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Downloads: Chuck Close Prints: Process and Collaboration by Terrie Sultan with Contributions from Richard Schiff Hardcover US $25 The Global Journal of Prints and Ideas July – August 2014 Volume 4, Number 2 On Screenprint • The Theater of Printing • Arturo Herrera • Philippe Apeloig • Jane Kent • Hank Willis Thomas Ryan McGinness • Aldo Crommelynck • Djamel Tatah • Al Taylor • Ray Yoshida • Prix de Print: Ann Aspinwall • News C.G. Boerner is delighted to announce that a selection of recent work by Jane Kent is on view at the International Print Biennale, Hatton Gallery, Newcastle upon Tyne, June 27–August 8, 2014. Jane Kent, Blue Nose, 2013, silkscreen in 9 colors, 67 x 47 cm (26 ⅜ x 18 ½ inches) edition 35, printed and published by Aspinwall Editions, NY 23 East 73rd Street New York, NY 10021 www.cgboerner.com July – August 2014 In This Issue Volume 4, Number 2 Editor-in-Chief Susan Tallman 2 Susan Tallman On Screenprint Associate Publisher Susan Tallman and Michael Ferut 4 Julie Bernatz Screenprint 2014 Managing Editor Jason Urban 11 Dana Johnson Stagecraft: The Theater of Print in a Digital World News Editor Christine Nippe 15 Isabella Kendrick Arturo Herrera in Berlin Manuscript Editor Caitlin Condell 19 Prudence Crowther Type and Transcendence: Philippe Apeloig Online Columnist Sarah Kirk Hanley Treasures from the Vault 23 Mark Pascale Design Director Ray Yoshida: The Secret Screenprints Skip Langer Prix de Print, No. 6 26 Editorial Associate Peter Power Michael Ferut Ann Aspinwall: Fortuny Reviews Elleree Erdos Jane Kent 28 Hank Willis Thomas 30 Ryan McGinness 32 Michael Ferut 33 Hartt, Cordova, Barrow: Three from Threewalls Caitlin Condell 34 Richard Forster’s Littoral Beauties Laurie Hurwitz 35 Aldo Crommelynck Kate McCrickard 39 Djamel Tatah in the Atelier Jaclyn Jacunski On the Cover: Kelley Walker, Bug_156S Paper as Politics and Process 42 (2013-2014), four-color process screenprint John Sparagana Reads the News on aluminum. ©Kelley Walker. Courtesy 43 Paula Cooper Gallery, New York. Photo: Stephen Goddard 44 Steven Probert. A History of Screen Printing Faye Hirsch 47 This Page: Andre Ribuoli, detail of The Subtle and Curious Vision Melencholia (after Durer) (2014), CNC of Al Taylor engraved copper plate, steelfaced, 12 x 9 inches. Edition of 13. Published by Ribuoli Books in Brief 50 Digital, New York. News of the Print World 51 Art in Print Contributors 64 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org info@artinprint.org 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published without the written consent of the publisher. On Screenprint By Susan Tallman e have never organized an issue meet up in screenprint—the Trieste of As always, the world is too rich to be Waround technique, and, truth be image production. confined by any single theme. The mono- told, I have been known to complain about The articles and reviews in this issue graphs of Barry Cleavin and Peter Bräun- the habitual emphasis on method in dis- describe a diverse set of objects and inger both focus on etching, and Richard cussions of prints. Painting usually gets ambitions. The sleek, intelligent post- Forster’s edition takes the form of pho- treated in terms of content; few histories ers designed by Philippe Apeloig (profile togravures. Two exhibitions in Paris illu- of sculpture are organized by “bronze by Caitlin Condell) are entirely differ- minate the critical role played by printers casting,” “marble carving” and “clay mold- ent in flavor from the spontaneous call in collaborative creation: the survey of ing.” The business of putting technique and response with which Arturo Her- Djamel Tatah’s lithographs took place in first seems to beggar the role of meaning, erra screened patterns across the pages the space where they were made, Atelier which has always been the real business of of books found in Berlin flea markets Michael Woolworth (reviewed by Kate printed images. (Christine Nippe). And neither set of McCrickard); and “From Picasso to Jasper The current issue’s focus on screen- Johns, the Atelier of Aldo Crommelynck,” print arose by chance. The publication of reviewed by Laurie Hurwitz, surveyed the Guido Lengwiler’s book on the history of career of one of the 20th century’s greatest the medium (reviewed by Steve Goddard) etchers. “Social Paper” was built around was followed by a spate of promising new the idea of papermaking as a both a vehi- editions, some chance studio and gallery cle for art and a community-enhancing encounters, and scattered conversations endeavor; John Sparagana’s work, like in which the medium kept cropping up, Herrera’s, relies on the labor-intensive though it seemed to mean completely manipulation of found printed matter. different things to different people. In Both are reviewed by Jaclyn Jacunski. talking about screenprint with a curator, This issue does not pretend to be a the subject quickly turned to the great thorough or balanced summary of all Warhols, Lichtensteins and Hamiltons, that screenprint is and can be. Our goal whose photomechanical appropriation rather was to call attention to the per- and bright, hard edges defined the look ceived but often unexamined borders of Pop Art. For undergraduates in the art between art and design, hand facture school where I teach, screenprint means and commercial production, social and band posters, T-shirts and artisanal aesthetic value. Most things exist clearly record production. Artists asked about on the side of these divides or others, but the medium waxed fond about its inten- some hover insistently, refusing our best sity of color, its speed and the refreshing efforts at taxonomy. unpretentiousness of process and prod- The late Al Taylor, whose print cata- uct. Printers spoke excitedly about instal- Jeffrey Dell, The Risk II (2014), screenprint, logue raisonné is reviewed here by Faye lation pieces, sculptures and paintings 34 x 23 inches. Edition of 3. Printed and pub- Hirsch, described the allure of printmak- they had helped create. Designers talked lished by the artist, San Marcos, TX. ing in terms of “elaborate programs, sys- about the delight of being able to make tems, and methods which break down, things entirely in-house. intentions echoes those of Ray Yoshida, fall apart, and change the more success- These different territories are often whose lost screenprints are uncovered ful they become, taking on meanings and balkanized: galleries are forthright about by Mark Pascale. Michael Ferut and I a life beyond” the artist’s intentions. That describing paintings as screenprinted, but survey print activities from live perfor- life beyond is worth chasing, whatever often fail to see the connection between mance to religious rehabilitation, while technique is used. “screenprinted” and “screenprints.” (War- Jason Urban looks at the online strategies hol himself explained pragmatically in adopted by artists and designers to dra- 1971: “You could call the paintings prints, matize the physical presence and manual Susan Tallman is the Editor-in-Chief of but the material used for the paintings labor wrapped up in handmade prints. Art in Print. was canvas.”)1 Meanwhile, Warhol’s name Elleree Erdos reviews recent projects by does not appear at all among the 11,418 Jane Kent, Hank Willis Thomas and Ryan artists listed on gigposters.com. Like McGinness; each exploits a different inher- Notes: bubbles in a Venn diagram, the worlds ent property of screenprint. This issue’s 1. Andy Warhol in Gerard Malanga, “A Conversa- of graphic design, popular culture, seri- Prix de Print juror, artist Peter Power, tion with Andy Warhol,” Print Collector’s Newslet- ous art, performance events, community selected the screenprints of Ann Aspinwall. ter 1, no. 6 (January–February 1971), reprinted in Kenneth Goldsmith, ed., I’ll Be Your Mirror: The service and industrial production exist The Decagon collection, reviewed by Ferut, Selected Andy Warhol Interviews 1962–1987 as largely independent spheres, but they mixes screenprint with other media. (New York: Carroll & Graf, 2004), 195. 2 Art in Print July – August 2014 Cover design from Harry Sternberg for the journal A – D, 1941. Printed by Masta Displays, New York. A – D, October-November 1941. Art in Print July – August 2014 3 Screenprint 2014 By Susan Tallman and Michael Ferut Left: Patrick Caulfield, Crying to the walls: My God! My God! Will she relent? Center: Thus she would come, escaped, half-dead to my door. Right: She fled along the avenue. All from Some Poems of Jules Laforgue, Edition C (1973), book of twenty-two screenprinted illustrations for twelve poems in three varying editions, image 40.5 x 35.5 cm, sheet 61 x 56 cm. Edition of 100. Courtesy of the artist and Alan Cristea Gallery. verything depends on perspective. on which etching and lithography based the appropriation and recapitulation of EGuido Lengwiler’s new book on the their status as fine art. In 1971, that was borrowed images, fundamentally chang- history of screenprinting (reviewed in the point. ing what contemporary art thought it this issue) carries the subtitle, “How an The show illuminated the align- was about. “Style,” Field wrote, “became Art Evolved into an Industry.” Richard ment between the stylistic concerns of a matter of media paraphrase rather than S. Field’s 1971–72 exhibition on the his- the 1960s and the inherent aptitudes of the result of the artist’s hand.”3 It was a tory of screenprints might well have been screenprint—its photomechanical con- paradigm shift. subtitled, “How an Industry Evolved into venience and gift for sharp edges, strong The exhibition checklist reads like a Art.” Since its inception, screenprint has colors and impenitent flat surfaces. Field directory of the critical artists of a criti- been both a pragmatic instrument of pulled its origins into the light, giving cal decade: Thomas Bayrle, Caulfield, commercial design and a folksy, artisanal serious scholarly attention to signage, Christo, Richard Hamilton, Jasper Johns, craft.
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