by Lucas van Leyden. ings encompassing diverse mythological, tions fuse thematic and chronological The exhibition illuminates Mar- antique, allegorical and religious scenes, approaches, elucidating the intricacies of cantonio’s art as the product of inter- only approximately 50 of these have been the work and also the—sometimes color- changes played across an intricate and associated with Raphael,2 a fact that ful—life of Marcantonio. (One section, dynamic network. On the one hand, he makes a strong case for a reconsidera- for instance, deals with his infamous por- was acquainted with the cognoscenti, tion and restitution of Marcantonio’s nographic engravings, I modi (the posi- mingling with—and engraving por- autonomy. tions), for which he was incarcerated on traits of—figures such as the humanist Curated by Edward Wouk, lecturer in the orders of Pope Clement VII.)5 Giovanni Achillini and the satirist Pietro art history at the University of Manches- Marcantonio has often been dis- Aretino. On the other hand, he relied on ter, and David Morris, head of collections missed by those who believe that the the impetus of publishers such as Niccolò at the Whitworth, the works on view brilliance of his engravings was entirely and Domenico dal Jesus, who were com- are drawn largely from the Whitworth’s dependent on the creativity of others. plicit in Marcantonio’s engraved copies of extensive print collection, augmented by Throughout his career, however, Marcan- Albrecht Dürer’s woodcut series The Life loans from other, primarily British, col- tonio was informed by his own prolonged of the Virgin.7 The juxtaposition of both lections.3 “Marcantonio Raimondi and study of the vestiges of antiquity, and by artists’ prints of The Visitation shows that Raphael” is, surprisingly, the first major an engagement with the work of diverse Marcantonio’s engraving was not only a Marcantonio exhibition since 1981,4 and contemporaneous artists including Gior- translation of medium but also of stylistic charts for the first time the entire trajec- gione, Jacopo Ripanda, Baccio Bandinelli idiom, encouraging the viewer to reevalu-

32 Art in Print January – February 2017 From left to right: Marcantonio Raimondi after Raphael, The Reconciliation of Minerva and Cupid,

also called Allegory of Peace (ca. 1515), engraving with pen and ink, 20.7 x 11.7 mm, Stanford University, Iris & B. Gerald Cantor Center for Visual Arts, 1919.120.a. Committee for Art Acquisitions Fund ©Stanford

University. Marcantonio Raimondi after Albrecht Dürer, The Visitation (ca. 1506), engraving, 30.2 x 21.0 cm, The Whitworth, The University of Manchester, P.3107. Presented by George Thomas Clough in 1921

©The University of Manchester. Marcantonio Raimondi after Raphael, Caryatid Façade (ca. 1520?), engraving, 31.5 x 22.9 cm, British Museum, London 1973,U.91 ©Trustees of the British Museum. ate what it meant to copy (contrafare) in in the field, comprises ten essays by emi- Notes: the world of Venetian publishing. nent scholars on Marcantonio’s tech- 1. Beverly Louise Brown, “Troubled Waters: Yet it seems almost impossible for nique, sources and publishing practices. Marcantonio Raimondi and Dürer’s Nightmare on Marcantonio to step out of Raphael’s Four of these shed light on collecting the Shore,” in Edward H. Wouk and David Mor- shadow, a position implicitly reinforced practices, and the presence of two folios ris, eds., Marcantonio Raimondi, Raphael and in the exhibition title. And indeed, their from the remarkable Prince’s Consort the Image Multiplied (Manchester: Manchester collaboration forms the heart of the show, Album and the long-lost Spencer album University Press, 2016), 33. 2. Konrad Oberhuber, “Raffaello e l’incisione,” in with engravings Marcantonio produced of prints by Marcantonio and follow- Raffaello in Vaticano (Milan: Electa, 1984), 334. after Raphael’s altarpieces, frescoes and ers (now in the John Rylands Library, 3. The vast majority of these were presented tapestry designs, as well as compositions Manchester) attests to the potential that by George Thomas Clough in 1921. See David conceived by Raphael specifically for studies of 19th-century collections have Morris, “The Clough Collection of Prints at the print. The display of Raphael drawings for Marcantonio scholarship. It should Whitworth Institute,” Wouk and Morris, 96–107. 4. See Innis H. Shoemaker and Elizabeth Broun, alongside Marcantonio’s printed coun- also be noted that the catalogue entries eds., The Engravings of Marcantonio Raimondi terparts, sometimes in multiple states themselves are contributed not only by (Lawrence: Spencer Museum of Art, University and workshop copies, makes brilliantly curators and scholars, but also by under- of Kansas; Chapel Hill: Ackland Art Museum, apparent the dialectics of the translation graduate and graduate students at the University of North Carolina, 1981). of ideas from conception to print. A work- University of Manchester—an exemplary 5. The surviving fragments assembled by Pierre- Jean Mariette were lent by the British Museum ing proof of the Reconciliation of Minerva initiative. for the exhibition. and Cupid (ca. 1515) with corrections This exhibition, like the work of Mar- 6. See, for example, David Landau and Peter added in pen by Marcantonio—displayed cantonio itself, has a value that exceeds Parshall, The Renaissance Print 1470–1550 (New together with the finished engraving— the sum of its parts. It asserts the pivotal Haven: Yale University Press, 1994), 117–21. offers a remarkable insight into his cre- role that the reproducible print played in 7. For further discussion, see Lisa Pon, Raphael, Dürer, and Marcantonio Raimondi: Copying and ative process. The two artists’ shared assuring Raphael’s artistic legacy, and at the Italian Renaissance Print (New Haven & interest in the architecture of antiquity the same time reveals the extraordinary London: Yale University Press, 2004), 39–66. is demonstrated through Marcantonio’s breadth and technical virtuosity of Mar- 8. Kathleen W. Christian, “Raphael’s Vitruvius and much-overlooked Caryatid Façade (ca. cantonio’s print production: an artist Marcantonio Raimondi’s Caryatid Façade,” Wouk 1520?), a fusion of archaeology, architec- who was as innovative as he was inter- and Morris, 66–82. On the print as an “archaeo- tural orders and fantasia, presented here pretive. logical capriccio,” see 78–80. as an “archaeological capriccio” inspired by Raphael’s Vitruvianism and interest in the preservation of antique forms.8 Genevieve Verdigel is currently preparing a PhD The exhibition catalogue, which will on the print production of Benedetto Montagna at undoubtedly become a valued reference the Warburg Institute, London.

Art in Print January – February 2017 33 EXHIBITION REVIEW Sharpened Imagination: Creative Printmakers in Japan By Carand Burnet

Hamanishi Katsunori, Japanese Classic Calendar (2015), mezzotint printed in color, each panel 59.6 x 36.1 cm (quadriptych). Art Museum, University of Saint Joseph, West Hartford, CT. Purchase with a gift from Edwina Bosco ’50. ©Hamanishi Katsunori.

“Hanga Now: stages. In the first decade of the 20th The quintessence of harmony—a Contemporary Japanese Printmakers” century, however, artists such as Hakutei time-honored Japanese value—is appar- University of Saint Joseph Art Museum Ishii, Kanae Yamamoto and Kogan Tobari ent in the technical control of breath- West Hartford, CT adopted the European practice of design- taking mezzotints by Yozo Hamaguchi 23 September – 18 December 2016 ing, cutting and printing their own works (1909–2000), Toru Iwaya (b. 1936) and in small editions. Katsunori Hamanishi (b. 1949). Hama- ttenuated lines, shimmering gild- Sōsaku-hanga brought the Western guchi’s Field on Deep Blue (1985–1992) A ing, gossamer textures and deft emphasis on individuality to bear on presents a band of multicolored striations compositions suffused the exhibition Japanese techniques and aesthetics. Mov- that emerge from navy-colored paper— “Hanga Now: Contemporary Japanese ing away from the popular-cultural sub- a hilly landscape distilled into a gradient Printmakers” at the University of Saint jects of ukiyo-e, these artists explored structure of color, shadow and highlights. Joseph in Hartford. More than 60 wood- landscapes and figures that offered an Reika Iwami (b. 1927), a pioneering cuts, etchings, lithographs and mono- opportunity for abstraction and creative woman in the creative print movement, types by 35 artists—most produced manipulation. They also strove to make incorporates both the real and the mys- during the past 25 years—attest to the visible the singular characteristics of the tical in lyrical terrains. In Water of Mt. ongoing vitality of Japan’s sōsaku-hanga artist’s hand, as is evident in Yamamoto’s Fuji (2002) she omits most physical detail, (creative print) movement. Selected by woodblock Fisherman (1904), where rough disrupting the silhouette of Japan’s iconic curator Ann Sievers, these prints do not carved lines contour the figure and set- mountain with a vaporous gray pattern ask the viewer to gaze from afar; they ting.1 After World War II, the reputation suggestive of clouds or undulating water, beckon us closer. of such prints grew, both inside and out- and a waving band of gold leaf that glis- The famous ukiyo-e prints of the 18th side Japan. Once scorned by critics and tens like a river. Such material enhance- and 19th centuries are often aesthetically categorized as a craft (and labeled as such ments of the paper surface are frequent in pleasing but were intended as commer- by the Japan Art Academy to this day),2 by her work: the black background in Poem cial products, made to reflect the mar- 1951 sōsaku-hanga had gained global stat- of Water (1971) is strewn with glitter- ket rather than personal expression, and ure: in that year’s São Paulo Art Biennial ing dust, causing it to appear to levitate they were produced through a system of the only Japanese artists to win awards in the light, and Border of the Sea God’s specialized painters, block cutters, print- were the printmakers Tetsuro Komai and Realm (1999) includes an embossed tear- ers and publishers, working in separate Kiyoshi Saito. drop-sized silhouette that hovers over

34 Art in Print January – February 2017 Left: Goto Hidehiko, Silent Light from the portfolio Hope: Aspirations in the Abstract (2012), woodcut printed in color, 49.5 x 37.5 cm. Art Museum, University of Saint Joseph, West Hartford, CT. Purchase with a gift from Edwina Bosco ’50. ©Goto Hidehiko. Right: Tamekane Yoshikatsu, White Nocturne (1997), woodcut, gold leaf, embossing and mica powder, 50.8 x 69.9 cm. Collection of Ronald A. and Pamela J. Lake. ©Tamekane Yoshikatsu. a topography of roaming shapes. The prints—based on memories illustrated in everything from a refreshing simplicity woodblocks of Hidehiko Goto (b. 1953) the artist’s journal. An open cookie box, to incredible complexity, as their one-of- evoke the movement of water even more seen from above, is tinted with green and a-kind viewpoints are honed from a sen- abstractly: in Silent Light (2012) the grain yellow, recalling the hand-colored albu- sitivity to their medium. “Creative” of the woodblock provides an illusion of men prints that were widely popular in printmakers are always alert to the liquid condensation within a rectilinear Japan in the mid- to late-19th century. nuances of their own lyrical vision, and composition veiled in a blue. Other artists favor bold color and pat- “Hanga Now” is no exception. Printmak- One of the striking features of these tern: in Yuji Hiratsuka’s (b. 1954) etching ing in Japan is alive and well, shining with prints is the abundance of gold leaf. More and aquatint Medieval River (2016), violet grace and possibility. than a third of the works on view incor- water is enclosed by pink-shaded, snowy porated gold, and not only in woodblock. ground. The repeating branches, leaves Shuji Wako’s (b. 1953) immaculately com- and flowers of the multicolored forest Carand Burnet is an essayist, poet and posed Right on Target (2007) uses lithogra- merges into a wondrous, chromatic tap- arts correspondent. phy’s tonal attributes to render a peculiar, estry. if visually convincing, still life—a fragile Nobuyuki Oura’s (b. 1949) Holding Per- Notes: ball supporting a target pierced by two spective Portfolio (1981–1983) appropriates 1. There was also a concurrent movement in arrows, perched above carefully drawn and juxtaposes popular images—histori- modern Japanese printmaking that revived the kimono fabric. Each of these objects is cal photographs, anatomical illustra- collaborative system, known as shin-hanga, or elaborately embellished with gold leaf. tions, natural specimens—in complex, “new print.” Unlike Wako, Yoshikatsu Tamekane symbolic self-portraits in screenprint and 2. Michiaki Kawakita, “The Modern Japanese Print,” in Contemporary Japanese Prints, tr. John (b. 1959) exploits gold leaf as an adaptable, lithography. The overlaid parts combine Bester (Tokyo and Palo Alto: Kodansha Interna- textural medium that can be lightened, in ways that recall Japanese textile pat- tional, 1967), xiii–xv. layered or obscured. The thinly applied, terns, but his work exhibits the complexi- 3. Tomo Kosuga, “The Art of Taboo: Nobuyuki irregular gold in the corner of his abstract ties of Japanese identity within a global Oura,” Vice Magazine video, 7:58, 21 October woodblock and collagraph print White contemporary art world. (The inclusion 2016, http://www.vice.com/en_ca/video/the-art- of-taboo-nobuyuki-oura-japan. Nocturne (1997) reveals color beneath its of photographs of Emperor Hirohito radiant surface. within Holding Perspective was perceived Natural forms and materials are only as disrespectful by the prefecture of part of the story, however. Sōsaku-hanga Toyama, and museum catalogues con- artists have also explored found and taining the work were destroyed.)3 prefabricated images, adapting, colla- All the prints in “Hanga Now: Con- ging and recomposing them as personal temporary Japanese Printmakers,” dem- statements. Tetsuya Noda’s (b. 1940) onstrate precision, and no space on the Diary 471 Dec 26 ’09 (2009) is part of an paper goes unnoticed. The innovative ongoing project—now totaling over 500 work of sōsaku-hanga printmakers exudes

Art in Print January – February 2017 35 BOOK REVIEW thematic essays treating subjects as var- given, for example, the dominance, and ied as the practice of collecting prints, indeed eloquence, achieved by portrait the status of the printmaker, and a medi- printmakers in late 17th-century France tation on the critical fortunes of Girard such as Antoine Masson and Pierre Dre- Audran and Gérard Edelinck, two of the vet, not to mention predecessors like period’s most important makers. The Nanteuil and Jean Morin. The individual essays are all fairly short and each seems selections bring forward many lesser- to open up questions for further study. known but equally marvelous or intrigu- One finds in these historical sketches ing examples, in many cases by unknown valuable information elucidating the spe- artists, including a game board for a dice cial conditions that conspired to produce contest (now missing the accompanying the objects illustrated in the entries that rule book); designs for firearms; represen- follow. To wit, in Maxime Préaud’s essay, tations of the daily observances of nuns; “Printmaking under Louis XIV,” one a rebus containing events of the year 1715 reads about the status of intaglio print- in almanac form. These examples give making as a liberal art from the very early texture to the needs, preferences, and days of its practice in France. Since inta- curiosities of the people who owned them A Kingdom of Images: French Prints in glio printmaking didn’t gain momentum and the role that visual expression played the Age of Louis XIV, 1660–1715 there until relatively late—that is, in the in meeting those needs. Edited by Peter Fuhring, 1630s—it is remarkable that within only Interspersed throughout the vari- Louis Marchesano, Rémi Mathis and a few decades the art form was explic- ous sections, the figure of Louis XIV Vanessa Selbach itly protected by royal decree from the looms—in prints representing the inte- 344 pages, 51 color, 138 b/w illustrations strictures of a guild.3 In addition to the riors, façades and grounds that he com- Published by Getty Publications, elevated status afforded to printmakers, missioned; in images recording paintings Los Angeles, 2015. the king also directly employed a stable and statues in his collection; and in works $80 of artists to create prints in the service that chronicle specific events and spec- of his glorification; the project (generally tacles witnessed by his reign. An etch- called the Cabinet du Roi) was overseen ing and engraving by Sébastien Leclerc The Glory Machine by finance minister and taste maker Jean- is typical, and perhaps even emblematic By Victoria Sancho Lobis Baptiste Colbert, and at its peak it gener- of the works selected for this exhibition ated no fewer than 50 plates a year. and its publication. Leclerc’s description or those of us who believe that history The catalogue entries are divided of the elevation of the Louvre pediment, F is best told through objects and equally by genre—images of the monarch, impressive not only in its size, bespeaks images, this book provides strength to historic events and pageants, devotional the monumental ambition of the projects our argument.1 In its pages we discover life—a choice that might seem distorting conceived and executed under Louis XIV. rarely exhibited or published works that reflect the collective aspirations, beliefs and aesthetic preferences of the French at the end of the 17th century, particu- larly those in the orbit of their influential monarch Louis XIV (1638–1715). While a great deal is already known about Louis XIV himself and his manner of self-pre- sentation, not to mention his impact on the history of architecture and garden design, far less has been said about the conditions within which printmakers and print publishers operated during the time of his reign.2 This book allows us to understand more fully the specific aes- thetic and economic parameters behind the production of some of art history’s most visually distinctive and technically accomplished prints. The text itself comprises 109 indi- vidual catalogue entries, including, but not limited to, portraits by Robert Nan- teuil, classical subjects by Claude Mellan, and various examples of the festivity and Sebastian Le Clerc, The Installation of the Louvre Pediment from Les vues de maisons royales spectacle surrounding Louis XIV’s court. et de villes conquises par Louis XIV (Cabinet du Roi) (1677), etching and engraving, 38 x 62.5 cm. These entries are introduced by seven Bibliothèque nationale de France, Paris.

36 Art in Print January – February 2017 With microscopic precision and techni- L’Estampe au Grand Siècle: Études offertes à cal brilliance, Leclerc recorded the teams Maxime Préaud, ed. Peter Fuhring, Barbara of people and machines marshaled for Bregjon de Lavergnée, Marianne Grival, Séver- the crowning of the sovereign’s palace. ine Lepape, and Véronique Meyer (Paris: École Nationale des Chartes and Bibliothèque Nationale What one senses is the orchestrated de France, 2010) and Gérard Sabatier, “ ‘Le por- Purchase engineering of labor, technology, design trait de César, c’est César’: Lieux et mis en scène and history itself—all in the service of du portrait du roi dans la France de Louis XIV,” aggrandizing the French monarchy and in L’image du roi de François Ier à Louis XIV, Back Issues by extension its subjects. In so many dif- ed. Thomas W. Gaehtgens and Nicole Hochner (Paris: Édition de la Maison des sciences de ferent examples contained in this cata- l’homme, 2006), 209–44. See also Louis Marche- of Art in Print. logue, it is this sense that emerges and sano and Christian Michel, Printing the Grand abides. Manner: Charles Le Brun and Monumental Prints Taken all together, what we encounter in the Age of Louis XIV (Los Angeles: The Getty is a time and place that seemed to cele- Research Institute, 2010). Another important example that treats an earlier chapter in French brate intaglio printmaking, and more history is The French Renaissance in Prints from specifically engraving, practically to the the Bibliothèque nationale de France (Los Ange- exclusion of other printmaking tech- les, New York, Paris: Grunwald Center for the niques; a place where more conventional Graphic Arts, Hammer Museum; Metropolitan subjects from Biblical and Christological Museum of Art; Bibliothèque nationale de France, 1994). narratives were eschewed in favor of a 3. Generally speaking, the guild system required compulsion to record spectacular events, practitioners of a specific art form or craft to regis- grand architectural feats and the general ter and to qualify for member or master status in pageantry that defined courtly life. The order to practice a given trade. Taxes were often sheer scale of many of the works (not levied against goods produced by guild members, infrequently over 50 centimeters in the amounts being determined on a collective rather than individual basis. In the 17th century, height or width) discussed in the pages of artists such as Peter Paul Rubens and Diego this book suggests that the intimacy so Velázquez sought to liberate themselves from often associated with making and view- the regulations and status associated with guild ing prints was hardly valued, if even toler- membership, which they felt did not reflect their ated. Further, while elsewhere in Europe identities as practitioners of a liberal art rather than craft-based tradesmen. Two recent publica- the significance of the print designer or tions address the role of guilds in early modern author’s identity was asserted through Europe; see Stephen R. Epstein and Maarten signatures and privileges, many examples Roy Prak, Guilds, Innovation, and the European illustrated here suggest that originality of Economy, 1400–1800 (Cambridge and New design was no more favored than the per- York: Cambridge University Press, 2008) and C. A. Davids and Bert De Munck, eds., Innovation Did you know you can fection of technique. And technical and Creativity in Late Medieval and Early Mod- purchase any issue of experimentation seems utterly absent. ern European Cities (Farnham, Surrey, England: Art in Print? While scholars can debate the accuracy Ashgate, 2014). or fairness of this collective portrait of printmaking in 17th-century France, we Miss the New Editions issue? can be sure that this treasury of notable prints will continue to spark some form Need the Stanley William of amazement, vexation or delight—very Hayter issue for your likely enough to encourage the next gen- library? eration of historians to learn even more about the people who made and first Want to give the Details issue saw printed images under the spell of the Sun King. to a friend?

All issues of Art in Print Victoria Sancho Lobis is Prince Trust Curator and are available on MagCloud Interim Chair of the Department of Prints and at www.magcloud.com/user/ Drawings at The Art Institute of Chicago. established-2011.

Notes: If you have any questions, 1. A pioneering example in our field is Antony Griffiths’ The Print in Stuart Britain, 1603–1689 please contact us at (London: The British Museum, 1998), which sets [email protected]. a high standard for how social and political history can be interwoven with art history. 2. Previous publications addressing similar or related topics include the essays collected in

Art in Print January – February 2017 37 BOOK REVIEW the Marianna Kistler Beach Museum of time: between 1934 and 1945 it published Art at Kansas State University (whose col- more than 600 prints, primarily etchings lection of Regionalist artists represents and lithographs, in editions of 125 to 250 many of the artists who were central to individually signed impressions and sold AAA), the exhibition catalogue also serves them for as little as five dollars (about as a checklist,1 and is further accompa- $90 today). A 1941 advertisement reads, nied by a companion index of AAA prints, “What! Only $5 for a SIGNED ORIGINAL fabrics and decorative arts, downloadable by Thomas Benton, the Great American as a PDF.2 Artist. Yes, Incredible, but True!” Over AAA’s origins date to 1934, when its 66 years, AAA produced more than an artists’ agent and promoter named 480,000 individual impressions. Reeves Lewenthal convened a meet- Recognizing that few Americans lived ing of 23 American artists at the studio near art galleries or were inclined to of Thomas Hart Benton to propose a visit them, Lewenthal sent direct mail unique art-marketing enterprise that order catalogs throughout the coun- would combine quality, affordability and try listing new works and profiling fea- Art for Every Home: volume in a profitable business model. tured artists, and he advertised widely Associated American Artists, 1934–2000 Lewenthal, understanding the egalitar- in popular magazines such as Time and Edited by Elizabeth G. Seaton, ian character of prints, recognized the Reader’s Digest. AAA also sold original art Jane Myers, and Gail Windisch, potential for sales of original prints to through department stores and galler- with a foreword by Linda Duke and the middle class, to whom fine art had ies. It invented new marketing tools and contributions by Ellen Paul Denker, not been a financially or culturally acces- systems of distribution for original art Karen J. Herbaugh, Lara Kuykendall, sible—or even necessarily desirable— and, most importantly, it created new Bill North, Susan Teller, Tiffany Elena commodity. His avowed mission was to audiences. Washington and Kristina Wilson create “a national movement directed Lewenthal selected and commissioned 288 pages, 230 color illustrations to stimulate wider public interest in the work from a stable of Regionalist and Published by Yale University Press, ownership of fine works of art,” and he realist artists, eschewing imagery that New Haven, CT, 2015 promoted those artists whose work he reflected European avant-garde ideas and $50 believed would appeal to the general pub- influences. During the Great Depression, lic. Of the 750 artists Lewenthal initially Lewenthal offered artists some consider- invited, 40 agreed to take part, includ- able measure of financial security—$200 ing Benton, John Steuart Curry, Grant ($3,500 in today’s dollars) for each print Art in (Middle) America Wood, Adolph Dehn and Peggy Bacon. project, a monthly stipend and health By Brian D. Cohen Joseph Hirsch and Paul Sample were insurance—as well as the opportunity among those who took up printmaking at to extend the reach of their work. The round 1970 my grandmother gave Lewenthal’s encouragement. The scale of artists enjoyed expressive freedom in A me a print by Käthe Kollwitz— AAA’s print activity was unmatched at the their choice of subjects and approaches, Stehender Weiblicher Akt (Standing female nude, 1900)—that she had acquired a decade earlier in exchange for a week’s salary from her job as a sales clerk at Gimbels department store, where the print had been for sale under the Associ- ated American Artists label. She owned no other original art and the presence of the Kollwitz in her belongings was a reflection of AAA’s unique role in the development of middle-class taste in art and design, its innovative promotion of affordable American art in the middle of the 20th century, and ultimately its extension of powerful and expressive art to a new demographic. The remarkable story of this singular endeavor is the subject of Art For Every Home: Associated American Artists, 1934– 2000, the first comprehensive overview of the organization and its rise and fall. Published in conjunction with the exhibi- Installation view showing war bonds poster and related drawing by John Steuart Curry, “Art for Every tion of some 150 prints, paintings, ceram- Home: Associated American Artists” Marianna Kistler Beach Museum of Art, Kansas State University, ics, textiles and ephemera organized by 2015–2016.

38 Art in Print January – February 2017 Left: Irwin Hoffman, El Jibaro, Puerto Rico (1940), etching, 12 x 9 7/8 inches. Published by Associated American Artists. Collection purchase, Syracuse University Art Collection, 1968.060. Right: David Hockney, Jungle Boy and Snake (Jungle Boy) (1964, published 1965), etching and aquatint, 16 × 19 1/2 inches. Published by Associated American Artists. Spencer Museum of Art, The University of Kansas, museum purchase: Letha Churchill Walker Memorial Art Fund, 1979.0042. but wholesome, familiar and innocu- to one catalogue per year; in 1956 it ceased In the meantime, competition for artist- ous subjects such as bucolic landscapes to issue prints at all. designed housewares and fabrics forced with woodland fauna sold best, and AAA Then in 1958 Sylvan Cole took over AAA to drop its activities in that realm. in the 1930s was nearly unerring in the leadership of AAA and its New York After several changes of corporate own- gauging the tastes of middle-American gallery, and revived the publication of ership AAA went out of business in 2000. consumers. contemporary prints. Cole expanded Its leaders could not have anticipated the By its second year the organization was AAA’s range with a wider array of styles, advent of online art sales platforms like showing significant profits and in 1938 including geometric abstraction and sur- Etsy and eBay. expanded its offerings to include limited realism, and an international array of This sprawling, exhaustively re- edition “gelatone lithographs”—photo- European, Latin American and Japanese searched catalogue reflects the longevity mechanical reproductions of oil paint- artists, most notably David Hockney, and scope of Associated American Art- ings by its best-selling artists, which were who created the etchings Jungle Boy and ists. The history of the organization is advertised as indistinguishable from the Snake and Edward Lear for AAA in 1964. admirably presented by exhibition cura- originals. In 1939 AAA began a long rela- The 1970s saw the publication of more tors Elizabeth G. Seaton, of the Beach tionship with Abbott Pharmaceuticals, than 500 prints by more than 200 artists, Museum, Jane Myers, former senior cura- which commissioned artists to create war as well as 130 exhibits at gallery locations tor of prints and drawings at the Amon bond posters and paintings documenting in New York, Philadelphia, Chicago and Carter Museum, and Gail Windisch, the war effort at home and overseas. AAA Beverly Hills. Mail order sales were dis- the retired Los Angeles lawyer whose also arranged commissions for its artists continued, but AAA began to distribute research into the company formed the for movie posters, book covers, magazine antique prints, primarily restrikes by old basis for the show. In a series of brief ad campaigns and playing cards. After master and 19th-century artists includ- essays, Beach Museum curator Bill North World War II, the organization responded ing Rembrandt, Corot and Degas. Cole discusses AAA’s reproductive “gelatones” to the nation’s new prosperity and rise in believed firmly in the founding premise and “paintagraphs”; art historian Kris- home ownership by introducing artist- of AAA that art should be affordable to tina Wilson weighs in on the organiza- designed textiles for interior design and the general public, and he disapproved tion’s ceramics and interior design advice; apparel, as well as ceramics and dinner- of the high prices that accompanied the Karen Herbaugh, of the American Textile ware under the trade name “Stonelain.” ambitious editions produced by the new History Museum, discusses “Textile Art Modernism and abstraction found their generation of collaborative print work- for the Masses”; and art dealer Susan way into popular taste through Miró- shops such as U.L.A.E., Gemini G.E.L. and Teller offers a personal reminiscence of inspired stoneware platters and Picasso- Tyler Graphics. He held to the AAA model her years at AAA with Sylvan Cole. One esque ashtrays. At the same time, however, of affordability for over 20 fruitful years particularly fascinating section, by Laura AAA’s sales of art began to decline, and in before finally conceding its obsolescence, Kuykendall, traces the commissioning of the early 1950s its print publishing slowed leaving to start his own gallery in 1983. John Steuart Curry’s painting Our Good Left: Peggy Bacon, Spirit of Rain (The Spirit of Rain) (1936, published 1937), drypoint, 4 15/16 x 3 15/16 inches. Published by Associated Ameri- can Artists. Marianna Kistler Beach Museum of Art, Kansas State University, gift of John, Susan, and Johnny Watt in memory of Sarah Katherine Watt, 2011.31. Right: Peggy Bacon, Drawing for Spirit of Rain (The Spirit of Rain) (ca. 1936), lithographic crayon on paper, 10 11/16 × 8 inches. Collection of John and Susan Watt.

Earth by AAA, Abbott Laboratories and nology, essays, insets, appendices, notes the U. S. Treasury Department. Curry’s and index) the book has many interrup- Notes: 1. The exhibition traveled to the Grey Art Gallery farmer in a wheat field evokes Michel- tions, but its fine design enables one to at New York University and will be installed at angelo’s David (1501–1504) and Millet’s linger occasionally on especially lovely, the Syracuse University Art Galleries in January The Sower (1850) to promote patriotism noteworthy or representative pieces, and 2017. and agricultural heroism; the image was successfully accommodates the density 2.http://krex.k-state.edu/dspace/handle/2097/19686. issued as a war bond pamphlet, the cover and scope of the material. Written in of an informational booklet on farming, clear and cogent prose (all the more a poster, an advertisement and a limited remarkable given the involvement of so edition lithograph, while the original many contributors), Art for Every Home painting was exhibited in AAA’s New York rewards, even requires, close reading and gallery. No work better represents the far- careful attention. It makes exploring the reaching alliance of artistic expression, colossal enterprise of AAA a pleasure. business interests, government policy, popular sentiment and media distribu- tion that was stimulated by AAA. Brian D. Cohen is a printmaker, painter, writer A jewel of scholarship, the book also and educator. includes a chronology, bibliography, and exhibition checklist. With so many mov- ing parts (foreword, introduction, chro-

40 Art in Print January – February 2017 BOOK REVIEW 1980s he had abandoned printmaking for and early Philip Guston. By the end of the most part in favor of painting and the 1950s he was immersed in the work drawing. Nonetheless, his love of lithog- of Clyfford Still and Pierre Bonnard. raphy took hold early and lasted long. Frustrated by the absence of published While attending Arsenal Technical High material on lithographic techniques, School in Indianapolis in the late 1930s, Antreasian addressed some unanswered Antreasian taught himself how to make questions in a 1959 article, “Special lithographs using discarded supplies and Problems Relative to Artistic Lithogra- a press in the school basement. In 1940 phy,” in the journal of the Print Council he enrolled in the Herron School of Art, of America. The essay prompted a tele- also in Indianapolis, to study painting phone call from the Ford Foundation, and drawing and to continue his inde- asking him to review a proposal they pendent study of lithography (though had received from a Los Angeles artist, the school had printing equipment, it June Wayne, who was seeking funding had stopped teaching lithography in the to develop a workshop to revitalize fine Garo Z. Antreasian: 1930s). Antreasian’s tenure at Herron was art lithographic printing in the United Reflections on Life and Art interrupted by World War II, in which he States. Motivated by her struggle to find By Garo Z. Antreasian with served as a war artist in the Coast Guard. an American lithographer for her livre an introduction by William Peterson After the war he finished his degree and d’artiste, Songs and Sonnets (with poems 368 pages, 250 color illustrations by 1948 was teaching full-time at Her- by John Donne, 1958), she envisioned an Published by University of New Mexico ron. That summer he made his first trip organization that would train individu- Press, Albuquerque, NM, 2015 to New York, where he met and became als in printing, studio management and $39.95 friendly with William Lieberman, cura- curatorial practices. tor of prints and drawings at the Museum The grant was awarded, and on a trip of Modern Art, and the following sum- east Wayne arranged to meet Antreasian mer he returned to work at Stanley Wil- at the Art Institute of Chicago, where they Stepping Stones: liam Hayter’s Atelier 17 and to study with spent the day in the museum cafeteria Garo Antreasian and American Will Barnet at the Art Students League. discussing everything to do with lithog- The years 1947–1958 were an intense raphy and strategizing the expansion of Lithography and concentrated period of lithographic its creative use in the States. She offered By Peter S. Briggs experimentation for Antreasian. His him a job as technical director of the new prints from this period ramble a bit in organization, and Clinton Adams, then aro Antreasian’s contributions to style as he pushed his skills and absorbed chair of the art department at University G the art and technology of lithog- lessons from other artists, especially of Florida, took the post of administra- raphy in post–World War II America are Picasso, George Rouault, Paul Klee, tive director. Together the three worked well-known, and parts of the story told Ben Shahn and American Scene artists tirelessly to launch Tamarind Lithogra- in his recently published book will be such as Edward Hopper, Aaron Bohrod phy Workshop (TLW) in 1960. Antreasian familiar to many readers—the struggle to advance printmaking in mid-century America; the transformative agenda of Tamarind Lithography Workshop, which he helped launch in 1960, its reincarna- tion at the University of New Mexico in 1970, and Antreasian’s own ongoing technical curiosity and pursuit of formal abstraction. But this volume is not a sur- vey; it is a memoir, personal and reveal- ing, and touches on events that range from the tragedy of the artist’s Armenian ancestors to the balancing of personal responsibilities in the contemporary art world. A reflective family history unfolds in early chapters and its legacy resurfaces periodically throughout the book, woven in along with Antreasian’s education, travels and artistic development. Though his artistic reputation rests largely on his prints, Antreasian rebuffs the notion that he is “just” a printmaker. His paintings were exhibited in New York Garo Z. Antreasian, Untitled: T72.121 (1972), lithograph, 24 x 36 inches. Courtesy of the Indianapolis as early as the 1940s and by the end of the Museum of Art ©Garo Z. Antreasian. All rights reserved.

Art in Print January – February 2017 41 ping down to devote himself to teach- ing, print research and art making. One lasting consequence of his involvement was the 1971 publication of The Tamarind Book of Lithography: Art and Techniques, co-authored with Adams. Antreasian’s most mature and success- ful work as a printmaker runs from his arrival in Los Angeles through the 1980s in New Mexico. In 1961 in LA he created two important suites, Fragments and Tokens. The twelve Fragments prints high- light image-making and printing meth- ods, serving as model for the “relatively strange medium of lithography to art- ists who had never made prints before.” Along with the nine prints in Tokens, these represent Antreasian’s last and most successful investigations of abstract expressionism. After arriving in New Mexico, he shifted abruptly and emphati- cally toward geometric shapes and hard edges with three suites: Quantum (1967), Silver Suite (1968) and Octet (1969). He also explored new techniques, such as print- ing on silver foil, a material he initially observed in commercial printing appli- cations, and invented systems for tonal blends or “rainbow rolls” (only to dis- cover later that this technique—now so identified with the 1960s and ’70s—had been in use in 19th-century lithographic poster design). In all these works, simple, large shapes are precisely positioned in abridged compositions. Antreasian’s words about his own work are compelling. He articulates his Garo Z. Antreasian, Octet Suite, Plate 8 (1969), lithograph, 24 × 20 inches. Courtesy of the Indianapolis Museum of Art. ©Garo Z. Antreasian. All rights reserved. formal focus on linear abstraction and frontal planes, a clear break with illusion- ary push-and-pull strategies, and also on designed the layout of spaces and selected in subsequent decades: Landfall Press the technical dimensions and applica- inks, papers, presses, work tables, lights (Jack Lemon), Gemini G.E.L. (Ken Tyler), tions of his work. His 1972 print T72.121 and much more. Describing this time, he Collectors Press (Ernest De Soto), Cir- offers a simple appearance—intense red sets down a captivating first-hand nar- rus Editions (Jean Milant), Little Egypt ground with short and long lozenges of rative: his account of the hasty develop- Enterprises (David Folkman), SOLO color blends darting in various direc- ment of TLW and of his relationships Impression (Judith Solodkin), Shark’s tions, but achieving it was anything but with Wayne and Adams rings with the Ink (Bud Shark), Derrière l’Etoile (Mau- simple. The print, he writes: excitement of seized opportunity. rice Sanchez), and Arber and Son (Robert After one year in Los Angeles, how- Arber), among many others. was conceived to carry a blend of thir- ever, Antreasian returned to Indianapo- At Adams’s invitation, Antreasian teen colors in one printing . . . followed lis to resume teaching at Herron, where moved to the University of New Mexico by a nearly solid second plate that was he continued to train students, sending in 1964 to establish a lithography pro- inked and printed twice in red. . . . The the exceptional ones on to Tamarind gram there. Wayne meanwhile wanted to strategy was to distribute the blends for additional study. Adams also left to be able to concentrate on her own work, beginning with yellow on the left of accept a position as the dean of the Col- so in 1970 a freshly renamed and re- the roller and ending with the same lege of Fine Arts at the University of New embodied Tamarind Institute, directed yellow at the extreme right edge of Mexico. But the initial triad—boosted by Adams, emerged in Albuquerque the roller . . . the printer had to ink the by Wayne’s continued commitment and under the umbrella of the University. For first vertical pass of the roller exactly tenacious standards—had made their the next two years Antreasian supervised along the left edge of the image. Next, mark. Lithography workshops spawned the printer-training program and again he gathered fresh ink following align- by Tamarind spread across the country served as technical director, before step- ment marked on the ink slab so as not

42 Art in Print January – February 2017 to disturb the blends. Returning to the stone, it was necessary to flip the roller end to end in order to align its yellow edge to the yellow from the first path on the stone.

The frequently nightmarish technical requirements of Antreasian’s prints were embraced by adept printers who recog- nized his profound understanding of the medium and how those very difficulties developed content. The passage above indicates his conviction that process and experimentation were integral com- ponents of his aesthetic. In this sense, the resulting print is an artifact of his performance. As presented by Antreasian, the events and decisions of his life seem ordered and considered, almost predestined: his childhood mastery of marble shooting, meticulous stamp collecting and model- plane building all seem to predict his tenacious teenage resolve to teach him- self how to make a lithograph. His trajec- tory as an artist and educator appears, in Garo Z. Antreasian, Zenagir: Red (1983) lithograph, 37 1/2 x 45 7/8 inches. Courtesy of the retrospect, so reasonable and so thought- Indianapolis Museum of Art. ©Garo Z. Antreasian. All rights reserved. ful. And it could not, I think, be other- wise. Even a cursory survey of his art demonstrates the sense of organization, in his left; June Wayne on a break from of resolution and structure that marks drawing on a stone; Antreasian, later in the cut of his jib. life, working on a painting; one of his In 1982 Antreasian traveled to Tur- Albuquerque studios; and a final image key where he made a pilgrimage to the of the artist in his storage area among a site of his ancestral village, eradicated selection of charcoal drawings. in the 1915 Armenian genocide. An In his introduction, critic William amusement park had been built on its Peterson uses his intimate knowledge of remnants. Revealingly, his pained bewil- contemporary art west of the Mississippi derment led him to seek out fresh forms to place Antreasian’s personal account of order—perhaps improbably, in Islamic in cultural and art historical context. In architecture, tile design and calligraphy. his penultimate chapter, Antreasian also The screenprint Zenagir: Red (1983) uses strives to frame his artistic contributions forms derived from large wooden mosque within the late 20th-century struggle doors; reversing the low relief pattern of between Modernism and Postmodern- the bolts binding them, Antreasian poked ism; describing his “underlying passion an arrangement of holes through the for order, structure, and some sense of paper after the work was printed. formality,” he seems to side with the The book’s 160 color plates repro- former. duce a generous selection of Antreasian’s Memoirs are fashioned from recollec- prints, drawings and paintings, illumi- tions cued by mind and matter, creating a nated by a blush of varnish. More than 90 contemporary account from the resources photographs of family members, friends, of one’s past. Antreasian accepts this deli- professional associates and studio activ- cate condition and attempts to recon- ity are scattered through the text and five struct the “artist as a person” and to consecutive pages of photographs serve redress “the absence of personality” that as a visual foreword: Antreasian in 1956 characterizes so much critical and his- or 1957 examining a sketch for his mural torical writing about artists. project at the University of Indiana; watching as Clinton Adams modifies a lithographic stone with a brush or pencil Peter S. Briggs is the Helen DeVitt Jones Curator in his right hand while holding a proof of Art at the Museum of Texas Tech University.

Art in Print January – February 2017 43 Prix de Print No. 21

PRIX A Cloud in Trousers de by Thorsten Dennerline PRINT Juried by Trevor Winkfield

This iteration of the Art in Print Prix ewis Carroll’s revolutionary chil- brightened considerably. George Koven- de Print has been judged by Trevor L dren’s book Alice in Wonderland first chuk’s 1974 version of Mayakovsky’s The Winkfield. The Prix de Print is a appeared in 1865. The author had chosen Bedbug is a case in point. Another bril- bimonthly competition, open to all as his illustrator the political cartoon- liant interpretation of what I think of as subscribers, in which a single work is ist John Tenniel, and such was Tenniel’s his “feminine” side is the present Prix de selected by an outside juror to be the sub- impact on the story that his interpreta- Print selection, A Cloud in Trousers, the ject of a brief essay. For further informa- tions quickly became regarded as indis- artist this time being Thorsten Denner- tion on entering the Prix de Print, please pensable. They were perfection—nothing line (coupled with Michael Dumanis as go to our website: http://artinprint.org/ more appropriate could be imagined. expert translator of Mayakovsky’s verse). about-art-in-print/#competitions. They remained sacrosanct until the early Modest in size (at 18 x 22.2 cm and 16 20th century, when Arthur Rackham was pages), it doesn’t require a lectern to Thorsten Dennerline bold enough to offer an Edwardian view read it and can be perused flat on a table A Cloud in Trousers (2016) of the Victorian heroine, quickly fol- or propped up in bed; make sure you’ve Plate lithography and letterpress, 18 x lowed by a slew of other interpreters, who washed your hands thoroughly before 22.2 cm. Edition of 38. Printed and pub- proved that Alice can have many guises touching it—this book is in an edition of lished by The Bird Press, Bennington, VT. (it is, after all, one of the most visually only 38 copies. $1,600. stimulating of all children’s stories). In his statement about this project, For many people the Russian poet Dennerline emphasizes that “rather than Vladimir Mayakovsky is forever associ- just illustrate a book of his I kept the ated with the geometric Constructiv- project open-ended, letting it change and ism/Suprematism of El Lissitsky, who evolve, into a portrait of sorts and then designed and illustrated Mayakovsky’s began to add layers of detail that reflect 1923 collection of declamatory verse, For a sense of his complexity.” The prime the Voice. That collection became just stipulation we can place on a painter- as much a classic as Alice in Wonderland, and-poet collaboration is that they know though exceeding that staple by being a each other’s work inside out, otherwise complete package: Lissitsky not only pro- the painter acts merely as an illustrator, vided the striking red and black illustra- not an interpreter (witness Matisse who, tions but also designed the book as an when asked to illustrate James Joyce’s object, a complete collaboration between Ulysses in 1935, simply responded—the poet and painter/designer. It doesn’t con- book not having been read—with irrel- tain Mayakovsky’s best poetry—unless evant etchings based on classical Greek Soviet rhetoric is your preferred mode of themes).1 Mayakovsky had been dead the declamation. Lissitsky picked up on this better part of 80 years by the time Denner- stridency and visualized the book as a kind line came to collaborate, and though he of instruction manual, complete with was fully aware of—and admired—Maya- index tabs running down one margin. kovsky’s earlier collaboration with Lis- Meanwhile, the lyrical side of Maya- sitsky, this in no way inhibited his own kovsky’s versification has received far approach. In opposition to Lissitsky’s less attention from artists. Most visual geometric masculinity, Dennerline offers interpretations have been insipid by com- a gentler, more biomorphic invitation to parison with Lissitsky’s, but in the past Mayakovsky’s world, a world where, as few decades, with the revival of poet and the poet said, “my sound is something painter collaborations, the picture has gentle, feminine.” Mayakovsky being who

44 Art in Print January – February 2017 he was, the sounds he trumpeted were passionate. Nestled between cadmium yellow covers, the 16-page poem is splayed across eight azure-colored spreads; the text is printed in black letterpress with yellow imagery often drifting across two pages and acting as clouds against a dense blue sky. But since poetry acts as a trigger to the imagination and sends the reader off on unexpected trajectories, these clouds could also double as ecto- plasmic islands, or constellations—con- stellations that contain yet more worlds. Layer upon layer of amoeba-like shapes co-exist with other microscopic frag- ments, often corralled behind folding walls. Some even trespass onto the azure itself, like willful satellites. Or cloud fragments. All of this—clouds, sky, text—create a rich brew that has nothing to do with Soviet Russia and everything to do with the roots of poetry.

Trevor Winkfield iis a British artist who has lived in New York since 1969.

Notes: 1. For other views of the Joyce-Matisse project, see Vincent Katz, “Matisse Bound and Unbound,” Art in Print, Nov–Dec 2016, and Kit Smyth Bas- quin, “Ineluctable Modality of the Visible: Illustra- tions for Joyce’s Ulysses,” Art in Print, Nov–Dec 2013. Art in Art in Print Number 6

Eric Avery Print Life: Neurogenesis 2016

hanks to medical imaging, we now curiously rich in gardening allegories: a flipbook, sitting in the corner. of the T know that trauma doesn’t just make synaptic connections are “pruned” in opposite page. The video can be seen at people feel bad, it changes the anatomy of childhood; new neurons are “seeded” in https://vimeo.com/195833703. the brain. We also know that neurogen- the dentate gyrus of the hippocampus Avery’s goal with Print Life: Neurogen- esis—the development of new neurons— and the subventricular zone. In Print Life: esis 2016 was “a print as close as possible enables the brain to reorganize itself, to Neurogenesis 2016, Avery gives literal form to life itself,” using printmaking to evoke compensate for injury and disease, to to these metaphors. the brain’s neuroplasticity—the way our respond to changes in its environment The template for the project is a large, physiology serves to heal our psyches— by forming new neural connections. It is Mexican pine serving bowl, some two feet and to remember “an Egyptian tomb only in the past 20 years or so, however, long and 18 inches wide, on the inside of offering to outer and inner space.” that scientists have come to recognize which Avery carved a representation of that such neuroplasticity is not simply the cerebral cortex. (Avery has been carv- the province of infancy1 and that areas ing and printing hybrid image-objects Susan Tallman is the Editor-in-Chief of of the hippocampus related to memory from carved bowls since 1987.) The sur- Art in Print. and mood regulation retain the ability to face was inked and wheat berry seeds generate neurons throughout life. If biol- were placed in the incised areas. Finally, Notes ogy is still destiny in some sense, it is an paper pulp was pressed into the bowl “like 1. Fred H. Gage, et al., “Neurogenesis in the Adult adaptable destiny. pie dough in a pie pan.” The resulting ob- Hippocampus,” Nature Medicine 4, 1313–1317 As a physician who has endured, he ject is part sculpture, part print, part gar- (1998). explains, his “share of childhood trauma den—a black-and-white brain embedded 2. All quotes from Eric Avery from his statement and survived the dissociative reenact- with seeds that, when watered, germi- on Print Life: Neurogenesis 2016, email, 12 Nov ments that followed in adult life,” Eric nated and grew into lawn-like verdancy. 2016. Avery is conscious of these things as both But paper—even thick, handmade, pulpy Photos: B/W image by Todd Mason; “growth” objective facts and subjective experien- paper—is not a life-sustaining ground for images by Roger Haile. ces. As an artist, he has found the physi- wheat. After reaching a height of about cal act of making prints to be of critical seven inches the blades of grass began to therapeutic importance: fall over and die. This too, was part of the plan. Carving woodblocks, cutting up rags More than 40 years ago, return- and beating them into paper pulp to ing from Somalia, Avery had visited the be used in printing, squeezing print- Egyptian Museum in Cairo, where he had ing templates through presses under seen, among the hosts of objects jumbled high pressure, has served me as a in glass cases, a woven mat with ancient way to process trauma and work it wheat grass that had once sprouted from through my two brains—the one in its surface, then fallen to the side and my head and the one in my body. Since dried into eternity. “It must,” he observes, the body also keeps the score, art mak- “have been taken into the tomb while still ing can access parts of experience of- growing and been left to die.” ten dissociated from verbal memory. Working with photographer and art- Metaphorically, the bad stuff can be ist Roger Haile in North Carolina, Avery transformed into art.2 documented the growth of his wheat- covered brain over the course of seven This transformation is the subject of days with time-lapse photography, and Avery’s project for Art in Art in Print—it then assembled the image into a video. represents, in terms both physical and The pulsar soundtrack suggests to the poetic—the burgeoning of the emotional artists the “sounds made by neurons fir- brain. The language used to describe ing as we think and feel.” For the journal, the brain’s adaptive self-management is video frames have been transformed into

46 Art in Print January – February 2017 Art in Print January – February 2017 47 48 Art in Print January – February 2017 Enrique Chagoya, Aliens Sans Frontières (2016) Beth Fein, Conjunctio (2016) News of the Nine-color lithograph, 24 x 28 inches. Edition of Woodblock, letterpress (wooden type), mono- 30. Printed and published by Shark’s Ink, Lyons, type, wood and wire, 9 1/2 x 26 x 13 inches. Print World CO. Price on request. Edition of 4 variable. Printed and published by the artist, with Ciana Valley, Kala Art Institute, Berkeley, CA. Available through Kala Art Gallery, Berkeley. $1,200. Selected New Editions

Christine Beneman, Urban Salvage (2016) Monotype, 80 x 26 inches. Unique image. Printed and published by the artist, Portland, ME. $3,500.

Enrique Chagoya, Aliens Sans Frontières Beth Fein, Conjunctio (2016). (2016). Barbara Foster, Brian Cohen, Rose (2015) Calligraphy of Chance: Windfall (2016) Etching, 5 x 5 inches. Edition of 40. Printed and Woodcut on archival carbon print and Awagami published by Bridge Press, Westmoreland, NH. Kozo thin natural, 32 x 22 1/2 inches. Edition of $350. 5. Printed and published by the artist, Oakland, CA. $900.

Christine Beneman, Urban Salvage (2016).

Jen Blazina, Correspondence (2015) Brian Cohen, Rose (2015). Cast glass, screenprint on lead, 7 x 84 inches. Unique work. Printed and published by the artist, David Curcio, Hit (2016) Philadelphia, PA. Available from Koelsch Haus, Woodcut, 11 x 15 inches. Edition of 10. Printed Houston, TX. $3,000. and published by the artist, Watertown, MA. Barbara Foster, Calligraphy of Chance: Available through Cade Thompkins Projects, Windfall (2016). Providence, RI. $800. Jane E. Goldman, Quechee Night (2016) Woodcut, 12 x 30 inches. Edition of 15. Printed with Stacy Friedman and published by the artist, Somerville, MA. Available from Stewart & Stewart, Bloomfield Hills, MI. $800.

Jen Blazina, Correspondence (2015). David Curcio, Hit (2016). Jane E. Goldman, Quechee Night (2016).

Justin Diggle, Street View (2016) Screenprint and laser engraving, 22 x 30 inches. Unique image. Printed and published by the artist, Salt Lake City, UT. $950.

Justin Diggle, Street View (2016).

Art in Print January – February 2017 49 Betsy Gould, Woven Skyway (2016) Anita S. Hunt, untitled (puddle) (2016) Liz Markus, Courtney V (2015) Woodcut with trace monotype collage, 20 x 16 Drypoint, 15 x 11 inches. Edition of 12. Printed Monotype, 37 x 27 inches. Unique image. Printed inches. Unique image. Printed and published by and published by the artist, Colrain, MA. $400. and published by Derriere L’Etoile Studios, Long the artist, Cambridge, MA. $1,400. Island City, NY. $2,000.

Anita S. Hunt, untitled (puddle) (2016). Betsy Gould, Woven Skyway (2016). Liz Markus, Courtney V (2015). Catherine Kernan, Circling the Center #9 (2016) Alexa Horochowski, Vortex Drawing 13 (2016) Monoprint/woodcut, 30 x 44 inches. Edition of Orion Martin, H.E.D. (geim n gebult) (2016) Oil stick, polystyrene packing peanuts, paper 15. Printed and published by the artist, Somer- Five-plate aquatint etching with soft ground and with black pastel ground, 96 x 96 inches. Unique ville, MA. Available from Stewart & Stewart, burnishing, image 27 (extended at boot to 31) image. Printed and published by Highpoint Bloomfield Hills, MI. $3,600. x 22 inches, sheet 42 x 30 1/2 inches. Edition of Editions, Minneapolis, MN. $4,500. 25. Printed and published by Wingate Studio, Hinsdale, NH. Price on request.

Catherine Kernan, Circling the Center #9 (2016).

Alexa Horochowski, Vortex Drawing 13 (2016). Julia Lucey, Redwood Sorrel, Trillium and Starry False Solomon’s Seal (2016) Richard Hricko, Covert II (2016) Aquatint etching with collage and watercolor, 20 x 24 inches. Edition of 15 variable. Printed and Copper photogravure, 9 1/2 x 6 1/2 inches. Orion Martin, H.E.D. (geim n gebult) (2016). Edition of 12. Printed and published by the artist, published by the artist, Fairfax, CA. Available Philadelphia, PA $800. from Kala Art Institute, Berkeley, CA and Wally Workman Gallery, Austin, TX. $900. Katja Oxman, Memory Stirring (2016) Aquatint, 23 1/2 x 17 1/2 inches. Edition of 50. Printed and published by the artist. Available from Stewart & Stewart, Bloomfield Hills, MI. $600.

Richard Hricko, Covert II (2016). Julia Lucey, Redwood Sorrel, Trillium and Starry False Solomon’s Seal (2016).

Katja Oxman, Memory Stirring (2016).

50 Art in Print January – February 2017 Nicholas Ruth, Beacon (2016) Yishu Wang, Repeatable Past and Future (2016) Monoprint and colored pencil, 30 x 22 inches. Etching, white ground, drypoint, 38 x 24 inches. Unique image. Printed and published by the art- Edition of 15. Printed and published by the artist, ist, Rochester, NY. $850. Fremont, CA. $950.

Laura Splan, Squint (2016).

Sandra Starkey Simon and Andrea Przygonski, Kangaroos and Spinifex (2016) Screenprint on digital painting, 76 x 50 cm. Edition of 5. Printed and published by the artists, Yishu Wang, Repeatable Past and Future Adelaide, South Australia. $760 AUD. (2016). Nicholas Ruth, Beacon (2016). Brian Andrew Whiteley, Trump Legacy Stone Hanneline Røgeberg, Lede Revision (2016) (2016) Etching and drypoint, 18 x 24 inches. Edition Direct tombstone rubbing, image 24 x 20 inches. of 5. Printed and published by Marina Ancona, Edition of 100. Printed and published by James 10 Grand Press Brooklyn, NY. $1,200. Stroud, Center Street Studio, Milton Village, MA. $900.

Sandra Starkey Simon and Andrea Przygonski, Kangaroos and Spinifex (2016).

Dana Tosic, Artifact #4 (2016) Screenprint, 20 x 28 inches. Edition of 8. Printed Hanneline Røgeberg, Lede Revision (2016). and published by the artist, Toronto, Ontario, Canada. $375 CAD. Hunt Slonem, Lucky Charm 6 (2016) Brian Andrew Whiteley, Trump Legacy Stone Archival pigment print, 30 x 22 inches. Edition of (2016). 10. Printed and published by Stewart & Stewart, Bloomfield Hills, MI. $1,500. Laura Widmer, Tide (2015) Linocut on handmade paper, 30 x 22 inches. Edition of 5 variable. Printed and published by the artist, Kelowna, BC, Canada. $800 CAD.

Dana Tosic, Artifact #4 (2016).

Jessie Van der Laan, talus integument p11 (2016) Monotype and relief, 50 x 30 inches. Unique image. Printed and published by Amanda Verbeck, Pele Prints, St. Louis, MO. $1,500.

Hunt Slonem, Lucky Charm 6 (2016).

Laura Splan, Squint (2016) Four-color lithograph, image 15 1/4 x 15 1/4 inches, Laura Widmer, Tide (2015). 22 1/2 x 22 1/2 inches. Edition of 30. Printed and published by Veda Rives, Interim Director and Master Printer of Normal Editions Workshop at Illinois State University, Normal, IL. $400.

Jessie Van der Laan, talus integument p11 (2016).

Art in Print January – February 2017 51 Paula Wilson, In the Desert: Mooning (2016) Collagraph on muslin from two plates, hand- printed collage on muslin and inkjet collage on silk, mounted on canvas and wood, 72 x 48 inches. Edition of 10. Printed and published by Island Press, St. Louis MO $3,500.

Paula Wilson, In the Desert: Mooning (2016).

Janine Wong, Dot Variant 1–31 (2016) Watercolor and oil monoprints, image 12 x 12 inches each, sheet 18 x 18 1/2 inches each. Unique image. Printed and published by Oehme Graphics, Steamboat Springs, CO. $1,100 each. In Baltimore through 18 June: “Shifting Views: People & Politics in Contemporary African Art.” Robin Rhode, Pan’s Opticon Studies (No. 2 from the series Pan’s Opticon Studies) (2009), photogravure, image 48.9 x 73.2 cm, sheet 56.2 x 77.3 cm. Published by Niels Borch Jensen Editions, Copenhagen. The Baltimore Museum of Art: Roger M. Dalsheimer Photograph Acquisitions Endowment. ©Robin Rhode.

AUSTiN, Tx DALLAS, Tx “Jay Bolotin: The Book of Only Enoch” “Richard Serra: The Prints” 13 January – 11 March 2017 28 January – 23 April 2017 Flatbed Press and Gallery Nasher Sculpture Center http://flatbedpress.com http://www.nashersculpturecenter.org/

Janine Wong, Dot Variant 10 (2016). BALTiMORE DERBySHiRE, UK “Front Room: Guerrilla Girls” “Small Print international” 25 September 2016 – 17 March 2017 7 January – 12 February 2017 Exhibitions of Note Baltimore Museum of Art Gallerytop http://artbma.org https://gallerytop.co.uk/ ALBUQUERQUE, NM “3rd Annual international Print Show” And: FRANKFURT 1 December 2016 – 27 January 2017 “Shifting Views: People & Politics in “yokohama 1868–1912: When Pictures New Grounds Gallery Contemporary African Art” Learned to Shine” http://newgroundsgallery.com 18 December 2016 – 18 June 2017 8 October 2016 – 29 January 2017 Museum Angewandte Kunst “Garo Antreasian: innovation in Print” BEDFORD, UK www.museumangewandtekunst.de 9 September 2016 – 27 January 2017 “Picasso & The Masters of Print” Tamarind Institute 15 October 2016 – 16 April 2017 GAiNESViLLE, FL http://tamarind.unm.edu/ The Higgins Bedford “Meant to Be Shared: The Arthur Ross http://thehigginsbedford.org.uk Collection of European Prints” ALExANDRiA, LA 29 January – 8 May 2017 “Beyond Mammy, Jezebel, & Sapphire: BOSTON Harn Museum of Art, University of Florida Reclaiming images of Black Women” “Terry Winters: The Structure of Things” http://www.harn.ufl.edu/ 2 December 2016 – 18 February 2017 3 September 2016 – 18 June 2017 Alexandria Museum of Art Museum of Fine Arts, Boston GENEVA http://themuseum.org/ http://mfa.org “Gerald Cramer and His Artists: Chagall, Miro, Moore” AMSTERDAM CHiCAGO 21 October 2016 – 29 January 2017 “Good Hope? South Africa & “Classicisms” Cabinet d'Arts Graphiques The Netherlands from 1600” 16 February – 11 June 2017 http://mah-geneve.ch 17 February – 21 May 2017 Smart Museum of Art Rijksmuseum http://smartmuseum.uchicago.edu/ HAMBURG, GERMANy http://rijksmuseum.nl “Dalí, Ernst, Miró, Magritte...” CiNCiNNATi 17 October 2016 – 22 January 2017 ASPEN, CO “The Book of Only Enoch and Hamburger Kunsthalle “Adam McEwan: i Think i’m in Love” The Jackleg Testament, Part i: Jack & Eve” http://hamburger-kunsthalle.de 13 January – 28 May 2017 24 September 2016 – 12 March 2017 Aspen Art Museum Cincinnati Art Museum http://aspenartmuseum.org http://cincinnatiartmuseum.org/

52 Art in Print January – February 2017 iTHACA, Ny MiLANO, iTALy “Escaping the Ordinary: Artistic “Hokusai, Hiroshige, Utamaro. Settings imagination in Early Modern Prints” and Faces of Japan that Seduced the West” 21 January – 28 May 2017 22 September 2016 – 29 January 2017 Johnson Museum of Art, Cornell University Palazzo Reale http://museum.cornell.edu/ http://www.palazzorealemilano.it/

LiVERPOOL MiLWAUKEE, Wi “Tracey Emin and William Blake in Focus” “Gods and Heroes: Classical Mythology 16 September 2016 – 3 September 2017 in European Prints” Tate Liverpool 2 December 2016 – 2 April 2017 http://tate.org.uk Milwaukee Art Museum http://mam.org/ LJUBLJANA, SLOVENiA “The Centres of Printmaking: MiNNEAPOLiS At the intersection of Knowledge, “Prints on ice: Learning and Cooperation” The 30th Cooperative Exhibition” 11 October 2016 – 8 February 2017 9 December 2016 – 21 January 2017 International Centre of Graphic Arts Highpoint Center for Printmaking www.mglc-lj.si http://highpointprintmaking.org

LONDON MiRFiELD, UK “The American Dream: Pop to the Present” “Small Print international” 9 March – 18 June 2017 18 February – 15 April 2017 British Museum West Yorkshire Print Workshop http://britishmuseum.org http://www.wypw.org/

“Jealous Print Studio” MUNiCH 8 November 2016 – 31 January 2017 “in Focus: The Fantastic Alphabet CNB Gallery of Master E. S.” http://cnbgallery.com 21 October 2016 – 11 June 2017 Pinakothek der Moderne “Surface Cutting” http://pinakothek.de 7 September 2016 – 20 February 2017 Royal Academy of Arts NEW BRUNSWiCK, NJ http://royalacademy.org.uk “innovation and Abstraction: Women Artists and Atelier 17” “Hugo Wilson: Chroma Hunt” 17 January – 31 May 2017 14 December 2016 – 21 January 2017 Jane Voorhees Zimmerli Art Museum Shapero Modern http://www.zimmerlimuseum.rutgers.edu/ http://shaperomodern.com In London through 2 April: “Robert Rauschen- berg.” Robert Rauschenberg and Susan Weil, NEW yORK “David Hockney” Untitled (double Rauschenberg) (ca. 1950), “Greenpoint: New Prints by il Lee” 9 February – 29 May 2017 monoprint: exposed blueprint paper, 209.6 x 92.1 10 December 2016 – 18 February 2017 Tate Britain cm. Private collection. Courtesy Tate Modern. Art Projects International http://tate.org.uk http://artprojects.com “Pop for the People: Roy Lichtenstein “Robert Rauschenberg” Prints by Gemini G.E.L.” “Nancy Campbell: 1 December 2016 – 2 April 2017 7 October 2016 – 13 March 2017 Sudden Smile Quickly Gone” Tate Modern Skirball Cultural Center 1 December 2016 – 22 January 2017 http://tate.org.uk http://skirball.org Central Booking http://centralbookingnyc.com “Another Russia: Post-Soviet Printmaking” MADRiD 8 December 2016 – 15 August 2017 “Ugo Rondinone. Windows, Stars & Poems” “you Say you Want a Revolution: American Victoria & Albert Museum 26 September 2016 – 11 February 2017 Artists and the Communist Party” http://vam.ac.uk La Caja Negra 18 October 2016 – 11 February 2017 http://www.lacajanegra.com/ Galerie St. Etienne http://www.gseart.com/ LOS ANGELES “Renaissance and Reformation: German “Bruce Conner: it’s All True” “Workshop and Legacy: Stanley William Art in the Age of Dürer and Cranach” 21 February – 22 May 2017 Hayter, Krishna Reddy, Zarina Hashmi” 20 November 2016 – 26 March 2017 Museo Nacional Centro de Arte Reina Sofia Los Angeles County Museum of Art www.museoreinasofia.es/en 6 October 2016 – 26 March 2017 http://lacma.org The Metropolitan Museum of Art MANCHESTER, UK http://metmuseum.org And: “Marcantonio Raimondi and Raphael” “LA Exuberance: New Gifts by Artists” 30 September 2016 – 23 April 2017 And: 30 October 2016 – 2 April 2017 The Whitworth, The University of Manchester “The Mysterious Landscapes http://www.whitworth.manchester.ac.uk/ of Hercules Segers” And: 13 February – 21 May 2017 “The Prints of Albrecht Dürer: MELBOURNE, AUSTRALiA Masterworks from the Collection” “David Hockney: Current” And: 17 December 2016 – 11 June 2017 11 November 2016 – 13 March 2017 “Seurat’s Circus Sideshow” National Gallery of Victoria 17 February – 29 May 2017 http://ngv.vic.gov.au

Art in Print January – February 2017 53 “Frank Stella: A Retrospective” 5 November 2016 – 26 February 2017 De Young Museum, Fine Arts Museum of San Francisco http://deyoung.famsf.org

“Bruce Conner: it’s All True” 29 October 2016 – 22 January 2017 San Francisco Museum of Modern Art http://sfmoma.org

SEATTLE “Jacob Lawrence: The Migration Series” 21 January – 23 April 2017 Seattle Art Museum http://seattleartmuseum.org

SHELBURNE, VT “Hard-Edge Cool: The Routhier Collection of Mid-Century Print” 19 November 2016 – 22 January 2017 Shelburne Museum http://shelburnemuseum.org

ST. LOUiS “impressions of War” In Portland, OR through 29 January: “Corita Kent: Spiritual Pop.” Immaculate Heart College 5 August 2016 – 12 February 2017 Art Department, ca. 1955. Photo: Fred Swartz. Courtesy of Corita Art Center / Immaculate Heart Saint Louis Art Museum Community, Los Angeles. http://slam.org

ST. PETER, MN “A Curious Hand: The Prints of PARiS “Made in USA: Rosenquist & Ruscha” Henri Charles Guerard (1846–1897)” “images and Revolts in Books and Prints” 13 February – 1 April 2017 2 November 2016 – 26 February 2017 14 December 2016 – 17 March 2017 Hillstrom Museum of Art Stephen A. Schwarzman Building, Bibliothèque Mazarine https://gustavus.edu/finearts/hillstrom/ New York Public Library http://www.bibliotheque-mazarine.fr https://www.nypl.org/ WATERViLLE, ME PASADENA, CA “in the Studio: Picasso’s Vollard Suite” And: “States of Mind: 15 September 2016 – 12 February 2017 “Love in Venice” Picasso Lithographs 1945–1960” Colby College Museum of Art 10 February – 26 August 2017 14 October 2016 – 13 February 2017 http://www.colby.edu/museum/exhibition/ Norton Simon Museum of Art And: http://www.nortonsimon.org/ WiCHiTA, KS “i.C. Editions 25th Anniversary” “Printmaking is intimate” 10 December 2016 – 28 January 2017 PHiLADELPHiA 19 November 2016 – 28 February 2017 Susan Inglett Gallery “Rebecca Gilbert: wonder” Wichita Art Museum http://inglettgallery.com 16 December 2016 – 22 April 2017 https://www.wichitaartmuseum.org/ The Print Center NEWLANDS, SOUTH AFRiCA http://printcenter.org ZURiCH “Deborah Bell, William Kentridge, “Das wahre Gold eines Bankiers. Diane Victor” PORTLAND, OR Druckgraphik aus der Sammlung 10 December 2016 – 28 January 2017 “Corita Kent: Spiritual Pop” Heinrich Schulthess-von Meiss” David Krut Projects 13 August 2016 – 29 January 2017 9 November 2016 – 5 February 2017 http://davidkrut.com Portland Art Museum Graphische Sammlung ETH Zürich http://pam.org http://gs.ethz.ch NORTH FARGO, ND “Beyond Order: Selections from And: Fairs Highpoint Editions” “Constructing identity: 17 September 2016 – 27 January 2017 Petrucci Family Foundation Collection CAPE TOWN Plains Art Museum of African American Art” “Art Africa Fair 2017” http://plainsart.org/ 28 January – 18 June 2017 24 February – 5 March 2017 Jubilee Hall, Watershed, V&A Waterfront NORWALK, CT SAN FRANCiSCO http://artsouthafrica.com “2016 Screenprint Biennial” “Bruce Conner” 22 January – 25 March 2017 14 October 2016 – 28 January 2017 LOS ANGELES Center for Contemporary Printmaking Crown Point Press “Los Angeles Fine Print Fair” https://contemprints.org/ http://crownpoint.com 3 – 5 February 2017 Bonhams OxFORD, UK And: http://losangeles-fineprintfair.com “Degas to Picasso: “Jacqueline Humphries” Creating Modernism in France” 7 December 2016 – 28 January 2017 “LA Art Book Fair 2017” 10 February – 7 May 2017 24 – 26 February 2017 The Ashmolean Museum The Geffen Contemporary at MOCA http://ashmolean.org http://printedmatter.org

54 Art in Print January – February 2017 Symposia scholars are invited to propose papers for a conference to be held at Winterthur Museum, Delaware, 29–30 March 2018. Following the con- PHiLADELPHiA ference, authors will be invited to revise papers “Objects of Study: for possible publication in a special issue of Paper, ink, and the Material Turn” a journal on this topic. In the spring of 2019, a 31 March 2017 – 1 April 2017 follow-up workshop for contributors will be held Philadelphia Museum of Art at Université Paris Diderot, with the goal of final- http://objectsofstudy.com izing the joint publication and discussing further research opportunities in this field. Scholars COVENTRy, UK should send an abstract (one page) of their pro- “More than Meets the Page: Printing Text posed contribution and a short CV (two pages) to and images in italy, 1570s-1700s” [email protected] by 1 February 2017. For 4 March 2017 more information, please visit http://arthist.net/ University of Warwick Under the Spell of Hercules Segers: archive/14042. https://www2.warwick.ac.uk/fac/arts/hrc/confs/pti/ Rembrandt and the Moderns Essays by Mireille Cornelis, Eddy de Jongh and Chicago Printers Guild Publishers Fair Auctions Leonore van Sloten 128 pages, 150 b/w illustrations The first annual Publishers Fair of the Chicago Printers Guild was held at Elastic Arts in Chicago Published by Museum Het Rembrandthuis, LONDON on 18-19 November 2016. Since 2009 the Guild Amsterdam and W Books, Zwolle, 2016 “Evening & Day Editions” (CPG) has sought to bridge the gap between €29.95. 19 January 2017 commercial printing and fine art printmaking Phillips through meetings and activities such as lectures, http://phillips.com workshops and art exhibits. The Publishers Fair this winter featured over 30 artists exhibiting NEW yORK self-published work alongside a curated selec- “Old Master Prints” tion in the gallery of Elastic Arts. Guest speakers 25 January 2017 included Angee Lennard (Spudnik Press Coop- Christie’s erative), Mark Pascale (Art Institute of Chicago) http://www.christies.com/ and Duncan Dempster (Honolulu Printmakers). For more infomation please visit http://chicago- Events printersguild.org.

AUSTiN, Tx “PrintAustin 2017” 15 January 2017 – 15 February 2017 PrintAustin http://printaustin.org Chen Haiyan: Carving the Unconscious Edited by Britta Erickson. Introduction by New Books Abby Chen. Text by Britta Erickson, Maya Kóvskaya, Amjad Majid. Interview by Britta Andy Warhol: Prints Erickson with Richard Widmer Edited by Carolyn Vaughn. Foreword by 240 pages, 175 color illustrations Brian Ferriso. Text by Sara Krajewski, Published by Ink Studio, Beijing, 2016 Richard H. Axsom, Jordan D. Schnitzer $45. 184 pages, 280 color illustrations Published by Portland Art Museum and Jordan Schnitzer Family Foundation, Portland, OR, 2016 $55.

Other News

Call for Papers: “images, Copyright, and the Public Domain in the Long 19th Century” A combination of technological, cultural and eco- Brian D. Cohen: Emblems nomic factors during the long 19th century made Introduction by Chard deNiord, essays by images more readily available than ever before, Nancy Eddy, and Brian D. Cohen, edited by and raised new questions about ownership and Katrina Maloney and Gordon Jones usage. We aim to bring together scholars from a 40 pages range of disciplines (printing history, art history, Published by Bridge Press, Westmoreland, law, literature, visual culture, book history, etc.) NH, 2016 to explore the cultural and legal consequences. $35 As the first stage in the project, interested

Art in Print January – February 2017 55 iFPDA announces recipients of the ew York Print Week was bigger and Richard Hamilton Acquisition Prize and N bolder in 2016 with the addition the iFPDA Book Award for 2016 of new participants both uptown and The International Fine Print Dealers Association (IFPDA) announced the recipients of the Richard downtown. The venerable international Hamilton Acquisition Prize and the IFPDA Book Fine Print Dealers Association (IFPDA) Award for 2016 at the 2016 IFPDA Print Fair. filled the Park Avenue Armory in what Sponsored by Champion & Partners and named turned out to be its last year in that grand after the great British painter and printmaker Richard Hamilton, the acquisition prize, which space. With great demand for participa- provides up to $10,000 to support a museum tion, the IFPDA will move next year to acquisition at the IFPDA Print Fair, was awarded the Jacob Javits Center, a much larger to the National Museum Wales. The 2016 IFPDA Book Award was presented to venue that is also closer to the vibrant Susan Dackerman, for her book Corita Kent and West Side arts scene. As usual, every aisle the Language of Pop. With its Book Award, the of the Armory offered significant printed IFPDA seeks to encourage research, scholarship works, from Titian’s monumental Sub- and the discussion of new ideas in the field of fine prints. mersion of Pharaoh’s Army in the Red Sea at David Tunick to Hans Lützelburger’s Paulson Bott Press Becomes singular Battle of Naked Men and Peas- Paulson Fontaine Press ants at C.G. Boerner to Andrew Raftery’s Following the departure of founding parter Renée Bott, Rhea Fontaine has joined Pam Paulson as a long-awaited Autobiography of a Garden partner in the renamed Paulson Fontaine Press. series of transferware (engravings on Fontaine has been gallery director for the press ceramic plates) at Mary Ryan. There were since 2002; in her new role, she will be one of the lectures and discussions throughout the first African-American women to publish fine art prints by contemporary artists. She received a event, and artist and MacArthur fellow BA in ine Art from the University of California, Nicole Eisenman joined Faye Hirsch and Berkeley, and a postbaccalaureate diploma in an overflow crowd to discuss Eisenman’s museum studies from Studio Art Centers Inter- deep relationship with printmaking. Just national in Florence, Italy. Meanwhile, founding partner Renée Bott remains active in the print outside, Park Avenue provided a backdrop world in a number of new roles, including as a for Cade Tompkins’ playful “Art in an Air- member of the board of directors of this journal. stream” mobile gallery. Also uptown, the New york Satellite Print Fair at the Bohemian National Hall held numerous treasures. In Chelsea, the Editions/Artists’ Book Fair welcomed over 40 exhibitors at the Tunnel, which again proved a bright and lively venue. Also downtown were other important shows: Black Pulp at IPCNY; PrintFest (IPCNY’s event for MFA and BFA seniors to exhibit, sell and trade their Rhea Fontaine. Image courtesy prints); and SPi (Self Publishers invi- Paulson Fontaine Press. tational Exhibition and Fair) at Rogue Space. In Midtown, the 2nd New york international Miniature Print Exhi- bition at Manhattan Graphics Center featured a selection of miniature prints submitted by over 200 international artists. At the New York Public Library, New York Print Week 2016 Print Week York New the works of the engraver Henri Charles Guerard were on display. Further afield there was the Buy the Book Fair at Cen- tral Booking on the Lower East Side, and Prints Gone Wild at Littlefield NYC in Brooklyn. For more information please visit these sites:

Please submit announcements of http://www.ifpda.org/content/print-fair exhibitions, publications and http://eabfair.org/ other events to http://www.nysatelliteprintfair.com/ [email protected]. http://www.ipcny.org/ https://www.facebook.com/spifair/

56 Art in Print January – February 2017 Clockwise from upper left: grand entrance to the IFPDA Print Fair at the Park Avenue Armory; Pablo Picasso, Portrait de Jacqueline aux Cheveux lisses (1962) at John Szoke; Nicole Eisenman and Faye Hirsch in conversation in the Armory’s Board of Officers Room; autumn in New York; Cade Tompkins Projects’ “Art in an Airstream” on Park Avenue; Jim Dine at Alan Cristea; Titian’s The Submersion of Pharaoh’s Army in the Red Sea (ca. 1514–15) at David Tunick. Photos: J. Bernatz

Art in Print January – February 2017 57 New York Print Week 2016

Clockwise from top: entrance to the Editions/ Artists’ Book Fair at the The Tunnel; IPCNY’s PrintFest student show; poster for SPI (Self Publishers Invitational Fair); recent editions at the Booklyn booth; three views of opening night at The Tunnel. Photos: of E/AB: Edition/Artists Book Fair. Additional photos: J. Bernatz.

58 Art in Print January – February 2017 2017

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Art in Print January – February 2017 59 60 Art in Print January – February 2017 Carrie Moyer Watercolor Monotypes

Soft Cells 3 watercolor monotype 18 x 24 inches (image) 22 x 27 inches (sheet) 2014

Congratulations to Carrie Moyer for being selected to participate in the 2017 Whitney Biennial

March 17– June 11, 2017

Curated by Christopher Y Lew and Mia Locks

Center Street Studio www.centerstreetstudio.com

ORION MARTIN

H.E.D. (geim n gebult) , 2016 42 x 30.5 inches edition of 25

WINGATESTUDIO.COM

Art in Print January – February 2017 61 VISIT OUR WEBSITE TO SEE NEW PRINTS FROM ANDY BURGESS SUZANNE CAPORAEL LESLEY DILL SANDRA RAMOS DAN RIZZIE ALISON SAAR

WWW.TANDEMPRESS.WISC.EDU Suzanne Caporael Google Data Center, Lenoir, North Carolina, U.S.A., 2016 [email protected] Lithography with pencil, ed. 30 608.263.3437 32 3/4 x 47 inches

62 Art in Print January – February 2017 ENRIQUE CHAGOYA

“Aliens Sans Frontières” (2016) nine-color lithograph 24 x 28 inches edition of 30

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Morris Blackburn: Prints and Paintings in Process

January 17 – April 30, 2017 Palmer Museum of Art The Pennsylvania State University Curtin Road University Park, PA 16802 814.865.7672 http://palmermuseum.psu.edu/

The estate of Morris Blackburn is represented by Dolan/Maxwell.

Dolan/Maxwell 2046 Rittenhouse Square Philadelphia, Pennsylvania 19103 215.732.7787 office Ron Rumford, Director www.DolanMaxwell.com

Above: Still Life (Bass Ale) 1939, woodcut, edition 30 Below: Still Life (Bass Ale & Pipe) c. 1940, oil on canvas

Art in Print January – February 2017 63 Contributors to this Issue

Jared Ash is Slavic and Special Collections Librarian at the Thomas J. Watson Library, The Metropolitan Museum of Art, New York. He was previously Curator and Librarian of Special Collec- tions at the Newark Public Library and Curator of the Judith Rothschild Foundation. He has written for Art Documentation, Central Booking and publications by MoMA and the Art Institute of Chicago.

Boston Print Fair Eric Avery is an artist/printmaker and a physician/psychiatrist who for forty years has explored the 6-9 April 2017 liminal space between visual art and medicine. His social content prints explore human rights abuses Cyclorama • Boston Center for the Arts and social responses to disease, death, sexuality and the body. His art medicine projects in art museums and galleries have demonstrated how art can save lives. His work is in numerous collections. He lives with his partner in New Hope, Pennsylvania. His work is online at www.EricAveryArtist.com.

Printer/Publisher & Dealer of Fine Prints Since 1980 Peter S. Briggs is the Helen DeVitt Jones Curator of Art at the Museum of Texas Tech University, www.StewartStewart.com developer and director of the Artist Printmaker/Photographer Research Collection, and a member of IFPDA Member graduate faculty in the Museum Science program where he teaches curatorial methodology.

Carand Burnet is an essayist, poet and arts correspondent. Currently, she is writing a literary biogra- phy about Nancy Luce of Martha’s Vineyard, Massachusetts.

Brian D. Cohen is a printmaker, painter, writer and educator. He founded Bridge Press, a publisher of limited edition artist’s books and etchings, in 1989. His works are held by major private and public col- Subscribe to lections, and his writing has appeared both in print and in numerous journals and magazines. Marjorie B. (Jerry) Cohn is the Carl A. Weyerhaeuser Curator of Prints, Emerita, at the Harvard Art Art in Print Museums /Fogg Art Museum. Over the course of her career at the museums she was also the Lynn and Philip A. Straus Conservator of Works of Art on Paper and the Acting Director.

for as little as 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 and is $38 per year. the author of Printmaking: A Contemporary Perspective from Black Dog Publishers. Victoria Sancho Lobis is Prince Trust Curator and Interim Chair of the Department of Prints and Drawings at The Art Institute of Chicago. Before the Art Institute, Lobis worked for four years as the inaugural curator of the print collection at the University of San Diego. Her exhibition and publication subjects include Rubens, Rembrandt, Van Dyck, Goltzius, Whistler and colonial Latin American art.

Kate McCrickard is an artist and writer based in Paris. Her publications include a 2012 monograph www.artinprint.org on the work of William Kentridge for Tate Publishing and contributions to Print Quarterly and Art South Africa quarterly.

Rhiannon Paget is the Andrew W. Mellon Fellow for Japanese Art at the Saint Louis Art Museum and co-curator of the museum’s exhibition “Conflicts of Interest: Art and War in Modern Japan.” She has published research on prints, textiles, and painting, the most recent of which is the book Hiroshige & Eisen: The 69 Stations along the Kisokaido, co-authored with Andreas Marks, due out in 2017.

Genevieve Verdigel is currently preparing a PhD on the print production of Benedetto Montagna at the Warburg Institute, London. She completed her BA and MA at the Courtauld Institute. She was a A PASSION 2016 Bromberg Fellow at the British Museum, where she catalogued Italian topographical prints and drawings.

FOR Trevor Winkfield is a British artist who has lived in New York since 1969, where he shows with Tibor de Nagy. His work is represented in many museums, including the Philadelphia Museum of Art, Berkeley Art Museum, Speed Museum, Vassar College Museum of Art, MoMA and The Contemporary SHARING Museum (Honolulu). Among other honors, he is a Chevalier dans l’Ordre des Arts et des Lettres. His book of interviews with Miles Champion, How I Became A Painter was published in 2014, the same year ART as his collection of art essays, Georges Braque & Others. Shaoqian Zhang is an assistant professor of art history at Oklahoma State University. She received her BA from Beijing University, and her MA and PhD from Northwestern University. Her research subjects range from traditional East Asian architecture to contemporary art in China., but she is par- ticularly interested in the evolution of Chinese political prints from the end of the 19th century to the JORDAN SCHNITZER foundation of the People’s Republic of China in 1949. FAMILY FOUNDATION Susan Tallman is the Editor-in-Chief of Art in Print. She has written extensively about prints, issues jordanschnitzer.org of multiplicity and authenticity, and other aspects of contemporary art.

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