On Resistance • Sandow Birk • Tom Lewis and the Catonsville Nine

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The Global Journal of Prints and Ideas September – October 2017 Volume 7, Number 3

On Resistance • Sandow Birk • Tom Lewis and the Catonsville Nine • Nell Painter • Dürer’s Etchings Prints and Political Madness • Hans Haacke • Revolutionary Prints • Rembrandt at Notre Dame • Prix de Print • News AndyAndy Warhol: Warhol: Prints Prints from from the the Collections Collections of of Jordan Jordan D. D. Schnitzer Schnitzer and and His His Family Family Foundation Foundation PortlandPortland Art Art Museum Museum

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ContemporaryContemporary Women Women PrintmakersPrintmakers JordanJordan SchnitzerSchnitzer MuseumMuseum ofof ArtArt atat WSUWSU Pullman,Pullman, WAWA •• AugAug 2222 -- NovNov 1717 September – October 2017 In This Issue Volume 7, Number 3

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

Associate Publisher Benjamin Levy 4 Julie Bernatz Sandow Birk: American Qur’an and The Depravities of War Managing Editor Isabella Kendrick Morgan Dowty 8 Incendiary Etchings: Tom Lewis Associate Editor and the Catonsville Nine

Julie Warchol Nell Painter Interviewed by Manuscript Editor Paola Morsiani 13 Prudence Crowther Working in the Year 2017

Editor-at-Large Brian D. Cohen 17 Catherine Bindman Freedom and Resistance in the Act of Engraving (Or, Why Dürer Design Director Gave up on Etching) Skip Langer Alison W. Chang 22 Prints in a Time of Political Madness

John A. Tyson 28 Hans Haacke’s Proofs of Commitment

Elizabeth M. Rudy 35 Reading Revolutionary Prints

Notes on an Exhibition Cheryl K. Snay 37 Rembrandt and Religion at Notre Dame

Book Review Paul Coldwell 40 Prints and the British Arts Council Collection

Prix de Print, No. 25 42 Juried by Nicolas Collins Over the hill by Ralph Overill On the Cover: Tom Lewis, detail of Draft records are for burning from The Trial and News of the Print World 44 Prison (1969), color etching. The Baltimore Museum of Art: Gift of Faye A. Houston and Contributors 60 Michael A. Lowry, in Honor of William B. Lowry, Jr., BMA 2014.10.2. Photo: Mitro Hood.

This Page: Kelly Taylor Mitchell, detail of Black People Don’t Owe You Shit (2017), screenprint, 22 x 15 inches. From the RISD Prints for Protest portfolio.

Art in Print This issue was funded in part with 3500 N. Lake Shore Drive support from the IFPDA Foundation Suite 10A and the Malka Fund. Chicago, IL 60657-1927 www.artinprint.org [email protected] 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published without the written consent of the publisher. On Resistance By Susan Tallman

n 1999, a candidate running in the (1940–2008), who, along with the Berri- I parliamentary elections in Berlin put gan brothers and several others, went to up posters promising to be “Sozialis- prison for burning draft cards during the tisch / Ökologisch / Oppositionell” (Social- Vietnam War. Merging news photos and ist / Environmental / Oppositional). As a intimate drawings, Lewis’s etchings build motto it had the implacable absurdity of a bridge between the world’s first “tele- Groucho Marx’s ode to obstruction in vision war” and the TV set at Lewisburg Horse Feathers (1932): Federal Penitentiary. Hans Haacke’s long history with Your proposition may be good prints is charted here by John Tyson, from But let’s have one thing understood: his early inkless abstractions at Atelier 17 Whatever it is, I’m against it! to his witty exposures of the maneuver- And even when you’ve changed it ing of money and power, to his refugee or condensed it, postering project in this year’s Docu- I’m against it! menta. Nell Painter, from You Say This Can’t Really Be What, exactly, was the candidate Sandow Birk’s major projects American America (2017), digital and screenprint, eight Qur’an (2005–2014) and The Depravities of pledging to oppose? “Socialism” and parts, 17 x 17 inches each. Edition of 10. Printed “Environmentalism” are freestanding and published by Brodsky Center, Rutgers, The War (2007)—surveyed here by Ben Levy— political beliefs with attendant policy State University of New Jersey. ©Nell Painter and lay open all these themes: the horror of positions, but the implications of “oppo- Brodsky Center, Rutgers. an unjust war; the covert exercise of sitional” depend on context. What if the power; the scapegoating of the powerless; Socialists or the Greens came to power obstruction—on acid resistance, on the the outrage and ignorance that come of in a landslide? Would our poor candidate mutual shunning of oil and water, on the experiencing the world as a distant media implode? forbearance of paper under pressure. In event. And yet, Groucho was onto something his essay, Brian Cohen explains how the Finally, Nell Painter speaks about her profound. Opposition and resistance— rigors of copperplate engraving provided own singular career. A distinguished the gritty disinclination to slip fluidly Albrecht Dürer not just with composi- historian, Painter has written broadly along—are the heart of dialectical rea- tional discipline, but with a coherent on African-American history, but she is soning, the intellectual chest-bumping cosmology. (One need only look at Rem- also an artist and recently completed a that is supposed to expose weak ideas brandt’s religious etchings, discussed residency at the Brodsky Center, Rutgers. and identify strong ones. Resistance— here by Cheryl Snay, to recognize how an In conversation with Paola Morsiani, she physically and metaphorically—is what alternate technology can meld to a differ- discusses prints and resistance—not just allows us to get a grip. ent world view.) Ralph Overill, selected resistance to social ills such as racism, but Since the November elections in the by Nicolas Collins as the winner of this also to the expectation that a black artist must United States, “resistance” has become issue’s Prix de Print, exploits screenprint speak for black people, and not sim- shorthand for principled perseverance and fabric to disrupt the digital precision ply for herself. in the face of a variety of assaults on of picture files of celluloid film stills— The value of resistance is just this: by human rights. As artist and historian resistance piled on resistance. getting in the way of the easy, effortless Nell Painter observes in this issue, the Social resistance is also woven through glide of hand or thought, it makes us word “brings along a string of political the history of the print, in complicated examine, prioritize and question what connotations that have to do with the ways that are often oversimplified in the the outside world has presented. With current administration and the outbreak attempt to cast the print as an inherently prints, this often means reconsidering of hatred.” Alison Chang reports here on left-wing art form. It isn’t. And Elizabeth the relationship between the artist as an the responses of print artists and organi- Rudy’s insightful investigation of French individual and the artist as a purveyor of zations around the country, as they have Revolutionary prints demonstrates just public information. The history of the geared up to produce prints, protest sig- how easily contemporary readings of his- medium is replete with great works made nage, participatory public events and the torical images can go off the rails. by artists who have come to very different Vive la résistance strategic studies of activism and its mate- And yet it is undoubtedly true that over conclusions. . rial accessories. the past half-century, prints have been Resistance, however, can take innu- used again and again by artists attempt- Susan Tallman is the Editor-in-Chief of merable forms, from teenage truculence ing to speak leftist truths to corporate Art in Print. to heroic self-sacrifice, and from the and military powers. Morgan Dowty’s political to the chemical. The making of article resurrects a little-known 1969 prints has always depended on physical portfolio by the activist artist Tom Lewis

2 Art in Print September – October 2017 Tucker Nichols Benefit Print for Art in Print

Tucker Nichols, Untitled (BR1729), 2017 Letterpress on Reich Savoy 184 lb cotton wove paper. 8 x 10 inches. Edition of 60. Printed by Dependable Letter Press, San Francisco. Published for Art in Print by Gallery 16 Editions, San Francisco.

Pre-release price: $250

Nichols’ tender, witty work has been exhibited in museums internationally and published by McSweeney’s, The Thing Quarterly, Nieves Books and The New York Times. Gallery 16 Editions is the print studio of Gallery 16, founded in San Francisco in 1993 by artist Griff Williams.

For further information, please contact us at: [email protected] or 1-844-278-4677.

Art in Print is a not-for-profit 501(c) corporation; we depend on grants and donations for our survival. We are deeply grateful to Tucker Nichols, Griff Williams and Gallery 16 for their generosity and support. Sandow Birk: American Qur’an and The Depravities of War By Benjamin Levy

Sandow Birk, Destruction from The Depravities of War (2007), woodcut on handmade Sekishu Kozo paper, 48 x 96 inches. Printed and published by Hui Press, Makawao, Hawaii. Courtesy of the artist and Catharine Clark Gallery, San Francisco.

os Angeles artist Sandow Birk (b. of post-9/11 political rhetoric and Birk’s of Qur’ans spanning hundreds of years L 1962) is driven to restage art from avocation as a surfer. In pursuit of waves was transformative, and Birk set about the past to speak to contemporary con- he has traveled throughout Southeast creating an illuminated Qur’an for a cerns. Two projects, created over the past Asia and India, spending time in coun- mainstream American audience. In other decade, address the current American tries with large Muslim populations such words, for people just like him. As he set conceptual haze in which Islam, terror- as Indonesia, Singapore and the Phil- about creating the gouache drawings to ism, war and war crimes waft together, ippines. He was struck by the contrast accompany the book’s 114 Surahs (chap- fanned by politicians of various stripes. between the one-dimensional image of ters), he chose to retain many traditional The first of these works—begun in Muslims presented in America and the Qur’anic elements: the pages all adhere to 2005—was Birk’s American Qur’an, a actual complexity of religious attitudes a uniform layout, in which the handwrit- nine-year-long undertaking in which he and beliefs that exist under the global ten text is set within elaborate borders. calligraphed and painted 427 pages, set- umbrella of Islam. The contradiction He also diverges from tradition in impor- ting an English translation of the Ara- piqued Birk’s curiosity about the reli- tant ways. bic text of the Qur’an against scenes of gion’s core text. “So much of our nation’s Most radically, the text on those contemporary American life. (In addi- energy, time, blood, and worry is wrapped blocks appears in English. Birk is cogni- tion to the drawings, American Qur’an up in Islam,” Birk notes, “as [non-Muslim] zant that an English-language Qur’an is is also available as a trade hardback.)1 Americans, we owe it to ourselves to at a contradiction in terms. The Qur’an is The second project, done in 2007 in the least have some idea of what the most held by believers to be the word of God, middle of the ongoing American Qur’an important book in the world is and is spoken in Arabic to Muhammad. And development, is a set of 15 monumental not.”2 while Muslims may rely on translations woodcuts, The Depravities of War (2007), He sought out material on historic in their native tongues as an aid to study- that follow the 17th-century example of Qur’ans in California and made a trip ing the text, prayers across the Muslim Jacques Callot’s etching series Les Misères to the Chester Beatty Library in Dublin, world are recited in Classical Arabic, et les Malheurs de la Guerre (The Miseries which boasts one of the most impor- which remains the official language of and Misfortunes of War). tant collections of Qur’ans outside of the Qur’an. (The Christian Bible, by con- American Qur’an is the unlikely result the Middle East. Seeing cases and cases trast, began as an accumulation of texts

4 Art in Print September – October 2017 a variety of shared experiences. And yet, their very existence as narrative scenes is potentially provocative. Representational images of living beings are controversial in Islamic religious art. While representation per se is not forbidden in the Qur’an, idolatry— any confusion of a representation with God—is. (Aniconism exists in Judaism on a similar basis, and has existed with greater fluctuation in Christianity, notably in Byzantium and during the Protes- tant Reformation.) Unsurprisingly, since the Muslim world covers much of the globe, attitudes to representation differ— Shias, for instance, tend to be more open Sandow Birk, Execution from The Depravities of War (2007), woodcut on handmade Sekishu Kozo to respectful representational images of paper, 48 x 96 inches. Printed and published by Hui Press, Makawao, Hawaii. Courtesy of the artist and Catharine Clark Gallery, San Francisco. humans than Sunnis.3 Yet Birk, interestingly, has found that questions about rep- written in multiple tongues, and can be who sits reading with a book in one hand, resentation in American Qur’an have been read in hundreds of languages today.) For a phone in the other and coffee cup close brought up to him almost exclusively by Muslims, the English text that appears on by. Behind her we can read the backward non-Muslims. Birk’s pages without Arabic accompani- message of a sign taped to the inside of Birk knew from the start that Ameri- ment can only be considered an interpre- the window: “FREE WI-FI.” Between and can Qur’an would be his most ambitious tation of the Qur’an. around the text blocks we can see snip- undertaking to date, and anticipated it The text does, however, conform to pets of carts, washing machines, a bul- would take four years to complete. But at tradition in being written by hand. The letin board, the feet of a person standing the four-year mark he was only halfway calligraphic styles that developed over folding clothes. Contrast this quotidian through. The work was physically tiring the centuries to embody the Arabic of scene with the one that accompanies and mentally exhausting, given that he the Qur’an are central to Islamic visual Surah 14 C, a text that speaks about the was striving for “a sort of false naiveté, in and religious culture. Seeking an analo- destruction God may visit upon people: which I tried to forget everything that I gous tradition of letterform stylization here the foreground is awash in the had been told and had read about Islam within his own world, Birk settled on debris of a tornado that can be seen still and I read the Qur’an at face value.”4 and adapted local Los Angeles graffiti, in churning in the distance—the splintered The project has been exhibited several which he saw similarly lyrical and expres- remnants of a house pile up and spill over times, in various stages of completion, sive visual qualities. both the outside border and the inner at galleries—Catherine Clark Gallery in In most Qur’ans the text is surrounded frames that generally protect the cal- San Francisco, PPOW in New York and by intricate abstract ornament, but on ligraphed text. Birk’s drawings make no Koplin del Rio Gallery, then in Los Ange- each of Birk’s pages the text blocks appear comment on the situation of Muslims les—and on university campuses.5 From to hover in front of a single, coherent, in America: he has neither replicated the beginning it has attracted a good deal narrative scene. In the spaces surround- stereotypes nor tried to counter them of press, including coverage in the New ing the text, we catch glimpses of the (which may just result in their perpetu- York Times and the Atlantic. Early news mundanities and extremes of American ation). Instead, American Qur’an presents of the project elicited words of caution life—construction sites, street corners and RV parks; a prison execution cham- ber, natural disasters, US Customs and Border Patrol detainment. Each scene was conceived by the artist as he thought about the relevant Surah and how its message applied to 21st-century Ameri- can life. Surah 58, which addresses both divorce and public assembly, is paired with a scene of people waiting in a laundromat. The two blocks of justified calligraphy, framed with simple blue and gold borders, float symmetrically on the page. An outer border, surrounding the drawing as a whole, is disrupted by dryers, Jacques Callot, La Pendaison [The Hanging Tree] from Les Miseres et les Malheurs de la Guerre fluorescent lights, laundry baskets and a [The Miseries and Misfortunes of War] (1633), etching, 8.8 x 19.2 cm. Published by Israël Henriet. woman in pink on a yellow plastic chair, ©Victoria and Albert Museum, London.

Art in Print September – October 2017 5 nique. Callot’s etchings are famously min- ute: roughly four-by-eight inches each; Birk’s woodcuts are printed from four- by-eight-foot sheets of birch plywood (the largest matrices that could be sourced in rural Hawaii, where Birk was working with master printer Paul Mullowney at Hui Press).7 Callot’s prints are rife with virtuosic technical invention, using acid to bite longer in some areas than others to create depth of field.8 The deft draftsmanship and powerful content of Callot’s prints reward the close, intimate scrutiny of traditional print viewing—held in the hand or close to the eye. The monumental size of Birk’s prints, and the coarser, Sandow Birk, Detention from The Depravities of War (2007), woodcut on handmade Sekishu Kozo more visceral, gouging of wood to make paper, 48 x 96 inches. Printed and published by Hui Press, Makawao, Hawaii. Courtesy of the artist and Catharine Clark Gallery, San Francisco. the marks of the image, create a dominat- ing physical presence. The subjects in The from some Muslim religious leaders, and Callot witnessed and portrayed the Depravities are boldly rendered, the atmo- Mohammad Qureshi, the administrator impact of the Thirty Years War, which sphere expressive, and the mark-making of the Islamic Center of Southern Cali- ravaged Europe between 1618 and 1648, aggressive. Using the strong hatching fornia, announced his refusal to see the on his hometown, Nancy, the capital of and articulate outlines typical of didactic work altogether.6 There have also been the disputed territory of Lorraine, and wood engravings, Birk builds a full tonal negative reactions from those on the his series marked a major, early example range, from the billowing black smoke of right that feel that “American” and “Mus- of printmaking used to investigate and oil fires to the bright light of a U.S. Senate lim” are mutually exclusive identities, and display the cruelty and chaos of conflict. hearing, and to define precisely the fig- those on the left who argue that a non- Like the Miseries, Birk’s Depravities ures of fleeing civilians, dead bodies and Muslim white surfer from Southern Cali- opens with an elaborate frontispiece—a soldiers crouching behind Humvees. The fornia has no place appropriating a sacred colophon at the scale of cinematic open- prints are loud—designed to compete in text that is not his own. The project has ing credits—but the story begins with a media landscape saturated with depic- been met with support from a younger the print titled Obsession. The action in tions of violence. Standing in front them, generation of American Muslims who the images moves from upper left, where viewers are immersed in each scene. have seen the work and for whom those a plane is seen heading toward the Twin One of the remarkable aspects of Cal- terms are just two of many identifiers. All Towers and smoke billows from the first lot’s series is its depiction, not of heroes these responses are part of the conversa- hit, to left center, where a loose group- and villains, but of the many shades of tion Birk aimed to provoke. ing of people read newspapers headlined violence, condoned and condemned.9 American Qur’an is an attempt to “WMDS” and “IRAQ 9-11.” To their right, Take, for instance, its best-known image, defuse intercultural fear and loathing by soldiers march in formation (one salutes The Hanging, which shows a tree from integrating the foreign and the familiar; a parental couple; another embraces a which dozens of bodies dangle like ripe the large scale project Birk took up part- woman as a small child tugs on his pant fruit: the subject is not, as often assumed, way through his work on the Qur’an, The leg). Signs for McDonalds, Exxon, Texaco a massacre of civilians by an invading Depravities of War, is a grandiose account and Chevron hover above the tree line force; it is the townspeople’s revenge on of what happens when such efforts fail. while Chinook helicopters rise into the soldiers who plundered and tortured. Both are hugely ambitious: American air. Finally, in the lower right, closest to Birk also acknowledges the moral com- Qur’an is expansive in the number of the viewer, stands an Army recruiting plexity of the situations he addresses. works, while the Depravities are physi- table with signs reading, “Enlist Army, The penultimate print, Execution, a late cally enormous: 15 four-by-eight-foot Free College,” and “Don’t Ask Don’t Tell” addition to the series, shows the lifeless horizontal woodcuts that chronicle the on the other. body of Saddam Hussein hanging amid a American invasion and occupation of Obsession is predictive of the compo- crowd of people who had been victims of Iraq. Like many Americans, Birk was sitional complexity and narrative density his regime. dismayed by the war—the false pre- of all the prints in the series, which fol- The denouement of Birk’s series is tenses and ambiguous goals with which lows the course of the conflict: the train- prolonged, much like the conflict—fight- it was launched, the brutality, chaos ing of troops; the full-scale invasion, with ing gives way to prisons and punishment, and suffering that ensued. In 2007, tanks and burning oil fields; the struggle and then again to fighting, suggesting when the number of American troops of street-by-street combat with the insur- intractable violence with no tidy victory. was increased by 20,000 in the “surge” gency; destruction and despoliation; the The final print shows a line of disabled intended to secure Baghdad and Anwar abuse of prisoners by American forces. veterans outside a Veterans Services facil- province, Birk turned for inspiration Birk drew on Callot’s compositional ity; read left-to-right and top-to-bottom, to Callot’s famous 1633 etching series, elements and narrative arc, but opted the concluding figure of this monumen- The Miseries and Misfortunes of War. for radically different scale and tech- tal drama is a homeless man slouched

6 Art in Print September – October 2017 Sandow Birk, American Qur’an/Sura 11E (2014), ink and gouache on paper, 16 x 24 inches. Courtesy of the artist and Catharine Clark Gallery, San Francisco.

in the shadows beside his empty super- resources, opportunities and lives. 4. Birk, email interview. market trolley. American Qur’an and The Depravities of 5. American Qur’an has been exhibited at the As with his Qur’an project, Birk’s per- War are commentaries on 21st-century Jordan Schnitzer Museum of Art at the University sonal relationship with the subject of this America and its complicated engagement of Oregon, the Kittridge Gallery at the University of Puget Sound, WA, and the Winter Center Gal- series is a distanced, mediated one. Callot with the Muslim world. But in his adop- lery at Millersville University, PA. lived through the fight for Lorraine dur- tion and adaptation of art-historical prec- 6. Jori Finkel, “‘Personal Meditations’ on the ing the Thirty Years War; he was report- edents, Birk reminds us that the Koran,” New York Times, 29 Aug 2009, http:// ing things he had experienced. Goya lived challenges of our specific moment are www.nytimes.com/2009/08/30/arts/design/30fink. through the Peninsular War and cap- both novel and familiar, reiterating html, and Gillian Flaccus, “’American Qur’an’ Blends US Life, Quranic Verses,” San Diego tioned plate 44 of his Disasters of War, “Yo struggles of the past with a few new cast Union-Tribune, 29 Aug 2016, http://www.sandi- lo vi” (I saw it). The same might be said members—and that we would do well to egouniontribune.com/sdut-us-rel-religion-today- of the World War I prints of Käthe Koll- remember that there is a larger arc of his- 100709-2009oct07-story.html. witz and Otto Dix. Birk’s source mate- tory beyond the 24-hour news cycle. 7. Callot also published an earlier series of six rials were not personal observations, prints at a smaller scale (2 ¼ x 4 ½ inches), aptly called the Small Miseries of War (1632). but photographs shot half a world away, 8. James Paul Monson, “Jacques Callot: An digitized, cropped, processed, printed— Benjamin Levy is a Seattle-based curator, Examination of His Techniques and Innova- things he saw on the pages of the Los art historian and trained printmaker. tions in Reference to La Grande Foire de Angeles Times that arrived on his door- L’Impruneta.” Master of Arts thesis, University of step each morning. It was the way most Iowa, 1968, http://ir.uiowa.edu/cgi/viewcontent. Notes: cgi?article=3429&context=etd. Americans “saw” the war, and Birk used 1. Sandow Birk, Reza Aslan, Zareena Grewal, 9. Katie Hornstein. “Just Violence: Jacques Cal- that language to process the experience. Iftikhar Dadi, and Catharine Clark, American lot’s Grandes Misères et Malheurs de la Guerre,” The Depravities does not seek to provoke Qur’an (New York: Liveright, 2015). Bulletin of the University of Michigan Museums of the visceral discomfort of Dix’s worm- 2. Author email interview with Sandow Birk, 29 Art and Archaeology 16 (2005), http://hdl.handle. eaten skull or Goya’s mangled corpses, or May 2017. net/2027/spo.0054307.0016.102. the shock of the news photographs them- 3. B.C., “Why Islam Prohibits Images of Muham- mad,” Economist, 19 Jan 2015, http://www.econ- selves. Instead its monumental dramatic omist.com/blogs/economist-explains/2015/01/ sweep offers a colossal tragedy of wasted economist-explains-12.

Art in Print September – October 2017 7 Incendiary Etchings: Tom Lewis and the Catonsville Nine By Morgan Dowty

Tom Lewis, Draft records are for burning from The Trial and Prison (1969), color etching, image 29.6 x 44.6 cm, sheet 39.2 x 55.8 cm. The Baltimore Museum of Art: Gift of Faye A. Houston and Michael A. Lowry, in Honor of William B. Lowry, Jr., BMA 2014.10.2. Photo: Mitro Hood.

Why should an artist get so involved office in Catonsville, Maryland, removed ishable by up to five years in prison and in protest that he lands in jail? In such draft records and set them alight in an a fine of $10,000.4 The Catonsville inci- a case, is protest an integral part of his adjacent parking lot using homemade dent, though, was one of the first in what art, or is it an expression of personal napalm.2 While awaiting arrest, the nine became a movement targeting Selective life, which has no relation to his art? held hands, prayed and addressed a small Service offices across the country.5 The I prefer to think the first; I prefer to gathering with prepared statements destruction of records en masse was think that his art tests his view of life, against the war. not simply a symbolic gesture; in many and that in turn, his art is tested by The burning of draft cards—the physi- cases, there were no duplicate copies and his public life. cal records the government used to keep the Selective Service was unable to serve track of and notify young men legally notice on the young men in question. —Tom Lewis, February 19691 obliged to serve in the armed forces—had The Catonsville Nine, as they came been a form of protest against the Ameri- to be known, included the priests Philip n May 17, 1968, as opposition was can engagement in the war as early as and Daniel Berrigan, and seven laypeo- Ogrowing to the U.S. involvement in 1963.3 Though the majority of Americans ple: David Darst, John Hogan, Marjorie Vietnam and unrest was sweeping Ameri- approved of the draft, by 1965 there was and Tom Melville, George Mische, Mary can campuses, a group of Catholic peace enough resistance that Congress passed a Moylan, and the artist Tom Lewis. Widely activists entered the Selective Service law making draft card destruction pun- reported, the action and subsequent trial

8 Art in Print September – October 2017 drew broad public interest and inspired of the Berrigan brothers standing over further protests. Daniel Berrigan wrote a the burning draft cards, a quote from the play about these events,6 while Lewis, in Nine’s attorney, William Kunstler, and between his imprisonment awaiting and one from Lewis: after the trial, created a portfolio of etch- I recall what Thoreau said in his ings, The Trial and Prison (1969), now in famous essay on civil disobedience, the collection of the Baltimore Museum “under a government which imprisons of Art. unjustly, the true place for a just man Born in Uniontown, Pennsylvania, is also in prison.” To me therefore, in March 1940, Lewis was a Baltimore prison is a very creative way to say yes resident by his senior year, attending to life and no to war.16 the Catholic Mount Saint Joseph High School. During his time there he devel- Like Lewis, Kent recognized “that oped an interest in painting and studied using words with visual forms and using informally under the Baltimore realist just short passages is often a way to help painter Earl Hofmann and later with Joe awaken people to something they might Sheppard. As an adult he took courses not be aware of, rather than enclosing it at universities in and around Baltimore, in a book or making a speech about it.”17 including Maryland Institute of Art, For Lewis, public protest and making Johns Hopkins University, Loyola Col- art were interwoven. Of the planning for lege and Georgetown University. He also the May 17 event, he said: traveled to Italy, visiting friends who had The work and the love and the articu- become priests and going to Florence lation and the involvement that goes to see works in the Uffizi Gallery. In the into one of my paintings, all of that early 1960s, he developed an interest in went into Catonsville. All of the details printmaking, attending Pratt Center that go into my artwork went into for Contemporary Printmaking in New the whole details of Catonsville. How York.7 would we go, where we would meet. He also began to be drawn to political The symbols. The press.18 life. “We never had an antiwar discussion Corita Kent, phil and dan (1969), screenprint, in any Catholic school I attended,” he image 60.4 x 32.5 cm, sheet 60.9 x 33 cm. Lewis was aware of the importance Cover for the portfolio The Trial and Prison. recalled, and on graduation he had served of having the event documented in the The Baltimore Museum of Art: Gift of Faye A. with the Maryland National Guard,8 Houston and Michael A. Lowry, in Honor of Wil- newspapers, and worked to coordinate but in the summer of 1963 he attended a liam B. Lowry, Jr. Courtesy of the Corita Art Cen- the press’s arrival at the scene. The use of demonstration at the racially segregated ter, Immaculate Heart Community, Los Angeles. napalm to burn the records had been his Gwynn Oak Amusement Park in Balti- idea—a succinct way to link the destruc- more with the intention of sketching the tenced to six years imprisonment for the tion of property to lives lost in the con- event for Catholic periodicals. Finding “Baltimore Four” action and sent to the flict. As Dan Berrigan famously said as himself in the midst of a group that was Lewisburg Federal Penitentiary in central they awaited the police: “Our apologies, heckling the protesters, he realized that Pennsylvania. (Lewisburg is a high-secu- good friends, for the fracture of good his “passivism in that particular situation rity prison that has housed many mob- order, the burning of paper instead of actually made [him] part of that mob.” sters, but Lewis spent much of his time children.”19 Lewis joined the protesters, and went on on the minimum-security prison farm.) In prison, Lewis used drawing as a to join the Baltimore chapter of CORE In November 1968 they were sentenced form of social exchange, making portraits (Congress of Racial Equality).9 Like the to three and a half years for Catonsville, of his fellow inmates in two copies—one Berrigans, Lewis was involved with the to be served concurrently with the earlier to give his subject and one to keep. The group of left-wing, politically engaged sentence.12 The Nine filed a series of legal more than 100 drawings he made in Catholics responding to the tolerance and appeals, and a special joint hearing with prison and in court were the basis of the openness of Vatican II ideologies in the judges from both trials resulted in the portfolio etchings. mid-1960s.10 In 1965, Pope Paul VI spoke release of Lewis and Berrigan for several Lewis used a variety of intaglio tech- before the United Nations, and Lewis months.13 It was during this period that niques—elegant line drawings, soft- made a large woodcut quoting from this Lewis created and assembled The Trial and ground and open bite for tone, and a speech, which he carried in demonstra- Prison. rough photo-transfer process—on plates tions: “No more war, war never again. The portfolio is comprised of ten etch- that were cut up and reassembled to inte- Peace. It is peace which must guide the ings, a letterpress text written by Lewis grate scenes from prison, the trial, anti- destinies of people.”11 and a cover by Corita Kent, another war demonstrations and news coverage In October 1967, Lewis, along with activist Catholic, who credited Dan Ber- of the war. Philip Berrigan and two others were rigan with urging her to bring her social The first print, Draft records are for arrested for pouring blood on draft records consciousness into her art.14 (She also burning, is composed entirely of photo- in Baltimore. A week after the Catonsville designed the cover for Berrigan’s play.)15 graphs transferred to the plate, high in protest, Lewis and Berrigan were sen- Her color screenprint features an image contrast and low in detail. Printed in black

Art in Print September – October 2017 9 When a prisoner displayed psycho- logical problems, he was isolated and then became involved in a process over which he had little or no control.22 In Cards, fantasies and schizophrenia, printed in burnt red, two men play cards as flames lick at the prison bars behind them. In Suicide, fears and dreams, razor blades float in the upper left above a sleeping prisoner; below him naked figures writhe in ambiguous states of pain or pleasure. The Maryland Historical Soci- ety holds a working proof of this print on the back of which Lewis scrawled: “The black guy in the etching tried to commit suicide by swallowing razor blades.”23 These prints are not works of fiction. The Trial and Prison portfolio was at once a work of art and an instrument of social activism. Released in an ambitious edition of 50, it helped raise funds for the Tom Lewis, Cops and peace demonstrators from The Trial and Prison (1969), color etching, movement.24 (One supporter recalls see- image 30.3 x 44.7 cm, sheet 39.2 x 55.8 cm. The Baltimore Museum of Art: Gift of Faye A. Houston ing it sold at a gathering at St. Ignatius and Michael A. Lowry, in Honor of William B. Lowry, Jr., BMA 2014.10.3. Photo: Mitro Hood. Church in Baltimore for around $150.)25 The large edition also raised its poten- and a fiery red that recurs throughout the pieced together from multiple occasions tial to spread awareness of the Catons- suite, the images oscillate between a barely of observational drawing. Against a back- ville Nine and the principles for which legible crowd of demonstrators and an all- drop of prison bars, the men stare blankly they stood. As art, the portfolio tackles over texture mimicking flames. at the TV screen, evoking the passage of the artist’s immediate experience and Publicity for the cause had been one time and the role of television as a source the broader geopolitics from which that aim of the Catonsville action, and the of both news and distraction. Lewis later experience arose, linking the personal subsequent trial drew hundreds of anti- wrote of his time in prison: and the political. war activists to support the defendants I was learning in a deeper way what In October 1969, the Nine’s appeal was as well as counter-demonstrators.20 Cops it meant to be powerless. I knew there denied by the U.S. Court of Appeals for the and peace demonstrators juxtaposes hel- was no help within the prison system; Fourth Circuit, and in February 1970, the meted police and groups of peaceful pro- in fact prison was a threat to healing. Supreme Court refused to hear the case.26 testers holding signs that show outlines of the Nine and the paired silhouettes of the Berrigan brothers. In other prints the intaglio plate becomes a physical metaphor for the violence of the war. In At Lewisburg prison I worked at the pig farm, Lewis let acid eat through the lower half of the plate, rid- dling it with holes, a visual record of the destructive power of chemicals that, for viewers of the time, would have been a reminder of the effects of napalm on the human body. On the prison farm, Lewis was required to care for pigs and to butcher them. He was shaken by the experience of killing and said the pigs’ squeals reminded him of human screams.21 Jail, T.V. and pacification offers a vignette of prison life, showing a group of men huddled around a small television, articulated in a manner that echoes Goya in its drawing style and use of aquatint. The difference in scale between the Tom Lewis, Jail, T.V. and pacification from The Trial and Prison (1969), etching, image two groups of figures and the partial 30.3 x 44.8 cm, sheet 39.2 x 55.8 cm. The Baltimore Museum of Art: Gift of Faye A. Houston and wall dividing them suggests the scene is Michael A. Lowry, in Honor of William B. Lowry, Jr., BMA 2014.10.8. Photo: Mitro Hood.

10 Art in Print September – October 2017 In April, Lewis returned to the minimum security facility at Lewisburg to begin the remainder of his sentence.27 He continued to use art as a means of social connection: The mafia controlled the art room because it was a good place to meet and talk, more private and less obvi- ous than the crowded dormitory. It was also a good place for them to receive a brown paper bag of wine and Italian spaghetti, which was stashed in a false-bottomed window well . . . If this was discovered, the arts and crafts room would be closed down. So we coexisted in that space, myself a war protester, they pro-war. Our only bridge was my artwork, admired but not understood.28 Lewis was able to make relief prints, though he often struggled to find wood and had to concoct his own ink from Tom Lewis, Suicide, fears and dreams from The Trial and Prison (1969), etching, image “ashes, coffee or cocoa powder with 29.6 x 44.4 cm, sheet 39.2 x 55.8 cm. The Baltimore Museum of Art: Gift of Faye A. Houston and water.”29 Michael A. Lowry, in Honor of William B. Lowry, Jr., BMA 2014.10.10. Photo: Mitro Hood. After his release in 1971, Lewis continued to be politically active in the cause days teaching printmaking in the studio examples of his work have been identi- of peace. He moved to Massachusetts, at Worcester, and following his death the fied in a handful of public and private where he gave printmaking workshops museum put together an exhibition to collections. These works reveal his dedi- at the Worcester Art Museum 1989 until honor his artwork and his longstanding cation to depicting human suffering, but his death from unforeseen health com- commitment to students.31 his darkest visions—skeletons floating in plications in 2008.30 Marcia Lagerway, Lewis left behind a large body of work, apocalyptic other-worlds—are comple- the museum’s senior curator of educa- including etchings, woodcuts and paint- mented by recurring sunflowers, a symbol tion, recalls that every so often Lewis ings, which remain with his family. The of hope and resurgent life. would come to explain that there was an Baltimore Museum of Art holds one Lewis wrote: “I have shared my own upcoming demonstration and that he had other print by this passionate artist: a pain out of which these works were cre- arranged for a substitute to teach his class large, multi-plate color etching from 1974, ated, I trust they go beyond the personal in case he was arrested. He spent his last Apocalypse Toward Revelations, and other to create a journey that everyone can enter through their own experience of pain—a journey out of darkness into hope and vision.”32 The Trial and Prison is a document of joined pain and purpose. The inclusion of war photos build a bridge between acts of resistance taking place in the United States and the carnage of war, but it is the immediacy of Lewis’s observational drawings that pulls the viewer into his world—conveying both the powerless- ness of prison and the empowerment of protest. It is our hope that this article will bring more work by this impassioned artist to light.

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

Tom Lewis, At Lewisburg prison I worked at the pig farm from The Trial and Prison (1969), color etching, image 30.4 x 44.3 cm, sheet 39.2 x 55.8 cm. The Baltimore Museum of Art: Gift of Faye A. Houston and Michael A. Lowry, in Honor of William B. Lowry, Jr., BMA 2014.10.9. Photo: Mitro Hood.

Art in Print September – October 2017 11 Left: Tom Lewis, The Judge, genocide and U.S. economic expansionism from The Trial and Prison (1969), color etching, image 30.2 x 44.5 cm, sheet 39.2 x 55.8 cm. The Baltimore Museum of Art: Gift of Faye A. Houston and Michael A. Lowry, in Honor of William B. Lowry, Jr., BMA 2014.10.4. Photo: Mitro Hood. Right: Tom Lewis, Cards, fantasies and schizophrenia from The Trial and Prison (1969), color etching, image 45.8 x 29.6 cm, sheet 55.8 x 39.2 cm. The Baltimore Museum of Art: Gift of Faye A. Houston and Michael A. Lowry, in Honor of William B. Lowry, Jr., BMA 2014.10.11. Photo: Mitro Hood.

Notes: 9. Peters, ibid., 15, and author conversation with Plowshares, ed. Fred Wilcox (Althol, MA: Haley’s, 1. Tom Lewis, “The Artist as Prophetic Activist,” the artist’s sister, 10 July 2017. 2001), 185. motive, February (1969): 39. 10. The Second Vatican Council was created 23. Tom Lewis, Suicide, fears and dreams (1969), 2. Napalm is a flammable gelling substance that by Pope John XXIII in 1962 and continued until Maryland Historical Society, Larry Kamanitz Col- clings to human skin, causing severe burns, 1965. Over those years, the council convened lection, MS 3186, Box 4 of 4. asphyxiation and death. It was used extensively thousands of bishops in conversations about the 24. In his introductory text, Lewis thanks those by American forces in Vietnam. The Catonsville Church’s role in a post–World War II culture with who purchase the portfolio for their funds, which Nine apparently obtained a recipe for napalm from an emphasis on pacifism. would be used to further the antiwar effort. a United States Special Forces handbook. 11. Peters, Catonsville, 18, and conversation with 25. Email from Faye Houston, donor of the port- 3. In 1963, Eugene Keyes burned his draft card on the artist’s sister, 10 July 2017. folio to the Baltimore Museum of Art on 10 May Christmas day in Champaign, IL. That same year 12. Peters, ibid., 241–3. 2017. the U.S. military inducted 119,265 men, an annual 13. Lewis and Berrigan were released in February 26. The argument was based on the premise that draw that would increase to 382,010 in 1966. 1969. Lewis would return to prison in April 1970 “jury nullification” was not presented to jurors as “Induction Statistics,” Resistance and Revolution: to begin the remainder of his six-year sentence. an option for acquitting the defendants. Jury nul- The Anti-Vietnam War Movement at the University Many of the Nine, including Lewis, were released lification allows a jury to rule that the defendant of Michigan, 1965–1972, accessed 30 June 2017, from prison early for good behavior. Lewis was is guilty of an action, yet decide not to convict— http://michiganintheworld.history.lsa.umich.edu/ released from federal prison on 10 September a choice that would be appropriate, for instance, antivietnamwar/items/show/73. 1971 after three-and-a-half years. where the law that was broken was deemed to 4. Michael S. Foley, Confronting the War Machine: 14. Corita Kent, “Los Angeles Art Community: be unjust. Draft Resistance During the Vietnam War (Chapel Group Portrait,” interviewed by Bernard Galm in 27. Lewis was released on 10 Sept 1971, presum- Hill: University of North Carolina, 2003), 28–29. Corita Kent Oral History Transcript,(Los Angeles: ably for good behavior. 5. For more on the Catonsville Nine and the draft UCLA, 1977), 67. 28. Lewis, “Art as Timeless as War,” 186. board actions they inspired, see Joe Tropea’s 15. Julia Bryan-Wilson, “‘By the Power of Signs 29. Penny Kolsrud, “At Center Stage: Tom Lewis documentary Hit and Stay (2014), 97 min., dis- and Wonders’: Corita Kent, IBM, and Political watches his life become art,” Baltimore Sun. 27 tributed by Brink Vision, Baltimore. Also, Lynn Design,” in Corita Kent and the Language of Pop, Oct 1971, B1. Sachs’s Investigation of a Flame (2013, Lynn ed. Susan Dackerman (Cambridge, MA: Harvard 30. Tom Pelton, “Activist and artist known as one Sachs): 50 min. Art Museum, 2015), 243. of the ‘Catonsville Nine’: Protester was jailed 6. Daniel Berrigan, The Trial of the Catonsville 16. William Kunstler’s statement read: “They were 3 years for part in burning of draft files, Tom Nine (Boston: Beacon Press, 1970). A film of the trying to make an outcry, an anguished outcry to Lewis 1940–2008,” Baltimore Sun, 6 April 2008, same title based on Berrigan’s text and directed reach the American community before it was too accessed 30 June 2017, http://articles.balti- by Gordon Davidson was released in 1972. late. I think this is an element of free speech to moresun.com/2008-04-06/news/0804060064_1_ 7. The details of his involvement are not clear. try—when all else fails—to reach the community.” catonsville-nine-tom-lewis-don-lewis. In his introductory text, Lewis says he studied 17. Kent, “Los Angeles Art Community,” 72. 31. Author conversation with Marcia Lagerway, 24 printmaking at Pratt Center for Contemporary 18. Peters, Catonsville, 95. April 2017. Printmaking,” and his sister, Paula Scheye, 19. Dackerman, 262. 32. Lewis, “Art as Timeless as War,” 192, and remembers that an etching entitled Ghetto (1966) 20. Stephen J. Lynton, “Peace Group Foils Arrest author conversation with Lewis’s sister, 10 July was one of his first prints. He did not receive a of 2 on Trial: Police Later Trail and Book Defen- 2017. degree and Pratt Institute does not have records dants in Draft File Burning,” Baltimore Sun, 7 Oct of who attended the Graphic Art Center. 1968, C20. 8. Shawn Francis Peters, The Catonsville Nine: A 21. Peters, Catonsville, 291. Story of Faith and Resistance in the Vietnam Era 22. Tom Lewis, “Art as Timeless as War,” in Disci- (New York: Oxford, 2012), 12. ples & Dissidents: Prison Writings of the Prince of

12 Art in Print September – October 2017 Nell Painter: Working In The Year 2017 Nell Painter interviewed by Paola Morsiani

ollowing a distinguished academic Fcareer (she is Edwards Professor of American History Emerita at Princeton University), Nell Painter returned to school and began a second career as an artist. She earned a BFA at Mason Gross School of the Arts at Rutgers Univer- sity and an MFA at RISD. She recently returned to Rutgers for a residency with the Brodsky Center—the university’s artist-in-residency program and printmaking and papermaking workshop— where she collaborated with master printer Randy Hemminghaus on six editions.1 The Brodsky Center regularly interviews artists about the work they created during residencies. In this conversation, which took place on 8 June 2017 at the Brodsky Center, Painter spoke with Paola Morsiani, acting director of the Brodsky Center, about resistance and freedom at this moment in her life and in American history. Nell Painter carving the woodblock for her print Wise Woman Disappears, Brodsky Center, February 2017. Image courtesy of Brodsky Center, Rutgers. ©Brodsky Center, Rutgers. Paola Morsiani When you arrived here, you said, “When I was a student, I always you to reinvent yourself. Can you tell us Every depiction carries (a) history and dreamt of, one day, making work at Brod- more about this process? (b) an aesthetic value judgment, rooted sky Center.” What is printmaking for you? in our culture and our history. Making NP I came in wanting to do a woodcut drawings of other people would entail all Nell Painter In 2008–2009, taking classes because I like that it retains traces of of that tradition. Making self-portraits with Professor Barbara Madsen, I loved the process, the marks of an effort that also certainly entailed all of that tradi- printmaking for the series-ness of it, speaks volumes visually, but also in terms tion. But that was not my focus. What I which is the hallmark, it turns out, of of art history, because woodblock has was self-consciously doing, instead, was my work. I do repetition and work on the been so influential. Wise Woman Disap- experimenting with images and pro- same ideas and images. I thrive on the pears is my very first woodcut. It comes cesses, strategies of rendering a figurative serendipity that happens when I can’t from my drawing of a photograph of image. control everything. Working with Randy me taken by Joanna Morrissey at the Hemminghaus, I did miss the anal, MacDowell Colony at the end of 2016. PM Your self-portrait in these new prints obsessive side of the printmaking pro- Before I left Princeton I had started appears doubled, in a symmetrical com- cesses—doing them in order, focusing on making art, but I did not have any expe- position. Can you describe the dynamics the manual process, and switching from rience with dark-skinned models. Rep- of expansion and implosion that you are and back to the results. However, Randy resenting dark skin is different from expressing in these works? knows so much more about how to trans- dealing with light skin, largely in terms of late my sketches—which I make by hand its reflectiveness and rendering features. NP In What Do You Say About That?, the but recompose on the computer—from So I used the figure closest to me, always figures—two pairs of eyes—are regard- the digital to the physical image, through at hand—me. I did not have to worry ing one another. There is nothing in that technologies that maybe didn’t exist in about whether I would make myself too image that specifies anything, but if you 2009. In print, my charcoal drawings cute or too ugly. I was just a motif. read the year when the piece was made, look like they were done on a lithography Nevertheless there is this weight, this then you know it’s a conversation about stone. In fact, they were done on a poly- whole story of the representation of the 2017. In 2017, you can’t resist saying some- urethane sheet. black body. Part of it is the negative ste- thing about “that,” and “that” is always reotyping from earlier centuries, and politics. It’s asking the viewer, “what do PM You made three self-portraits here. part of it is the whole question of skin you say?” It is open-ended, it’s a question. You have said that self-portraiture invites color, hair type, lip shape, and so on. I am very drawn to fabric, and I am a

Art in Print September – October 2017 13 student, that as soon as I got out of school, in 2012, I made word paintings from the work of poet and friend Meena Alexander. With You Say This Can’t Really Be America, I felt kind of emancipated, and used my own words. And that was the very spirit of resistance coming out of our time in 2017. We are living in a time in which “resist” is a political word. If you say the word, it brings along a string of political connotations that have to do with the current administration, and the outbreak of hatred. I “resisted” my shyness about using text because of a conversation I had right here at Brodsky Center, which I had heard several times before, the first time in France, from very nice people who do not have my historical background. You Say… is a hymn, a song, a chorus of commentary that I have heard and read Nell Painter, Wise Woman Disappears (2017), woodcut and polymer relief print, two parts, 24 x 36 many, many times in 2017. I am not the inches overall. Edition of 10. Printed and published by Brodsky Center, Rutgers, The State University of New Jersey. Image courtesy of Brodsky Center, Rutgers. ©Nell Painter and Brodsky Center, Rutgers. only person who can reply, “I say, yes, this is America,” but I do have knowledge that knitter. I love the regularity of the texture I say / Yes / This is / the America / probably the vast majority of Americans and the way the fabric is knotted on itself. I know. do not have, and that is of American his- The background in Wise Woman Disap- tory. So “I say” is a historian’s resistance pears is from a detail of a Nigerian cloth I You say / this isn’t really / America. / to a prevailing view of lovely, wonderful, brought back in the 1960s that I love. It’s Not the / America / you / know. free American democracy. It’s also a black abstract, but clearly evokes some other American resistance of pushing back I say / Yes / This is / the America / culture, place and time. The composition against a kind of dream-world American I know / from / history. is closing in on itself: one of the figures is democracy that just doesn’t stand up to a blank indigo ink silhouette, the other is You say / We’ve never / seen / not only history, but just everyday facts. the indigo ink silhouette overlaid with a anything / like / this / before. The work contains at once the idealized line drawing. You have to move very close version and the nonidealized world. to notice that one is disappearing and I say / Yes / This is / America. / one isn’t. It is a simultaneous narration, Look South. / Look West.] PM A couple of years ago you said, “After in which the right side comes earlier than a life of historical truth, my artwork rep- the left side. NP My art teachers slapped my hand resents freedom.” What is the work of the Wise Woman Inside contrasts two lev- so much for using words when I was a artist, in your mind? els of detail: the background pattern con- jures up the infinite universe, while the inlaid figures play on the small-bore of focusing on what is inner. PM In the art of the last century, words in pictures are often associated with deconstructive conceptualist strategies. What role do words play in You Say This Can’t Really Be America? [This is a digital and screenprint in eight parts, in which the portrait of the artist appears alterna- tively smaller and larger as she assumes the role of listener and responder in the following conversation: You say / this is the worst / thing ever / ever. I say / Yes / This / is / America / too. Nell Painter, What Do You Say About That? (2017), linoleum cut and relief print, two parts, 17 x 30 You say / this can’t / really / be / inches overall. Edition of 10. Printed and published by Brodsky Center, Rutgers, The State University of America. New Jersey. Image courtesy of Brodsky Center, Rutgers. ©Nell Painter and Brodsky Center, Rutgers.

14 Art in Print September – October 2017 NP For me the work of the artist is to keep on making the work. It is not, “oh!”— genius strikes one day and you get up and go when the spirit moves you. No. You make work and you make a lot of work. I also write a great deal of commentary, where I don’t use images from my artwork—that is, like, my day job. In my artwork, I don’t typically refer clearly to the world, or to politics, or to culture. I have four small digital collages that are about Toni Morrison’s Beloved.2 They are largely abstract. I have a series of lithographs that are inspired by a photograph of Serena and Venus Williams, but you wouldn’t know that if you did not know the title. In my art, I have usually not commented on the world. I have actually felt, as a burden that I have avoided, the job that our country puts on black artists and writers. In my art I do not speak as the black person in America. And in the memoir I’ve written, Old in Art School, I don’t. The memoir has had a terrible time finding a publisher because I am speaking as an individual, and I am not telling you “this is what it’s like to be a black in America; here’s what race means.” So, being a black person and being an individual, that is my freedom in my art. I am making my art as myself, not Nell Painter, Wise Woman Inside (2017), relief and screenprint, 17 x 17 inches. Edition of 10. Printed as the black person or the black woman, and published by Brodsky Center, Rutgers, The State University of New Jersey. Image courtesy of Brodsky Center, Rutgers. ©Nell Painter and Brodsky Center, Rutgers. which is what our country wants. You Say This Can’t Really Be America as myself—even if I made work that all the connotations of “those people are has however brought me into politics in a is political, like I Don’t Think of You, something, but you are better, you are not way that I have never done before. On one which does talk about race in ways that like them.” I would have not thought of“I hand, it is a step into what my country I had not done before, visually. I can’t don’t think of you as Chinese” if this visi- wants. But on the other hand, my country wait to hear what people say about this tor had not shared it with me. That utter- did not tell me to do it. It was more like, piece. [This is a four-part print in which ance exists in the world. Then I added, “I “I’ve got to do it.” drawings of athletes in action are overlaid don’t think of you as Jewish.” Probably, with screenprinted texts: “I don’t think “I don’t think of you as white” is going to PM Do you think you have to do it also of you as black; I don’t think of you as come as more of a surprise, and maybe because artists tend to be always engaged Chinese; I don’t think of you as Jewish; I people will ask themselves: Why is that a with cultural and social values? don’t think of you as white.”] surprise? Why I am stumbling over that You Say This Can’t Really Be America a little bit? Why does that sound strange? NP I think black artists have been asked is not ironic, but I Don’t Think of You is I Don’t Think of You resists common- to do that much more, and also rewarded tongue-in-cheek. The sport figures in the place habits of thought and identity. I for doing it. You are not supposed to work background and the text do not have any was thinking about resistance a lot, with- as an individual, you are supposed to discursive relationship. You have people out having focused on it before. I think work as a unit of identity. That is also why playing their sports, and tangling with resistance is a theme of my work because I have inserted drawing in these prints. each other, and the viewer decides how it resists the expected, easy, taken-for- Unlike how part of us generally wants the text and the figures work together. granted, conventional wisdom. photography to be reality, drawing clearly A woman of Chinese heritage shared is not reality. It is the artist’s hand and with me that someone told her, “I don’t PM You are a part of the art community eye, and the claim of an individual hand think of you as Chinese.” As I was playing in Newark: is this also a form of resis- and image-making ability. around with these pieces in my studio, I tance? How do you see your work in rela- One of the reasons for my gratitude had several versions that all said, “I don’t tion to what gets shown in Chelsea or at to Brodsky Center is the freedom it think of you as white.” The most common the art fairs? gave me to just go wherever my drawing saying among them in real life is “I don’t hand went. I felt comfortable enough think of you as black.” I think anybody NP There are all kinds of work out there. here as myself—that you would see me who reads “I don’t think of you as” knows I went to the Whitney Biennial and saw

Art in Print September – October 2017 15 Nell Painter, from You Say This Can’t Really Be America (2017), digital and screenprint, eight parts, 17 x 17 inches each. Edition of 10. Printed and published by Brodsky Center, Rutgers, The State University of New Jersey. Image courtesy of Brodsky Center, Rutgers. ©Nell Painter and Brodsky Center, Rutgers.

a lot of work that inspired me, that I felt to want. I am in an odd position, because Notes: was my kind of work. Some of it was by most artists my age are much more 1. As of press time, four editions had been com- artists who are basically 20th-century accomplished than I am because they pleted and two were still in process. The com- artists, including Jo Baer and Henry Tay- have been making art for 40 years. Artists pleted editions are: Wise Woman Disappears lor, but some was by younger artists like who graduated in 2011, as I did, are much (2017), two-part woodcut and polymer relief print, Dana Schutz. younger and have a kind of right-now 24 x 36 inches overall; You Say This Can’t Really Be America (2017), digital and screenprint on I do not mind Dana Schutz’s painting sensibility that I lack. I am stuck in this eight sheets, 17 x 17 inches each; Wise Woman of Emmett Till.3 Emmett Till’s mother very strange place, which bothered me for Inside (2017), relief and screenprint, 17 x 17 opened his casket, and she said she a couple of years. But then I realized: this inches; What Do You Say About That? (2017), wanted the world to see. These are citi- is how I make art. The nice thing about two-part linoleum cut and relief print, 17 x 30 zen questions, not artist questions. As a Newark is that it is hospitable to all sorts inches overall. Edition of 10. Still in process are citizen, you have the ethical and social of art, and now people know me and my the polymer relief and screenprint I Don’t Think of You (2017) and another as yet untitled work. All responsibility of living in a particular work. And I show all the time. works are in editions of 10, published by Brodsky historical time. For me, condemning Center, Rutgers, The State University of New Jer- cultural appropriation does not make Nell Painter holds an MFA from Rhode Island sey, and printed with collaborating master printer sense because there is no jurisdiction for School of Design (2011) and a BFA from Mason Randy Hemminghaus. culture, in general. This is very differ- Gross School of the Arts, Rutgers (2009). She 2. Toni Morrison, Beloved (New York: Alfred is also Edwards Professor of American History Knopf, 1987). ent from issues of copyright and plagia- 3. The inclusion of Schutz’s painting Open Cas- rizing another artist’s work. But, as this Emerita at Princeton University and holds a PhD in American history from Harvard University ket (2016) in the 2017 Whitney Biennial sparked debate evolves, I am also finding that, as a (1974) and a BS in anthropology from the ongoing protests from the day of the exhibition’s senior person, I am not fazed by it, while opening, arguing that a white painter’s use of the University of California, Berkeley (1964). younger generations of black Americans image of a murdered black child was exploitative. (Emmett Till was a 14-year-old from Chicago who feel that their blackness is too fragile. Paola Morsiani is the acting director of the was beaten, mutilated and shot by two white men As an artist, I have to work very hard Brodsky Center, Rutgers, The State University in Mississippi in 1955; to show the world what had to bring my eye from the 20th into the of New Jersey. The Brodsky Center is dedicated been done, his mother insisted on an open cas- 21st century. Maybe I am not far enough to printed images, handmade paper and edi- ket and supported the publication of photographs tions in contemporary art practice. Established yet, but I am far enough for me. I go less in Jet magazine and The Chicago Defender. in 1986 by founding director Judith K. Brodsky, His killers were acquitted. His death became to the Met, but I go to MoMA, the Stu- the center is supported by the National Endow- an important touchstone in the burgeoning Civil dio Museum, Skoto Gallery, which shows ment for the Arts, New Jersey State Council Rights movement.) Randy Kennedy, “White Art- African Art, and DC Moore. One of my on the Arts, Rutgers University, The Judith K. ist’s Painting of Emmett Till at Whitney Biennial favorite artists is an older artist—my Brodsky Fund and members. Draws Protests,” New York Times, 21 March 2017. https://www.nytimes.com/2017/03/21/arts/ age—Joyce Kozloff. But I do feel suppressed by the market design/painting-of-emmett-till-at-whitney-biennial- draws-protests.html. in New York. I am probably unable to make the kind of work the market seems

16 Art in Print September – October 2017 Freedom and Resistance in the Act of Engraving (Or, Why Dürer Gave up on Etching) By Brian D. Cohen

t’s axiomatic that there is a close rela- Itionship between what an artist chooses to hold in their hand, what they materially create, and what they hold to be the purpose of art. Engraving is a resistant and difficult medium capable of a precision and detail unequaled by any other manual art. The medium was defined by those qualities for centuries, with Albrecht Dürer setting the ne plus ultra standard. The technique of etching arose in the middle years of his career, bringing with it a new autographic immediacy that engraving could not offer. Dürer seems to have been eager to explore its possibilities—the first clearly dated etching, made in 1515, is by him— but three years later, after making only six known etchings (all but one completed between 1515 and 1516), he abandoned the technique. Dürer’s brief foray into the new medium, and his subsequent return to the rigors of engraving, can be seen as both a response to the formal and material characteristics of what was then a fresh, experimental technique, and also to the philosophical implications of experimentalism itself. Engraving had ancient antecedents in stone, bone and metal, though printing from engraved metal plates arrived in Europe only a generation or so before Dürer’s birth. Dürer learned the technique when apprenticed at age 13 to his father, a goldsmith, and refined his skills under the printmaker Michael Wolgemut. Ambi- tious, observant, inventive and possessed of uncommon draftsmanship abilities, by his mid-20s Dürer had done more to Fig. 1. Albrecht Dürer, Adam and Eve (1504), engraving, 25.6 x 19.4 cm. The Albertina Museum, Vienna. establish printmaking as an independent and commercially viable fine art than any of the hand, not upright as a pencil, and metal for a darker mark, though too high predecessor or contemporary. is aimed steadily in one direction. The and the burin will bury itself into the Engraving uniquely incorporates engraver’s hand and arm are held in align- copper and come to an abrupt stop. With physical strength, tactile sensitivity and ment close to the upper body. The plate is each stroke, a curved sliver of metal is dis- bodily engagement in marking a matrix— turned on a cushion against the burin as placed. Each engraved line marks continu- every mark or line is intimately character- the point is driven into the metal at a slight ous contact with the metal, a gesture with ized by movement, depth, and pressure—a angle to the surface of the plate. It is the a characteristic swelling trajectory from sublimation of force. The combination of angle of approach to the plate that creates the entrance to the exit of the burin. strength, exactitude and large-muscle con- the depth and quality of a line; the finest Controlling the progressive differences trol is quite unlike the kinesthetic action lines are achieved by engaging the metal in line to achieve consistency through pas- of writing or drawing. The burin is held nearly parallel to the plate, and a steeper sages and to create the illusion of volume fairly firmly (but not clenched) in the palm angle plunges the burin deeper into the and texture requires extreme precision.

Art in Print September – October 2017 17 Fig. 2. Albrecht Dürer, The Agony in the Garden from the Small Engraved Passion (1508), engraving, plate 11.7 x 7.4 cm. Collection of the Yale University Art Gallery. Fig. 3. Albrecht Dürer, Agony in the Garden (1515), etching, 23.4 × 16.6 cm. Metropolitan Museum of Art, Fletcher Fund, 1919.

Left: Fig. 2. Albrecht Dürer, Adam and Eve (1504), engraving, 25.1 x 20 cm. Metropolitan Museum of Art, Fletcher Fund, 1919. Right: Fig. 3. Albrecht Dürer, The Agony in the Garden from the Small Engraved Passion (1508), engraving, plate 11.7 x 7.4 cm. Collection of the Yale University Art Gallery.

Dürer was both precise and deliberate: he and width throughout and often betrays Christ’s weariness, dismay and terror the left little to chance or improvisation in his a slight irregularity within the line from night before his execution—a moment of engravings, creating elaborate prepara- the action of the acid.2 A further draw- inner drama may have appealed to Dürer, tory drawings before he began to work in back in Dürer’s day was that etchings a devout but questioning Christian liv- metal. In the case of his 1504 engraving were done, not on the smoothly ham- ing in an era of religious upheaval and Adam and Eve (Fig. 2), we have evidence in mered copper used most commonly in reform. the form of two early states which show engraving, but on iron, which was prone As Peter, James and John slept nearby, that he took four years to move from the to ragged lines, frequent foul (accidental) Christ withdrew about a stone’s throw initial studies to the final print.1 Rehears- biting, and rust. beyond them, knelt down and prayed, als of every detail of pose, composition and Daniel Hopfer (1470–1536) is usually “Father, if you are willing, take this cup iconography—and significantly, the rever- credited with having shown the tech- from me; yet not my will, but yours be sal of the image—were complete before he nique to Dürer, who used it first to revisit done.” An angel from heaven appeared to even picked up the burin. Dürer engraved themes he had undertaken in engraving a him and strengthened him. And being in progressively across the surface of the few years earlier. This allows us to com- anguish, he prayed more earnestly, and plate from one direction, and from back- pare his treatment of the same subjects his sweat was like drops of blood falling ground to foreground (Fig. 1). in the different techniques. Though his to the ground.3 The process of creating an etching is hand shows the practiced stroke of the The 1508 engraving is set in a rolling very different. The stylus used to draw engraved mark in his contour and mod- nocturnal landscape, its quiet broken by through the acid-resistant ground on the eling in his etchings, he does not alto- the angel, set in near silhouette against a plate is held just like a pen, flexible and gether mimic his approach to engraving. flash of holy light that illuminates Christ’s familiar, and acid does the work of incis- Dürer’s 1515 etching Agony in the Garden face, arms and body, and glances on the ing the lines. This allows for more spon- (Fig. 4) follows his engraving of the same sleeping apostles. Christ throws up his taneous and improvisatory mark making, subject from the Small Engraved Passion arms in a gesture of despair as the angel and also enables much more rapid devel- (1508) (Fig. 3), as well as in woodcut in The fortifies him and reaffirms his mission. opment of a plate. But an etched line Large Passion (1496–97) and The Small The engraved lines follow the intricacies tends to be of a single and unvaried depth Passion (ca. 1509). In each, Dürer depicts and convolutions of the rocks, drapery

18 Art in Print September – October 2017 Fig. 5. Albrecht Dürer, Melencolia I (1514), engraving, second state, 24.3 x 18.9 cm. Metro- politan Museum of Art, Fletcher Fund, 1919.

indeterminate and difficult to assimilate. The light source and narrative interaction of Christ and the angel are oddly compressed toward the right, unusual in Dürer’s work, where light and composition consistently move from upper left to lower right. Peter Parshall points out that from 1504 to the end of his career, left- to-right lighting dominates in 50 prints against only 10 in which light moves from right-to-left—and of those 10, 5 are etchings or drypoints).5 It would be tempting to think that the reversal of light in the Agony in the Garden etching occurred because Dürer extemporized the image directly onto the etching plate in the accustomed orienta- tion, which was then flipped in printing. But there is a preparatory drawing for the print (Fig. 7) that shows him carefully planning the composition and intention- Fig. 4. Albrecht Dürer, Agony in the Garden (1515), etching, 23.4 × 16.6 cm. Metropolitan Museum ally reversing the image in the final print. of Art, Fletcher Fund, 1919. Directionality had symbolic significance, and curls, while untouched areas of white finest line and smallest detail: what at and in the Renaissance, light from the left surround the angel and spotlight Christ. first look like stray marks (on the right, was predominant and exceptions rare. It is rare in engravings of this period to just past Christ’s hip) are the torches of In Dürer’s great engraving Melencolia I see uninked areas of paper so powerfully approaching Roman solders following of 1514 (Fig. 5), the harsh light entering imply a source of light. Dürer here seems a path that will lead straight to Christ’s from the right creates a sense of weight, to presage the chiaroscuro of Rembrandt, arrest. opposition and imbalance central to who made his own powerful print of this The etching that followed seven years the meaning and impact of the print. A subject over a century later. later is more than four times the size number of compositional drawings exist The engraving is tiny—only 4 1/2 by of the engraving, and as Erwin Panof- for Adam and Eve, the most complete of 2 7/8 inches—and one of its pleasures is sky noted, gives the impression of a pen which shows Adam and Eve in the reverse the great variety of width and weight of drawing, “rough and impetuous.”4 The position from the final engraving (Fig. line, most following contours, that sweep line seems unwilling to cling to any one 6), with Eve on Adam’s left, his sinister rhythmically through the print, modu- form, but flickers and shifts as the light side, and Adam in the position of moral lating and subsuming form and incident fractures and disperses; nowhere does it righteousness. In the case of the Agony within the overall context of light and define broad forms. The whole is anxious, etching, it’s hard not to conclude that, as shadow. The whole is calibrated to the unruly, brittle and unsettled; the space is in Melencolia I, Dürer intended the entry

Art in Print September – October 2017 19 of the light from the right as an expres- larger plate used for the etching offered imagining to find the better by thyself, sive device, of a piece with the nervous greater graphic freedom, but the nature for thou wouldst be misled . . . therefore, marks, enhancing the sense of doubt and of the medium denied the variety, inti- never put it in thy head that thou couldst anguish. The preparatory drawing, inter- mate control and calligraphic variation of or wouldst make something better than estingly, is more coherent, balanced and line, and limited Dürer’s ability to modu- God has empowered.”6 nuanced than the etching. late tone precisely from one passage to Interestingly though, Dürer seems to Examining details from a similar pas- another, which he had so consummately carve out an exception for “dream work” sage in the etching and the engraving— mastered in engraving. One can imagine (traum-werck) and the intentional hybrid- the rocky outcrop over which the angel he would have found this loss frustrating. ization of existing forms into new com- hovers (above the midpoint and toward Dürer never explicitly repudiated binations from a storehouse of memories the left of the engraving, and in the upper etching, but after 1516 he returned to it and observations. Speaking of a skilled right in the etching)—we can observe only once, to create Landscape with a Can- master, he writes: “through the power of distinctions in Dürer’s marks and hand non (1518). Clues to the reasons behind God he would daily spill out and make movements. The engraving (Fig. 8) shows this lack of interest can be gleaned from new forms of men and other creatures a variety of marks—tapered, abbreviated, some of his writing between 1513 to 1515. that nobody has ever seen or thought dotted, stippled and clustered, always In drafts reflecting on the nature of rep- of before.”7 There are many fascinating moving in concert or coordinated oppo- resentation (eventually published post- examples in Dürer’s work of compel- sition. Lines are crosshatched neatly, dis- humously as an appendix to the third ling chimeras within iconographically cretely and only occasionally. The etched of the Four Books on Human Proportion), defined contexts. passage (Fig. 9) is jumbled, unsorted and Durer revealed his fascination, ambiva- Back in 1515, during his initial explo- a bit meandering, and most lines are lence and discomfort with imaginative ration of etching, Dürer created a bizarre unvaried and undifferentiated. There is improvisation. He expresses moral recti- and inchoate image with no precedent or very little crosshatching, as the density of tude and self-vigilance, and is concerned parallel in his oeuvre (nor really in West- lines is such that another set of marks in to present theoretical justifications for ern art until Courbet): the plate known as a different direction would risk sinking the correctness of his approach. By the Desperate Man (Fig. 10). The print, which the entire passage below the plate sur- lights of his austere spiritual convictions, survives in a significant number of post- face and losing clarity (this issue, called free imagination presented a hubristic humous impressions, is feverish, erotic a crevé, is a particular problem in etching challenge to nature as God created it: and tormented. Its iconography is mud- that does not occur in engraving). The “do not depart from nature arbitrarily, dled, its spatial composition inconsistent,

Left: Fig. 6. Albrecht Dürer, Adam and Eve (1504), pen and brown ink, brown wash, corrections in white, 24.2 x 20.1 cm. The Morgan Library & Museum, purchased by Pierpont Morgan, 1910. Right: Fig. 7. Albrecht Dürer, Christ at the Mount of Olives (1515), drawing in brown ink, 29.6 x 22 cm. The Albertina Museum, Vienna.

20 Art in Print September – October 2017 Above left: Fig. 8. Detail of Fig. 3. Below left: Fig. 9. Detail of Fig. 4. Right: Fig. 10. Albrecht Dürer, Desperate Man (ca, 1515), etching, 18.7 x 13.7 cm. Metropolitan Museum of Art, Fletcher Fund, 1919. and it appears to relate to no engravings the visual properties of etching simplis- or preparatory studies. Panofsky sur- tic, uninflected, difficult to finesse and far Notes: 1. David Landau and Peter W. Parshall, The mised that Dürer had drawn directly on from satisfying. He may also have Renaissance Print, 1470–1550 (New Haven: Yale the plate on the spur of the moment to believed that etching too readily rewarded University Press, 1994), 313. test the possibilities of the unfamiliar the ill-conceived, uncontrolled, and 2. The line may be shaped by use of particular new medium; if so, it would seem that exploratory, bypassing classical order, tools, such as Callot’s échoppe. etching provoked exactly the qualities of clarity, decisiveness, and spiritual verity. 3. Luke 22:41–44. The Holy Bible, New Interna- tional Version. 8 mind Dürer most distrusted. Wary that such license marked a devia- 4. Erwin Panofsky, The Life and Art of Albrecht The crisis of artistic conscience artic- tion from the righteous path, he reverted Dürer, with a new introduction by Jeffrey Chipps ulated in Dürer’s writing had coincided to a deliberate, methodical medium with Smith (Princeton: Princeton University Press, with the advent of a new technology in which he was intimately familiar and 2005), 196. which printable imagery could be drawn unrivaled in accomplishment. There has 5. Peter Parshall, “Albrecht Dürer and the Axis of Meaning,” Allen Memorial Art Museum Bulletin 1, freely and directly, without the discipline been nothing like his engravings since. no. 2 (1997), 15. and premeditation that engraving and 6. Panofsky, Dürer, 279. woodcut required and rewarded. His dis- 7. Quoted in Peter Parshall, “Graphic Knowledge: comfort with etching seems to spring Brian D. Cohen is a printmaker, painter, Albrecht Durer and the Imagination,” The Art Bul- from both a theoretical aversion and writer and educator. letin 95, no. 3 (September 2013): 393–410. material frustration. He probably found 8. Panofsky, Dürer, 194.

Art in Print September – October 2017 21 Prints in a Time of Political Madness By Alison W. Chang

onald Trump’s unexpected Elec- Dtoral College victory in the presidential election last November and the solidification of Republican control of the House of Representatives, the Senate and a majority of statehouses has triggered a wave of political activism across the country, not least in the art world. Trump’s campaign rhetoric, which dealt in xenophobia, nationalism and thinly veiled racism, sparked concerns about civil liberties before he even took office, and while as of this writing courts have blocked the most egregious of his executive orders, administration policies present imminent threats of deportation to many. On almost every front—from health care to the environ- ment to education—his administration has pursued goals that move away from the desires of a majority of Americans and seem to refute core values of equal- Protester at the Women’s March in New York on 21 January 2017 holding an Amplifier poster: Shepard Fairey, We the People—Greater than Fear (2017) (downloadable for free on the Amplifier ity, fairness and tolerance. website). Photo: Jessica He. Image courtesy of Amplifier. Resistance to this agenda has taken many forms: the Women’s March on a grassroots level. We don’t know when sell their materials. In 2007 the organiza- Washington, held the day after the Inau- the first “protest print” was created, but tion was restructured as an artist-owned guration, drew 450,000 to 500,000 to many historians point to anti-papal cooperative and launched a new website the capital, while an estimated 5 million imagery of the 16th century as among the to handle their commerce. They relo- participated in related marches around earliest examples of politically motivated cated their distribution center to Pitts- the world. Subsequent marches have printmaking.1 Contemporary political burgh, where it is now run by Bec Young been organized in defense of everything prints are produced using a wide variety and Shaun Slifer, two of the organiza- from civil rights to science. Printmakers, of techniques and are published at widely tion’s 30 artist members. (Justseeds artists whose politics typically skew to the left, ranging price points. Amplifier has used come from the United States, Canada and have organized to provide resources and prints as rewards in their Kickstarter Mexico.) The website now features more galvanize creativity as an outlet for frus- campaign, the most expensive being a than 1,000 works for sale and more than tration, fear and anger. Organizations Shepard Fairey screenprint at $700.2 The 250 free downloads to be printed out on and presses have held public printmaking RISD Prints for Protest portfolio consists signs, T-shirts, bags, or fliers.3 There are events that serve as an entry point into of lithographs, screenprints, woodcuts postcards, individual prints, and thematic grassroots organizing. The nationwide and letterpress prints priced at just $25 portfolios by multiple artists, such as War network Print Organize Protest and the each ($248 for the 11-print portfolio). is Trauma, produced in partnership with Rhode Island School of Design portfolio The Justseeds website offers etchings, Iraq Veterans Against the War (IVAW). Prints for Protest came into being as direct screenprints, relief prints, offset prints, These portfolios are often produced in responses to the election; and extant risographs, digital prints and books that collaboration with relevant outside orga- organizations such as the international range from $750 to free downloadable nizations that receive half the edition artists’ collective Justseeds, the not-for- graphics. (usually 100 to 150) to use for exhibitions, profit Amplifier, the Interference Archive education, or fundraising; proceeds from in Brooklyn, and Shoestring Press (also in Justseeds the remaining half are used to remunerate Brooklyn) have seen increased participa- artists for the cost of materials. tion, donations and media coverage. Josh MacPhee began Justseeds in Works on the website can be sorted Printmaking and social protest have 1998 as a Massachusetts-based mail- by subject matter, from “Anarchism” gone hand-in-hand since the introduc- order graphic distribution network, sell- to “Social Movements,” and offerings tion of print into Europe. Modest costs, ing screenprinted T-shirts and posters tied to “Migration” are representative ease of replication and collective meth- he had designed for a variety of political of the broad stylistic range among art- ods of production make print a practi- groups. Soon artists working in a similar ist members. Nicolas Lampert’s screen- cal method of communicating ideas on vein began asking whether he would also print Imagine No Borders (2011) pairs the

22 Art in Print September – October 2017 cal movements that might otherwise ics and political agency. “The archive, be lost, including the products of now- as a whole, is a manual of how to orga- defunct small activist presses, such as nize,” says Kevin Caplicki. “The tactics Riot Grrrl Press, groups affiliated with and strategies are so similar all around colleges or universities, and anarchist the world, it’s a testament to human organizations. Initially the archive con- struggle and an example of how to create sisted of Greenwald’s and MacPhee’s a grassroots social movement.”7 In addi- personal collections of political ephem- tion to maintaining a publicly accessible era—prints, books, posters, T-shirts, but- open-stacks collection of material on tons, stickers, music, films, postcards, worldwide social activism, the Archive zines and pamphlets, mostly from the hosts exhibitions, workshops, talks, film 20th century—but it has continued to screenings and school visits. acquire new material. Jen Hoyer, a long- For the past year it has also been hold- time volunteer, notes that the archive ing periodic events called “propaganda takes “materials that voice any opinion parties” that bring together activists, (sometimes one item will include several designers and artists. (The embrace of the contradictory opinions within itself), as word “propaganda” is a tongue-in-cheek long as they fit our collection policy of acknowledgment of the overt political material produced in multiples for wide- program of these images, rather than of spread distribution.”5 She mentions, for an aim to purposefully mislead.) Often Meredith Stern, Peace Poster (2011), offset print, 42 x 54 cm. ©Meredith Stern, Justseeds.org example, “a folder of anti-abortion pro- co-sponsored with other organizations, test posters, not just from one rally, but the propaganda parties provide oppor- title text with a simplified ideogram of a from rallies all over the world over the last tunities to collect art, learn more about uniformed officer looking at a passport, many decades . . . [which] creates a com- specific organizations, and create protest- while Jesus Barraza’s Resist (2017) is purely pletely new narrative that any of those related prints, buttons and banners. The typographic: a rainbow-roll screenprint objects on their own cannot create.”6 first two parties, held in July and October of old-fashioned circus type in vari- Such artifacts offer material lessons in of 2016, drew about 100 attendees each, ous sizes packing the page with slogans: the relationship between design, graph- but the third, the two-day “Inaugurating “Decolonize Black Lives Matter No Ban No Wall Smash Patriarchy Ni1+ Stand Up Fight Back Not One More Deportation Resist Solidarity Mni Wiconi.”4 In Chris Stain’s hand-colored screenprint Threat of Chance (2009), we see the lower half of a figure attempting to scale a fence; his right hand grasps the barbed wire, pull- ing it taut, prior to leaping over the bar- rier into the unknown. Many Justseeds prints promote rela- tively uncontroversial goals, like Mer- edith Stern’s 2011 offset Peace Poster, in which abstracted leaves and feathers fall diagonally across the page, above a quote from the social justice activist Ursula Franklin: “Peace means not only absence of war, but also the presence of justice and the absence of fear.” Others, such as Melanie Cervantes’ 2014 screenprint of a shouting woman in a keffiyeh, End the Occupation of Palestine, court controversy even within the reflexively left-leaning art world, something MacPhee believes is healthy.

Interference Archive

In 2011, MacPhee joined with artists Kevin Caplicki, Molly Fair, and Dara Greenwald to found the Interference Archive in Brooklyn, whose mission is A “propaganda party” hosted by Interference Archive in March 2017. Images courtesy preserving the graphic material of politi- Interference Archive.

Art in Print September – October 2017 23 Resistance” event on 14 and 15 January 2017, distributed some 3,000 posters and 5,000 stickers to people attending the Women’s March on Washington and affiliated marches and rallies elsewhere. Participants screenprinted more than 600 shirts and patches and made more than 500 buttons. The event was covered by the New Yorker and CNN. The archive has also seen a significant increase in the number of visits from high schools and colleges, both private and public, since the election (the first four months of the year brought in as many as all of 2016). But Caplicki points out that “this didn’t just start with Trump . . . The beauty of Interference Archive is that we can pull out posters or show them books on the shelves, we can show them all this material from people who have struggled over the last hundred years . . . You can come into this space and be surrounded by that history and it provides you a sense 8 of hope.” Janina Larenas, Don’t Mourn, Organize (2016), digital file available for download and printing (vector image taken from a relief print digitally altered for multiple uses and distribution). Amplifier Kickstarter campaign, which sought gal and Ernesto Yerena—were produced The Propaganda Parties were donations to fund six ads to run in the as stickers, postcards, screenprints and launched in collaboration with Ampli- Washington Post on Inauguration Day— lithographs as rewards for donors. The fier, an not-for-profit founded in 2015 by an end run around the restrictions placed initial goal was $60,000, but within the photographer Aaron Huey to connect on signs and banners in the capital that in eight days the campaign had raised artists with nonprofit organizations and day. The foundation also planned to dis- $1,365,105—enough to fund full-page produce visual materials that support tribute posters at Metro stations around ads in the Washington Post, the New York social justice. The Foundation’s most vis- the city. Commissioned works from three Times and USA Today, and to distribute ible success has been its “We the People” artists—Shepard Fairey, Jessica Sabo- over 30,000 placards in Washington and Los Angeles.9 The day before the inauguration, the foundation made the commissioned images available online for free: Sabogal’s depicted two women about to share a kiss, Yerena’s featured an older Native American woman, her fist raised, while Fairey, working with photographers Ridwan Adhami, Arlene Mejorado and Delphine Diallo, created a trio of images: a young woman wearing an American flag as a hijab, a Hispanic woman with a flower in her hair, and an African-Amer- ican child. They were downloaded more than 500,000 times over three days.

Print Organize Protest

On 9 November 2016, the day after the election, printmaker Janina Larenas created a relief print featuring a raised fist beneath the injunction, “Don’t Mourn Organize.” She began posting that design, along with a list of activist organizations, around her neighborhood in Santa Cruz, An Amplifier poster at the Women’s March in Los Angeles on 21 January 2017: Ernesto Yerena, We the Resilient (2017) (downloadable for free on the Amplifier website). Photo: Patricia Guerra. California. She then reached out to art- Image courtesy of Amplifier. ists and designers around the country,

24 Art in Print September – October 2017 Alexandra Bell, A Teenager With Promise (2017), inkjet print, each sheet 32 x 24 inches, 32 x 48 inches combined. Photo: Darryl Richardson. forming a network dedicated to print as a year the press has been printing and string helped organize a POP-affiliated vehicle for social change. Print Organize wheatpasting a screenprint by the Suda- workshop, “Sign of the Times: Sign Mak- Protest (POP) now has members in nese artist Khalid Albaih on the streets of ing in Solidarity” at the Queens Museum, Columbus, Ohio; Chicago; Brooklyn; Brooklyn. Based in Doha, Qatar, Albaih is which was otherwise closed in solidar- Santa Cruz; Austin, Texas; Los Angeles an online political cartoonist whose work ity with the J20 General Strike. This was and the Bay Area. addresses global politics, with a specific another public printing event where peo- “The really powerful part of this focus on the Arab world.11 ple could make banners, posters and other project,” Larenas says, “is that through Sell met Albaih at the 2016 Creative materials for the upcoming marches. physically engaging with art, people are Time Summit, where he spoke on the Shoestring supplied a modular design also learning to physically engage with positive and negative aspects of circu- with twelve English words, nine Span- politics.”10 Thus POP has facilitated lating his work on the Internet. Sell sug- ish words, and four Chinese characters, workshops across the country for screen- gested a collaboration, and Albaih created from which one could choose two to pair printing signs, T-shirts and bags to be a screenprint, America. Stylistically dis- together. Many participants went beyond deployed in strikes, protests, marches and tinct from his silhouetted cartoons, it sign-making, screenprinting words onto rallies. POP events have also drawn many shows the figure of the Statue of Liberty, tote bags and items of clothing, includ- parents seeking positive ways to engage with her head replaced by that of a Native ing a homemade poncho whose owner their children in their local communities. American chief, and her raised arm and covered it with multiple repetitions of the POP continues to expand through word torch replaced by Tommie Smith’s Black word “power.” Using the screens and sup- of mouth, and Larenas believed the group Power salute from the medal podium at plies provided, visitors created more than is a resource that will be needed in the the 1968 Olympics. Albaih’s print pulls 300 prints in two and a half hours. coming years. the Black Lives Matter movement and the Dakota Access Pipeline protests together Counternarratives Shoestring Press in an icon of American liberty, signal- ing the interconnectedness of multiple Social media played an important role One organization participating in causes. in an ongoing collaboration between POP is the Brooklyn printshop Shoe- Sell also believes that continued activ- Shoestring Press and Alexandra Bell, who string Press, run by master printer Lane ism and art making have helped combat has been pasting her work on walls and Sell, which has been engaged in politi- the helplessness many people felt after in subway stations in Brooklyn. Sell had cal printmaking for years. For the past the election. On Inauguration Day, Shoe- seen the work in his neighborhood and on

Art in Print September – October 2017 25 Instagram, and when one of his friends Within a week they had created proofs members—will be able to participate. posted an image asking if anyone knew for a portfolio of eleven works—Prints for America’s current political paroxysms the identity of the artist, Sell chimed in, Protest.13 The printmaking department have made prints and printmaking offering Shoestring Press’s services if the donated paper and the RISD Museum freshly relevant in a digital age, not only artist came forward. acquired the portfolio. Benjamin draws as a means of production and object of Bell, who has a background in the a distinction between protest posters, distribution, but as a participatory social visual arts and in journalism, focuses on meant for activist display, and protest event and an ongoing lesson in civic the news media’s portrayal of race and prints, artworks that harbor a political engagement. As shown by the initiatives was struck by the New York Times’ use of message. She and her colleagues chose described here, many printmaking orga- the phrase “no angel” to describe Michael to make limited edition screenprints, nizations have chosen to engage in grass- Brown in their coverage, on 25 August woodcuts and letterpress prints, hop- roots activism, political awareness and 2014, of Brown’s death at the hands of a ing to appeal to people who wish to col- protest culture. By harnessing the “old” Ferguson, Missouri, policeman.12 Work- lect art at a reasonable price. The group medium of print to the Internet, social ing digitally, Bell annotated and edited launched the portfolio on the crowd- media and crowdfunding sites, they have the spread in red, but felt the images funding site Indiegogo, where prints built a bridge between the efficient but lacked visual impact. She then redacted could be purchased individually or as a disembodied information distribution of the article and changed the photograph. set; the profits went to a group of non- the digital age and the power of physical The final diptych pairs one sheet show- profit organizations chosen by the artists: bodies in physical spaces working ing the redacted columns of text, paired the ACLU, Black Lives Matter, the Coun- together. We can expect to see many with a full-page photograph of Brown in cil on American-Islamic Relations (CAIR), more political printmaking efforts cap and gown at his high school gradua- Make the Road New York, Planned Par- through the remainder of this adminis- tion, with the headline “A Teenager with enthood Action and Sane Energy Project tration and beyond. Promise” printed above; both bear the each received a donation of a little over Times masthead. $1,000 from the project. Benjamin is cur- Bell initially posted this work on her rently planning a second iteration, to Alison W. Chang is an independent curator and Instagram feed but ultimately decided be launched in 2018. With a longer lead scholar based in New York City and the Vice President of the Association of Print Scholars. to take the work into the physical realm. time she hopes that more artists—includ- Since wheatpasted posters are usually ing RISD undergraduates and faculty quickly removed, Bell also uses Insta- gram as a means to track the work and viewers’ responses to it. Shoestring’s offer came at a critical juncture, when Bell was running out of resources to continue posting her work around the city. She prints the posters digitally, on either adhesive plastic film or on paper, and posts them at night. She rarely stays to observe responses, although she once saw a man stop to look at A Teenager with Promise, kiss his hand and place it on the slain teen’s image; then bow his head and slightly pump his fist. In May, Bell installed an eight-foot- high, digitally printed version of A Teen- ager with Promise on the side of a building in Bedford-Stuyvesant, which led to a discussion of media bias with graphic design students from the Academy of Innovative Technology in Brooklyn. A second eight- foot version was installed in the backyard of We Buy Gold, a new gallery in Bedford- Stuyvesant.

Prints for Protest

Anna Benjamin, a recent graduate of the Rhode Island School of Design’s MFA program in printmaking, was also inspired to take action in the wake of the election, and found that many of her Khalid Albaih, America (2017), screenprint, 25 x 19 inches. Printed by Lane Sell, Shoestring Press, classmates shared her sense of urgency. Brooklyn. Photo: Lane Sell.

26 Art in Print September – October 2017 Prints from the Prints for Protest portfolio. From left to right: Anna Hendrick Karpatkin Benjamin, Print for Protest (2017), screenprint, 22 x 15 inches. Kelly Taylor Mitchell, Black People Don’t Owe You Shit (2017), screenprint, 22 x 15 inches. Vanessa Nieto Romero, Untitled (2017), letterpress print, 22 x 15 inches.

Notes: and artist to build a visual campaign for a nonprofit on Twitter and Instagram by searching for his 1.I would like to thank everyone—Alexandra Bell, of the contributor’s choice. username, @khalidalbaih. Anna Benjamin, Kevin Caplicki, Jen Hoyer, Janina 3. Current Justseeds artists are: Aaron Hughes, 12. New York Times public editor Margaret Sul- Larenas, Josh MacPhee, and Lane Sell—who Alec I. Dunn, Bec Young, Chip Thomas, Chris livan described the “no angel” phrase as a “regret- took the time to speak to me for this article. Julie Stain, Colin Matthes, Dylan A.T. Miner, Erik table mistake” the following day: “An Ill-Chosen Nelson Davis and Jeannie Kenmotsu were kind Ruin, Favianna Rodriguez, Fernando Martí, Jess Phrase, ‘No Angel,’ Brings a Storm of Protest,” enough to steer me toward the best resources on X Chen, Jesse Purcell, Jesús Barraza, Josh 25 Aug 2014. The article’s original author, John politically motivated prints in East Asia, and I am MacPhee, Kevin Caplicki, Kristine Virsis, Lesly Eligon, was quoted as saying, “I wish I would have so grateful that they shared their expertise. Geovanni Mendoza, Mary Tremonte, Mazatl, changed that.” The organizations and projects featured in Melanie Cervantes, Meredith Stern, Molly Fair, 13. Prints for Protest includes the prints by the fol- this article have an active presence on the Inter- Nicolas Lampert, Paul Kjelland, Pete Railand, lowing artists: Anna Hendrick Karpatkin Benjamin, net. See Justseeds at http://www.justseeds.org; Roger Peet, Sanya Hyland, Shaun Slifer, and Lukas Birk, Audrey Danze Blood, Megan Foster, the Interference Archive at http://www.interfer- Thea Gahr. New artists must be sponsored by a Valeria Rachel Herrera, Leekyung Kang, Anna encearchive.org; Amplifier at https://amplifier.org/; current member and approved by the group at the McNeary, Kelly Taylor Mitchell, Vanessa Nieto Print Organize Protest at https://www.printorga- co-op’s annual meeting. Romero, Kate Sarrantonio and Stacy Lynn Smith. nizeprotest.org/; and Shoestring Press at http:// 4. “Mni wiconi” became a rallying cry for the All prints are 22 x 15 inches and dated 2017. www.shoestringpressny.com/. Dakota Access Pipeline Protests. The phrase In the 2006–2007 exhibition at the Fogg Art means “water is life” or “water is alive” in Lakota. Museum at Harvard University, Dissent!, curator “Ni1+” is shorthand for “ni una más” (or “not one Susan Dackerman included a woodcut from ca. more” deportation). 1520 by an anonymous German artist that shows 5. Email exchange with Jen Hoyer, 21 July 2017. the Pope in the guise of a wolf, enticing a flock 6. Author interview with Jen Hoyer and Kevin of sheep. Lucas Cranach’s negative depictions Caplicki, 3 May 2017. of the pope in the 1540s can also be considered 7. Ibid. politically motivated. Although printmaking began 8. Ibid. in China as early as 700 AD, the Chinese did 9. https://www.kickstarter.com/projects/amplifier- not begin using printmaking for social and politi- foundation/we-the-people-public-art-for-the-inau- cal change until after the collapse of the Qing guration-and. Dynasty in 1911. See Clarissa von Spee, ed., The 10. Author interview with Janina Larenas, 12 April Printed Image in China from the 8th to the 21st 2017. Centuries (London: British Museum Press, 2010). 11. Albaih is perhaps best known for his cartoon Xiaobing Tang examines more closely the rise of “Choices for Syrian Children,” utilizing the iconic the Chinese avant-garde in the 1930s and 1940s news photographs of Omran Daqneesh, the in Origins of the Chinese Avant-Garde: The Mod- five-year-old boy photographed in the back of an ern Woodcut Movement (Berkeley: University of ambulance after an airstrike in Aleppo, covered in California Press, 2008). blood and dust, and Alan Kurdi, a three-year-old 2. Amplifier also offered rewards at higher lev- who drowned in the Mediterranean as his family els: $5,000 contributors received an executive tried to reach Europe in a small inflatable boat. In producer credit for a short film to be released in Albaih’s cartoon, “If you stay” was printed below late 2017 about art and activism in America; for a the image of Daqneesh and “if you leave” below $10,000 donation, the foundation would work with Kurdi. More of Albaih’s work can be seen online

Art in Print September – October 2017 27 Hans Haacke’s Proofs of Commitment By John A. Tyson

Hans Haacke, Upstairs at Mobil (1981), color photoetching printed on ten sheets of paper, image 105 x 71 inches overall, sheet 16 x 20 inches each. Edition of 10. Printed and published by Crown Point Press, San Francisco. ©2017 Hans Haacke / Artists Rights Society (ARS), New York.

ince first encountering Bertolt in the 1970s and ’80s, and most recently with all-over compositions of repeated SBrecht’s “Writing the Truth: Five Dif- designed a public poster campaign as part geometric forms that “tease[d] the ret- ficulties” (1935) as a student, Hans Haacke of the current Documenta. ina and thus appeared to vibrate.”1 An has acted on the idea that art could be a international exchange grant from the vehicle for telling the truth—especially Early Works On and In Paper Deutscher Akademischer Austauschdi- overlooked truths about the political and enst (DAAD) allowed him to spend a year economic systems that govern our lives. Haacke graduated from the Staatliche at Atelier 17, where he responded to the Over the years, Haacke has deftly shifted Werkakademie (Kassel, Germany) in breadth of intaglio techniques and open- his content and methods, tailoring them 1960 and began an association with the ness to experimentation he encountered for specific contexts. Best known for his European Zero group, founded by Heinz in the workshop.2 In late 1961 he aban- investigative installation projects, he Mack, Günther Uecker and Otto Piene, doned painting for what he considered has also produced prints throughout which rejected the gestural emphasis its falseness, and began making inkless his professional career, exploiting their of abstract expressionism in favor of intaglio prints.3 Blind embossing had multiplicity and mobility: he worked at impersonal material effects and spec- been used by Hayter and others as a Stanley William Hayter’s Atelier 17 in tator participation. In 1960–61 Haacke compositional complement to inked ele- Paris in 1960–61, at Crown Point Press was painting two-color abstractions ments in the image, and also to embed

28 Art in Print September – October 2017 makers’ or collectors’ marks in a sheet (printers’ “chops,” etc.), but Haacke ele- vated the technique from a supplemen- tal element to exclusive content. In the fall of 1961 Haacke began a Fulbright fellowship and moved to New York, where the majority of his embossed prints were made, and where his first solo show, at the Wittenborn One-Wall Gal- lery (inside the eponymous bookstore), featured the embossings alongside a reflective metallic sculpture.4 Haacke’s inkless impressions come in several compositional varieties: some, like those first made at Atelier 17, have rectangular surfaces pocked by rounded rises at almost regular intervals—order just slightly undermined, much like the configurations of droplets observable in his sculptures such as Condensation Cube (1963), a Plexiglas box in which a small amount of water changes state. Other prints employ rows of diagonal depres- sions forming a rectangle, or circular indentations spiraling tighter toward the center like the head of a sunflower.5 The prints’ reduction of elements and impersonal compositions fly in the face of the autographic mark-making that dominated art in the 1940s and ’50s. The production of all-white prints was Hans Haacke, Untitled (1961), inkless intaglio, image 3 7/8 x 3 3/8 inches, sheet 9 3/4 x 12 3/4 inches. not, however, unique to Haacke: in the Artist proof. ©2017 Hans Haacke / Artists Rights Society (ARS), New York. Museum of Modern Art’s 1964 exhibition “Contemporary Painters and Sculptors as to catalyze new ways of acting and think- Haacke articulated a few years later to Printmakers,” he was one of five showing ing within and beyond galleries. “make something, which the ‘spectator’ inkless intaglios.6 The critic Craig Owens considered handles, with which he plays and thus In keeping with the ideals of Zero, Haacke’s work from ca. 1970 onward to animates.”11 as well as of Brecht (whose anti-illu- be part of a shift in cultural production sionism called for exposed lighting in “from work to frame”: Haacke turned Politics and Para-Citation theatrical performances), Haacke val- away from purely physical phenomena ued real effects over representations. and toward the institutional structures In 1967 Haacke joined Experiments His prints, in which visual interest is within which art was created and con- in Art and Technology (EAT), the orga- generated by concrete effects of light sumed.8 An earlier, inchoate version of nization cofounded by artists Robert and shadow, fulfilled his new criteria. this logic can be traced back to Haacke’s Rauschenberg and Robert Whitman and Even so, it is possible to see the inkless use of uninked, embossed paper to cre- engineers Billy Klüver and Fred Wald- intaglio composition Untitled (Number ate objects whose visual interest stems hauer to bridge the “two cultures” of 5) (1962) as a reflection of early 1960s from the lighting conditions of their science and art.12 With curator Pontus technological developments. Its dimen- surroundings. Made of (and in) paper, Hulten, Klüver and Rauschenberg put sions—roughly three-by-nine inches— Haacke’s prints work much like the Plexi- together a collection of 30 works by New and its regular clusters of chad-sized glas towers and columns containing York artists of the 1960s for the Moderna bumps are suggestive of what might hap- immiscible liquids, which he hoped visi- Museet in Sweden, and organized a port- pen if a computer punch card was run tors would manipulate: “their environ- folio of prints—The New York Collection through a press: a poetic collision of art ments—including the spectator—form for Stockholm—to raise funds for its pur- and technology that anticipates later an integral part of them… they are not chase.13 projects. Sculptor George Rickey saw such fixed.”9 When turned or manipulated Haacke’s print for the portfolio con- use of optical phenomena, light and move- with respect to light, the prints’ relief sur- sisted of information derived from ment as an extension of early-20th-cen- faces are enlivened by changing light and research conducted as part of his piece tury Russian Constructivism.7 Though shadow. They tempt ludic interaction in John Weber Gallery Visitors’ Profile, I and less revolutionary than their Soviet pre- contrast to the apprehension of timeless- II (1972–3). In part one, Haacke asked gal- decessors, the producers of this 1960s ness often thought to characterize high lery visitors to respond to a 20-question “Constructivism” did intend their works art.10 The prints begin to fulfill the goal survey, the results of which were exhib-

Art in Print September – October 2017 29 Haacke, however, continued to answer Brecht’s call to “manipulate the truth as a weapon.”19 Using techniques that might be termed parasitic or para-citational— redeploying corporate graphic design and texts to critique their sources— Haacke adapted Brecht’s strategies of “refunctioning” (Umfunktionierung) and estrangement (Verfremdung) for visual art.20 Mobilization (1975) is a four-color screenprint and one of a number of Haacke works highlighting Mobil Oil’s strategic art sponsorship. Printed on plastic (a petroleum product), Haacke’s panel embodies the business it appraises. The Mobil logo appears in its familiar red, white and blue above excerpted texts, each with a full bibliographic citation: the first, from the Columbia Journal of World Business, discusses how Mobile used arts funding to build national support; the second is the typescript of a 1975 talk by a Mobil public relations manager, noting how effective the company’s sponsorship of the Smithsonian’s then-upcoming American Bicentennial Exhibition was in strengthening the firm’s credibility in Washington, DC. When originally delivered, at a conference of advertising agencies, the speech would have been understood as a celebration of achieve- ment. But viewed through the prism of Haacke’s artwork—which was exhibited at the Max Protech Gallery in Washing- ton concurrent with the Smithsonian show being discussed—Mobil’s engagement comes across as more cynical than patriotic.21 Mobil’s operations continued to Hans Haacke, Untitled from The New York Collection for Stockholm (1973), screenprint, occupy Haacke for nearly a decade. composition (irreg.) 4 7/8 x 6 1/2 inches, sheet 9 x 12 inches. Edition of 300. Printed by Styria Studio, Upstairs at Mobil: Musings of a Shareholder, New York. Published by Experiments in Art and Technology, New York. ©2017 Hans Haacke / Artists made at Crown Point Press in 1981–82, Rights Society (ARS), New York. was “a large and important work for ited as part two. A screenprinted text Xerox editions” and published it in Art- both artist and publisher,” according to based on a typewritten original describes forum.17 Ruth Fine.22 The ten-part color photo- the project and gives the responses to one In 1976–77, Rauschenberg donated etching reproduces a stock certificate for question about choosing between the copies of EAT’s NYCS Portfolio to numer- ten shares of Mobil Corporation, which presidential candidates George McGov- ous art institutions, bringing Haacke’s Haacke has cut up and covered with hand- ern and Richard Nixon: 74.7 percent of art into the collections of the National written texts culled from advertisements, gallery visitors favored McGovern.14 The Gallery of Art and the Metropolitan corporate reports and newspaper articles. tally underscored the anti-Vietnam War, Museum of Art for the first time. Many (The handwriting is based on Haacke’s, anti-Nixon stances of New Yorkers in the museums and galleries viewed the art- but was executed by Crown Point print- arts, suggesting they might have more in ist with some trepidation after a contre- ers Hidekatsu Takada and Nancy Anello, common with their Swedish colleagues temps with the Solomon R. Guggenheim as well as by the artist himself.) than with Nixon’s “silent majority.”15 Museum, in which his 1971 solo show The print takes its title from two With the print’s typeface and plain white at the museum was cancelled when he sources, both of which serves as PR for sheet, Haacke embraced an anti-aesthetic refused to alter works that exposed the Mobil: the popular British Edwardian of bureaucratic paperwork.16 In addi- ownership of slum housing in New York soap opera “Upstairs, Downstairs,” which tion to this limited-edition screenprint, (he was also planned to include another ran on PBS with conspicuous support Haacke released the image in “unlimited polling project).18 from Mobil, and an advertising campaign

30 Art in Print September – October 2017 of pseudo–Op Ed essays, each of which began “Musings of . . .” Haacke wished to highlight the degree to which the Pub- lic Broadcasting Service was privately bankrolled (Mobil’s contributions to PBS were so dominant that some dubbed it the “petroleum broadcasting system”).23 There were concerns that, in addition to generating goodwill, Mobil’s support may also have had an impact on programming decisions, such as the airing of economist Milton Friedman’s ten-part 1980 series, “Free to Choose,” advocating free-market economic policies.24 The “Musings of . . .” advertisements similarly adopted an appearance of disinterested public service, presenting themselves as brief essays penned by “an oil person,” a “confused oil person,” a “proud oil person,” etc. Both halves of Haacke’s title thus raise questions about the power of covert interests in the public sphere. By insinuating one form of valuable print (the stock certificate) into another (the limited-edition print), Haacke highlights the intersection of systems of art and commerce. Both types of print employ antiquated print techniques, signatures, blindstamps and number- ing to connote authority and authentic- ity. As with banknotes, the certificates’ elaborate engraving is both ornamental and functional: they impede copying. By defacing and creating a reproduction (faux) stock certificate, Haacke under- mines corporate authority and implicates art authority. In directing our attention Hans Haacke, Mobilization (1975), four-color screenprint on acrylic, 48 x 57 1/2 inches. Edition of 6. ©2017 Hans Haacke / Artists Rights Society (ARS), New York. to the overlap between art and finance he echoes Marcel Duchamp’s 1924 Monte Carlo Bond, an artwork-certificate for a of the certificate, of course, had no bearing corporate parent. Obviously we can- purported joint stock company, whose on the consequences of stock ownership: not ask our South African subsidiary funds would be used to play roulette. The dividends for ten shares continued to be to break the law . . . parallel between stocks and art is under- sent to the artist. scored by the stock certificate statement, Like many of Haacke’s projects, Mobil does everything to insure the “transferable in New York,” the center Upstairs at Mobil relies on the cultural stability of South Africa. Our board of both the global stock market and the weight of art institutions to amplify its argues: “the denial of supplies to the police and military forces in a host global art market in the 1980s.25 message. Print study rooms and galleries Haacke had ceased signing artworks provide their holdings with gravity, and county is hardly consistent with an with his full name in 1962, hoping to com- in the case of artworks with political as image of good citizenship in that bat the cult of the author, but Upstairs at well as aesthetic content, their informa- country.” tion may be attended to more carefully in Mobil bears his full moniker, which had Under the Reagan Administration, such “studious” settings.26 Encountered been printed on the original document free-market forces will play their in an art space (or even in this article), to certify his ownership. In the process natural role . . . becoming a shareholder, Hans C. Haacke Mobil’s statements come under closer was inscribed into the firm’s registers scrutiny than they might otherwise. The moral majority is in ascendance/ alongside a serial number. In breaking Among the statements scrawled over the And we are with it. the certificate up onto ten plates, Haacke stock certificate are the following: sliced his name in two: “Hans C. Ha” Through the act of reframing, Haacke appears on one print, “acke” on another. The Official Secrets Act of South lets Mobil reveal its sinister side. The corporation’s name is broken up as Africa prohibits disclosure of informa- Haacke’s earlier Crown Point proj- well. Haacke’s replication and mutilation tion on petroleum matters even to a ect, Tiffany Cares (1977–78), also uses his

Art in Print September – October 2017 31 Left: Hans Haacke, Tiffany Cares (1977-78), photoetching, image 34 1/4 x 17 inches, sheet 41 x 29 inches. Edition of 35. Printed and published by Crown Point Press, San Francisco. ©2017 Hans Haacke / Artists Rights Society (ARS), New York. Right: Hans Haacke, Tiffany Cares (1977-78), Brass pedestal, wood, velvet, silver-plated copper plate with etched text, satin with gold stamping, 33 3/4 x 22 x 22 inches. ©2017 Hans Haacke / Artists Rights Society (ARS), New York. target’s own words against itself, in this Print” (1988) at MoMA—one of the hand- with posters on which the title phrase case a Tiffany and Co. advertisement ful of times his work has appeared at the is repeated in 12 different languages, touting the virtues of trickle-down eco- museum since his MOMA-Poll in 1970, from German and English to Kurdish nomics. The piece exists in two versions: which asked museum visitors about Gov- and Berber, bordered by a rainbow roll. the first is an etched, silver-plated copper ernor Nelson Rockefeller’s position on 32 What could be read initially as a “feel- plate, placed in a gold-stamped, satin box the Vietnam War.29 The NGA has one good” celebration of diversity is actually on a pedestal—a precious object evok- of Haacke’s early Plexiglas sculptures on more complex and layered.33 The slogan ing engraved jewelry and the printing prominent display, but the 1997 showing is an amended version of the rallying cry process; the second is an etching that, of Tiffany Cares marks the sole instance of “Wir sind das Volk” (We are the people) like the copper plate, reproduces the ad, one of his language-based works appear- used in the 1989–90 protests that help whose text concludes “Mr. Rich Man, you ing in the galleries.30 (It is important to bring down the East German state, would be supporting (wholly or partially) note, however, that both museums have but that same slogan has been adopted perhaps more than 100 people . . . Are you print study rooms where members of the more recently by the right wing, anti- a menace? No, you are not.” Opposite the public can make requests to view mate- immigrant PEGIDA movement. The word advertisement is Haacke’s terse riposte, rials, enabling works like Haacke’s to be “Volk” itself bears uncomfortable asso- delicately wrought in Tiffany script: “The seen even when not on display.) ciations with Nazism and a belief in eth- 9,240,000 Unemployed in the United nic superiority. Once again, he seems to States of America Demand the Immedi- Conclusion: Publicity, People, draw lessons from Brecht’s “Writing the ate Creation of More Millionaires.” In Positioning Truth,” which addresses the question of place of a signature, each impression is people versus population. Haacke con- stamped on the verso, “Designed and Haacke’s recent print endeavors are jures these historical meanings and also Approved by Hans Haacke.” His lessons engineered to interrupt advertising, the proposes new inflections of “Volk.” about the generation of consent—and form of print that most permeates urban His posters come at a time when the the need to contest received information life.31 In 2001–02, he returned to inkless accommodation of refugees from Syria, with facts—continue to be relevant.27 printmaking for a Creative Time com- Iraq and Afghanistan has divided voters Tiffany Cares is one of Haacke’s most mission marking 9/11: white posters with throughout Europe and North America, visible prints. The fact that printmak- die-cut silhouettes of the World Trade with Germany taking far more than any ing is sometimes considered a “minor” Center were wheatpasted over existing other nation. Haacke repurposes histori- medium in the history of art has facili- commercial announcements, cancelling cally charged language to reckon with tated its acquisition and exhibition and reframing what lay below, marking the reality that the distinction between within institutions.28 Tiffany Cares has commerce and also absence. citizen and refugee is imposed by circum- appeared in major shows, such as the His current project for Documenta stance and is mutable—an acknowledg- National Gallery’s “Thirty-Five Years 14, Wir (alle) sind das Volk—We (all) are ment that leads to practical questions of at Crown Point Press: Making Prints, the people (2017), fills advertising spaces who should be able to freely enter and Doing Art” (1997) and “Committed to in Athens, Greece, and Kassel, Germany, access rights within the nation state.

32 Art in Print September – October 2017 Implicit in his selection of languages is an address to people on both sides of this divide, and an attempt to disrupt the monolingualism that often serves nationalism. Haacke carefully selects his data and precisely choreographs its delivery; he does not mandate fixed conclusions. Rather, his prints—inkless intaglios, corporate designs and speech providing damning information, and recoded statements advertising inclusion—are poetic and political short-circuits. His challeng- ing prints must be worked out by spec- tators; they probe their audiences’ commitments, asking them to move in new directions and strike their own positions.

John A. Tyson is an assistant professor at UMass Boston and recent Andrew W. Mellon Hans Haacke, Commemorating 9/11 (2001, printed 2002), wheat-pasted, die-cut posters, 18 x 24 Postdoctoral Curatorial Fellow in the Depart- inches. Published by Public Art Fund, New York. ©2017 Hans Haacke / Artists Rights Society (ARS), ments of Modern and American Prints and New York. Drawings and British and American Paintings at the National Gallery of Art. 11. Hans Haacke, “Untitled List of Goals,” January Paul Richard, “Mixed Blessings of Artistic Fame,” 1965, written for NUL. The same goals were used Washington Post, 1 Nov 1973, B1. in Peter Selz’s Directions in Kinetic Sculpture 16. For more on this idea see Julia Bryan-Wilson, Notes: (Berkeley and Los Angeles: University of Califor- Art Workers (Berkeley and Los Angeles: Univer- 1. Hans Haacke cited in Alexander Alberro, Work- nia Press, 1966), 37. sity of California Press, 2009), 173–214. ing Conditions: The Writings of Hans Haacke 12. See C.P. Snow, The Two Cultures and the 17. See Hans Haacke, “Hans Haacke’s Gallery (Cambridge: MIT Press, 2016), xii. Scientific Revolution (1959). Visitor’s Profile,”Artforum 11, no. 10 (June 1973), 2. Haacke must have considered the work impor- 13. The New York Collection for Stockholm Port- 44. tant at the time, as he presented Hayter with an folio (1973) included works by Lee Bontecou, 18. Guggenheim director Thomas Messer artist’s proof of the inkless intaglio Untitled (1961), Robert Breer, John Chamberlain, Walter De Maria, believed he has thus purged “an alien substance inscribed on the verso: “souvenir d’artiste pour Bill Jim Dine, Mark di Suvero, Oyvind Fahlström, Dan that had entered the art museum organism.” See from Hans Haacke.” See Carla Esposito, Hayter Flavin, Red Grooms. Hans Haacke, Alex Hay, Messer cited in Benjamin Buchloh, “Hans Haacke: e l’Atelier 17 (Rome: Ministerio per i Beni Cultur- Donald Judd, Ellsworth Kelly, Sol LeWitt, Roy Memory and Instrumental Reason,” in Neo-Avant- ali, instituto Nazionale per la Grafica, The British Lichtenstein, Robert Morris. Louise Nevelson, garde and Culture Industry (Cambridge, MA: MIT Council, 1990), 225, 248249. Kenneth Noland, Claes Oldenburg, Nam June Press, 2000), 208. 3. Untitled (1960), now in the collection of the Paik, Robert Rauschenberg, Larry Rivers, James 19. Bertolt Brecht, “Difficulties of Writing the Museum of Modern Art, is an example of an inked Rosenquist, George Segal, Richard Serra, Keith Truth,” in Hans Haacke, eds. Walter Grasskamp etching from this period. Sonnier, Richard Stankiewicz, Cy Twombly, Andy and Hans Haacke (New York: Phaidon, 2004), 4. Hans Haacke in conversation with author, Warhol, and Robert Whitman. It was printed by 92–97 11 May 2017. The sculpture was The Battle of Styria Studio and published by Experiments in Art 20. Following Fredric Jameson and Ernst Bloch, Reichenfels (1961). Four of these abstract works and Technology, New York, in an edition of 300. I translate Verfremdung as “estrangement” rather on paper, two with Wittenborn labels, subse- Haacke’s contribution is Untitled from The New than “defamiliarization.” See Jameson, Brecht quently entered the collection of the New York York Collection for Stockholm (1973), silkscreen and Method (New York: Verso, 1998), 85–86n13 Public Library. The Museum of Modern Art owns on white wove paper, composition (irreg.): 4 7/8 x and Bloch, “Entfremdung, Verfremdung: Alien- four similar prints. 6 1/2 inches; sheet: 12 x 9 inches. ation, Estrangement,” TDR 15, no. 1 (Autumn 5. This typology is based on examples in the col- 14. McGovern won 37.5 percent of the popular 1970): 120–25. According to Bloch’s definition lection of the artist, the Museum of Modern Art, vote nationwide, showing a distinction between of estrangement, “The strange externality pur- and the New York Public Library. the art world and broader US electorate. Haacke poses to let the beholder contemplate experience 6. The other artists in the 1964 MoMA show were also donated an impression of the inkless inta- separated, as in a frame, or heightened, as on Josef Albers, Antonio Boni, Etienne Hajdu, and glio Untitled (1962) to the exhibition “Artists for a pedestal. As has been suggested, this leads Omar Rayo. McGovern” in 1972 at the Feigen Gallery in New increasingly away from the usual and makes 7. George Rickey, Constructivism: Origins and York. the beholder pause and take notice. Thus a faint Evolution (New York: George Braziller, 1967), vii, 15. Richard Nixon’s “’Silent Majority’ Speech” aura of estrangement already inheres in the kind 179–222. (Washington, DC, 3 Nov 1969) argued that of spoken inflection that will suddenly make the 8. Craig Owens, Beyond Recognition (Berkeley despite the vocal opponents of the Vietnam War, hearer listen anew” (123). Additionally, following and Los Angeles: University of California Press, most Americans were in favor of the conflict but William Burling, Verfremdung is best grasped as 1994), 131–133. chose not to manifest their sentiments publicly. a subset of Umfunktionierung (functional trans- 9. Hans Haacke, “Untitled Statement,” Philadel- The Swedish government’s opposition to the Viet- formation/ refunctioning). See Burling, “Brecht’s phia, 7 January 1965, reprinted in Hans Haacke: nam War led the US to withdraw its ambassador ‘U-effect’: Theorizing the Horizons of Revolution- For Real , ed. Matthias Flügge and Robert Fleck when then-education minister Olof Palme partici- ary Theatre,” in Brecht, Broadway, and United (Düsseldorf: Richter, 2006), 82. pated in a 1968 anti-war protest with Nguyen Tao States Theatre, ed. Chris Westgate (Cambridge: 10. See John Thwaites, “Younger German Artists: Chan, the North Vietnamese ambassador to the Cambridge Scholars Press, 2007): 166–187. Hans Haacke’s Works Require the Viewer to Lend Soviet Union. For an account of Swedish artists’ 21. According to Jack Burnham, “lawyers working a Hand,” The Bulletin (26 Oct 1965), 8. reactions to NYCS see Nils Stenquist cited in for US Senate committees concerned with energy

Art in Print September – October 2017 33 Is It Over, or Is This Just a Correction?” New York Times, 16 Dec 1990, http://www.nytimes. com/1990/12/16/business/the-art-boom-is-it- over-or-is-this-just-a-correction.html. 26. For more on this idea, see Brian O’Doherty, Inside the White Cube: The Ideology of the Gal- lery Space (Berkeley and Los Angeles: University of California Press, 1986), 15. 27. The artist is still concerned about Tiffany advertisements that appear on the third page of the New York Times. Haacke email to author, July 23, 2017. 28. For a critical assessment of the esteem of print in Western art see, for instance, Luis Cam- nitzer, On Art, Artists, Latin America, and Other Utopias, ed. Rachel Weiss (Austin: University of Texas Press, 2009), 44–46. 29. Rockefeller’s mother, Abby Aldrich Rocke- feller, was a cofounder of the museum. A collage, Cowboy with Cigarette (1990), is one exception. It was included in Kynaston McShine’s The Museum as Muse (1999). 30. The sculpture in question is Condensation Wall (1963/1966), which has been on view in the renovated East Building since it reopened in Sep- tember 2016. 31. In addition to the two projects described here, Haacke also did a public poster project for Docu- menta X, Standortkultur (1997). 32. The languages include Albanian, Arabic, Ber- ber, English, Farsi, French, German, Greek, Kurd- ish, Polish, Turkish, and Russian. 33. Corinna Kirsch and Anastasia Tuazon, “Docu- menta 14: Learning From Athens, Learning From Crisis,” ArtFCity.com, 9 June 2017, accessed 19 July 2017, http://artfcity.com/2017/06/09/documenta-14-learning-from-athens-learning-from- crisis/.

Hans Haacke, Wir (alle) sind das Volk—We (all) are the people (2003/2017), 10,000 posters, dimensions variable. ©2017 Hans Haacke / Artists Rights Society (ARS), New York. legislation took note of Haacke’s artworks,” repro- the era, see the following: Barbara Isenberg, “Is ducing some of the quotes that the artist selected Corporate Funding Stifling PBS? The Corpora- for inclusion. See Burnham, “The Clarification of tions and Public TV PBS Funding,” Los Angeles Social Reality,” in Hans Haacke: Recent Work Times, 9 Dec 1979, N1; Floyd Norris, Associated (Chicago: Renaissance Society, 1979), 6. Press. “The Giving Game: Corporate Charitability 22. Ruth Fine, “Kathan Brown and Crown Point Raises Ethical Questions,” Boston Globe, 10 Aug Press,” in Thirty-Five Years at Crown Point Press: 1980, http://proxyau.wrlc.org/login?url=https:// Making Prints, Doing Art (Berkeley, Los Ange- search-proquest-com.proxyau.wrlc.org/docview les, and London: University of California Press, /293981464?accountid=8285; James Bowman, National Gallery of Art, Fine Arts Museums of San “What Elmo Doesn’t Want You to Know,” Wall Francisco, 1997), n48. Street Journal, Eastern edition; New York, 23 Dec 23. See, for instance, Michael Parenti, Dirty 1996, A10; or J.S. Saloma, Ominous Politics: The Truths (San Francisco: City Lights Books, 1996), New Conservative Labyrinth (New York: Hill and 101–106. Wang, 1984), 107. 24. For more on PBS and private sponsorship in 25. See Peter C.T. Elsworth, “The Art Boom:

34 Art in Print September – October 2017 Reading Revolutionary Prints By Elizabeth M. Rudy

rints about politics during the French PRevolution adopted specific ideologi- cal positions in the shifting landscape of the nascent republic. The clarity of their viewpoint, however, relied equally on the image and its text—both the words imbedded in the image and the associated captions. The remove of historical distance is necessarily an impediment for the modern viewer in an interpretation of the nuances in these kinds of prints, though the often rich amount of information in the visual and textual compo- nents offers several paths of inquiry. But when the texts of the prints have been modified, replaced or removed by later hands, the new setting imposes different meanings on the images, meanings sometimes at odds with their original message. Three examples in the Har- vard Art Museums’ collection highlight the contingencies built into interpreting political prints of this era, and caution against making hasty assumptions about what they say. The museums’ impression of the well-known engraving by Jacques- Louis Copia from 1794, Jean Paul Marat, has had its inscription changed by a later intervention. Letters were cut from a printed text and pasted over parts of the famous statement inscribed below the image, which can still be read unadulter- ated in the surviving copper plate for the print: “Unable to corrupt me, they killed me”.1 The added, capitalized letters on Harvard’s impression change the voice of the inscription from the first to the third person so that it reads instead, “Unable to Jacques Louis Copia (after Jacques-Louis David), Jean Paul Marat (1794), etching and engraving, corrupt him, they killed him.”2 The open 27.4 x 22 cm. Harvard Art Museums/Fogg Museum. Gift of Belinda L. Randall from the collection of lips of Marat no longer speak; his mar- John Witt Randall, R13046. tyrdom is now described passively. The edited text partially deflates the force the scenes such as the taking of the Bastille balance between text and image is here image carries when the deceased is joined are stripped of their original descriptions destroyed, and each medium works to its with first-person speech. and rely on the surrounding narrative for own ends, leaving a curious artifact of Also in the museums’ collection, Jean context and elucidation. The text by Wil- divergent, nearly contemporaneous his- François Janinet’s suite of prints docu- liam Playfair, The History of Jacobinism, tories of the Revolution. menting major moments of the early Its Crimes, Cruelties and Perfidies, stridently A dialogue between image and text Revolution, which he presented to the argues—from a position antithetical is fundamental to political caricature, National Assembly to celebrate the first to that of the artist—that the Revolu- where meaning is constructed out of months of the fledgling government as a tion was a blight on humanity.4 The text both visual and linguistic references. As momentous phase of history, are bound does not help to illuminate the political Antoine de Baecque argues, caricature is in a British text from 1795.3 Cut down stakes for which the prints were made, steeped in a cascading array of allusions, to the image and tipped into the text, but actively contradicts them. The usual such that it “is only read in reference”5—

Art in Print September – October 2017 35 Attributed to Villeneuve, The Disarmaments of the Aristocracy (1791), etching and aquatint, 10.6 x 8.3 cm. Harvard Art Museums/Fogg Museum. Gray Collection of Engravings Fund, G9031.

it refers to past and current imagery, former and present events, amalgamat- ing pictures and prose. When parts are missing, as in Harvard’s impression of Villeneuve’s The Disarmaments of the Nobility from 1791, the interpretative play is compromised. This impression was cut from a larger sheet that held an exposi- tory inscription reading: “Exact shape of the odious daggers with which those who were slapped, arrested or chased out of the Tuileries by the National Guard were armed on February 28, 1791.”6 Denuded of most of this text, the phallic image of a male hand holding a dagger appears com- ical rather than threatening, frivolous rather than fearsome. While its meaning Jean François Janinet, The Brave Maillard Reaches for the ‘Propositions des Assiégés’ on a is not inscrutable, given the language still Plank Suspended over the Moat of the Bastille (1789), etching and aquatint, 13 x 9 cm. Harvard remaining on the sheet, the potency of Art Museums/Fogg Museum. Gift of Patrice Higonnet, M21315.5. the caricature is critically reduced. In addition to the slippages of mean- 4. The full title of the book is The History of ing that arise from excisions, false Elizabeth M. Rudy is the Carl A. Weyerhaeuser Jacobinism, Its Crimes, Cruelties and Perfidies: inscriptions are also common in 18th- Associate Curator of Prints at the Harvard Art Museums. Comprising an Inquiry into the Manner of Dissemi- century prints, where errors were either nating, Under the Appearance of Philosophy and accidentally transcribed or deliberately Virtue, Principles which are Equally Subversive inserted to deceive the viewer. Students Notes: of Order, Virtue, Religion, Liberty and Happiness. of 18th-century political prints must 1. “Ne pouvant me corrompre, ils m’ont 5. “[L]a caricature ne se lit qu’en référence” assassiné.” Translation of this and other (Antoine de Baecque, “Introduction,” in La Cari- therefore pay careful attention to the French quotes are by the author. The cop- cature révolutionnaire (Paris: Presses du CNRS, interchange between text and image, and per plate is housed in the British Museum 1988), 19. not presume that the images and words (inv. 1898,0527.214). 6. “Forme exacte des infames poignards that present themselves constitute the 2. “Ne pouvant le corrompre, ils l’ont assassiné.” dont étoient armés ceux qui ont été soufflet- original content. These are prints that 3. On this suite, see Philippe de Carbonnières tées, aretés [sic] ou chassés des Thuillerie [sic] and Daniel Jouteux, Les Gravures historiques par la Garde Nationale le 28 février 1791.” chose a side. We need to be sure we know de Janinet. Collections du musée Carnavalet which one it was. (Paris: 2011).

36 Art in Print September – October 2017 NOTES ON AN EXHIBITION Rembrandt and Religion at Notre Dame By Cheryl K. Snay

“Rembrandt’s Religious Prints: The Feddersen Collection at the Snite Museum of Art” Snite Museum of Art, University of Notre Dame, South Bend, IN 3 September– 26 November 2017

Rembrandt’s Religious Prints: The Feddersen Collection at the Snite Museum of Art By Charles M. Rosenberg 496 pages, 243 color illustration Published by Indiana University Press, Bloomington, 2017. $70

he Snite Museum of Art is mark- Ting the University of Notre Dame’s 175th birthday this fall with an exhibition of 70 prints by Rembrandt from the collection of Jack and Alfrieda Fedder- sen, as well as two Rembrandts and nine works by other artists also held in the museum’s collection. Much of this material, which repre- sents about 80 percent of Rembrandt’s religious prints, has been displayed in various iterations since it was first shown at the museum in 1981 soon after the building opened. This is, however, the first time it has been the subject of a com- prehensive scholarly catalogue (written by Charles Rosenberg, emeritus professor of art history). The deeply devout Fed- dersens focused on the artist’s religious images and built much of the collection after Jack’s retirement in 1974 as the president of the Selmer Company, a manufac- turer of musical instruments, in Elkhart, Indiana. It was donated to the museum in 1991. Jack Feddersen immersed himself in the scholarly literature on Rembrandt and Rembrandt van Rijn, David and Goliath from Piedra gloriosa (1655), etching and drypoint on vellum, sought advice from dealers in the United 10.1 x 7.2 cm. Snite Museum of Art: Gift of Mr. and Mrs. Jack F. Feddersen,1991.025.008. States and Europe. The earliest records we have of his purchases date to 1966 York dealers David Tunick (nine prints, cat. no. 51]). In London he frequented when he bought Christ and the Woman of including Abraham Entertaining the Angels Colnaghi’s, where in 1976 he found three Samaria among Ruins (1634; cat. no. 44) [1656; cat. no. 3] and Abraham’s Sacrifice of the four illustrations to the Piedra glo- and The Stoning of St. Stephen (1635; cat. [1655; cat. no. 7]) and Kennedy Galleries riosa de la estatua de Nebuchadnesar (1655; no. 67) from Associated American Artists (seven prints, most notably Christ Pre- cat. nos. 8–10), a mystical tract by Rabbi in New York. He also bought from New sented to the People: Oblong Plate [1655; Samuel Menasseh ben Israel. Feddersen

Art in Print September – October 2017 37 Rembrandt van Rijn, Image Seen by Nebuchad- nezzar from Piedra gloriosa (1655), etching and drypoint on vellum, 10 x 6.5 cm, trimmed. Snite Museum of Art: Gift of Mr. and Mrs. Jack F. Fed- dersen, 1991.025.007.

Rosenberg situates each work in terms of the international and religiously diverse art audience of 17th-century Europe. He quotes from the sermons of Calvinist ministers, explains Jewish tra- ditions, and points to Catholic doctrine in his interpretations of these iconographically rich compositions. In his analysis of The Stoning of St. Stephen, for example, Rosenberg reviews the scholarly literature and discusses biblical sources for the image, as well as comparing it to the artist’s preparatory drawings and a related painting. He furthermore places Rembrandt van Rijn, Daniel’s Vision for the Four Beasts from Piedra gloriosa (1655), etching the etching in the context of the reli- and drypoint on vellum, 10.2 x 7.4 cm. Snite Museum of Art: Gift of Mr. and Mrs. Jack F. Feddersen, 1991.025.009. gious controversy instigated by the Five Articles of Remonstrance, drawn up in also made acquisitions from London Bernet in New York, and in 1982 when he 1610 by the followers of Jacob Arminius in Arts Gallery and Craddock & Barnard. bought Adam and Eve (1638; cat. no. 2) at protest against the Calvinist doctrine of The records show that between 1973 and Christie’s, New York. predestination. As Rosenberg concludes, 1981 he purchased no fewer than 15 prints In addition to the sensationally rare while the print’s “diminutive size made from Harrods department store, among illustrations on vellum for the Piedra glo- it ideal for pasting into a connoisseur’s them La Petite Tombe (ca. 1652; cat. no. riosa and The Flight into Egypt: Crossing a album,” it was also open to a range of 41) and a fine impression of The Hun- Brook, highlights of the exhibition include political and theological functions and dred Guilder Print (ca. 1649; cat. no. 48). Christ Crucified between Two Thieves (1653; interpretations: Helmut Rumbler of Frankfurt sold him cat. no. 54); The Rest on the Flight into one sheet, Presentation in the Temple with Egypt: Lightly Etched (1645; cat. no. 33); the As a carefully edited biblical subject, the Angel: Small Plate (1630; cat. no. 25) in uncommon and charming Christ Return- the print could also serve to inspire 1976. Feddersen seems to have purchased ing from the Temple with His Parents (1654; Christians of different denominations, at auction only twice: in 1975 when he cat. no. 40); and The Triumph of Mordecai encouraging them to meditate upon acquired Flight into Egypt: Crossing a (1641), paired with its counterproof (cat. the stirring illustration of a saint’s Brook (1654; cat. no. 30) at Sotheby Parke nos. 14–15). sacrifice for his faith. Finally, for those

38 Art in Print September – October 2017 who understood the ways in which the biblical tale of Stephen’s martyrdom resonated with contemporary religious and political events, the etching could be perceived as both a condemnation of the persecution . . . the Remon- strants . . had suffered at the hands of their enemies and as an implicit critique of the military adventures of the pro-Counter-Remonstrant stadt- holder Frederik Hendrik. (p. 412)

As exhibition curator, I chose to arrange the prints based on Rosenberg’s adaptation of Bartsch’s categorization of Rembrandt’s work by Old and New Tes- tament subjects, followed by apocrypha and images of saints. Together, these works reinforce our understanding of the artist’s powers of observation and his supreme technical mastery as he explores human experiences and religious faith. I also incorporated some recently acquired comparative prints, among them Lucas van Leyden’s Adoration of the Magi (1513; cat. no. 48), Albrecht Dürer’s Death of the Virgin (1510; cat. no. 69), and Jacob Matham’s Abraham Casting out Hagar and Ishmael (1603; cited in cat. no. 4, not illustrated)—works that illustrate some of Rembrandt’s sources of inspiration while at the same time demonstrating his many innovations in printmaking. Though Feddersen considered giving his Rembrandts to the Art Institute of Chicago, he ultimately chose to leave them to the University of Notre Dame where he felt they would have an impact on students and visitors to the campus. The gift laid a solid foundation for the Snite Museum’s old-master print collection. Subsequent benefactors, among them Dr. and Mrs. R. Stephen Lehman, built on this foundation, donating further Rembrandts as well as prints by such 16th- and 17th-century artists as Hein- rich Aldegrever, Pieter Bout and Jacques Above: Rembrandt van Rijn, Christ Crucified between the Two Thieves: The Three Crosses Callot. The museum has also made stra- (ca. 1653–55), etching and drypoint with burin, 13.6 x 10 cm. Snite Museum of Art: Gift of Mr. and Mrs. tegic purchases over the decades, further Jack F. Feddersen, 1991.025.049. Below: Rembrandt van Rijn, Christ Returning from the Temple expanding the quality and breadth of its with His Parents (1654), etching and drypoint, 9.4 x 14.5 cm. Snite Museum of Art: Gift of Mr. and Mrs. Jack F. Feddersen, 1991.025.068 Old Master print holdings. This exhibition and catalogue provide an introduction to an exemplary but lit- this exhibition will act as a reminder of tle-known collection of Rembrandt’s reli- the places that can be reached by crossing gious prints at a university that strives to that bridge. bridge the study of the arts and sciences, and the exploration of diverse strains of religious thought. If today’s art audiences Cheryl K. Snay is Curator of European Art often feel more comfortable with Rem- at the Snite Museum at the University of Notre Dame. brandt’s portraits and landscapes than with his religious prints, we hope that

Art in Print September – October 2017 39 BOOK REVIEW and Leonard Rosoman’s Edinburgh (1951) even explain her background and exper- now function as much as historical doc- tise, the purpose and scope of the project uments as artworks in their own right. remains opaque: we are told these prints Beaumont-Jones goes on to describe represent highlights of the collection. Is how the use of screenprint by the pop this Beaumont-Jones’s personal selec- generation, including Eduardo Paolozzi tion or the product of some other decid- and Richard Hamilton, challenged defi- ing force? We can only guess. nitions of what a print could be, both Furthermore, no biographical infor- in terms of subject matter and pictorial mation about the artists is provided, nor experimentation through collaboration. is there any material about the prints Finally, she includes a well-framed dis- themselves beyond their dimensions and cussion of portfolios, ranging from indi- material. This might be excused as the vidual projects such as Patrick Caulfield’s result of limited space, but then the selec- Some Poems of Laforgue (1973) and Paula tion of images is even more perplexing. Rego’s Nursery Rhymes (1989), to multi- Of course everyone would chose differ- artist projects such as Paragon Press’s The ently, and I would not advocate a repeti- London Portfolio (1992) and the London tion of “the usual suspects”—indeed, the 2012 portfolio for the Olympics and Para- selection is interesting precisely for its A Century of Prints in Britain lympic Games. [See Art in Print, May-June inclusion of lesser-known and less cur- Foreword by Jill Constantine, 2017]. rent artists. Nonetheless, it seems strange essay by Julia Beaumont-Jones More than 200 prints from the collec- to find no fewer than four of Tony Phil- 240 pages, 230 color illustrations tion are beautifully illustrated, and the lips’s History of the Benin Bronzes (1984) Published by Hayward Publishing, selection includes a number of surprises, prints—good though they are—when Southbank Centre, London, 2017 such as Edward Gordon-Craig’s Scene there is no reference to them in the text, £22.50 / $30 (1908), a striking theater design made while artists of the stature of Leon Kos- as a woodcut; Jack Knox’s Nuckelavee soff, Prunella Clough and Ben Nichol- (1986) from the Scottish Bestiary port- son are represented by single works, and Prints and the British Arts folio, which pictures a skeletal centaur; Henry Moore is absent altogether! In this and Chila Kumara Burman’s A moment context, reproducing all 12 prints from Council Collection to herself (2002), a large-format compos- the Olympic London 2012 portfolio also By Paul Coldwell ite inkjet on acetate. This is gratifying, seems peculiar. informative and useful. Most importantly, the idiosyncratic In other respects, however, the over- nature of the Arts Council collection

Century of Prints in Britain is a lively all publication seems an opportunity itself seems to have been overlooked. A publication that looks at printmak- wasted. As there is no foreword to place While most collections are steered by an ing through the prism of the Arts Council the Beaumont-Jones essay in context, or individual vision or particular curatorial collection, the largest loan collection of British art in the world. Julia Beaumont- Jones writes with both knowledge and enthusiasm, tracing the importance of printmaking for this national collection from the 1930s to the present, and through this, marking key moments in the development of printmaking in the UK. This includes the pioneering Schools Prints project, which commissioned artists such as Michael Rothenstein and Julian Trev- elyan to produce accessible prints on subjects “from farming to funfairs” and later brought the likes of Picasso, Matisse and Leger to school corridors throughout the country. Beaumont-Jones stresses the importance of color lithography in the early postwar years and how the commissioned Festival of Britain prints from 1951–52 served to reflect the national mood through the depiction of British landscape and heritage, in figurative modes rather than abstract. Prints such Tony Phillips, The Gallery from History of the Benin Bronzes (1984), etching, 21.3 x 26.5 cm. as Sheila Robinson’s Fair Ground (1951) ©Tony Phillips. Arts Council Collection, Southbank Centre, London.

40 Art in Print September – October 2017 position, the Arts Council’s approach to acquisitions has always been more democratic. Advisers—generally a writer, an artist and a curator—are invited to serve for two years on the acquisitions com- mittee, bringing what could be seen as a street-level view to the collection and a chance for less well-known artists to have their work considered. Given its limited financial resources, the collection has often acquired work from artists at early stages in their careers when prices were low, once again giving this body of work a very specific character. The Arts Council collection provides a critical service to the UK as a whole, providing material for touring exhibitions, often centred on a single portfolio and related print works.These shows have taken prints into every corner of England, bringing together the democratic nature Above: Chila Kumari Burman, A Moment to Herself (2002), inkjet on acetate,152.4 x 208.2 cm. of print with an imperative to inspire and ©Chila Kumari Burman. Arts Council Collection, Southbank Centre, London. Below: Sheila Robinson, Fair Ground from AIA 1951 Lithographs (1951), lithograph, 47.5 x 73 cm. ©Sheila Robinson. engage the population. I’m sure that this Arts Council Collection, Southbank Centre, London. publication will draw attention to the wealth of prints in the collection and hope that it may be the prelude for a more substantial catalogue of this important national collection.

Paul Coldwell is an artist and Professor in Fine Art at the University of the Arts London.

Art in Print September – October 2017 41 Prix de Print No. 25 PRIX de Over the hill PRINT by Ralph Overill Juried by Nicolas Collins

This iteration of the Art in Print Prix have a dim—possibly apocryphal— essence of movies seem too promising de Print has been judged by Nico- I recollection that, at some point in the to cast aside. Where the English word las Collins. The Prix de Print is a mid-1970s, I read an article in the Interna- derives from its mechanistic antecedent, bimonthly competition, open to all tional Herald Tribune about the history of “moving picture,” the putative Arabic subscribers, in which a single work is updating the 20th-century Arabic lexicon term draws attention to film’s inherent selected by an outside juror to be the sub- to accommodate new technological and spookiness. A movie is indeed just a rapid ject of a brief essay. For further informa- cultural innovations. Just as the Acadé- sequence of still images—its neurologi- tion on entering the Prix de Print, please mie Française had endeavored to banish cal underpinnings haven’t changed, from go to our website: http://artinprint.org/ foreign intruders like “le weekend” from the flipbook to the zoetrope to iMax—yet about-art-in-print/#competitions. Parisian lips, so members of the Academy the transition from a static image to an of the Arabic Language in Cairo and the immersive evening in a darkened theater Ralph Overill, Over the hill (2017) Arabic Academy of Damascus struggled remains distinctly unreal. Unique screenprint on fabric, 59 x 116 cm. for years to agree on an innately Arabic The fascination of movie stills—from Printed and published by the artist, word for “movie” whose use would obvi- the power of the pause button to John Havering College, Essex. £400. ate the need for outside adoptions. The Baldessari’s film noir avec points colorés— result, as I recall it, translated back into springs in part from a desire to explore English as “that which is not real.” the transmutation of that continu- I’ve not been able to locate the arti- ous stream back into discrete pictures, cle, and in any case my Arabic-speaking to make the unreal real again. Ralph friends assure me that these days people Overill’s unique screenprint Over the Hill but the implica- evokes that process on several levels. The ,( ) مليف ”just say “film tions of this poetic reimagining of the images are taken from B-movies and the

Kenneth Alfred, Intermede II, No. 8 (2014)

Ralph Overill, Over the hill (2017).

42 Art in Print September – October 2017 Ralph Overill, detail of Over the hill (2017). artist’s own video recordings, printed poles—the kind of scene that could have name, but it also alludes to the obsoles- onto a scrim-like fabric of Cinemascopic been shot from the window of a moving cence that characterizes the technologies proportions if not scale (large for a print, vehicle in 1957 or 2017 without much dif- he makes use of here—black-and-white it is small for a movie). One imagines ference apart from the camera resolu- film, simplistic special effects, screen- that, hanging unframed on a wall, these tion, a development neatly undermined printing itself—and may suggest as well stills will never truly be still: the frames by the meeting of fabric and squeegee. that giant spiders with possible ties to will flicker in response to the slightest It is the kind of image that shouts “real.” Comintern are not the scariest threat we draft—momentarily movies once again. The giant spider on the right may also face today. Images of monstrous environ- The artist writes that he aims to exploit have been real, but its apparent size as it mental cataclysms are certainly back in “the motion inherent to screenprint- descends on a town somewhere in what our cinemas: a new high-def spider is ing to merge and mutate the still frames looks to be the American southwest is surely coming toward us over the next through primitive swipes of the squeegee, surely unreal. And yet for kids sitting in hill, even as the grainy black-and-white introducing a celluloid-esque ruin to the darkened theaters in America in the mid- one recedes into nostalgia. formerly digital files.” Through solid ges- 1950s, at the height of the Red Scare and ture and flimsy material, he imposes the of cinematic plots involving overblown flow of film-time back onto the images arachnids, from Tarantula (1955) to Earth Nicolas Collins is a composer and founding that we expect to remain still until they vs. the Spider (1958), both the bug and the board member of Art in Print. are projected. Communism it may have been intended The left half of the print shows a non- to embody would have been scary. Really. descript flat landscape with telephone The print’s title is a pun on the artist’s

Art in Print September – October 2017 43 Richard Bosman, Rear View Grey A (2017) Brian D. Cohen, The Conductor (2017) News of the Monoprint, archival pigment print uniquely Etching, 9 x 6 inches. Edition of 25. Printed by the hand-painted, 21 3/4 x 29 3/4 inches. Unique artist, Westmoreland, NH. Published by Bridge Print World image. Printed and published by Stewart & Stew- Press, Westmoreland. $300. art, Bloomfield Hills, MI. Price on request.

Selected New Editions

Diana Al-Hadid, Reigning Queen (2017) Spitbite aquatint with soapground and screenprint, 44 1/4 x 37 3/4 inches. Edition of 50. Printed by Tom Pruitt, Tim Baker, Matt Squires and Gary Schmitt, Graphicstudio / University of South Florida, Tampa, FL. Published by Graphic- Richard Bosman, Rear View Grey A (2017). studio / University of South Florida. $5,000. Stephen Chambers RA, The Occupants (2017) Brian D. Cohen, The Conductor (2017). Suite of eight etchings with aquatint printed in colors, image 30 x 26 cm each, sheet 45 x 40 cm Jane E. Goldman, Audubon December (2017) each. Edition of 30. Printed and published by Archival pigment print, hand-painted, 21 3/4 x Paupers Press, London. Price on request. 29 3/4 inches. Edition of 25. Printed and published by Stewart & Stewart, Bloomfield Hills, MI. $1,000.

Diana Al-Hadid, Reigning Queen (2017).

Frances B. Ashforth, Water Study 54 (2017) Waterbase monotype, 30 x 30 inches. Unique image. Printed by Christopher Shore, Center Stephen Chambers RA, The Occupants (2017). for Contemporary Printmaking, Norwalk, CT. Jane E. Goldman, Audubon December (2017). Published by Frances B. Ashforth, Ridgefield, CT. Diane Cionni, S Train (2017) $2,100. Mixed media embellished monotype, copper/ Ann Hamilton, Kakapo Ground Parrot (2017) polymer etching, screenprint, handcut stencils Nine color screenprint, 35 1/2 x 25 inches. Edition and watercolor transfer, 28 x 42 inches cut irregu- of 25. Printed and published by Gemini G.E.L. larly. Unique image. Printed and published by the LLC, Los Angeles. $2,500. artist, Steamboat Springs, CO. Available through Space Gallery, Denver and Oehme Graphics, Steamboat Springs. $5,000.

Frances B. Ashforth, Water Study 54 (2017).

Sebastian Black, Composition with Registration Marks and Other Marks (2017) Five-plate aquatint etching with spit bite and burnishing, image 24 x 18 inches, sheet 31 3/4 x 24 Diane Cionni, S Train (2017). 1/2 inches. Edition of 25. Printed and published by Ann Hamilton, Kakapo Ground Parrot (2017). Wingate Studio, Hinsdale, NH. Price on request. David Claerbout, Olympia—Impression of Rain (2017) Roya Haroun, Not About A Boy ST II (2017) Lithography, 65 x 80 cm. Edition of 40. Printed Lithograph, 18 x 24 inches. Edition of 9. Printed and published by Ludion, Antwerp & Atelier and published by Derriere L'Etoile Studios, Long Hans Van Dijck, Antwerp. €2,000. Island City, NY. $300.

Sebastian Black, Composition with David Claerbout, Olympia—Impression of Registration Marks and Other Marks (2017). Rain (2017). Roya Haroun, Not About A Boy ST II (2017).

44 Art in Print September – October 2017 Yvonne Jacquette, Ocean View Wind Patterns, Endi Poskovic, Hrabreni (O my son, beloved Camden Maine (2017) and chosen) (2017) Color lithograph, 24 x 33 3/4 inches. Edition of 30. Woodcut printed in 18 colors with six inter- Printed and published by Shark’s Ink, Lyons, CO. changeable plates, 30 x 22 inches. Edition Price on request. of 30. Printed by the artist in collaboration with WORKSHOP Laser & Fab, Krakow, Poland. Published by Bowling Green State University Art Department, Bowling Green, OH. Available from Stewart & Stewart, Bloomfield Hills, MI. $1,200.

Nicola Lopez, Barriers—Portals (Glass) (2017).

Elisabeth Haly Meyer, Masking Principles IV (Jerome in Study) (2016) Woodcut, 36 x 40 inches. Edition of 40. Printed Yvonne Jacquette, Ocean View Wind Patterns, by Xuyuan, Beijing. Published by Elisabeth Camden Maine (2017). Meyer, Ithaca, NY. $500. John A. Knudsen, A Chicago Day… (1983–2017) Three copper etchings, 22 x 30 inches. Edition of 12. Printed by Steven Campbell, Senior Printer, Landfall Press, Inc., Chicago. Published by Endi Poskovic, Hrabreni (O my son, beloved C. Editions and the Estate of John A. Knudsen, and chosen) (2017). Chicago. $1,200 for the suite. Alison Saar, Redbone Blues (2017) Intaglio on vintage handkerchiefs, 14 3/4 x 15 3/4 inches (variable dimensions). Variable edition of 21. Printed by Jason Ruhl, Tandem Press, Madi- son, WI. Published by Tandem Press. $3,000. Elisabeth Haly Meyer, Masking Principles IV (Jerome in Study) (2016).

Wardell Milan, A summer’s afternoon (2016) Offset lithography, 54 x 55 cm. Edition of30. Printed and published by The Borowsky Center for Publication Arts at University of the Arts, John A. Knudsen, A Chicago Day… Philadelphia. Price on request. (1983–2017).

Bruce Lee Webb, Texas Road Hog (Red Road) (2017) Aquatint and photo polymer plate, 30 x 22 inches. Edition of 10. Printed by Tracy Mayrello and Sean Muldrow, Flatbed Press, Austin, TX. Published by Flatbed Press. $600. Alison Saar, Redbone Blues (2017).

Claudette Schreuder, Note to Self, Note to Self—Profile, Note to Self—Front,(2016) Seven- and eight-color lithographs, 90 x 64 cm Wardell Milan, A summer’s afternoon (2016). each. Edition of 25 each. Printed and published by The Artists’ Press, White River, South Africa. Hormazd Narielwalla, The Mesopotamian R18,200 each. Maze No.1 and No.2 (2017) Pair of color lithographs, 80 x 54 cm each. Edition of 35. Printed and published by Paupers Press, London. Price on request.

Bruce Lee Webb, Texas Road Hog (Red Road) (2017).

Nicola Lopez, Barriers—Portals (Glass) (2017) Lithography and relief, 22 x 22 inches. Edition of 20. Printed and published by University of the Arts MFA Book Arts + Printmaking program in association with Stonefox Editions, Philadelphia. Claudette Schreuder, Note to Self (2016). $1,750.

Hormazd Narielwalla, The Mesopotamian Maze No.1 and No.2 (2017).

Art in Print September – October 2017 45 Esterio Segura, Homemade Submarine SJXXII Exhibitions of Note CLEVELAND (2017) “Gods and Heroes: Ancient Legends Cyanotype, 32 1/8 x 46 inches. Edition of 20. Aarau, switzerland in Renaissance Art” Printed by Tom Pruitt and Will Lytch, Graphic- “Swiss Pop Art. Forms and Tendencies 26 August – 31 December 2017 studio / University of South Florida, Tampa, FL. 1962–1972” Cleveland Museum of Art Published by Graphicstudio / University of South 7 May – 1 October 2017 http://www.clevelandart.org Florida. $3,000. Aargauer Kunsthaus http://aargauerkunsthaus.ch evanston, il “William Blake and the Age of Aquarius” AUSTIN, TX 23 September 2017 – 11 March 2018 “Frank X Tolbert 2: Texas Bird Project” Block Museum of Art, Northwestern University 4 August – 7 October 2017 http://blockmuseum.northwestern.edu Flatbed Galleries http://flatbedpress.com FORT WORTH, TX “Caught on Paper” BeRLIN 23 September 2017 – 11 February 2018 “On Art and Connoisseurship: In Memory Amon Carter Museum of American Art of Max J. Friedländer—A Key Figure in the http://cartermuseum.org History of Berlin Museums” 27 June – 24 September 2017 Esterio Segura, Homemade Submarine Gloucester, MA SJXXII (2017). Gemäldegalerie “Drawn on Stone: The Lithographs http://www.smb.museum of Fitz Henry Lane” Beverly Semmes, Golden G: Flowers (2016) 7 October 2017 – 4 March 2018 Intaglio on polar fleece chine collé with archival “Lucian Freud: Closer, Etchings Cape Ann Museum inkjet and collagraph collage insert, 34 1/2 × 26 from the UBS Art Collection” http://capeannmuseum.org 1/4 inches. Edition of 12. Printed and published 22 July – 22 October 2017 by Island Press, St. Louis. $1,500. Martin-Gropius-Bau hamburg, germany http://gropiusbau.de “Keith Haring: Posters” 31 May – 5 November 2017 Birmingham, UK And: “Only Light and Shadow” “Robert Rauschenberg: Posters” 23 June – 22 October 2017 14 July – 8 October 2017 The Barber Institute of Fine Arts, Museum für Kunst und Gewerbe Hamburg University of Birmingham http://www.mkg-hamburg.de http://barber.org.uk Houston Bloomington, IL “Paint the Revolution: Mexican “Light/Matter: The Intersection Modernism, 1910–1950” of Printmaking and Photography” 25 June – 1 October 2017 25 August – 4 October 2017 “Houston Artists Select: Selections Grunwald Gallery, Indiana University, from the Museum's Collection” Bloomington 1 July – 1 October 2017 Beverly Semmes, Golden G: Flowers (2016). https://studioart.indiana.edu/grunwald/exhibitions/ Museum of Fine Arts, Houston http://mfah.org Aya Tarek, Cairo Man (2017) Boston Direct gravure, image 23 1/16 x 18 1/2 inches, “Follow the North Star: Inuit Art Ithaca, NY sheet 30 1/8 x 24 5/8 inches. Edition of 20. Printed from the Collection of Estrellita “Lines of Inquiry: Learning from by Tom Pruitt, Tim Baker and Gary Schmitt, and Yousuf Karsh” Rembrandt’s Etchings” Graphicstudio / University of South Florida, 1 July – 31 December 2017 23 September – 17 December 2017 Tampa, FL. Published by Graphicstudio / Univer- And: Herbert F. Johnson Museum of Art, sity of South Florida. $2,000. “Showdown! Kuniyoshi vs. Kunisada” Cornell University 11 August – 10 December 2017 http://museum.cornell.edu And: “The Summer of Love: Photography and JOHANNESBURG Graphic Design” “One Colour at a Time: Contemporary 6 July – 22 October 2017 Screenprints” Museum of Fine Arts, Boston 27 June – 12 November 2017 http://www.mfa.org And: “Warhol Unscreened: Artworks from CHICAGO the Bank of America Merrill Lynch “A Revision of Everyday Life: Collection” Monoprints by Cassie Tompkins” 27 July – 8 October 2017 11 August – 30 September 2017 Wits Art Museum, University of Witwatersrand Spudnik Press Cooperative https://www.wits.ac.za/wam/exhibitions/ http://spudnikpress.org LIVERPOOl Aya Tarek, Cairo Man (2017). “L’Affichomania: “Portraying a Nation: Germany 1919–1933” The Passion for French Posters” 23 June – 15 October 2017 11 February 2017 – 7 January 2018 Tate Liverpool Driehaus Museum http://tate.org.uk http://driehausmuseum.org

46 Art in Print September – October 2017 MUNICH “Lucas Van Leyden: Master of Printmaking” 29 June – 24 September 2017 Pinakothek der Moderne, Staatliche Graphische Sammlung München http://pinakothek.de

New York “Frederic Remington at the Met” 3 July 2017 – 2 January 2018 And: “World War I and the Visual Arts” 31 July 2017 – 7 January 2018 Metropolitan Museum of Art http://metmuseum.org

“Robert Rauschenberg: Among Friends” 21 May – 17 September 2017 And: “Louise Bourgeois: An Unfolding Portrait” 24 September 2017 – 28 January 2018 Museum of Modern Art http://www.moma.org

“FIRE/WORKS FOR PARKETT by Shirana Shahbazi” 10 June – 23 October 2017 In New York, through 7 January: “World War I and the Visual Arts.” André Devambez, from Twelve Parkett Exhibition Space Zurich Etchings (Douze eaux-fortes) (1915), set of 12 etchings with aquatint on vellum, 36.5 × 48 cm each. http://parkettart.com Metropolitan Museum of Art, Purchase, The Jockey Hollow Foundation Gift, 2017. “Animation + Printing” 12 July – 23 September 2017 L jubLJANA, Slovenija “The Ephemera Effect: The Center for Book Arts Hokusai’s Great Wave” “Birth as Criterion: 32nd Biennial http://centerforbookarts.org of Graphic Arts, Ljubljana” 25 May – 1 October 2017 16 June – 29 October 2017 Victoria & Albert Museum International Centre of Graphic Arts— http://vam.ac.uk Tivoli Mansion http://www.mglc-lj.si/ Los ANgeles “Ann Hamilton: New Work” Lodève, France 5 August – 19 September 2017 “Impressions fortes: L’estampe en 100 Gemini G.E.L. chefs-d’oeuvres: Dürer, Rembrandt, http://geminigel.com Goya, Degas...” 8 July – 5 November 2017, Musée de Lodève MADISON, WI http://www.museedelodeve.fr “Taking Sides” 10 June – 15 October 2017 LONDON Madison Museum of Contemporary Art “Emma Stibbon: Volcano” http://www.mmoca.org 2 September – 30 September 2017 And: Melbourne, Australia “Michael Craig-Martin: Quotidian” “Jim Dine: A Life in Print” 4 October – 17 November 2017 8 July – 15 October 2017 Alan Cristea Gallery And: http://www.alancristea.com “Hokusai” 21 July – 15 October 2017 “Jasper Johns: “Something Resembling National Gallery of Victoria Truth” http://www.ngv.vic.gov.au 23 September – 10 December 2017 Royal Academy of Art MINNEAPOLIS http://royalacademy.org.uk “Todd Norsten: N O W H E R E” 15 September – 11 November 2017 “Soul of a Nation: Art in the Age Highpoint Center for Printmaking of Black Power” http://www.highpointprintmaking.org 12 July – 22 October 2017 Tate Modern MONtgomery, AL In St. Louis, through 28 January: “A Century of http://tate.org.uk “Frank Stella Prints: A Retrospective” Japanese Prints.” Kobayakawa Kiyoshi, Tipsy 19 August – 31 October 2017 from the series Modern Styles of Women Montgomery Museum of Fine Arts (1930), color woodblock print with mica. Saint http://mmfa.org/ Louis Art Museum, The Langenberg Endowment Fund 119:2016.

Art in Print September – October 2017 47 Oxf ord, UK “Prints & Multiples” “Art & the Rise of World Religions” 1 November 2017 19 October 2017 – 18 February 2018 Doyle The Ashmolean Musuem http://doyle.com/ http://ashmolean.org EDWARD T. POLLACK “19th & 20th Century Prints & Drawings” FINE ARTS PHILADELPHIA 19 September 2017 “Martin Puryear Prints: 1962-2016” And: Prints, Drawings, Photos “Printed & Manuscript Americana” EDWARD T. POLLACK 8 September – 18 November 2017 EDWARD T. POLLACK 28 September 2017 and Other Works on Paper The Print Center FINE ARTS And: EDWARDFINE T. ARTS POLLACK http://printcenter.org Prints, Drawings, Photos “Rare & Important Travel Posters” EDWARDPrints,FINE Drawings, T. ARTS POLLACK Photos 26 October 2017 andPrints, OtherFINE Drawings, Works ARTS on Photos Paper PROVIDENCE, rI And: and Other Works on Paper “Altered States: Etching in Late “Old Master Through Modern Prints” andPrints, Other Drawings, Works on Photos Paper 19th-Century Paris” 2 November 2017 30 June – 3 December 2017 Swann Auction Galleries and Other Works on Paper RISD Museum http://swanngalleries.com http://risdmuseum.org “Evening & Day Editions” San Marino, CA 17 October 2017 “The Reformation: From the Word Phillips to the World” 28 October 2017 – 26 February 2018 https://www.phillips.com/ Marsh -‐ Harlem Dancer The Huntington Library, Art Collections, and Botanical Gardens “Prints & Multiples” 23 – 24 October 2017 Marsh -‐ Harlem Dancer http://www.huntington.org Marsh – Harlem Dancer Sotheby’s

Marsh -‐ Harlem Dancer santa fe, nm http://www.sothebys.com/ Marsh -‐ Harlem Dancer “New Acquisitions 2011-2017” Marsh -‐ Harlem Dancer 5 May 2017 – 21 January 2018 IAIA Museum of Contemporary Native Arts Avery - Night Nude Events https://iaia.edu/ Chicago Avery - Night Nude st. louis “Print Factory (Art Party): “A Century of Japanese Prints” Spudnik Press Cooperative AveryAvery - – Night Night Nude Nude 11 August 2017 – 28 January 2018 10th Anniversary Benefit” AveryAvery - Night Nude Nude Saint Louis Art Museum 7 October 2017 http://slam.org Low Res http://spudnikpress.org Syracuse, ny “Meant to Be Shared: Selections from the Arthur Ross Collection of Conferences European Prints” 17 August – 19 November 2017 London Syracuse University Art Galleries “BLOCKS PLATES STONES: http://suart.syr.edu/ Print Matrices/Printing Surfaces in Collections & Research” Vevey, Switzerland 21 September 2017 “Dizzying Color: Printmaking Courtauld Institute, London in France at the End of the 19th Century” https://www.ies.sas.ac.uk/events/conferences/ 30 June – 1 October 2017 blocks-plates-stones-conference Musée Jenisch Vevey Campendonk - Herder With a Large Goat http://www.museejenisch.ch PHILADELPHIA Campendonk - Herder With a Large Goat “Graphic Mimicry: Intermediality

NY SATELLITE PRINT FAIR Williamstown, ma in Print and the Art of Imitation NYCampendonk SATELLITE - Herder With PRINT a Large FAIR Goat (Print Think 2017)” Booth 12 - Mercantile Annex 37 “No Rules: Helen Frankenthaler Booth 12 - Mercantile Annex 37 21 – 22 October 2017 NYCampendonk SATELLITE517 West -– Herder Herder 37th With WithPRINT St a a Large NYCLarge FAIR Goat Goat Woodcuts” 517 West 37th St NYC 1 July – 24 September 2017 Tyler School of Art, Temple University Booth 12 - Mercantile Annex 37 NY SATELLITEOctober PRINT26-29 FAIR The Clark Art Institute http://temple.edu 517October West 37th 26 St-29 NYC BoothCampendonkwww.edpollackfinearts.comwww.edpollackfinearts.com 12 - Mercantile- Herder With aAnnex Large Goat 37 http://www.clarkart.edu www.nysatelliteprintfair.com517October West 37th 26 St-29 NYC www.nysatelliteprintfair.com Fairs NYwww.edpollackfinearts.com SATELLITEOctober 26 PRINT-29 FAIR www.nysatelliteprintfair.com Auctions Boothwww.edpollackfinearts.com 12 - Mercantile Annex 37 New York www.nysatelliteprintfair.com517 West 37th St NYC NEW YORK “Printed Matter’s NY Art Book Fair” October 26-29 “Prints and Multiples” 22 – 24 September 2017 25 October 2017 MoMA PS1 www.edpollackfinearts.com Christies http://nyartbookfair.com www.nysatelliteprintfair.com http://www.christies.com/ “IFPDA Fine Art Print Fair 2017”

48 Art in Print September – October 2017 “IFPDA Fine Art Print Fair 2017” Other News 26 October 2017 – 29 October 2017 River Pavilion, Javits Center IPCNY Announces Awardees of Rembrandt’s Religious Prints http://printfair.com New Prints Artist Development Initiative CHARLES M. ROSENBERG International Print Center New York has announced that three participants in their “Just Under 100: New Prints 2017 / Summer” exhibition are the recipients of the organization’s new “Artist Development Initiative” award. Ernesto Rembrandt’s religious prints Ortiz Leyva will spend a month in IPCNY’s new stand as evidence of the workshop space and at EFA Robert Blackburn “Editions / Artists’ Book Fair” Printmaking Workshop, deepening his work in artist’s extraordinary skill as a 26 - 29 October 2017 etching. Golnar Adili will be paired with a mentor technician and as a testament The Tunnel in the field of printmaking who will provide criti- http://eabfair.org/ cal feedback, guidance and professional advice. to his genius as a teller of Alejandro Waskavich will undertake coursework tales. Eighty percent of those in etching, expanding on his expertise in linocut. etchings are virtually unknown, collected by the Feddersen family and now preserved for the ages at the University of “New York Satellite Print Fair” Notre Dame. This stunning 26 - 29 October 2017 Mercantile Annex 37 collection of the Dutch master http://www.nysatelliteprintfair.com/ is made widely available in this lavishly illustrated volume.

New Books

Louise Bourgeois: An Unfolding Portrait Deborah Wye 248 pages, 340 color illustrations Published by The Museum of Modern Art, New York, 2017 $55.

“This catalogue tells the fascinating story of how the collection was formed and brings a fresh analysis to each print. Charles Rosenberg’s From top to bottom: Golnar Adili, Ye Harvest extensive catalogue entries will From the Eleven-Page Letter (2016), transfer print on Japanese paper, Rayon Lens, beeswax, be useful reading for anyone The Smell of Ink and Soil: The Story of 25 x 37 inches; Ernesto Ortiz Leyva, Open interested in the history of (Edition) Hansjörg Mayer Borders (2016), etching with aquatint, 12 x Text by Bronac Ferran 16 1/2 inches; Alejandro Waskavich, Feeding European art and one of its 272 pages, illustrated throughout, (2017), linoleum cut, 8 x 10 inches. All images included DVD courtesy International Print Center New York. most talented practitioners, Published by Walther König, Köln, 2017 Rembrandt van Rijn.” $35 —Stephanie Dickey, author of Rembrandt: Portraits in Print

Please submit announcements of exhibitions, publications and iupress.indiana.edu other events to Explore Your World [email protected].

Art in Print September – October 2017 49 Stay informed via eBlast.

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WWW.TANDEMPRESS.WISC.EDU Judy Pfaff ...two foxes..., 2017 [email protected] Woodcut, hand painting, archival inkjet, colored silver leaf, ed. 30 608.263.3437 44 x 65 1/4 inches

50 Art in Print September – October 2017 JOHN A. KNUDSEN A Chicago Day…

A suite of three copper plate etchings

Edition: twelve + six proofs Plate Size: 17.5 x 23.5 inches Paper Size: 22 x 30 inches Printed on Somerset Velvet Newsprint 300 gram Printer: Steven Campbell - Senior Printer, Landfall Press, Inc.

Published by: C.Editions & The Estate of John A. Knudsen

PRE-PUBLICATION PRICE: $1,200.00 suite of 3 (No.3 - illustrated here)

C.EDITIONS/ETC-INDUSTRIES Mana Contemporary Chicago 2233 South Throop Street, Chicago, Illinois 60608 630.212.7217 [email protected]

Art in Print September – October 2017 51 YVONNE JACQUETTE NEW LITHOGRAPH

“Ocean View Wind Patterns, Camden Maine” (2017) color lithograph 24 x 33¾ inches edition of 30

SHARk’S INk. sharksink.com

Visit Us at the IFPDA Print Fair

The 2017 edition of the Print Fair will be held in the River Pavilion at the Jacob K. Dolan/Maxwell Javits Center in the Hudson Yards District 2046 Rittenhouse Square of New York City, October 26–29th. Philadelphia, Pennsylvania 19103 215.732.7787 Above Left: Judith Rothschild, Bar Harbor 1949, white line woodcut, 8 7/8 x 11 3/16” Above Center: Judith Rothschild, Bar Harbor 1949, white line woodcut, early state, 8 7/8 x 11 3/16” Right: Amze Emmons, Focus Clarity 2016, transfer monoprint, 22 x 30” www.DolanMaxwell.com

52 Art in Print September – October 2017 Crown Point Press

TOM MARIONI AT 80 SEPTEMBER 7 - OCTOBER 31, 2017

Visit Crown Point Press in New York at the IFPDA Fair October 26-29 Javits Center

Tom Marioni, Beer with Musical Friends, 2017. Color spit bite aquatint and aquatint with soft ground etching on gampi paper chine collé. 28½ x 31", edition 20.

20 HAWTHORNE STREET SAN FRANCISCO CA 94105 CROWNPOINT.COM 415-974-6273

MICHAEL HEIZER

Hard Edge Etchings | 2016 Portfolio of 4 Shaped-Plate Etchings with Aquatint 22 x 19 1/4 inches (55.9 x 48.9 cm) Edition of 28

DURHAM PRESS 892 Durham Road | PO Box 159 | Durham, PA 18039 | 610.346.6133 | www.durhampress.com

Art in Print September – October 2017 53 Artist Residency Program | Fine Print Studio & Gallery | Non-Profit | 541-276-3954

CRow’S ShAdow 25th ANNiveRSARy Retrospective exhibition, September 16 - december 22, 2017 hallie Ford Museum of Art, Salem, oregon September 22 gala reception & book release September 23 keynote address by heather ahtone, panel discussion

RICK BARTOW RAFFLE FUNDRAISER enter for a chance to win any Rick Bartow print of your choice in the Crow’s Shadow inventory. details at crowsshadow.org image: Rick Bartow, Standing up Kestrel, monoprint (1/1), 2008

Jonathan McFadden Galen Gibson - Cornell POSITIONS Berlin Art Fair 14 - 17 September 2017

BERLIN13 - 17 SEP 2017 ART WEEK courtesy Philip Marshall

55 limited Printmaking & Gallery Berlin Feurigstrasse 62 10827 Berlin www.55ltd.net [email protected] by appointment only

54 Art in Print September – October 2017 Jane E. Goldman Audubon December , 2017, archival pigment print/hand painted, ed: 25, sh: 21.75” x 29.75”

IFPDA Fine Art Print Fair • 26-29 October 2017 • River Pavilion, Javits Center • New York NY

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

Art in Print September – October 2017 55 Suscríbete a la revista Sebastian Black sobre grabado Composition with Registration Marks and Other Marks más pionera

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56 Art in Print September – October 2017 Suscríbete a la revista sobre grabado más pionera Subscribe to the most pioneering print magazine Art_in_Print_8.25x10.75_ExpoChicago 8/3/17 9:44 AM Page 2

13–17 SEPTEMBER 2017

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Tina Kim Gallery, New York Louis Stern Fine Arts, West Hollywood GALLERIES KÖNIG GALERIE, Berlin Allan Stone Projects, New York EXPOSURE Curated by Justine Ludwig AKINCI, Amsterdam Alan Koppel Gallery, Chicago MARC STRAUS, New York Ameringer | McEnery | Yohe, New York Galerie Lelong & Co., New York, Paris Hollis Taggart Galleries, New York 313 Art Project, Seoul Anglim Gilbert Gallery, San Francisco Lévy Gorvy, New York, London Sundaram Tagore Gallery, New York, AA|LA, Los Angeles BERG Contemporary, Reykjavík Library Street Collective, Detroit Singapore, Hong Kong Piero Atchugarry, Pueblo Garzón Peter Blake Gallery, Laguna Beach Jane Lombard Gallery, New York Tandem Press, Madison Cardoza Fine Art, Houston Bortolami, New York Diana Lowenstein Gallery, Miami Templon, Paris, Brussels DITTRICH & SCHLECHTRIEM, Berlin Carpenters Workshop Gallery, Luhring Augustine, New York Paul Thiebaud Gallery, San Francisco Anat Ebgi, Los Angeles London, Paris, New York Maccarone, New York, Los Angeles Traywick Contemporary, Berkeley Edel Assanti, London CarrerasMugica, Bilbao Maison Gerard, New York Vallarino Fine Art, New York FOLD, London casati gallery, Chicago Matthew Marks Gallery, New York, Susanne Vielmetter Los Angeles Projects, Fridman Gallery, New York Casterline|Goodman Gallery, Aspen Los Angeles Los Angeles joségarcía ,mx, Mexico City, Merida David Castillo Gallery, Miami Beach Maruani Mercier, Brussels, Knokke Von Lintel Gallery, Los Angeles Geary Contemporary, New York Edward Cella Art & Architecture, Los Angeles Mario Mauroner Contemporary Art, Waterhouse & Dodd, New York Grice Bench, Los Angeles Cernuda Arte, Coral Gables Vienna, Salzburg Weinstein Gallery, Minneapolis Gerhard Hofland, Amsterdam James Cohan, New York McCormick Gallery, Chicago Zolla/Lieberman Gallery, Chicago Charlie James Gallery, Los Angeles CONNERSMITH., Washington, DC moniquemeloche, Chicago Pavel Zoubok Gallery, New York Kimmerich, Berlin Corbett vs. Dempsey, Chicago THE MISSION, Chicago David Zwirner, New York, London KLOWDEN MANN, Los Angeles Galerie de Bellefeuille, Montreal Gallery MOMO, Johannesburg, Cape Town Harlan Levey Projects, Brussels Luis De Jesus Los Angeles, Los Angeles Anne Mosseri-Marlio Galerie, Basel David Lewis, New York Catherine Edelman Gallery, Chicago David Nolan Gallery, New York EXPO PROFILE MARSO, Mexico City Saint-Étienne, galerie frank elbaz, Paris, Dallas Gallery Wendi Norris, San Francisco Ceysson & Bénétière, Meliksetian | Briggs, Los Angeles Paris, Luxembourg, New York Flowers Gallery, London, New York Richard Norton Gallery, Chicago Moskowitz Bayse, Los Angeles Amsterdam Forum Gallery, New York Claire Oliver Gallery, New York GRIMM, Shulamit Nazarian, Los Angeles Brussels, Knokke Honor Fraser, Los Angeles ONE AND J. Gallery, Seoul Maruani Mercier, Night Gallery, Los Angeles New York Gagosian, New York, Los Angeles, Karla Osorio Gallery, Brasília, São Paulo R & Company, NOME Gallery, Berlin Los Angeles San Francisco, London, Paris, Rome, Parrasch Heijnen Gallery, Los Angeles Royale Projects, Officine dell’lmmagine, Milan Athens, Geneva, Hong Kong Peres Projects, Berlin ROBERTO PARADISE, San Juan Hilario Galguera Gallery, Mexico City Perrotin, New York, Paris, Hong Kong, EXPO Editions+Books PATRON, Chicago Galerie Gmurzynska, New York Seoul, Tokyo Art+Culture Projects, New York PUSHKIN & GOGOL, Berlin Galerie Laurent Godin, Paris Galerija Gregor Podnar, Berlin Boreas Fine Art, Chicago ROCKELMANN&, Berlin Alexander Gray Associates, New York Praz-Delavallade, Paris, Los Angeles Cahiers d’Art, Paris Romer Young Gallery, San Francisco Richard Gray Gallery, Chicago, New York PROYECTOSMONCLOVA, Mexico City DOCUMENT, Chicago Catinca Tabacaru Gallery, New York Garth Greenan Gallery, New York R & Company, New York Field Editions, Liverpool GRIMM, Amsterdam ANDREW RAFACZ, Chicago Richard Gray Gallery, Chicago, New York Kavi Gupta, Chicago RONCHINI, London Island Press, St. Louis Hackett Mill, San Francisco rosenfeld porcini, London Other Criteria, New York, London, Ilfracombe HDM Gallery, Beijing, Hangzhou Salon 94, New York RENÉ SCHMITT, WOL Richard Heller Gallery, Los Angeles Sapar Contemporary, New York Spudnik Press Cooperative, Chicago Nancy Hoffman Gallery, New York EDUARDO SECCI, Florence Tate, London Rhona Hoffman Gallery, Chicago Carrie Secrist Gallery, Chicago Whitechapel Gallery, London The Hole, New York William Shearburn Gallery, St. Louis Edwynn Houk Gallery, New York, Zürich Jessica Silverman Gallery, San Francisco MARIANE IBRAHIM, Seattle SIM Galeria, Curitiba Jenkins Johnson Gallery, Sims Reed Gallery, London San Francisco, New York Galeria Filomena Soares, Lisbon Paul Kasmin Gallery, New York Sous Les Etoiles Gallery, New York Anton Kern Gallery, New York STANDARD (OSLO), Oslo

Opening EXPO ART WEEK by Lincoln Schatz Lake Series expochicago.com (Lake Michigan)

Presenting Sponsor Off-site Exhibition 16 Sept – 7 Jan 2018 12 Sept – 29 Oct 2017

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Contributors to this Issue

Alison W. Chang is an independent curator and scholar based in New York City and the Vice President of the Association of Print Scholars. She holds a BA from Wellesley College and an MA and PhD in the history of art from the University of Pennsylvania. Her current scholarly work covers a wide range of time periods, media and geographic areas. She is especially interested in the work of Scandina- vian and Northern European artists between 1850 to the present day.

Brian D. Cohen is a printmaker, painter, writer and educator. He founded Bridge Press, publisher of limited edition artist’s books and etchings, in 1989. Artist’s books and prints by Cohen have been shown in forty individual exhibitions, and in over 150 group shows. His works are held by major private and public collections throughout the country. Cohen’s essays and reviews have appeared both in print and in online national journals and magazines.

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 the author of Printmaking: A Contemporary Perspective from Black Dog Publishers.

Nicolas Collins is a composer and founding board member of Art in Print. He is Editor-in-Chief of the Leonardo Music Journal and a Professor in the Department of Sound at the School of the Art Insti- tute of Chicago. His book, Handmade Electronic Music—The Art of Hardware Hacking (Routledge), has influenced emerging electronic music worldwide.

Morgan Dowty is a printmaker and art historian based in Baltimore. She is Curatorial Assistant for the Department of Prints, Drawings & Photographs at the Baltimore Museum of Art, and received her BFA in 2015 from Sam Fox School of Design & Visual Arts at Washington University in St. Louis.

Benjamin Levy is a Seattle-based curator, art historian and trained printmaker. He has held curatorial positions at the Henry Art Gallery at the University of Washington and in the Department of Prints, Drawings & Photographs at the Baltimore Museum of Art. He sits on the National Advisory Board of Tamarind Institute.

Paola Morsiani is the Acting Director of Brodsky Center, Rutgers, The State University of New Jersey. She was previously director of the Neuberger Museum of Art of Purchase College, SUNY, and curator of contemporary art at the Cleveland Museum of Art and the Contemporary Arts Museum Houston. Her twenty-year curatorial career has been inspired by a close association with artists.

Nell Painter holds an MFA from Rhode Island School of Design (2011) and a BFA from Mason Gross School of the Arts, Rutgers (2009). She is also Edwards Professor of American History Emerita at Princeton University and holds a PhD in American history from Harvard University (1974) and a BS in anthropology from the University of California, Berkeley (1964).

Elizabeth M. Rudy is the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums. Her dissertation was on Pierre-Paul Prud’hon and allegorical representation, and she is currently preparing a book manuscript on book illustration during the Napoleonic Empire.

Cheryl K. Snay is Curator of European Art at the Snite Museum at the University of Notre Dame. Since arriving in 2010, she has been mining the collection and organizing exhibitions of the Snite Museum’s largely undiscovered works on paper, including a touring exhibition, “The Epic and the Inti- mate: French Drawings from the John D. Reilly Collection” (2011–2013).

John A. Tyson is an assistant professor at UMass Boston. From 2015-2017 he was the Andrew W. Mellon Postdoctoral Curatorial Fellow in the Departments of Modern and American Prints and Draw- ings and British and American Paintings at the National Gallery of Art. There he curated “Matthias Mansen: Configurations, Parallel Practices: Artists and the Moving Image” and “New Waves: Transat- lantic Bonds between Film and Art in the 1960s.” Tyson’s writing has appeared in Print Quarterly, Word & Image, and the International Review of African American Art, as well as in other journals, catalogues and online platforms.

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

60 Art in Print September – October 2017 Back Issues of Art in Print

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

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

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Volume 6, Number 1 Volume 6, Number 2 Volume 6, Number 3 Volume 6, Number 4 ALA EBTEKAR / EQUATION OF TIME

Gallery 16 Editions is proud to announce the culmination of an ambitious project ALA ALA withEBTEKAREBTEKAR artist Ala Ebtekar. // EQUATIONEQUATION Equation Of OFOF Time TIMETIME is an edition of Cyanotype prints, simultaneously exposed by the light of the sun on the gallery rooftop on April 15th, 2017.

Equation Of Time employs a conceit of poetic simplicity: An image of GalleryGallerythe cosmos 1616 EditionsEditions / Brought isis proudproud to life toto by announceannounce the light theofthe the culminationculmination cosmos ofof anan / The veryambitiousambitious thing it project project describes. with with At artist artist the Ala Alacenter Ebtekar. Ebtekar. of each EquationEquation cyanotype Of Of Time Time is is print weanan cut editionedition an intricate ofof CyanotypeCyanotype void in prints,theprints, shape simultaneouslysimultaneously of a Persian exposed exposedwindow, byby thethe under lightwhichlight ofof a the theshimmering sunsun onon thethe silver gallerygallery leaf rooftoprooftop is inserted onon AprilApril to reflect 15th,15th, 2017.2017. light outward. The print, at once, infinitely absorbs light and reflects it backEquation Equationout. OfOf TimeTime employsemploys aa conceitconceit ofof poeticpoetic simplicity:simplicity: AnAn im-im- ageage ofof thethe cosmoscosmos // BroughtBrought toto lifelife byby thethe lightlight ofof thethe cosmoscosmos // TheThe veryvery thingthing itit describes.describes. AtAt thethe centercenter ofof eacheach cyanotypecyanotype printprint wewe cutcut anan intricateintricate voidvoid inin thethe shapeshape ofof aa PersianPersian window,window, Equationunderunder Of Time, whichwhich 2017 aa shimmeringshimmering silversilver leafleaf isis insertedinserted toto reflectreflect light light Cyanotypeoutward.outward. on Arches TheThe print,print, Platine atat once,once, white infinitely infinitely30” x 22” absorbsabsorbs light light andand reflectsreflects with dieitit backcutback and out.out. silver leaf. Edition of 19

ALA EBTEKAR / UNDER EVERY DEEP A LOWER DEEP OPENS EquationEquation OfOf Time,Time, 20172017 CyanotypeCyanotype onon ArchesArches PlatinePlatine whitewhite 30”30” xx 22”22” withwith diedie cutcut andand silversilver leaf.leaf. EditionEdition ofof 1919 Two distinct but interconnected print editions. The concept was to use two books important to Ebtekar’s work as ALAALA EBTEKAREBTEKAR // UNDERUNDER EVERYEVERYthe DEEP DEEP foundation AA LOWERLOWER for each DEEPDEEP edition OPENS –OPENS not only as a conceptual foundation, but as the literal physical support for each print. The twoTwoTwo books distinct distinct are but thebut Divan-e-Hafez,interconnected interconnected print print Persianeditions.editions. poet Hafez’s The The concept concept revered was collectionwas to to use use two two and Worksbooksbooks of Ralph important important Waldo to to Emerson, Ebtekar’s Ebtekar’s Riv work work- as as erside theEdition,the foundation foundation published for for in each each1889. edition edition – – not not onlyonly asas aa conceptualconceptual foundation,foundation, butbut asas Each printthethe literalinliteral the physicaledtionphysical is supportproducedsupport forfor upon eacheach print.print. the actualTheThe pages two two books booksof these are are books. the the Divan-e-Hafez, Divan-e-Hafez,The dis- assembledPersianPersian pages poet poet were Hafez’s Hafez’s adhered revered revered to sup collection collection- port sheetsandand WorksWorks of Rives ofof RalphRalph BFK. Waldo Waldo Ebtekar Emerson,Emerson, then RivRiv-- createdersideerside an ornate, Edition,Edition, windowed publishedpublished Persian inin 1889.1889. lat- Under Every Deep A Lower Deep Opens (Emerson), (Hafez), tice which is printed over the actual book Pigment print over Chine Cole book pages over 270 gsm Rives BFK pages.Each EachEach print printcomplete in in the the editionedtion edtion is is produced producedthe upon upon 41.5” x 29.5” Edition of 10 entire disassembledthethe actualactual pagespages book. ofof thesethese books.books. TheThe disdis-- assembledassembled pagespages werewere adheredadhered toto supsup-- portport sheets sheets of of Rives Rives BFK. BFK. Ebtekar Ebtekar then then Gallery 16 / 501 Third / San Francisco / 415.626.7495 / gallery16.comcreatedcreated anan ornate, ornate,/ @gallery16 windowedwindowed PersianPersian latlat-- UnderUnder EveryEvery DeepDeep AA LowerLower DeepDeep OpensOpens (Emerson),(Emerson), (Hafez),(Hafez), ticetice whichwhich isis printedprinted overover thethe actualactual bookbook PigmentPigment printprint overover ChineChine ColeCole bookbook pagespages overover 270270 gsmgsm RivesRives BFKBFK pages.pages. EachEach completecomplete editionedition isis thethe 41.5”41.5” xx 29.5”29.5” EditionEdition ofof 1010 entireentire disassembleddisassembled book.book.

GalleryGallery 1616 // 501501 ThirdThird // SanSan FranciscoFrancisco // 415.626.7495415.626.7495 // gallery16.comgallery16.com // @gallery16@gallery16

CONTEMPORARY ART IN PRINT