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

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On Resistance • Sandow Birk • Tom Lewis and the Catonsville Nine US $25 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 AA PASSIONPASSION FORFOR SHARINGSHARING ARTART CurrentCurrent ExhibitionsExhibitions “For“For me,me, wakingwaking upup eacheach dayday withoutwithout artart aroundaround FluidFluid Expressions,Expressions, The The PrintsPrints ofof HelenHelen FrankenthalerFrankenthaler meme wouldwould bebe likelike wakingwaking upup withoutwithout thethe sun.sun. AmonAmon CarterCarter MuseumMuseum ofof American American Art Art FortFort Worth, Worth, TX TX •• MarMar 1818 -- SepSep 1010 WhenWhen youyou livelive withwith artart aroundaround you,you, youryour mindmind TheThe 1960s:1960s: PopPop andand OpOp Art Art PrintsPrints fromfrom thethe CollectionsCollections andand soulsoul areare filledfilled withwith thethe beautybeauty ofof lifelife andand thethe ofof JordanJordan D.D. SchnitzerSchnitzer andand HisHis FamilyFamily FoundationFoundation creativitycreativity ofof thethe humanhuman spirit.”spirit.” HallieHallie FordFord MuseumMuseum ofof Art Art atat Willamette Willamette UniversityUniversity Salem,Salem, OROR •• MayMay 1313 -- OctOct 2222 —— JORDANJORDAN D.D. SCHNITZERSCHNITZER AndyAndy Warhol: Warhol: PrintsPrints fromfrom thethe CollectionsCollections ofof JordanJordan D.D. SchnitzerSchnitzer andand HisHis FamilyFamily FoundationFoundation EstablishedEstablished inin 1997,1997, thethe JordanJordan SchnitzerSchnitzer FamilyFamily HighHigh MuseumMuseum ofof Art Art FoundationFoundation hashas organizedorganized overover 100100 exhibitionsexhibitions inin overover 100100 Atlanta,Atlanta, GAGA •• JunJun 33 -- SepSep 33 museumsmuseums ofof post-WWIIpost-WWII printsprints andand multiplesmultiples byby AmericanAmerican EllsworthEllsworth Kelly:Kelly: SlowSlow CurveCurve artistsartists fromfrom JordanJordan D.D. SchnitzerSchnitzer andand HisHis FamilyFamily Foundation.Foundation. TheThe HydeHyde CollectionCollection GlensGlens Falls,Falls, NYNY •• JunJun 2525 -- SepSep 1717 TheThe FoundationFoundation providesprovides programmingprogramming forfor students,students, seniors,seniors, artistsartists inin residencyresidency andand lecturelecture seriesseries andand thethe Shiny,Shiny, Sticky,Sticky, Smooth:Smooth: PopPop Art Art andand thethe SensesSenses GrinnellGrinnell CollegeCollege collectioncollection isis mademade availableavailable atat nono chargecharge toto museums.museums. Grinnell,Grinnell, IAIA •• JulJul 11 -- SepSep 1010 ExhibitionExhibition Inquiries:Inquiries: FrankFrank StellaStella Prints:Prints: A A RetrospectiveRetrospective MontgomeryMontgomery MuseumMuseum ofof FineFine Arts Arts JordanJordan D.D. SchnitzerSchnitzer •• [email protected]@harsch.com Montgomery,Montgomery, AL AL •• Aug Aug 1919 -- OctOct 2929 CatherineCatherine MaloneMalone •• [email protected]@jordanschnitzer.org ContemporaryContemporary Women Women PrintmakersPrintmakers JordanJordan SchnitzerSchnitzer MuseumMuseum ofof Art Art atat WSU WSU Pullman,Pullman, WA WA •• Aug Aug 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
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