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 [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 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 E Guido 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. But as contemporary art continues posters and advertising and finding Sol Lewitt, Roy Lichtenstein, Bruce Nau- to borrow and manipulate the artifacts meaning there: “the processes, attitudes, man, Robert Rauschenberg, Bridget of commerce (like screenprint), and com- images, and structural (formal) conven- Riley, Dieter Roth,4 Ed Ruscha, Frank merce continues to find profit in position- tions of commercial printing forge com- Stella, Andy Warhol—the list goes on and ing its products as arty (like screenprint), mon links between the art of the 1960s on. Aided by a handful of talented print- the tango of art and industry, medium and the strictly use-oriented, industrial ers (Kelpra Studios in London, Edition and message, becomes ever more convo- product.”1 In other words, screenprint Domberger in Stuttgart, Ives-Stillman in luted. was relevant to contemporary art not New Haven and others), they changed the Field’s exhibition, “Silkscreen: His- despite its commercial utility but because landscape of print and of painting. tory of a Medium” at the Philadelphia of it. It was cheap and fast, and it made Today screenprint is accepted as one of Museum of Art, was a watershed, estab- it easy to delegate physical production, the essential printmedia phyla, alongside lishing a scrappy commercial technology thus increasing the distance between the relief, intaglio, lithography and now digi- as an important vehicle of contemporary art object and the artist’s hand and help- tal. Virtually every academic printmaking art. The medium had been around for less ing to shift the weight of authorship from department offers it, as do the majority than a century, used mainly as a way to execution to concept. Patrick Caulfield, of fine art printers. But the medium gets repeat bright simple designs on felt flags, who produced some of the most beauti- short shrift in art historical surveys,5 packing crates and posters. (The attempt ful and poignant prints of the period, perhaps because its history is that much to rebrand it as an expressive, gestural acknowledged, “I couldn’t do a silkscreen shorter or because it is still perceived as a medium under the moniker “serigraphy” of my own if I was given the chance. I bit dumb. (Jasper Johns, who made some had enjoyed only moderate success.) don’t see why it’s necessary really.”2 of the most virtuosic screenprints of the Screenprint seemed a world away from Moreover, screenprint’s photome- 20th century, observed, “silkscreen, basi- the fluid gestures and diaphanous tones chanical capabilities aided and abetted cally, is very simple minded. It’s simply an

4 Art in Print July – August 2014 opening through which ink can go and be deposited on paper. And the fact that the silk is there allows you to have very complex openings.”6 If intaglio, lithogra- phy and relief glow with the patina of age and pedigree, while digital gleams with the seductive promise of a new iPhone, screenprint is just kind of there. But “there” is everywhere. On paper and walls and metal and stone; on gig posters and monumental canvases. On skateboards and circuit boards and dash- boards, not to mention all those T-shirts. Both Wall Street and Occupy Wall Street depend on it. Etching and lithography— even video and performance art—seem to have clear parameters and identifiable centers in comparison to screenprint. This fluidity may be the closest thing screenprint has to a distinctive identity, which makes it either the most boring or the most interesting medium on the planet. Andy MacDougall is a Vancouver Island–based printer, author and prosely- tizer for screenprint. He is fascinated by the idea that “the same process that lets an artist make multiples of their work with a squeegee, a stencil and mesh on a frame also makes the control inter- faces and electronic guts of most of our digital consumer products.”7 His web- site, Squeegeeville, offers resources for artists, designers and manufacturers. When asked to name his most rewarding adventures with screenprint, MacDou- Newspaper photograph taken at 1969 premiere of HPSCHD showing screenprinting of smocks and gall mentions the American Poster Insti- other garments with the Beethoven/Cage design being distributed to the audience. Reproduced by permission of The News-Gazette, Inc. Permission does not imply endorsement. tute (which organizes the Flatstock rock poster shows); the Lengwiler book, which he helped bring to fruition; and One Tribe a strip mall for under $150. The more DIY- state-of-the-art facilities. Connected to Design and Screenprinting, an organiza- minded forego kits in favor of homemade the department of Chicana/o Studies at tion of local First Nations (aboriginal) exposure units and bathtub washout the University of California, Davis, TANA youth with whom he works. The range of booths. offers workshops for preteens through activities is telling—even among people In Minnesota, Screen Printing on adults, as well as a gallery. who care passionately about technique, the Cheap (SPOTC) has built a bicycle- Other organizations employ screen- screenprint can be as much a social device trailer mobile press that can be pedaled printing as a tool of social and economic as a visual one. around arts festivals, where anyone can mobility as well as religion. John 3:16 The medium’s “simple-mindedness” be invited to pull prints. The imagery is Screen Printing Ministry describes itself makes it a convenient entry point for stu- often simple—SPOTC’s logo or a relevant as a “Spiritual Boot Camp for Men with dents and amateurs. (Experts acknowl- message. For nighttime events they break Addictions” that teaches a marketable edge that it is very easy to do but extremely out glow-in-the-dark ink. The goal of skill to people who are often dismissed difficult to do well.) The mechanism is these activities, and of SPOTC’s epony- by potential employers. Houston-based essentially self-explanatory. Since you mous book, is to make printing accessible Generation One mixes Christian min- print through the template there is no left- to everyone. istry with screenprinting in the city’s right reversal between the template and This easy adaptability has also made impoverished Third Ward, providing at- the print, and the act of printing occupies screenprinting a common tool for non- risk young men with a potential career a few seconds. “Cost effective, easy, and profits and community groups advo- path. Screenprinting is seen as not just rewarding,” is how artist and professor cating self-expression and cultural adaptable but marketable. Jeffrey Dell describes it.8 For those eager awareness; some work out of basements For many of these groups, the art con- to begin photo-screenprinting, a kit with and garages while others, like Taller Arte tent of the image is secondary or even everything you need can be purchased in del Nuevo Amanecer (TANA), operate irrelevant. The process itself is what

Art in Print July – August 2014 5 Views from Rikrit Tiravanija’s “FEAR EATS THE SOUL” at Gavin Brown’s Enterprise, New York (5 March–23 April 2011). carries value. But it is worth noting that Hiller’s immersive multimedia extrava- it difficult for doubt to take root. And screenprint blossomed as a medium of ganza HPSCHD in 196910 included live though a signed and numbered Banksy serious art at the exact moment artists screenprinted posters (the designs were print can change hands for thousands of were asserting the importance of pro- dictated by Cage’s chance operations, dollars, it may still maintain a synaptic cess as content. Art, they argued, was an as were the prices), screenprinted paper connection to what Urban describes as ephemeral experience—an event rather tunics and, eventually, screenprinting the “the anti-establishment, DIY youth than an object. “To be a teacher is my on audience-member clothing. A 2013 culture that screenprinting has come to greatest work of art,” Joseph Beuys said recreation of HPSCHD featured live represent.”12 in 1969. “The rest is the waste product, a screenprinted T-shirts, though in a con- The world of scruffy skateboarders demonstration.”9 temporary update the T-shirts were tied (and their screenprinted decks) and indie The portability of the equipment and to the project’s Kickstarter Campaign.11 rock bands (with their screenprinted its speed of printing made screenprint Live printing is now such a popular posters) may seem the antithesis of the adaptable as a performance instrument. phenomenon the screenprinting firm sleek commerciality courted by pop art- The premier of John Cage and Lejaren Kayrock, which did the HPSCHD redux ists, but it is a feistily entrepreneurial shirts, maintains eight mobile stations for live printing at parties and other events. Rirkrit Tiravanija’s 2011 exhibi- tion “FEAR EATS THE SOUL” featured both a soup kitchen and a semi-custom T-shirt printing shop. These products are self-consciously unpretentious and intended to be of low monetary value. They are props in a theater of labor, metonyms for social exchange. (See Jason Urban’s article in this issue for deeper discussion of this theme.) Not surprisingly, numerous street artists—Banksy, Shepard Fairey, Faile, D*Face—have made the move to marketable commodities through screenprint. (See Gill Saunders’ article in the Sept–Oct 2011 issue of Art in Print.) Technically, of course, screenprint is just a slight elaboration of stencil-and-spray- paint methods. Paul Coldwell, who has Emek, Holographic Skull for the Flaming Lips worked with every form of printmaking at McMenamin’s Edgefield Manor in Troutdale, there is (see Art in Print July–Aug 2013), Mirjam Dijkema, Radical Face and Benjamin Oregon (2013), screenprint on foil paper, 18 x 24 Francis Leftwich at Vera Groningen (2012), inches. Edition of 300. Printed and published finds that the speed of screenprinting screenprint, 50 x 70 cm. Edition of 60. Printed and by EMEK Studios, Inc., Portland, OR. encourages experimentalism and makes published by the artist, Groningen, Netherlands.

6 Art in Print July – August 2014 Daniel MacAdam, Hot Water Music (2013), seven-color screenprint poster, 17 1/2 x 23 inches. Edition of 170. Printed and published by Crosshair Silkscreen Printing, Chicago.

Art in Print July – August 2014 7 decks, even offers scattergrams of price histories (edition sizes and resale prices both tend to settle in the low three fig- ures). Gigposters.com lists 11,409 design- ers, 134,170 bands and 153,680 posters. Among this audience, screenprint-qua- screenprint is recognized and broadly discussed. In the “serious” art world of white wall galleries, however, screenprint passes by largely unremarked, even as it has infiltrated nearly every aspect of con- temporary art production. Kelley Walker’s recent exhibition at Paula Cooper Gallery included paintings, sculptures and a 196-panel wall work, all of them screenprinted. Walker has used screenprint for years as an essen- tial implement for mucking up mediated reproduction. The recent works derived from Volkswagen ads that were edited, digitally manipulated and screenprinted onto MDF,14 metal and screenprinting screens themselves. The result is a tau- tological and topological exploration of replication in which everything is printed but nothing is “a print.” Screenprinter Luther Davis, who worked on the Walker project, points to screenprint’s singularly compliant nature: you can pretty much print on anything. And because of screenprint’s relevance to industry, serious capital is directed to the development of new inks, surfaces and applications, making new options available to artists all the time. Beuys made multiples from screenprinted blocks of wood, slabs of felt, shopping Kelley Walker, Bug_156S (2013-2014), four-color process screenprint on aluminum, 5.1 x 19.1 x 69.9 cm. ©Kelley Walker. Courtesy Paula Cooper Gallery, New York. Photo: Steven Probert. bags and cardboard; John Baldessari’s new project for The Thing Quarterly con- sists of a pair of screenprinted cotton pil- place. Artist/designers (the terms are temporary art are largely beside the point lowcases “made to be used,” bearing the used pretty interchangeably) segue seam- for many of these designers, but there are image of a woman hugging a pillow. In his lessly from music posters to graphic myriad exceptions: Mirjam Dijkema in Bullies wallpaper (1992–97) Virgil Marti design, illustration and advertising. The the Netherlands plays with replication arranged the yearbook faces of his mid- American Poster Institute defines its con- and obfuscation in Hamiltonian ways; dle-school classmates amid a psychotic stituency as “the community of artists Daniel MacAdam makes bleakly beauti- floral pattern, screenprinted in fluores- creating entertainment-related posters,” ful records of our physical environment cent inks on Tyvek house wrap. Hank Wil- though many within this community with words embedded in the self-effacing lis Thomas’s And I Can’t Run and Blow the also produce limited editions untethered manner of 1970s conceptual art—Bernd Man Down (2013) (reviewed in this issue) to promotional tasks or commissions. and Hilla Becher go clubbing. exploit the reflective surfaces used for The broader trend is toward images In this context, screenprint represents road signs to make a visceral point about that are quirkily illustrative, transgres- a handcrafted alternative to digital and the inconsistent visibility of the past. sive in the manner of tattoo art and/or photo-offset printing. This is not a Lud- Not only does screenprint let you print playfully decorative. Sixties psychedelia dite movement: designs are worked up on most things, it lets you print with most remains a powerful design precedent, as with the help of Apple and Adobe, and things. Printer Knut Willich notes that by does, by extension, Art Nouveau, Sur- the printing is often intricate, ambitious heating up the screen, one “can print sub- realist juxtaposition and Victorian hor- and adventurous. Technical skills are stances (such as chocolate) that become ror vacui. The well-known poster artist high, and collectors are keen and obses- fluid when they come into contact with Emik acknowledges, “I can’t tolerate sive. ExpressoBeans.com, a volunteer- the warm mesh, and then harden when empty space. I have to fill it up with little run site that collates data on collectibles cool. One can print ceramic glazes to details.”13 The focused inquiries of con- from screenprinted posters to skateboard be fired in a kiln, as well as electrically

8 Art in Print July – August 2014 conductive ink.”15 In the 1970s, Ed Rus- cha and Dieter Roth screenprinted food- stuffs. In a series of works from 2009, Matthew Sheridan Smith took blocks of “lorem ipsum” text (the meaningless typographic stand-in used by graphic designers for layouts) and covered them with the scratch-off coating used on lot- tery tickets. Scraping became an act of negative drawing, revealing the point- less words below. The color-shifting inks of Mel Bochner’s recent screenprints (reviewed in the Jan–Feb 2014 issue) cause his wall of words to shimmer and shine such that, weaving your head from side to side to catch the light, you may at first miss the fact that you’re gazing at the phrase “SHUT THE FUCK UP.” Beyond the bells and whistles of opal- escence, reflectivity and edibility, screen- print is revered by artists and printers for the thing it has excelled at from the start: “for sheer force of color,” Davis says, “there is nothing better.” Opaque colors can be mixed to any hue and applied in solid blocks without the dilution of CMYK approximations.16 By layering transparent inks, a world of unexpectedly subtle color can be unfurled: 12 transpar- ent colors overlaid can yield more than 4,000 combinations; with 20, the poten- tial outcomes number over a million. Jasper Johns’ works with Simca Print Artists in the late 1970s and early ’80s were a revelation.17 They didn’t look like advertising, they looked like slightly stiffened gouache paintings, an effect Michael Riedel, Untitled (Comb Vertical) (2013), screenprint on linen, 229.9 x 170.2 cm. achieved by the artist redrawing his own Courtesy David Zwirner, New York/London. marks to produce multiple layers that “confuse the flatness.” Doubling and layering are recurrent Johnsian strate- with other print technologies, as in Jen- At Thomas Dane gallery in London gies for exploring sameness and differ- nifer Bartlett’s At Sea Japan (1980; wood- this past winter, Glenn Ligon showed ence, distinction and identity; they can cut and screenprint) or Beatriz Milharez’s three monumental paintings repris- also build a complex visual and cognitive Figo (Fig) (2007; woodblock, screenprint). ing Steve Reich’s 1966 tape-music com- device from a simple-minded stencil. As screenprinter and publisher Norm position Come Out. Reich’s work used Janet Fish’s screenprints of the 1990s Stewart observes, the words of a youth falsely accused of were also constructed layer by layer. She murder in conjunction with the Harlem would paint an initial image in black It’s impossible to go through a day riots of 1964, overlaying multiple identi- on transparent Mylar, which (via a pho- without coming in contact with cal loops of the recorded statement and tographic positive) generated the first screenprinting. The type on golf balls allowing them to slip out of phase with screen. A color proof would be pulled, is screenprinted (pad printing); the one another until the words become over which the artist would lay another instrumentation on the dashboard of unintelligible. Ligon worked the same sheet of Mylar, adding the strokes to be automobiles is screenprinted; electri- trick visually, compiling blocks of the printed in the second color, and so on. cal circuit boards are screenprinted phrase “come out to show them” in stam- The process is similar to how she might with conductive inks; puff inks are mering repetition until clarity and mean- work on a watercolor, but segmented, screenprinted on T-shirts to give a ing is overcome by noise, contradiction and the result is to sharpen further the raised texture; ceramic glazes are and the sepulchral beauty of black ink lapidary edge on which her chromatically screenprinted on glasses and mugs; screenprinted again and again over each dense tablescapes and crockery depend. etc. The general public is surrounded painting’s 20-foot span. This force of color is also why screen- with examples of screenprinting. They The “PowerPoint” paintings Michael print is so often used in combination just don’t realize it.18 Riedel showed at David Zwirner last year

Art in Print July – August 2014 9 Left: Janet Fish, Cerises (1992), 12-color screenprint, image 28 x 24 inches, sheet 34 x 28 1/2 inches. Edition of 60. Printed and published by Stewart & Stewart, Bloomfield Hills, MI. Photo ©StewartStewart.com 1992.

Right: Beatriz Milhazes, Figo (Fig) (2007), woodblock and screenprint, 70 x 47 inches. Edition of 30. Printed and published by Durham Press, Durham, PA. Courtesy of the artist and Durham Press.

were screenprints on stretched linen tion, the borders between commercial 9. Beuys in Willoughby Sharp, “An Interview with that reproduced his own earlier works— production, critical art content, funky Joseph Beuys,” Artforum 8, no. 4 (December photographed, inserted as slides in a artisanship and the social production of 1969), 40–47. PowerPoint presentation, then captured meaning are more indeterminate than 10. HPSCHD is a composition for harpsichord and audiotape. The premiere performance used midway through a crossfade between one ever, and screenprint—more than etching seven amplified harpsichords, 52 amplified tape slide and another. or video or paint—has become the recorders playing 208 tapes. This was accompa- When Rauschenberg and Warhol medium of indeterminacy. nied by the projection of 6400 slides and 40 mov- first began screenprinting paintings in ies. The performance lasted five hours. 1962 the use of screens (and the mass- 11. https://www.kickstarter.com/projects/78806356/ -hpschd-dragonslayer-tee-by-kayrock-screen- produced images on them) was a radi- Susan Tallman is the Editor-in-Chief of Art in Print. printing; http://issueprojectroom.org/event/john- cal gesture. Both artists wielded those cage- lejaren-hiller-hpschd. screens as personally as they had brushes, Michael Ferut is an Editorial Associate at 12. Email correspondence with the author, 3 and when Warhol moved to his Factory Art in Print. March 2014. model, that move was itself a specific car- 13. Interview with Oregon Art Beat, 21 March 2013. http://watch.opb.org/video/2350720718/. rier of content. Notes: 14. Medium-density fiberboard—the stuff IKEA For artists a half-century later, the 1. Richard S. Field, Silkscreen: History of a bookshelves are made of. decision to have work executed by pro- Medium. (Philadelphia Museum of Art, 1971), bro- 15. Email with the author, 16 March 2014. fessional screenprinters is simply a prag- chure, unpaginated. The planned catalogue was 16. In most commercial printing, as well as most never published and the exhibition’s sole artifact matic way to produce desired objects, home and office printers, all colors are approxi- is this eight-page black-and-white brochure, with mated by balancing dots of the four “process col- images and surfaces. Walker, Ligon and essay and checklist. ors”: cyan, magenta, yellow and black (“key”). Riedel are interested in the cultural and 2. Patrick Caulfield, quoted in Pat Gilmour and 17. Johns/Martin, Hanefuda. Silvie Turner, Kelpra Studio, An Exhibition to psychological effects of replication, reit- 18. Email correspondence with the author, 6 June Commemorate the Rose and Chris Prater Gift eration and recapitulation—merging the 2014. (London: Tate Gallery, 1980), 37. seamless surfaces of industrial produc- 19. Email correspondence with the author, 1 3. Field. March 2014. tion with the cultural authority of paint- 4. Listed as “Diter Rot“ in keeping with the orthog- ing is a means of getting inside those raphy the artist was using at the time. workings. Coldwell observes that from a 5. In Richard Benson’s book The Printed Pic- printmaking perspective, screenprint’s ture screenprint gets just a mention in the “Color industrial associations help preclude the Printing” chapter; Antony Griffiths reproduces screenprints in Prints and Printmaking, while the “kind of fetishisation that can occur with British Museum’s recent Master Prints Close-Up etching and woodcut.”19 In the context of includes none. paintings that derive from, and comment 6. Jasper Johns in Katy Martin’s film, Hanafuda: on, the lovely and perfidious manipula- Jasper Johns, 1981. http://vimeo.com/40522186. tion of visual information, screenprint 7. Email correspondence with the author, 22 March 2014. may be part and parcel of fetishism itself. 8. Email correspondence with the author, 3 March Four decades after the Field exhibi- 2014.

10 Art in Print July – August 2014 Stagecraft: The Theater of Print in a Digital World By Jason Urban

A DISCLAIMER: I recognize that discuss- ing the relationship of art and design is a quagmire. It’s a contentious and poten- tially dizzying exercise that has bogged down far greater thinkers than myself. The aesthetic or the decorative versus the functional, the subservience of idea to process or process to idea, the promo- tion of commercial content in contrast to making for making’s sake are just a few of the divisions that can be drawn. Many practitioners and projects move back and forth in the gray area between art and design. All the individuals I contacted while researching this essay make things for others (design) and for themselves (art), and it should be noted that most of them actively resist classification. I am warily treading in murky waters.

s co-editor of Printeresting, a web- Joseph King, Words on a Poster (2013), screenprint and letterpress, 13 x 20 inches. Edition of 100. A site dedicated to sharing innovative Printed and published by the artist, Seattle. print work, I have been particularly fas- cinated by what seems to be a new syn- introduced a variety of presentation tac- cracker Press in St. Louis are representa- ergy—or new ambiguity—between the tics that convey the physicality of hand- tive of a vital small business movement overlapping domains of art, printmaking made prints and printing—a stagecraft in the United States and Europe—small and graphic design. When we started the that reveals a keen awareness of a print’s shops that merge graphic design services, site in 2008, the graphic design conversa- life online. At the same time, these tac- art production and manual print pro- tion online seemed to be thriving, wide- tics embrace performative or process- cesses and handcraft. Such hybrid entre- spread and inclusive, while the online oriented content that was traditionally preneurial efforts have been celebrated printmaking conversation was consid- the province of art. They differ from the in recent books about handmade print erably quieter. Websites such as Design- didactic explanations of processes that processes in the design world, including Boom and CoolHunting were showcasing frequently appear in print exhibitions Fingerprint: The Art of Using Hand-Made great print work alongside architecture, or “how-to” tutorials. They are tools for Elements in Graphic Design (2006), Pulled: industrial design and fashion, while the presenting the objectness of print. Their A Catalog of Screenprint (2011), and Impres- handful of dedicated printmaking sites profusion raises questions about what sive: Printmaking, Letterpress, & Graphic were inward-looking and focused on tech- exactly their audience is being asked to Design (2011), all reveling in the notion of nical issues.1 One of our goals has been to buy—a thing or an experience. getting one’s hands dirty. Screenprinting promote exchange between these commu- Graphic design conferences these on the Cheap (2012), a technical manual nities, which despite professional and edu- days abound with panel discussions and by designer Andy McInnis and his Min- cational differences are joined by a shared workshops showcasing screenprint and neapolis-based team, makes an especially history, approaches and technologies. letterpress, both of which are supported strong case for the use of screenprint by Recent years have seen a well-doc- by thriving, outspoken niches within the designers. umented resurgence in the use of ana- design community. When Jim Sherradan Many motivations undoubtedly logue print media by graphic designers. of the venerable letterpress shop Hatch lie behind this revival. Physical print- From screenprinted gig posters and let- Show Print spoke in Austin a few years ing—the pulling of a squeegee, the set- terpress broadsides to immersive print ago, it was as a guest of the local chapter ting of type, the odor of ink—can be environments, designers are revisiting of the AIGA.2 While the work of most pro- seen as antidotes to the bloodlessness of processes that a short time ago seemed fessional graphic design firms is gener- the LCD screen, and the alchemy of ink destined (from a commercial standpoint) ated and realized almost entirely through screenprinted on paper or of letterpress for the scrap heap. Online, designers have digital media, organizations like Fire- embossed on cardstock represents a lively,

Art in Print July – August 2014 11 Screen capture of the archive page for the “People Holding Posters” Tumblr blog by Nate Gagnon. http://peopleholdingposters.tumblr.com/archive. tactile alternative to the uniformity of run the gamut from concert promotions It provides a bodily sense of the object commercial offset lithography. (In addi- to pithy statements intended to make you and in the most literal of ways “human- tion, of course, the smaller numbers pro- laugh or to reveal a truth. Person hold- izes” even the coldest design. (I’m looking duced by hand add the allure of rarity to ing poster (PHP) is quite different from at you, Helvetica!) PHP is staged authen- work when considered as a commodity.) an image of the poster itself. The holders’ ticity. These qualities are attractive precisely faces are usually hidden by the artwork, Undoubtedly posters were sometimes because they are in direct opposition to though their hands and legs (and occa- photographed this way prior to the Web. the immaterial, nontactile, anonymous sionally the tops of their heads) are vis- (A parallel fine-art trope might be photo- and ephemeral images that dominate ible. (In August 2009, my Printeresting graphs of artists signing prints or work- visual life in the digital age. colleague Amze Emmons called attention ing in printshops, demonstrating their Traditionally, the end product of to this tactic in his post “Graphic Design- direct, physical involvement in produc- printmaking was a finished print or edi- ers Hide their Heads in Shame.”) tion.) But the proliferation of PHP today tion; documentation of the process might Kevin O’Neill, who is half the design seems emblematic of the way we share be important for archival or legal pur- team Will Work for Good and a former information about physical printed mat- poses, but was peripheral to experiencing Printeresting contributor, sees PHP as ter in the virtual world. My own train- the art. Today the act of printing and the a device of younger designers to suggest ing as a studio artist took place about 20 space in which it occurs, with their con- “the designer is an independent/small years ago in the era of 35mm slides. To notations of authenticity and labor, have scale practice that has a direct connec- document my prints, I was instructed to become subjects in their own right. We all tion to the work.”3 It is rarely used by use a copy stand and to isolate the printed depend on the Internet to introduce us to large commercial design studios. Nate image—a hand creeping into the frame new things; the crux comes when critical Gagnon, a San Francisco-based adver- was simply unprofessional. It is perhaps content lies in aspects of an object that tising copywriter who devoted a whole not surprising that the more we consume cannot be made manifest virtually: the Tumblr blog to the phenomenon, concurs art and design online, the more impor- weight, the scale, the surface, the process. that its purpose is to connect the image tant it has become to authenticate the If you have spent any time online in to an actual, individual creator. object’s “realness” with evidence of the the last decade, there’s a good chance you The goal of stagecraft is to sell an hand of its maker. I should mention that have come across a staged picture of a idea—to convince an audience of a story. it is rare to see an image of someone hold- person holding a poster. The posters are PHP is visual shorthand for “you are look- ing up an etching. Perhaps the fine line usually screenprints, letterpress or some- ing at a real poster that exists in the real of etching doesn’t reproduce well online times digital prints, and their subjects world and was made by a real person.” where a strong, punchy graphic is needed

12 Art in Print July – August 2014 Tind (Manolis Angelakis) is known for his screenprinting process photos, such as the ones above. Images courtesy Tind. to capture the attention of an audience ers with images of color drawdowns (tests ists, Contractors, Flange Turners, Angel- forever scrolling past images, or perhaps a printer does to check ink consistency smiths, & Civil Servants, laboriously (and an etching’s handmade-ness is a given and color), the arrival and setup of new hilariously) details the proper form and and not in need of theatrical emphasis. studio equipment, in-progress prints, and technique for sharpening a pencil. Rees Screenprint, however, has become its ink-covered hands. is satirizing the desire to apply “artisanal” own theater. Pictures of prints lying on Vimeo, Youtube and other sites have attention to every aspect of life. It is no drying racks or being pulled from vacuum thousands of beautifully-edited high- longer enough just to do something or tables place the print firmly in the real definition videos of printing, often make something: evidence of how it world and reinforce its physicality, even accompanied by soundtracks carefully is made is required. As Susan Tallman when the images are consumed virtu- chosen to communicate the appropriate pointed out in one of our discussions for ally. Manolis Angelakis, who works under atmosphere of ink and sweat (my next this essay, “unlike 1970s process art, in the name Tind, is a Greek screenprinter/ essay for Art in Print might be a break- this situation it is not the job of the thing artist/designer who may be as famous down of printshop video music genres). itself to tell us about its making—that job for his seductive process photos as for his Such extended media help connect the has been given over to the more easily actual print work. In screenprint circles viewer to the act of making and can pro- distributed electronic media.” Tind has become a kind of celebrity arti- vide critical context for an individual This self-consciousness about produc- san, sharing his active studio life through printed image. The Zombies of the Walk- tion does not, however, extend to the vid- social media. His photographs of irides- ing Dead is a video by the Columbia, eos and photographs themselves, which, cent inks and dramatic studio moments South Carolina-based shop, The Half as she observes, “are curiously opaque are unapologetically beautiful celebra- and Half. In it scenes of screenshop activ- about their own status as made things.” tions of making. His Twitter byline, “I ity flash by, inks are mixed and printed, In most cases, there are technicians swallow inks and I spit prints,” may con- one layer after another, until we finally working off-camera, unacknowledged. jure the hijinks of the band Kiss, but Tind see glimpses of the completed posters One craft skill is being used to glorify believes that “screenprint should be a for AMC’s zombie TV series The Walking another. (Anyone who’s spent any time cross relay marathon of printers exchang- Dead, presented—of course—in the PHP with the video-editing software FinalCut ing knowledge and not be mistaken with format. Watching the video makes you Pro knows that mastering it is worthy of rock star attitude.” The end product of wonder why there isn’t already a reality any craftsman’s respect.) his commercial print work is designed show that follows the exploits of a screen- “The Making of Dodge Trucks Guts & to please his clients’ audience, but Tind printing design team. Glory” is a short YouTube video about the uses studio images to engage the wider All this reflects a broader fascination production of a Dodge Ram commercial Internet audience. As with PHP, behind- with craftsmanship and “making” in at the International Printing Museum in the-scenes workshop photographs have contemporary culture. David Rees’ 2013 Carson, California. It is unusual in that spread prolifically: Baltimore Print Stu- book, How to Sharpen Pencils: A Practi- it focuses on the crew filming the print- dios and A Small Print Shop regularly cal & Theoretical Treatise on the Artisanal ers: we can see the lighting setup, the delight their Twitter and Tumblr follow- Craft of Pencil Sharpening for Writers, Art- monitors and the technicians. In a wink

Stills from The Zombies of the Walking Dead (2012), production video produced by Greg Nicotero, Danny Miller, The Half and Half and Joshua Rainwater. http://vimeo.com/37567520.

Art in Print July – August 2014 13 to the scripted nature of the commercial, the museum’s director/curator, Mark Barbour, is listed in the credits as “The Hands.” The stagecraft is revealed. These increasingly extravagant frame- works leave the print itself in a curious position. Compelling documentation does not necessarily make the print any better as a work of art (though it may make its content easier to grasp for the audi- ence). Nick Butcher and Nadine Nakani- shi of the Chicago-based art and design team Sonnenzimmer are well-known for their lyrical and often abstracted poster designs [see Art in Print, Jan–Feb 2012]. “We rely on [Twitter],” Nakanishi says, “to aid distribution for the physical work, but also as a stage.” Such adjacent docu- mentation can, however, become “a bit meta,” in Nakanishi’s phrase, and detract Above and below:Two views of “The Smallest Printing Company,” a recent project by Letterproeftuin, is a mobile printing installation for small posters and books. International Poster and Graphic Design from the print’s own role as a document Festival of Chaumont, 2013. Image courtesy Letterproeftuin. of its processes. Even the most colorful and dynamic print is still and quiet when compared to the movement, sound and the individual object is far less important only a fragment of a larger thing—the drama of a video. At what point does it than the cumulative message, so perhaps most concrete fragment, but a fragment become difficult for a real, physical print the emphasis on documentation over the just the same. to compete with its own documentation? work itself isn’t so surprising. But it has Letterproeftuin is a Dutch “traveling produced a cultural expectation of sup- open-source design studio” with an edu- plied context that may well alter the way Jason Urban is an Austin-based artist, writer, cational mission. They design graphic all prints are understood. teacher and curator. work laboratories; “the work in ‘process’ In 2014, the act of screenprinting or is the exhibition itself rather than just letterpress printing or any other printing Notes: the finished works,” according to Let- is understood as performative in way that 1. Fortunately this has changed considerably in the terproeftuin’s Jaron Korvinus. For the it wasn’t just a decade ago. Production past few years with blogs such as Patrick Wagner’s BlackHeartPress, Brian Garner’s LithoShop and International Poster and Graphic Design has moved from behind-the-scenes to Shelley Thorstensen’s PrintmakersOpenForum, Festival in Chaumont, France, they cre- center stage, and like a movie, a print can which help contextualize historical works while ated a large series of lasercut wooden now justify a theatrical trailer introduc- showcasing contemporary print practice. matrices that festival attendees (mostly ing it to the world. The act is documented 2. Formerly the American Institute of Graphic Arts, other designers) could use to print post- and shared, and no one needs to hold the AIGA is the nation’s primary professional associa- tion for graphic designers. ers on a relief press. The matrices were print to understand that it happened. We 3. All quotations from correspondence with the arranged on the walls of the workspace are reminded that the physical print is author. because, as Korvinus explains, “aesthet- ics of the workspace are very important to us. The space has to inspire us, and it is the presentation of our project at the same time.” Letterproeftuin guides the results of such projects, supplying the matrices, substrates and facilities, but the audience is a collaborator. These proj- ects are thoroughly documented on their website (Karvinus notes “one of us always has a camera on them”). For groups like Letterproeftuin, the finished product of the printing process is produced, not by a single creative vision, but through a com- munity’s creative energy, brainstorming and involvement. Relative to art, design is subject to strong external influences such as utility and client needs. In the context of a cam- paign—often the case in graphic design—

14 Art in Print July – August 2014 The Books of Others: Arturo Herrera in Berlin By Christine Nippe

Arturo Herrera, Books (Set #1 in presentation box) (2012), screenprint and mixed media on paper (books) in linen-covered wooden box, 64.8 x 40.3 x10.2 cm.

n Arturo Herrera’s Berlin studio, a Herrera is best known for ambitious, much more akin to drawing. This qual- I fresh breeze wafts through the rooms; intricate collages of fragments cut from ity comes to the fore in skein-like works the windows are gleaming and a fresh self-made and found images—com- made of felt such as All at Once (1999). bouquet of yellow ranunculi sits on the ics, art history, pop culture, children’s These pieces play with ambiguities of desk. On a large wooden table lies a deep, books. In works such as For the First Time form, with transitions from figuration to gray-linen box. The artist lifts the lid to (1999), Night Before Last (2003) and Keep abstraction, and with the recognition of reveal two books, each elegantly housed; in Touch (2004), cut elements are closely subconscious images (the motifs of com- below these two lie eight more. The pre- intertwined. A Knock (2002) is part of ics and children’s books are rich exam- sentation suggests fragile and rare cargo, a series in which he used comics, cut- ples). Familiar forms are made strange but these books are flea market finds ting with the greatest delicacy to cre- through omission and reconfiguration. the artist has remade as works of art ate lines that articulate the contours of The elimination of one picture clears with strategic overprinting. Books (2012) a dwarf’s hand, a kneeling prince or a the way for a new picture, as in Say Seven includes six such boxes, each holding candle.2 While many artists use collage (2000). The resulting oscillation between ten different volumes, embellished and as an instrument of disorienting jump recognizable motifs and abstract shapes obscured with black ink.1 cuts, Herrera’s sutures exhibit a fluidity defies any single interpretation. Herrera

Art in Print July – August 2014 15 ing in New York, and has been in Berlin since 2003. (Having come for a yearlong residency through the German Academic Exchange Service (DAAD), he found he preferred the quieter atmosphere of Ber- lin and stayed.) The city’s flea markets have been an ongoing source of fascina- tion. In the abandoned artifacts laid out on tables, the dramatic history of Ber- lin—East and West, pre- and post-, war and reunification—is made manifest. The history of things and the underlying preferences of previous owners (as well as the universe of a family estate) drew him in, especially books: “There is a nostalgia to the books. We all have a specific rela- tion to them.”3 He acquired a wide variety of titles: a sets up a dynamic exchange between study of the German Romanticism of Cas- destruction and construction that is so par David Friedrich, a book about York- Above: Arturo Herrera, All At Once (1999), visually engaging that the works’ sub- shire terriers, a string quartet from 1984 wool felt, 254 x 147.3 cm. Left: Arturo Herrera, versiveness—the way they undermine by Ralf Hoyer, a travel guide to Milan, an A Knock (2002), collage on paper, 177.8 x the popular language of representation East German martial arts book—Karate 152.4 cm. deployed by Disney and others—may für alle—promising mastery in easy steps go unnoticed initially, lurking in the demonstrated by combatants attired in working directly with screen and color.” background. the lurid shirts and handlebar mustaches Though he abjured scissors and left each Herrera grew up in Venezuela, was of the 1970s. book intact, the same formal concerns educated in Oklahoma and Chicago, built Screenprint allowed Herrera “to make hold sway as in the collages—the dis- an international reputation while liv- a collage book without cutting paper, ruption of representation, the tightrope

Arturo Herrera, from Berlin Singers (2010), suite of 10 print collages: collage, etching, digital print and screenprint, 30 x 21.3 cm each. Edition of 20. Printed and published by Lower East Side Printshop, New York.

16 Art in Print July – August 2014 Arturo Herrera, Caspar David Friedrich, Von Johannes Beer und Karl Robert, 1940 Verlag der Eiserne Hammer, Langewiesche–Königstein im Taunus und Leipzig from Books (inside view)(2012), screenprint and mixed media on paper, 18.7 x 13.5 x .4 cm. dance between legibility and illegibility. done with Pace Prints in 2012, Giuseppe, it doubles up. “It felt like drawing,” Herrera Patterns have been screenprinted over Richard and Johannes, screenprinted says. “It took some time to print every page, the pages and covers by hand, with loose marks embellish large cut-felt shapes but the results were immediate and excit- gestures and a generous acceptance of that overlay elaborate collages. Though ing as they appeared in front of my eyes.” accident. Stripes, crosses or diamonds the dense, serrated visual activity and In some places the patterns repeat shimmer across the pages like the vibrat- gestural arcs of pigment in these collages with near exactness; in others they are ing lines of Op Art or dazzle camouflage. suggest spontaneous interaction with interrupted by great messy blobs of ink They both reiterate and destabilize the found material, each is a meticulously or ellipses where the ink failed to push quality of repetition that is inherent in produced edition of interlocking etchings, through the screen at all, allowing the book design and printing. Some over- linocuts, collagraphs and digital prints original texts and images to emerge like printings used Herrera’s own drawings, produced with a team of specialists. the sun between the clouds. Often a spate others were readymade optical and geo- Books, on the other hand, was defiantly of words can be deciphered between gaps metric patterns found in source books he homegrown: the entire project was made in the pattern, prompting the viewer to had lying around the studio.4 in Herrera’s studio with a single 18 x 26 imagine the invisible contents. Though Herrera had worked with screenprint inch screen, one squeegee, paint, 60 books the screening is done in an open and before, but always in collaboration with and a powerful hair drier. Screenprint improvisatory way, the original pages and master printers and professional work- was chosen for its quick-and-dirty adapt- the addenda imposed on them abide in shops. The ten print collages of Berlin ability—“the most direct way to translate thoughtful concordance. In the Caspar Singers (2010), produced at the Lower East and to transfer images very fast”—which David Friedrich volume, for example, a Side Printshop in New York, employed allowed him to work with a loose spon- lightly broken line meanders elegantly screenprinted line drawings in an etio- taneity quite different from the precision across both text and images, while in lated gray-black that looked, Herrera cutting of collage. There was no registra- Karate für alle the impact of martial arts notes, “like very faint grease stains.” In tion, no attempt at a system. On some kicks are evoked by a pattern as jagged as three enormous and ambitious works pages the screen is printed once, on others a cracked mirror.

Art in Print July – August 2014 17 These books, which had fallen out of circulation and lost all use value, are endowed with a new vitality as aesthetic objects. The text, only legible in bits, becomes like poetry; representational pictures become abstract. Screenprint, Herrera says, has given the books “a sec- ond chapter. Now they have a different life and can go on.” Neither denying nor romanticizing their past, Herrera breathes new life into these cast-offs. Their power lies in lacu- nae. They move between nostalgia and reinvention, deconstruction and con- struction, obsolescence and aesthetics: art and artifact—treasured, trashed and transformed.

Christine Nippe is a curator, writer and lecturer based in Berlin.

Notes: 1. Five sets have been acquired by the Art Insti- tute of Chicago and a private collector. One Arturo Herrera, Robert Schumann–De La Luzidez A La Locura, Von Andres Ruiz Tarazona, remains in the artist’s studio. 1975, Real Musical, S.A., Madrid from Books (inside view) (2012), screenprint and mixed media 2. Collection of the Museum of Modern Art, New on paper, 16 x 11.4 x .7 cm. York. 3. All quotes from the artist in conversation or email. 4. Abstract & Geometric Patterns, North Light Clip Art Series (New York: F & W Publications, 1993); Craig Cassin, Visual Illusions in Motion with Moire Screens (Mineola, NY: Dover Publications, 1997).

Arturo Herrera, Karate für alle, Albrecht Pflüger, 1985 Falken–Verlag, Wiesbaden from Books (front & inside view) (2012), screenprint and mixed media on paper, 20.9 x 15 x 1.1 cm.

18 Art in Print July – August 2014 Type and Transcendence: Philippe Apeloig By Caitlin Condell

he cerebral, meticulous posters T of Philippe Apeloig have made him a graphic design luminary. He was the subject of a large career retrospective at the Musée des arts décoratifs in Paris this past year, and Thames & Hudson published a hefty monograph, Typorama, documenting Apeloig’s creative output of the last 30 years.1 At a recent event at the Type Director’s Club of New York,2 enthusiastic designers packed the room, peppering the artist with questions. The Paris exhibition was similarly filled with young people, diligently sketching the posters on view—a phenomenon that design critic Steven Heller recalls last seeing … “never!”3 Apeloig’s designs are notable for recasting typography as a vibrant, even narrative domain; for their dynamic color sense; and in the case of his limited edition screenprints, for their elegant dance between art and design. “I don’t think most people expect to encounter personal expression in graphic design. They view it as the art of com- munication and as a commercial art.”4 Though designers are charged by their clients to communicate a specific, prede- termined content, Apeloig sees expressive potential in the tools used for the task. Typography, he says, can be “a strong artistic element, like color is for paint- ers or metal might be for sculptors,” and can create an “emotional dimension.”5 Similarly, screenprint can push “designs beyond the industrial aspect and into a greater artistic dimension.”6 Apeloig’s first serious encounter with screenprint was as a student in the early 1980s. At the École Supérieure des Arts Appliqués and the École Supéri- eure Nationale des Arts Décoratifs in Paris he received traditional training in typography, working with calligraphy, hand lettering and metal type. But he Philippe Apeloig, Echirolles, mois du graphisme (2009), screenprint, 120 × 176 cm. also experimented with printing, playing Printed by Sérica, Nancy, France. Typeface: Aleph. around with the colors and shifting the elements of his design in one-off screen- After leaving school, Apeloig worked reliance on pure typography, rather than prints. He is drawn to screenprint because at the influential design firms of Wim photographic or pictorial images. Mean- “the colors are rich, powerful, strong and Crouwel in the Netherlands and April while, the Los Angeles-based Greiman bright, which is ideal when you’re looking Greiman in Los Angeles. Crouwel’s post- was breaking new ground with the use of for strength and delicacy.” Of his early ers, such as Visuele Communicatie Ned- computers in design. Though rooted in printerly experiments he says, “it was like erland (1969) for the Stedelijk Museum Swiss Modernism, Greiman’s work trans- painting with the silkscreen.”7 in Amsterdam, were innovative in their gressed a strict interpretation of Modern-

Art in Print July – August 2014 19 modular concrete construction. Apeloig’s entry took the city’s innovative architec- ture as its subject and used Perret’s con- ception of the city as a Gesamtkunstwerk as a framework. Graphic renditions of three of Perret’s standardized façades are overlaid, each in a primary color, recall- ing the vocabularies of Modernism and Constructivism. The layered façades gen- erate secondary colors, while the letter shapes echo the windows in which they appear to sit. The design aligns Apeloig’s nuanced interpretation of the grid with Perret’s modular elegance. Apeloig was so pleased with the poster (it did not win the competition) that he produced it as a limited edition screenprint. Designs that he feels are “good enough” Apeloig releases in screenprint editions of 30 to 40 impressions. These represent an ideal iteration—the poster equivalent of a director’s cut, stripped of the “visual pol- Left: Wim Crouwel, Visuele Communicatie Nederland (Visual Communication in the Netherlands), lution” of distracting sponsorship logos, Stedelijk Museum Amsterdam (1969), offset lithograph, 94.6 x 64.7 cm. Cooper Hewitt, Smithsonian printed on better paper and sometimes Design Museum. Museum purchase from General Acquisitions Endowment Fund, 2009-13-1. Right: April Greiman, Your Turn, My Turn (1983), offset lithograph, 91.5 x 61.1 cm. Cooper Hewitt, reprising a variant that had been rejected Smithsonian Design Museum. Gift of April Greiman, 1995-167-3. Photo: Matt Flynn by the client. “My posters are really paint- ©Smithsonian Institution. ings that I never executed.”12 Apeloig is scrupulous about the print- ist tenets. In her poster Your Turn My Turn World War II, Le Havre was rebuilt in ing of these works. (He encourages his (1983), “the typography appeared to be part through the vision of the Modernist clients to consider the medium for com- floating in space in an acrobatic fashion.”8 architect August Perret—a reconstruc- mercial production whenever possible, Greiman encouraged Apeloig to embrace tion notable for its unified integration of though the economic advantages of off- emerging technologies and break free extant historic structures with modern, set lithography for large runs and digital from the orthodoxy of Swiss graphic design. Apeloig came away from these experiences with a firm understanding of the grid as a means of organization and of type as a realm of invention.9 In 2006 the French library association (ABF) held a centennial conference orga- nized around the theme of “the library tomorrow.” Brought in to establish the organization’s graphic identity, Apeloig sought to convey the idea of the library as a place of research, but also of com- munity—something “much more than books.”10 He created a new typeface, ABF, whose rectangles, parallelograms and circular forms can be arranged to read as letters and numbers, but also as tables, chairs and bookcases. For ABF’s 2009 conference on library architecture, Apeloig created a variant of the font, set- ting the white letterforms within black boxes that divide the space of the poster and its text into cubicle-like formations.11 Also in 2006, Apeloig designed the poster Le Havre (2006) for a competi- Left: Philippe Apeloig, Des bibliothèques à vivre: Usages, Espaces, Architectures (55e Congrès de l’Association des Bibliothécaires français), Paris (2009), screenprint, 175 × 118.5 cm. Printed by tion commemorating the UNESCO des- Sérica, Nancy, France. Typefaces: ABF Silhouette, Akkurat. Right: Philippe Apeloig, Demain la ignation of the French city as a World bibliothèque... (52e Congrès de l’Association des Bibliothécaires français), Paris (2006), screenprint, Heritage Site. Heavily bombed during 175 × 118.5 cm. Printed by Sérilor, Soisson, France. Typefaces: ABF Petit, Akkurat.

20 Art in Print July – August 2014 Left: Philippe Apeloig, Le Havre, Patrimoine mondial de l’humanité (2006), screenprint, 175 × 118.5 cm. Printed by Sérica, Nancy, France. Typeface: Helvetica Neue. Right: Philippe Apeloig, Yves Saint Laurent at the Petit Palais, Paris (2010), screenprint, 175 × 118.5 cm. Printed by Sérica, Nancy, France. Typeface: Avenir. print-on-demand for short runs mean Constantin Brancusi, Eadweard Muy- these elements, the title “VIVO IN TYPO” that many of the commercial screenprint- bridge and Alex Jay. For the background emerges as if woven in a tapestry, an effect ers with whom he has worked have closed of Yves Saint Laurent, a poster for the enhanced by the substantiality of the ink or ceased screenprinting.) While print- couturier’s retrospective exhibition at on the paper’s surface. ers used to prep the screens and send full the Petit Palais in 2009, Apeloig used a Such materiality is particularly con- proofs to the designer for review, printers detail of a photograph of Saint Laurent spicuous now, when, as Apeloig notes, we now more commonly send only small color taken in the 1960s by Pierre Boulat and are “entering an era of dematerializa- tests, so Apeloig often goes to the print reproduced it through a large dot-screen, tion.”13 Today video screens occupy loca- shop (he currently works primarily with a conscious nod to the screenprints tions where posters used to hang: in train Lézard Graphique, near Strasbourg) to of Andy Warhol. For the famous YSL stations, subway cars, outside museums supervise the process. While screenprint logo he chose to reproduce A. M. Cas- and theaters, in the street. But Apeloig allows the direct application of an unlim- sandre’s original gouache drawing from does not bemoan the rise of the digital. “It ited range of inks and materials, including 1961; and the poster’s palette echoes the brings so many possibilities ... the attrac- metallic and fluorescents, Apeloig tries to primary colors of Saint Laurent’s most tiveness of dimension, movement, light limit himself to two or three PMS Pantone iconic dress, itself an homage to the and sound and all forms of interactiv- colors in any given design. paintings of Piet Mondrian. ity.”14 For the Mois du Graphisme à Échi- Apeloig is conscious of the intertwin- In works such as this, typography works rolles festival in France in 2008, Apeloig ing histories of art, commercial design in tandem with the velvety texture and con- created an animation in which typo- and screenprint. The Typorama book centrated colors of screenprint. Vivo in Typo, graphic layers build up and diminish to methodically documents his designs designed for an exhibition of Apeloig’s own the rhythm of a piano piece by Maurice beside the “high art” works that inspired work in 2008, builds its giant letters and Ravel; the final frame resolves on the them: paintings by Claude Monet and pulsating design from punctuation marks: design of the poster.15 The shift to digital, Pablo Picasso, dances by Rudolf von Laban periods, plus signs and dashes. Through Apeloig suggests, may open up a new and Barbara Morgan, and photographs by manipulation of the order and spacing of future for the printed poster.

Art in Print July – August 2014 21 Caitlin Condell is the curatorial assistant in the Department of Drawings, Prints & Graphic Design at Cooper Hewitt, Smithsonian Design Museum in New York.

Notes: 1. “Typorama: The graphic work of Philippe Apeloig,” 21 November 2013–30 March 2014; Philippe Apeloig et al., Typorama: The graphic work of Philippe Apeloig (New York: Thames & Hudson, 2014). 2. Typorama at the Type Directors Club of Amer- ica, New York, NY, 20 February 2014. 3. Steven Heller, “Typorama Spectacular” from www.eyemagazine.com/blog, 13 January 2014. 4. Ayse Kongur, “An interview with Philippe Apeloig,” Creative Review, February (2010): 27. 5. Conversation with the author, 9 June 2014, New York, NY. 6. Email to the author, 9 May 2014. 7. Ibid. 8. Alice Morgain, “Signs of Life,” in Typorama, 16. 9. Ellen Lupton, “A is for Apeloig,” in Typorama, 30. 10. Typorama, 260. 11. Association des bibliothécaires de France Usages, Espaces, Architectures, 55th Interna- tional Congress, Paris, 2009. 12. Conversation with author, 9 June 2014. 13. Email to author, 9 May 2014. 14. Ibid. 15. http://vimeo.com/1621299.

Philippe Apeloig, Vivo in Typo: Philippe Apeloig, Affiches et alphabet animé at the Espace Topographie de l’art, Paris (2008), screenprint, 175 × 118.5 cm. Printed by Sérica, Nancy France. Typefaces: original creation, Akkurat.

Read the latest installment of Sarah Kirk Hanley’s Ink Blog at www.artinprint.org/index.php/ink.

22 Art in Print July – August 2014 Treasures from the Vault 7 Ray Yoshida: The Secret Screenprints By Mark Pascale

n 1994 or 1995, while researching art- I ists for James Yood’s exhibition on the history of printmaking in Chicago at the Block Museum,1 I came across a few slides of screenprints dated 1959/60 by Ray Yoshida (1930–2009), a revered member of the painting and drawing faculty at The School of the Art Institute of Chicago (SAIC). One of the Chicago Imagists, Yoshida’s best-known paintings and collages display strong color, playful yet precise morphological manipulation of forms and a particular discernment for the graphic conventions of comics, pop illustration and the like. Ray was my colleague, someone I knew only periph- erally, but it was exciting to consider an important discovery for the exhibition— I had no knowledge of Ray’s work before his breakout style of collage beginning in 1968. When I approached him about the slides and asked whether I might interview him about his printmaking, he curtly and definitively announced that he did not make prints and that I must be mistaken about the identity of the slides. Galled by this rebuff, I returned to the slide library at SAIC and found that the Yoshida section in the 20th century print drawer was empty. Knowing Ray to be impish, complicated and private, I assumed that he had removed the slides himself, and I chose not to pursue the question further. (Ultimately, he was rep- resented in the exhibition with a single Ray Yoshida, The Garden Island (c.1960), color screenprint monoprint on cream wove paper, image print, See, that had been printed and pub- 48 x 43.7 cm, sheet 66.3 x 50.9 cm. Gift of the Raymond K. Yoshida Living Trust and Kohler Foundation, Inc., 2011.199. The Art Institute of Chicago. Photography ©The Art Institute of Chicago. lished at Arizona State University.2) Yoshida taught at SAIC from 1959 through 2003, and in addition to being tory. 3 During Yoshida’s student years at printmaking influenced Yoshida’s work- celebrated for his painting and for his SAIC, 1950–53, printmaking was not a ing methods as a painter, but one of his collecting (objets d’art, the work of self- focused major, but the school embraced key advisers, Kathleen Blackshear, was a taught artists and vernacular memora- a Bauhaus-inspired pedagogic philoso- prolific printmaker and made extensive bilia), he is recognized as one of the most phy and students were encouraged to try use of batik in her work. Yoshida also influential professors in the school’s his- many media.4 We cannot know whether became adept at enameling, which he

Art in Print July – August 2014 23 I attempted to contact his former stu- dents and colleagues, and had an intern search annual SAIC catalogs to find out what courses had Yoshida taught. In 1960–61, he was listed as teaching “Picto- rial Design and Enameling.” The follow- ing year, he also taught “Silk Screen.” One of his students at the time was Art Green, one of the six artists who exhibited under the title “The Hairy Who.” Green recently made these observations: I took two terms of Ray Yoshida’s silkscreen course in my second year; it was most unconventional. I had taken it with the idea of mastering the standard techniques—maybe I had an idea of printing posters or T-shirts. To my chagrin, in the first term, we never did anything standard at all. Instead, we drew directly onto the screen with pencil, crayons, lipstick—he was open to anything: ketchup, mustard— whatever. Then we squeegeed the customary silkscreen goop through the screen, to transfer the frail image onto paper, usually with disappoint- ing results . . .” 8 While I know of no formal history of monotyping using screenprinting,9 there have been many isolated examples of it during the past 25 or so years, and certainly other artists before and after Yoshida figured out through trial and Ray Yoshida, Blooming Tree (1960), color screenprint on ivory wove paper, image 48.1 x 43.5 cm, error that the traditional stencil methods sheet 56.1 x 50.6 cm. Gift of the Raymond K. Yoshida Living Trust and Kohler Foundation, Inc., of screenprinting could be enriched (or 2012.397. The Art Institute of Chicago. Photography ©The Art Institute of Chicago. undermined, if one is a purist) by using the method he employed. Comparing taught during his early years at SAIC.5 to the slides I had first asked him about. Yoshida’s screenprints made entirely with These facts are significant in light of Even more exciting, several of the prints stencils, such as Blooming Tree, with those early works by Yoshida that came to light seemed to have been worked over by he made using a monotyping method, after he died, when the Art Institute of hand, and were visually linked to paint- such as Garden Island, one can see the lat- Chicago received several important gifts ings and drawings of the same period. ter displays both a greater degree of trans- from his estate.6 The titles of these prints were sug- parency and a surface that was as alive After his retirement, Yoshida returned gestive of the artist’s childhood geogra- and convincing as the paintings he was to his native Hawaii to spend his remain- phy—The Garden Island, Tropics, Blooming making at the time. Morever, the overall ing years close to family. During this Tree—and they were composed in a lyri- visual effects he realized with monotyped time, he allowed me to visit his Chicago cal but dense style indebted to abstract inking recall the qualities of frottage, home and studio to examine his collec- expressionism.7 Each possessed a graphic which he used in drawing. (Invented by tion of drawings by Joseph Yoakum. Dur- core or strong outline of essential shapes Max Ernst, frottage is a method of creat- ing one of these visits, his caretaker took that were colored in and over with numer- ing an image by rubbing with a soft pig- me to the storage area in the basement ous additional stencils, vaguely reminis- mented implement over paper that has to examine several works that had been cent of enameling or batik. When these been laid down onto things with promi- damaged by moisture. Among these were works finally came to the Art Institute’s nent texture or low relief.) two large portfolios, which I opened to collection, it was clear that some of the Possibly taking his cue from work he see whether any mold was growing on the screenprints weren’t simply worked over saw in local collections or in the Art Insti- contents. To my great surprise, the first by hand. Yoshida had created an early tute, Yoshida created beautiful frottage several items were beautifully colored, form of monotyping—what is now widely drawings around 1960. Composed using fully competent, medium-sized screen- referred to as “screenprinted monotype.” many of the same allusive shapes as the prints by Yoshida, some signed and dated Anxious to know more about the screenprints, the artist’s drawing (seen 1960. They looked remarkably similar genesis of Yoshida’s working method, here) was probably made using cut paper

24 Art in Print July – August 2014 as the textured element over which he rubbed a graphite stick, and the cut paper shapes look remarkably similar to the pieces of paper he would remove to create apertures in his screen stencils. These treasures from the vault are outstanding independently, but also con- tribute profoundly to our ability to teach from objects, using them to show what an artist’s intentions might be vis-à-vis technique in the service of an overall idea or plan. Further digging yielded another curi- ous fact. In 1960, the year when Yoshida made these serious and unique strides, he exhibited a painting and a screenprint (described as a serigraph) in the 63rd Chicago and Vicinity Exhibition at the Art Institute, winning prizes for both works—an unusual accomplishment. The prize-winning print was entitled Kauai,10 and is reproduced in the catalog in black and white, which is sad because color reproductions suggest the same luminous textures as Garden Island. Ray died holding onto his secret life as a printmaker, so we can only wonder whether he was proud of these accom- plishments, which he then renounced (or perhaps simply forgot) so many years later.

Mark Pascale is Janet and Craig Duchossois Curator of Prints and Drawings at the Art Institute Ray Yoshida, Untitled (c.1960), graphite frottage and colored pencils on ivory wove paper, 43 x 35.5 cm. of Chicago and Adjunct Professor at the School Gift of the Raymond K. Yoshida Living Trust and Kohler Foundation, Inc., 2011.196. The Art Institute of of the Art Institute of Chicago. Chicago. Photography ©The Art Institute of Chicago.

Notes: vs. Dempsey Modern Art & Uncommon Objects, 1. James Yood, Second Sight: Printmaking in Chi- 2011), 7. cago 1935–1995, exh. cat. (Evanston, IL: Block 8. Attachment to an email to the author from Museum at Northwestern University, 1996). Art Green, 19 Feb 2014, titled “Ray Yoshida: 2. Ibid., cat. 157, 69; illus. in color, 221. Memories.” Further to those memories, a print of 3. Despite his personal friendships with many Yoshida’s from this period, One Dollar, appeared of the so-called Imagist artists, and exhibiting in Touch and Go, and was described as “experi- at Phyllis Kind Gallery, where most of them also mental color transfer silkscreen” (54–55). exhibited, Yoshida was not included in Dennis 9. There have been two recent extensive studies Adrian and Richard Born’s important publication of monotype and screenprinting, neither of which and exhibition The Chicago Imagist Print (1987), mentions the screenprint monotype: Joann so he clearly was never known as an artist who Moser, Singular Impressions: The Monotype in was invested in making prints. America, exh. cat. (Washington, D.C.: Smithson- 4. Yoshida later studied at Syracuse University, ian Institution Press for the National Museum of but there is virtually no literature on his time American Art, 1997); and Guido Lengwiler, A His- there, other than his close association with Ad tory of Screenprinting: How an Art Evolved into Reinhardt. an Industry (Cincinnati, OH: ST Media Group 5. The School of the Art Institute of Chicago International, 2013), reviewed in this issue. Catalog 1960–1961, 18. 10. Sixty-third Annual Exhibition by Artists of 6. These gifts were approved by the artist’s family Chicago and Vicinity, exh. cat., unpaginated through “The Raymond K. Yoshida Living Trust” (Art Institute of Chicago, 1960), cat. 107, ill. PDF: and made by the John Michael Kohler Art Foun- http://www.artic.edu/sites/default/files/libraries/ dation. pubs/1960/AIC1960ArtofChi63rdAn_comb.pdf. 7. John Corbett describes it as “ribbony, floral forms elegantly disposed across an expansive canvas.” Touch and Go: Ray Yoshida and His Spheres of Influence exh. cat. (Chicago: Corbett

Art in Print July – August 2014 25 Prix de Print No. 6 PRIX de Ann Aspinwall: Fortuny PRINT Juried by Peter Power

The Art in Print Prix de Print is a bi- here is a certain engaging famil- design house for which he is best remem- monthly, open, juried competition.1 T iarity to Ann Aspinwall’s suite of bered (and which still operates under the Entries are submitted digitally along with three screenprints. They suggest details family name). Crisp, lasting pleats were an optional artist’s statement. They are or studies of images previously encoun- a hallmark of his garments and form reviewed by an invited outside juror who tered but yet not fully registered. the impetus for the ribbon-like line that is given no identifying information about Each of the three prints is a diptych of vibrates throughout Aspinwall’s images. the artist. vertical rectangles in bold, vibrating colors. Although expertly produced, these This iteration of the Prix de Print has Though Prix de Print jurying is, of neces- prints are refreshingly absent of any con- been judged by Peter Power. sity, done through digital images, I can temporary high-tech hoopla or excessive imagine that from a distance they would labor. One hand-drawn stencil and a flat Fortuny (2014) read as luminous, almost monochromatic per panel: two colors, simple and effec- Suite of three screenprints. 21 1/4 x 28 3/4 blocks, reminiscent of some of the work of tive. This simplicity gives the work a quiet inches each image, 28 1/2 x 35 1/8 inches Ellsworth Kelly or his transatlantic peers authority and saves it from the shortcom- each sheet. Edition of 10. Printed and Imi Knoebel or Blinky Palermo. ings of a considerable amount of contem- published by Aspinwall Editions, New At such a remove they catch our atten- porary printed work. These images are York. $800 each, $2,100 the set. tion like public graphics, generously shar- not trying to say too much. ing a known language of color and form. Series and nuanced variations within This familiar territory invites a closer look, a defined format are strategies most com- which reveals a nuanced and kinetic sense monly associated with modernism. In of shimmer and fold. The colors and lines Aspinwall’s suite this strategy makes me are hot, electric and chemical—almost think of another genre of visual art and post-photographic, a flash akin to an X-ray. design that is seldom considered as criti- Although these works employ an cally substantive in our secular age: pop- established visual language, the art- ular ecclesiastical decorative arts. Each of ist avoids being derivative or conversely these prints is in itself a diptych, and the overstretching for singular originality. suite displayed in full gives us six varia- Acknowledging the history and forebears tions on a theme. Their optical radiance behind the work, she writes that the call to mind stained glass. This might be series “celebrates the colors and materials an indulgent stretch, but I am thinking of Mariano Fortuny.” of Gerhard Richter’s recent digital prints The Spanish-born Fortuny (1871–1949) and how they probably owe as much to was a multifaceted designer and admirer his stained-glass work in Cologne Cathe- of Richard Wagner. His operatic unity of dral (2007) as they do to his paintings. I score, lyric, dance, painting and set design suppose it is all circular in the end. became a design principle for Fortuny. He I like these prints for what they are, was a lighting engineer, architect, inven- how they are made, where they come from tor, director and set designer. Success- and how they allow me to wander off in ful design, he insisted, is the result of a disparate directions with just the neces- designer’s knowledge of materials and sary amount of suggested direction. ability to work at all stages of the design and manufacturing process. Notes: In the late 1880s Fortuny moved to Ven- Peter Power is an Associate Professor and Chair 1. There is no entry fee, but entries must be associ- of the Department of Printmedia at the School of ated with an active Art in Print subscription. ice, where he founded the fashion and fabric the Art Institute of Chicago.

26 Art in Print July – August 2014 Above: Ann Aspinwall, Fortuny III (2014). Below: Fortuny I and Fortuny II.

Art in Print July – August 2014 27 EDITION REVIEW Jane Kent: Blue, Pink and See-through By Elleree Erdos

Blue Nose (2013), Pink Eye (2013) Screenprint in nine colors (Blue Nose) and in 14 colors (Pink Eye), 67 x 47 cm each. Edition of 35 each. Printed and published by Aspinwall Editions, New York. $850 each.

n her first project with Aspinwall I Editions, Jane Kent carefully calibrates color and shape to reveal the illusionistic capacity of screenprint. Pink Eye and Blue Nose illustrate an almost architectural approach to printmaking, with images constructed layer-by-layer and cutouts overlapping with diagrammatic scrupu- lousness. The image is as spontaneous as it is constructed, with soft- and hard- edged forms colliding and knocked askew in a perfect storm of abstract harmony. Kent’s shapes are the crisply manu- factured forms of everyday cardboard boxes (the repeated scalloped edge that frames the white field is an approxima- tion of the serrated metal strip used for tearing off a piece of Reynolds Wrap). The artist first used these shapes in Skating (2011), a livre d’artiste with a short story by Richard Ford [see Art in Print July– Aug 2011], and she has continued to use them as what she calls “bland forms”— simple building blocks for a new image. The vocabulary of the flattened shapes, derived from formerly three-dimensional objects, highlights the interplay between three dimensions and two, between con- struction and the deconstructed. Depth is further addressed as Kent builds the overlapping layers from multiple passes of translucent ink, so that even within the black forms in Pink Eye, the faint out- lines of previous layers can be traced. Jane Kent, Blue Nose (2013). Blue Nose is the bolder of the two images, printed in nine high-contrast toys with our perception of positive and wash was painted on Mylar to create colors using matte, water-based inks. The negative space. a photographic positive, then exposed deep cobalt blue is printed twice, produc- Within one of the sharp-edged rect- three times with different timings to ing a rich field on which to build visual angles, a painterly wash of light blue accommodate the different densities in relationships. A sequence of whites, vary- blends with the cobalt watercolor. These the wash. There are thus three types of ing in opacity and tone, are layered next, seemingly spontaneous, soft strokes are painterly mark on the screen, which was creating an ethereal translucency that the product of a complex process: ink printed three times with different values

28 Art in Print July – August 2014 The Art in Print Prix de Print No. 7

Deadline: 15 July 2014

The Prix de Print is a bimonthly, juried competition open to all Art in Print subscribers.

The winning work of art, selected by an outside juror, is given a full-page repro- duction and is discussed in a brief essay. The jurors are artists, curators and other experts in the field.

Who can enter? Anyone with an active subscription to Art in Print can enter. We can accept one submission per subscription per issue. The subscriber can be an artist, publisher, printshop, gallery or other organization.

How do I submit? Send a high-resolution digital image to [email protected], along with docu- mentation of the work* and the email address associated with the subscription in the body of the email. (Do not send PDF attachments.) Details can be found under the “About Us” tab at www.artinprint.org.

Jane Kent, Pink Eye (2013). Deadlines: Deadlines will be the 15th of every odd-numbered month: 15 January, 15 of the blue. Thus, the original mark was strips at the bottom of Pink Eye—vibrant March, 15 May, 15 July, 15 September essentially color separated, registered echoes of the forms above them, set apart and printed layer by layer, then ultimately by their brilliant hues. These vivid forms and 15 November. restored to wholeness when all three lay- draw attention to the periphery and sug- ers were printed, one on top of the other. gest a larger field beyond the paper’s edge. *Please submit artist’s name, title of In Pink Eye, Kent plays with color and The field of possibilities that Kent investi- work, year, medium, dimensions, depth in 14 screenprinted layers of subtle gates systematically, through a limited edition size, printer/publisher translucent color. White printed over palette and a set vocabulary of shapes, information, brown produces gray, and beige over pink appears to be limitless. price and where turns a soft peach. The restrained tonal available. variation once again distorts positive and PRIX negative space, suggesting an illusory Elleree Erdos is a New York-based writer and de depth. The complex process that pro- print scholar. PRINT duced painterly blue strokes in Blue Nose was employed to make the red and blue

Art in Print July – August 2014 29 EDITION REVIEW Hank Willis Thomas: Now You See It, Now You Don’t By Elleree Erdos

And I Can’t Run (2013) and Blow the Man Down (2013) Screenprints on retro-reflective vinyl mounted on aluminum, 18 x 26 3/4 inches and 26 3/4 x 18 inches, respectively. Edi- tions of 8. Printed by Erik Hougen and Keigo Takahashi, New York. Published by Lower East Side Printshop, New York. $4,500 each.

riginally a photographer and self- Odescribed “visual culture archae- ologist,” Hank Willis Thomas confronts the realities of racial violence in the United States by revisiting horrors that have become obfuscated with time. The formal qualities of these two prints emu- late the mental process through which we absorb and digest difficult histories: both are grasped only when presented in a cer- tain light. Produced during a residency at the Lower East Side Printshop in New York, the prints use white ink on white retro- reflective vinyl mounted on aluminum— the same materials that cause street signs to glow when hit by a car’s headlights at night. The content of And I Can’t Run and Blow the Man Down only becomes fully legible when viewed from a certain angle or when a light is shone on them. Thomas culled the images from post- cards he found on eBay depicting pub- lic punishments inflicted upon African Americans (such postcards were in cir- culation well into the 1950s and ’60s). In ambient light, And I Can’t Run appears to show a muddle of onlookers; the scene they observe is too faint to make out. When illuminated by a flash, however, the Above: Hank Willis Thomas, And I Can’t Run (2013) (flash lighting). Below: Hank Willis Thomas, And formerly negative space becomes positive, I Can’t Run (2013) (ambient lighting). revealing a silhouetted figure bound to a post with its back exposed. One figure in normal light and revealed simultaneously whom we should be sympathizing: the the crowd—probably a young boy, given (but anonymously) in a flash of light, man about to be whipped and the child his height—is also silhouetted. These are evokes a profound sympathy between perhaps brutalized by the sight. the only two African Americans in the the bystander and the central figure—the In Blow the Man Down, two silhou- original image; their similarity, reduced spectacle. Or perhaps Thomas is drawing etted figures, their heads and hands in to their blackness, completely invisible in our attention to the two individuals with stocks, stand on a gibbet-like platform,

30 Art in Print July – August 2014 Left: Hank Willis Thomas, Blow the Man Down (2013) (flash lighting). Right: Hank Willis Thomas, Blow the Man Down (2013) (ambient lighting). while a third is bound to the supporting connection between the literal blackness post, back exposed once again. Flanking of the silhouettes and their race on our the scene with almost perfect symmetry own, through learned historical associa- are two hatted, suited white men who tions. With a flash of light, we recall injus- look at the camera with the assurance of tices we know but have forgotten. Just as people in power—one holds a whip. The quickly, the histories disappear again. positive-negative relationship is stronger in And I Can’t Run, where the silhouettes transform from entirely white to entirely Elleree Erdos is a New York-based writer and black when lit; in Blow the Man Down, print scholar. the silhouettes are black both in ambient light and with a flash of illumination. The image merely becomes bolder in bright light, the contrast between the black and white men clearer. Such images, relegated to history books, have been dulled by the passage of time. Written explanations elucidate these acts of violence, but lack immediacy. The transience of Thomas’s images inten- sifies their reality. The viewer must choose to see the victims by shining a light, but even when the light is shone they remain faceless. They have distin- guishing characteristics; we arrive at the

Art in Print July – August 2014 31 EDITION REVIEW Ryan McGinness: Fluorescent Body Parts By Elleree Erdos

Ryan McGinness, Untitled (Flourescent Women Parts) 1, 2 and 3 (2013).

Untitled (Fluorescent Women Parts) 1–3 duced at the Lower East Side Printshop, Each of the prints uses three transpar- (2014) he has distilled a vocabulary of forms ent colors, producing brand new shapes Three screenprints, 27 x 20 inches each. from the iconography of the female and colors; the overlapping “woman Edition of 10. Printed and published by nude—a persistent standard of beauty parts”—legs, hands, footprints—become Lower East Side Printshop, New York. through much of art history. (The prints new forms altogether. The only palpable $5,500. were on view 3 May–7 June at Pace Prints.) sensuality here comes from the round- McGinness breaks the figure into a ness of the shapes, but these are so regu- number of repeated shapes, which adopt lar and abrupt they are more suggestive of yan McGinness has often been com- the streamlined simplicity of contempo- the draftsman’s French curve (and its R pared to Warhol for his appropria- rary signage, and rebuilds her in a series digital descendents) than flesh-and-blood tion of pop iconography and his medita- of Day-Glo layers. The result is a psy- female curves. Our eye navigates through tions on the symbolism of contemporary chedelic labyrinth of stylized forms that a tangle of forms that vacillate between commercial imagery. His skillful manip- defies the sexuality that traditionally abstraction and figuration, deciphering ulation of screenprint furthers the com- underpins the nude. Fragments move in the beauty and sexuality written in parison. Warhol, however, claimed that and out of legibility: an articulate hand McGinness’s new language. all one needed to know about his work dangles into the margins of Untitled (Flu- was “on the surface,” while McGinness orescent Women Parts) 2; perfectly round dissects recognizable motifs, trans- repeated circles with dots in the middle Elleree Erdos is a New York-based writer and forming them into an ambiguous visual might represent buttons, but here they print scholar. language that entices the viewer by sug- read as breasts; and in all three prints, gesting familiar ideograms without small, stylized female torsos with heads directly quoting them. reveal themselves, like words in a word- Drawing on his background in search puzzle. The images derive their graphic design, McGinness examines appeal from color and form, rather than and deconstructs the aesthetics of our from a coherent representation of the media-saturated age, using the flashy, female body. Both radical and appeal- flat colors, snappy symbolism, and hard- ing, they allude to a subject predicated on edged shapes of contemporary branding. seduction and idealized form while chal- In a new suite of three screenprints pro- lenging any traditional canon of beauty.

32 Art in Print July – August 2014 EDITION REVIEW Hartt, Cordova, Barrow: Three from Threewalls By Michael Ferut

David Hartt, Courier (2013) Photogravure, 19 x 22 inches. Edition of 10. Printed with the assistance of Anchor Graphics, Chicago. Published by Three- walls, Chicago. $1,000.

William Cordova, “It may assume dif- ferent shapes at different times” —Bhagat Singh (last letter from prison, 1930) (2013) Monoprint and collage on found paper, approximately 7 x 10 inches. Varied edi- tion of 10. Printed by the artist. Published by Threewalls, Chicago. $1,000.

Daniel Barrow, Charla and the Ape and the Ape and Charla (2013) Screenprint on balsa wood. Approxi- mately 5 x 7 1/2 x 9 inches (constructed). Edition of 10. Printed by the artist. Pub- lished by Threewalls, Chicago. $600.

ike a growing number of arts organi- L zations, Chicago nonprofit Three- walls has begun publishing editions and David Hartt, Courier (2013). multiples using a community-supported art (CSA) model. Inspired by community- achieve beautiful and unexpected results. physical presence of the typeball. supported agriculture programs, a num- Hartt’s photogravure Courier (2013) Cordova’s “It may assume different ber of CSA programs have formed across is the largest and most dynamic work in shapes at different times” —Bhagat Singh the United States in the hope of strength- the set: a nearly two-foot-square close- (last letter from prison, 1930) (2013) also ening relationships between local artists up of an IBM Selectric type element, an examines objects of bureaucratic commu- and collectors. Many CSAs operate by object barely larger than a ping-pong ball. nication. On the back side of torn, stained preselling limited edition projects by local The photograph’s shallow focus gives the and crinkled Indian governmental docu- artists at a special subscribers’ price. Sub- typeball a voluminous presence, and the ments, Cordova monoprinted a whirl- scribers (sometimes called “shareholders”) gravure captures the photograph’s gradi- wind of fine black lines. He then attached sign on to purchase a certain number of ents as well as the subtle imperfections a photograph of an old-fashioned micro- works per year, and artists agree to pro- of the mechanical object. Introduced in phone, turning the tornado of lines into vide as many works —whether editions 1961, the popular machine was the first an endless electrical cord. The print was or unique works from a series—as there typewriter with interchangeable fonts. It inspired by Indian socialist revolution- are subscribers. Threewalls’ CSA func- used mechanical binary coding to tilt and ary Bhagat Singh’s final correspondence tions slightly differently, as works can rotate the typeball and print the desired before being hung at age 23 for his involve- be purchased individually or as grouped letter or symbol. Hartt chose to depict a ment in the murder of a British official. subscriptions. For Decagon,1 a portfolio Courier typeball because of its pervasive His execution transformed Singh into a featuring David Hartt, William Cordova use. The font has become associated with symbol of resistance among Indian youth. and Daniel Barrow, directors Shannon bureaucracy, as it was the State Depart- Cordova’s monoprints reflect on how the Stratton and Abigail Satinsky carefully ment’s official font from the 1960s until actions—or the paperwork—of a regime selected the artists but did not give them a 2004, and today is the default font for may be reinterpreted and redirected. theme, requirements or technical support. many computer coding interfaces. As Barrow’s Charla and the Ape and the Ape While Threewalls’ past CSA series have a result, Courier is often seen as imper- and Charla (2013) is a screenprint on per- not featured many prints, Hartt, Cordova sonal and anonymous, but Hartt’s gra- forated balsa wood meant to be assembled and Barrow all used print techniques to vure is soft and warm, emphasizing the into two toy-plane-like structures. One

Art in Print July – August 2014 33 William Cordova, “It may assume different shapes at different times”—Bhagat Singh (last letter from prison, 1930) (2013). Left: front side. Right: back side.

fusilage features a cartoonish manic ape, sion shows and commercials. The attack for future projects that reinvigorate the the other a somber woman—both with resulted in a media frenzy, a hand and face task of creating editions and multiples disproportionate features grotesquely transplant for Nash, and Travis’s death. with refreshing approaches. segmented and intertwined. Because Barrow’s dark, uncomfortable humor in only one side of the wood is printed, my Charla and the Ape is intensified by the inner child was slightly disappointed interactive element of the edition. The Michael Ferut is an Editorial Associate at when I turned the objects around only acts of breaking the print apart and trans- Art in Print. to find bare wood. Despite their whimsi- forming it into a sculpture can be seen as cal elements, these are not meant to be a process similar to Nash’s disfigurement toys. Their subject is the 2009 mauling and reconstructive surgery. Notes: 1. Threewalls also offers customers the option of of Chandra Nash by Travis, a chimpanzee These editions show Threewalls’ purchasing Decagon with another portfolio (not who had appeared on American televi- growth as a publisher, and the potential covered in this review); www.three-walls.org.

Daniel Barrow, Charla and the Ape and the Ape and Charla (2013).

34 Art in Print July – August 2014 EDITION REVIEW Richard Forster’s Littoral Beauties By Caitlin Condell

Richard Forster, Incoming sea’s edge on three consecutive occasions at random time intervals. Saltburn-by-the Sea, January 5 2010; 11.35-11.36am (2013). Right: detail of Part III (2013).

Incoming sea’s edge on three consecutive into the photographic frame, reveal pat- occasions at random time intervals. terns in the passage of time. The white Saltburn-by-the Sea, January 5 2010; peaks of the moving water appear in 11.35–11.36am (2013) harsh contrast to the rich blacks of sea Three polymer photogravures, 85.2 x 56.8 and sand. These dense tones required cm each. Edition of 20. Printed by Spike “30–40 minutes of inking and wiping Print Studio, Bristol, UK. Published by before the image would slowly start to Ingelby Gallery, Edinburgh, Scotland. pop its head above the parapet,” accord- £5,400. ing to Spike Print Studio’s Martyn Grim- mer.1 Forster describes the transition ike the tide, Richard Forster is rhyth- from photograph to drawing to print as “a L mically drawn to the shoreline of diagrammatic loop” in which the unique, Saltburn-by-the-Sea in North Yorkshire, “original” drawing is sandwiched England. Year after year, Forster returns between two distinct forms of print. For to the place of his birth and sometime Forster, the photograph remains “a key residence, always in January, to photo- and persuasive index to the ‘real’… the graph the sea as it reaches for and recedes ‘primordial modern’ way of recording the from the shore. The photographs are world.”2 source material for the artist’s meticu- lous drawings, which Forster has then recast as gravure prints. Incoming sea’s Caitlin Condell is the curatorial assistant in edge on three consecutive occasions at ran- the Department of Drawings, Prints & Graphic dom time intervals. Saltburn-by-the Sea, Design at Cooper Hewitt, Smithsonian Design January 5 2010; 11.35–11.36am (2013) fea- Museum in New York. tures the curving edge of the sea along the shore over the course of a minute as Notes: the water rises and falls. The composi- 1. Email to the author, 4 May 2014. tions, determined by the flow of the water 2. Email to the author, 4 May 2014.

Art in Print July – August 2014 35 EXHIBITION REVIEW Aldo Crommelynck: Master and Midwife By Laurie Hurwitz

“From Picasso to Jasper Johns, the Atelier of Aldo Crommelynck” Bibliothèque nationale de France François-Mitterrand, Galerie François Ier Paris 8 April – 13 July 2014 Artists shown: Avigdor Arikha, Jenni- fer Bartlett, Jean-Michel Basquiat, Peter Blake, James Brown, Francesco Clemente, Chuck Close, George Condo, Jim Dine, Martin Disler, Dan Flavin, Gunther Förg, Red Grooms, Richard Hamilton, David Hockney, Jasper Johns, Alex Katz, R.B. Kitaj, Yuri Kuper, Christine Ljubanovic, Robert Morris, Claes Oldenburg, A.R. Penck, Pablo Picasso, François Rouan, Ed Ruscha, David Salle, Joel Shapiro, Donald Sultan, Terry Winters

De Picasso à Jasper Johns. L’Atelier d’Aldo Crommelynck Under the direction of Céline Chicha- Castex, Marie-Cécile Miessner and Jim Dine, Blue detail from the Crommelynck gate (1982), etching, aquatint and power tools, diptych, Cécile Pocheau Lesteven; additional texts 85.5 x 58.6 cm / 85.3 x 58.6 cm. Bibliothèque nationale de France, département des Estampes et by Emmanuelle Bervillé-Ayhnard, Chris- de la photographie. ©Jim Dine / ADAGP, 2014. tine Ljubanovic and Rachel Stella Published by Bibliothèque nationale de France (BnF) / Musée Soulages Rodez, works were selected from the library’s brother Piero, Crommelynck became Paris, 2014 rich holdings, which include some 200 Picasso’s sole printer. Over the next ten 128 pages, 80 illustrations prints gifted by Crommelynck’s step- years they produced around 750 images, €32 daughter Corinne Buchet-Crommelynck including the renowned Suite 347 in 1968 in 2010 and 126 works given in 2007 by and Suite 156 a few years later. They toiled his stunning exhibition at the Jim Dine (a donation celebrated by that night and day, eventually opening a sec- T Bibliothèque nationale de France year’s exhibition “Aldo et moi”1). ond atelier in Mougins near the artist’s pays homage to the master printer Born in Monaco, the son of Belgian home in Cannes to keep up with Picasso’s Aldo Crommelynck (1931–2008), a pri- playwright Fernand Crommelynck, vigorous output. vate, laconic figure justly celebrated for Aldo was apprenticed at age 17 to the After Picasso’s death in 1973, Crom- his technical virtuosity. Although best Parisian printer Roger Lacourière, and melynck returned to Paris. Working out known for his long-lasting collaboration quickly proved to be a skilled crafts- of a townhouse on the rue de Grenelle, with Pablo Picasso, Crommelynck was man. He was soon assisting such artists he began collaborating with artists of a transgenerational figure who worked as Matisse, Leger, André Masson and his own generation. Foreigners such as with younger artists, many British and Georges Rouault. When Picasso saw the Richard Hamilton, David Hockney and American, first in Paris and later in New young man’s accomplished etching of his Jim Dine made the pilgrimage to Paris to York. 1952 gouache Le crâne de chevre sur la table work with him, as did Jasper Johns, Don- Marie-Cécile Miessner, honor- (Goat skull on a table)—having been dis- ald Sultan and Peter Blake. ary curator of the library’s prints and appointed by Lacourière’s own version— The exhibition documenting this drawings department, along with cura- Crommelynck became his preferred rich history is organized along loosely tors Céline Chicha-Castex and Cécile printmaker.2 thematic and at times intuitive lines. It Pocheau-Lesteven, assembled 136 the- When Crommelynck left Lacourière opens, aptly, with Dine’s graceful Blue matically and aesthetically diverse works, in 1955 to set up his own studio, Picasso Detail from the Crommelynck Gate (1982), produced by 30 different artists. The followed. In 1961, assisted by his younger which depicts the ornate, wrought-iron

36 Art in Print July – August 2014 The gallery also incorporates works by Hamilton and Hockney from the “Hom- age to Picasso” portfolio. (Hamilton only agreed to participate in the portfolio on the condition he could collaborate with the master’s etcher.) His superb Picasso’s Meninas (1973) uses eight different pro- cesses, including aquatint, soft- and hard- ground etching, open bite, sugar-lift and drypoint to play with Picasso’s own inter- pretations of Velasquez’s masterpiece. In the witty Artist and Model (1973), a nude Hockney and an elderly Picasso in striped sailor’s garb sit facing one another at a table; the figures are sketched in differ- ent etching techniques, with Picasso ren- dered through the soft ground perfected chez Crommelynck. Adorned with a large photograph of the Crommelynck atelier, another gal- lery becomes a studio of sorts, filled Portrait of Aldo Crommelynck (2007). BnF, départment des Estampes et de la photographie. ©David Paul Carr / BnF. with technical tours de force, such as the famous etching of Picasso’s goat entrance to the atelier—a gateway to an The city’s allure for Anglophone writ- skull from his early days at Lacourière, enchanted world. ers is honored with Blake’s series of etch- or Felicity Sleeping with Parrot, Hockney’s “Being in Paris awakened in me the ings about James Joyce in Paris, which color etching of his mother, for which the collective memory of French culture and I hangs alongside Leopold Bloom (1983) printer pioneered a single-plate system wanted to be part of it and to become part and Transmogrifications of Bloom (1984), for multicolored etchings. (Surprisingly of the light. After all, I was experiencing Richard Hamilton’s magnificent Joycean for a show on intaglio, the galleries glow the same light that Pisarro had seen,” aquatints (see Art in Print, Nov–Dec with vibrant color.) Dine wrote in Aldo et moi.3 The mythos of 2013)—Crommelynck specialized in the While Crommelynck strove for per- Paris, along with the mystique of work- technique, attaining incomparably rich, fection, he allowed and encouraged ing with Picasso’s printer, are evoked in even gray tones—as well as Jasper Johns’ experimentation. Dine frequently sub- the first gallery: Dine’s exuberant Paris etchings for Samuel Beckett’s Foirades / verted the printer’s meticulousness (the Smiles in Darkness (1976) depicting the Fizzles (1976). catalogue includes the remembrances Eiffel Tower in soft ground, sugar-lift and In the center of the large gallery space, of former assistants about Cromme- drypoint; R.B. Kitaj’s sensual soft-ground an intimate enclosure with bright red lynck’s perfectionism and his insistence etching Place de la Concorde (1982); and walls seems to symbolize the heart of on keeping the atelier immaculate. René Les Deux Magots (1985), Red Grooms’ zany the exhibition. Focusing on Picasso, it Tazé noted, “He could not bear even the gathering of Paris’ artistic and intellec- includes Musketeer Sitting Down With a tiniest flaw on a proof.”4) A notoriously tual elite, from Balthus and Giacometti Young Boy and Recalling His Life (1968), the impulsive and unorthodox printmaker, to Picasso, Camus, Sartre and Simone de joyous Fumeur à la cigarette verte and Ecco Dine often reworks plates, incorporating Beauvoir. Homo after Rembrandt, both from 1970. accidents and employing unconventional

Jennifer Bartlett, Bridge, Boot, Dog (1997), color etching, triptych, each plate 60.4 x 60.5 cm. Published by Pace Prints, New York. Bibliothèque nationale de France, département des Estampes et de la photographie. ©Jennifer Bartlett.

Art in Print July – August 2014 37 matte, deep-black ink on stark white; Claes Oldenburg’s lyrical aquatint of a giant slice of strawberry cheesecake; Ed Ruscha’s drinking glasses floating on a lush background. The variety, luminosity and sumptu- ousness of these works demonstrate the ability of Crommelynck, patient yet demanding, to get the very best from each of his artists. He saw himself as an exten- sion of the artist’s hand—a printing tool—and believed his own efforts should remain invisible. Nonetheless some sort of magic emanates from these works. They display a surprising immediacy, as if freshly pulled off the press. As Dine put it, “he was a great midwife.”5

Laurie Hurwitz is a curator at the Maison européenne de la photographie and the Paris correspondent for ARTnews magazine.

Notes: 1. Dine donated a complete set of the prints pro- duced during their 20-year-long collaboration to the library; the resulting exhibition, “Jim Dine: Aldo et moi, Estampes gravées et imprimées avec Aldo Crommelynck,” was held at the Bibliothèque nationale de France Richelieu from 24 April – 17 June 2007. 2. Whereas Lacourière had let the paper repro- duce the white in Picasso’s gouache, Cromme- lynck used white ink, an innovation that changed the course of his life. 3. In Jim Dine: Aldo et moi. Estampes gravées et imprimées avec Aldo Crommelynck (Coédition Bibliothèque nationale de France / Steidl, Paris, 2007), 2. 4. Quoted in Rachel Stella, “Impressions Dura- ble,” in De Picasso à Jasper Johns, L’atelier Terry Winters, Album (1988), etching and aquatint, 52 x 40.3 cm. From a portfolio of nine etchings d’Aldo Crommelynck (Paris, Bibliothèque natio- published by Editions Ilene Kurtz, New York. Bibliothèque nationale de France, département des nale de France, 2014), 44. Estampes et de la photographie. ©Terry Winters. 5. Jim Dine: Aldo et moi, 2. instruments such as power tools (see Art to correspond to the range of gray tones. in Print, Jul-Aug 2013). The Channel and 12 The tall, gaunt printer is himself the sub- rue Jacob (1985) reflect the incredible pas ject of several portraits, including those de deux that must have taken place. The by Grooms and Avigdor Arikha, an indi- result is beautifully controlled chaos. cation of the affection artists bore him. Dine recycled the first image, a skull, by In 1986, after falling out with his sanding down the plate and removing 15 brother, Crommelynck was encouraged centimeters from the bottom to trans- by Dine to open a second printshop in form it into a portrait of his then-wife New York to publish prints with Ameri- Nancy, the pentimento leaving a halo can artists in partnership with Pace around her face. Prints. He left his legacy there, too, train- Other portraits include an elegant ing several American printers, including wall of images by Alex Katz from his Give Julia D’Amario and Bill Hall, who remain Me Tomorrow portfolio (1984), combin- prominent today. The exhibition con- ing a velvety soft-ground line with subtle cludes with moments of grace from sev- aquatint shadows, and a masterful self- eral of these American artists: Sultan’s portrait by Chuck Close from 1988, which Black Freesias (1987), a suite of six small, employs a grid of 2,106 points, numbered delicate silhouettes of flower stems in

38 Art in Print July – August 2014 EXHIBITION REVIEW Djamel Tatah in the Atelier By Kate McCrickard

Djamel Tatah, Untitled (workshop code: Wood 0113) (2013), woodcut and lithograph, 133 x 250 cm. Printed by Julien Torhy at Atelier Michael Woolworth, Paris. Published by Michael Woolworth, Paris. ©Djamel Tatah.

“Djamel Tatah: Oeuvre(s) sur papier / immaculate, resolute grounds of oil are erased, his sources buried, and a dis- Work(s) on Paper” paint and melted wax on which he studi- tance established that is crucial to his art. Atelier Michael Woolworth, Paris ously positions life-size figures in poses Woolworth recognized a common 8 March – 3 May 2014 remembered from press clippings and ground between Tatah’s painting and art history.2 He uses people close to him, the aptitudes of printmaking, not just n 2006 the Paris-based master printer both friends and family, photographing the general shared principle of repetition I Michael Woolworth invited French them in “caught moments” that he proj- but also specific formal echoes: the linear painter Djamel Tatah to pick up a crayon ects, scales up and hones into anonymity. absences that result from gouging a wood and draw on a lithography stone for the Some figures fly into voids. Some lie pros- block or from a gap between jig-sawed first time. Recently, in Woolworth’s atelier, trate and crumpled. At the edge of the blocks echoed Tatah’s painted white line. tucked behind the relentless roar of traffic canvas they are cropped off at the hips, Woolworth describes the images in terms at the Place de la Bastille, they mounted an breast and ankles; they march outwards of compartments: one for the figure, oth- authoritative overview of what is now eight en masse, often repeated or mirrored in ers for the ground. This compartmen- years of rich collaboration. “Oeuvre(s) sur ways that mysteriously reinforces their talization suits printmaking, translating papier” included some 40 lithographs sense of solitude. Tatah whitens faces, dark- into woodblocks or lithography plates and woodcuts, including two-and-a-half- ens hair and smoothes out signs of aging. that must be made separately then fitted meter-long Wood 0113 (2013).1 Detail is synthesized to remove pictorial together—“marquetry in simple form,” Tatah was born in 1959 in France to distraction: the clothing is neutral and only as Woolworth puts it.3 Lithography and Algerian émigré parents who had come the occasional fold of fabric, a lapel or a part- woodcut could also provide the type of to work in the factories of the Gier val- ing in the hair is picked out with a painted flat, richly colored tabula rasa onto which ley. In his ascetic paintings he builds white line. Social markers and distinctions Tatah choreographs his figures.

Art in Print July – August 2014 39 Installation view of Untitled (series of three) (workshop codes: Wood 0108, 0208, 0308) (2008), woodcuts, 150 x 103 cm. each. Printed by Chloé Carette, Daniel Clarke and Michael Woolworth at Atelier Michael Woolworth, Paris. Published by Michael Woolworth, Paris. ©Djamel Tatah. Right: Djamel Tatah, Untitled (one of three) (workshop code: Wood 0108) (2008).

Holding a central place in the exhibi- evoked the “muted” property of fresco.4 on to Ramallah and finally to Gaza. A tion are three monumental jigsaw wood- The casein caused the black lithographic full set of the prints was donated to the cuts (Wood 0108, Wood 0208 and Wood line to bounce rather than sink in, giv- collection of the future Contemporary 0308, all 2008) designed for the Centre ing it the freshness of a charcoal sketch. Art Museum–Palestine (CAMP).6 Given Pompidou group show “Airs de Paris” The figure’s eyes are closed beneath this background, it would be easy to (2007). All are pulled from the same block heavy brows and his right hand raised; attach political content to the image of depicting a single young man, hands he may be dead or just sleeping. For the a young man holding stones, as well as in pockets, lips pursed. Seeping into front-room works, Woolworth added a other works that show women in hijabs the gouged line that describes the folds beige woodblock layer that cuts around and hoodie-wearing boys behind bars. and edges of his dark clothing, thinned the shapes of the figures, leaving them In other works, wood-base striations shades of Prussian blue, russet and a dull flat and anticorporeal, described simply down the length of a nose and nicks acid yellow come through (the color is through the white of the casein and the on the back of a hand read as tears or different in each of the prints). The back- black of the lithography. The slight tonal scourges. But Tatah’s scrupulous refusal grounds are nocturnal—black, nuanced shift from the beige woodblock ground to offer clues of class, politics or nation- with oxblood and mulberry. These luxu- back into the white casein base on the ality means that these suggestions rious color fields were built with multiple figure plays on Tatah’s fixation with never resolve into anything as limiting passes through the press, and the strata the absent or disappearing presence.5 as a clear statement on Middle Eastern of inks can be glimpsed at the edges of Among the most striking of these works politics or the troubled youth of the ban- the cuts, where irregularities in the cheap is a diptych showing a woman rotat- lieues. Instead, the suppressed gestures of plywood matrix allow a rim of deep ing to the left and to the right, as if in his figures are free to evoke the broader salmon around the hairline or a loop of stop-animation (Wood 0311, 2011), and a universe of human expression and expe- ultramarine dropped below an earlobe to vertical print in which young man looks rience. Tatah intended them to convey a shine through. directly at the viewer, offering up two sense of peace. In the atelier’s front room, by con- stones (Wood 0111, 2011). The eerie side of Tatah’s aesthetic is trast, pale beige grounds support white These stones form a rare example forcefully apparent in Wood 0109 (2009), figures articulated by the artist’s deft of a specific attribute or accessory in in which a young man plunges through lithographic line printed in black. In Tatah’s work (an earring appears in a silvery ether. The delicate lithographic Tatah’s first attempt at lithography, canvas from 1989). The print in ques- line that gives life to this twisted figure he drew across three stones to depict tion is part of a series of nine conceived (one arm is hidden or missing and one leg the head and shoulders of a man (Litho for a joint exhibition initiated by Tatah, seems to end in a blunt, squared shape) 0107, Litho 0207, Litho 0307, all 2007). “Valérie Jouve (photographies)–Djamel also attends carefully to the abstract folds Woolworth coated the vélin de Laurier Tatah (peintures),” that opened in the and billows of fabric that wrap the body paper with a glowing skin of casein to Palestinian Art Court–al Hoash, East like a shroud. For this print Woolworth establish a matte, velvety surface that Jerusalem, in July 2011 before moving urged the artist to accept the beauty of an

40 Art in Print July – August 2014 Djamel Tatah, Untitled (workshop code: Wood 0111) (2011), woodcut, lithography with casein, 180 x 90 cm. Printed by Michael Woolworth and Julien Torhy at Atelier Michael Woolworth, Paris. Published by Michael Woolworth, Paris. ©Djamel Tatah.

imperfect ground; Tatah threw the chal- tive and accomplished printmaker through Notes: lenge back, requesting that Woolworth his work with Woolworth. His uncompro- 1. Tatah does not title his prints, which are identi- print a surface that conjures air. Wood mising sensibility seems to suit the disci- fied by workshop codes. 0109 required 12 color passes (including pline of the printing process and his motifs, 2. Dagen Philippe, “Bodies of Thought,” in Djamel five pulls of white to build the density and incessantly repeated in oil paint, are reju- Tatah (exhibition catalogue), MAMAC Nice, translucency) to achieve its final nacre- venated in print. 2009, http://djameltatah.com/en/publications. ous, iridescent surface, with ink runs so 3. All quotations are taken from conversation between the author and Michael Woolworth. heavy that the saturated sheets had to dry 4. Michael Woolworth, Les Papiers de Djamel pinned to the walls rather than on racks Kate McCrickard is an artist and writer Tatah, Centre d’Art Contemporain, Châtellerault, where they might stick. based in Paris. Ateliers de l’imprimé, 2013, 2. These are among the studio’s most 5. Ibid. ambitious prints, as reviews in Le Monde *A related catalogue is available from the 6. “Valérie Jouve (photographies)—Djamel Tatah (peintures)” toured to the Sakakini Culturel Cen- and Libération newspapers acknowledge (a studio, “Les papiers de Djamel Tatah,” ter, Ramallah, Palestine, in September 2011 and rare event for a private print show). Hung text in French by Michael Woolworth, the Centre Culturel Français, Gaza, in October of bare and unframed at the artist’s request, published on the occasion of his exhibit the same year. The series of nine prints was first the works’ chromatic grandeur contrasts at the Centre d’Art Contemporain, exhibited in Tatah’s solo exhibitions at the Châ- with the steel press beds—one of the most Châtellerault, Ateliers de l’imprimé, teau de Chambord, April 2011, and at the Musée de l’Art Concret, Mouans-Sartoux, June 2011. pleasing aspects of the show was seeing December 2013, 8 pages, 10 illustrations, 7. Woolworth, Les Papiers de Djamel Tatah, 1. prints displayed in the place where they edition of 200 of which 30 are signed and were made. Woolworth’s full-time collab- numbered. orator, Julien Torhy, is integral to Tatah’s printmaking and was recognized on the wall labels, which name the printers along- side the artist. Once a “monomaniac”7 painter who made neither works on paper nor drawings, Tatah has become a sensi-

Art in Print July – August 2014 41 EXHIBITION REVIEW Paper as Politics and Process By Jaclyn Jacunski

“Social Paper” Columbia College Center for Book and Paper Arts, Chicago 10 January – 15 April 2014

ocial Paper,” at the Columbia College “ S Center for Book and Paper Arts (CBPA), illuminated how papermaking has been used by artists, activists, citizens and designers to address social ills. Orga- nized by curator Jessica Cochran and professor Melissa Potter, the exhibition revealed the interdisciplinary practices and multiple roles of socially concerned artists as micro-business managers, edu- cators, historians. By blurring the line between amateur and professional art- ists, the exhibition downplayed individ- ual authorship and emphasized the social energy of papermaking. The show opened with self-published, take-away literature such as Phyto-Paper (2014) by Maggie Puckett —handmade paper embedded with sunflower seeds and printed with planting instructions. Once planted, the sunflower’s root system Art Papel Oaxaca and Kilff Slemmons, installation view of Jewelry (2000-11), cotton agave handmade paper, dimensions variable. absorbs toxic lead from soil. Other home- made-paper flyers were available from Jil- lian Bruscherea’s Mobile Mill—a pop-up munal process of art making is at least as museum before Barbata arranged to have papermill that debuted in 2014 and shows important as the final object. Founders it returned to her birthplace in Sinaloa. the public how to repurpose paper waste. Drew Matott and Drew Cameron work New York author and artist Pablo Hel- The curators also designed and distrib- with U.S. Army veterans to make paper guera argues that social practice creates a uted a newsprint timeline of papermak- from their uniforms, transforming old “collective art that affects the public ing and socially engaged art, providing materials and memories into new ones. sphere in a deep and meaningful way.”1 historical context to the exhibition. Frequently the resulting paper is screen- “Social Paper” led the viewer to consider The show’s greatest strength was the printed with representations of war. paper not just as a substrate for art or the balance achieved between the artworks Julia Goodman and Laura Anderson product of refined craftsmanship, but as and the social exchanges that produced Barbata unearthed forgotten histories of an instrument for engaging the world. them. Paper necklaces produced by the women. In Rag Sorters (2013) Goodman American jewelry designer Kiff Slem- took the names of San Francisco women mons and the artisans of Arte Papel in who sorted rags for paper in Depression- Jaclyn Janunski is an artist and a researcher at Oaxaca, Mexico, between 2000 and 2011 era factories and embossed them on rag the Shapiro Center for Research and Collaboration clearly emphasized the social interactions paper. In a projected animation, Barbata at the School of the Art Institute of Chicago. of artists and artisans. Made by folding, used colorful handmade papers and cutting, rolling and shaping the pulp of the Mexican tradition of paper-cutting Notes: indigenous plant fibers, the objects have to chronicle her mission to return the 1. Pablo Helguera, Education for Socially the sturdy, porcelain-white appearance of remains of “the Ugliest Woman in the Engaged Art: A Material and Techniques Hand- ceramics. The wall texts and large photo- World”—a 19th-century sideshow per- book (New York: Jorge Pinto Books, 2001), 5. graphs of the artisans acknowledged the former named Julia Pastrana—to Mexico. atelier’s material expertise. After her death in 1860, Pastrana’s mum- The Combat Paper project is similarly mified body had been toured around predicated on the belief that the com- the world and displayed in a Norwegian

42 Art in Print July – August 2014 EXHIBITION REVIEW John Sparagana Reads the News By Jaclyn Jacunski

Left: John Sparagana, Crowds & Powder: Tahrir Square (2013), magazine pages with oil stick, sliced and mixed, on paper, 20 1/2 x 33 inches. Courtesy the artist and Corbett vs. Dempsey, Chicago. Photography by Tom Van Eynde, Chicago. Right: John Sparagana, detail of Crowds & Powder: Tahrir Square (2013).

“John Sparagana: Crowds and Powder” like overblown, pixilated thumbnails, floating heads. He inverts this strategy Corbet vs. Dempsey, Chicago but they have been painstakingly built by in Crowds and Powder: The Street 1 (2013), 13 December 2013 – 25 January 2014 hand. This labor-intensive hand produc- silhouetting figures to obscure identities. tion stands in contrast to the digital mass Sparagana’s reworking of familiar ews photographs permeate our production of the source, and it draws the news images gives them an unexpected N visual environment—a morning viewer in, encouraging a slower reading physical presence. They encourage us to read of the newspaper, a commuter’s view and disrupting familiar responses. consider our daily media encounters with of tiny thumbnails on an iPhone while on In Crowds and Powder: The Street deeper attention to the realities behind the train, a lunch break spent scanning (mirror) (2013), mirror images of a street the entertaining flash of “the news.” newsfeeds on the computer. Approach- conflict in which a crowd surrounds an ing John Sparagana’s exhibition “Crowds anguished protagonist hang on adjoining and Powder,” I immediately recognized corner walls. Though the picture is large, Jaclyn Janunski is an artist and a researcher at the source material and felt as if it were its content is difficult to decipher; the the Shapiro Center for Research and Collaboration part of my media routine: Tahrir Square, viewer is forced to move closer. In other at the School of the Art Institute of Chicago. a terrorist act, John F. Kennedy, a woman pieces the artist wore down the surface crying. It felt like a visual game of Trivial of reprinted magazine images by folding Pursuit. On closer inspection, however, and carrying them in his pockets. The Sparagana’s work complicates the reflex- once clear, colorful, glossy surfaces are ive consumption of news images. fatigued, with a lusterless, flattened affect Sparagana selected photographs of that obfuscates their meaning. charged newsworthy events—political Crowds and Powder: Same Sex (2013) protests, displays of military power, con- displays the disembodied heads of two flicts related to the war on terror. He cut women kissing. Behind them, Sparagana tiny squares from multiple copies of the applied red and white oil stick in a jit- same image and used these squares like tery checkerboard resembling television mosaic tiles to assemble large versions static. The fragmentation compels us to of the original (the biggest is 64 by 98 reorganize the image by imagining bod- inches). From a distance, the images look ies and supplying a background for the

Art in Print July – August 2014 43 BOOK REVIEW archival sources, trade manuals, print- offered a way to produce a multicolor ing industry journals and interviews composition using only one screen and (and judging from the logos at the end of heavy, opaque pigments. It is remarkable the book, supported by 17 printing busi- how the process, which originated with nesses and organizations), Lengwiler the Selectasine Company in San Fran- has compiled an exhaustive, attractive cisco in 1915 and was patented in 1918, and enjoyable history.1 pervades the history of screenprinting in The author, a Swiss, is himself a the first half of the 20th century. Concep- screenprinter and teaches the process at tually the process is not unlike reduction the Schools for Arts and Crafts in Bern.2 block printing, and it proved to be highly It should be stressed that this is a history efficient. Lengwiler reproduces many seen largely through the lens of printing pages and “Service Features” from the industries in which “fine art printing” 1923 Selectasine Hand Book on such top- (often distinguished by the term “serigra- ics as “improved method for making open phy”) is seen as a special case. letter stencils,” “‘Ben Day’ effects,” “blot- Lengwiler acknowledges the impor- ter tonal shading” and “‘Puddling’ for oil tance of earlier stenciling techniques painting effects.” The Selectasine process such as those used to produce Japanese held sway until the late 1930s when multi- textiles, for the coloring of popular prints screen processes with thinner color layers like imagerie d’Épinal, or mimeograph became the method of choice, in part machines and other stencil duplication because they lent themselves to the use of A History of Screen Printing: systems. He traces screenprint’s immedi- hand-cut stencil films. How an Art Evolved into an Industry ate precursor, however, to the industry of Screenprinting found myriad appli- By Guido Lengwiler, felt pennant production. He chronicles cations on surfaces as diverse as auto- foreword by Richard S. Field how pennant production techniques mobile tire covers and first-aid kits. 474 pages, fully illustrated were adapted in California for printing Lengwiler mentions cardboard signs Published by ST Media Group Inter- signs and posters, pointing to the San used to solicit donations for cigarettes national, Cincinnati, Ohio, 2013 Francisco printing firm of Frank Otoker for the troops in World War I and the $110 Brant and Joseph Anastasio Garner as an printing of army footlockers during early example of graphic screenprinting: the Pancho Villa Expedition in 1916. In The Forgotten History of their first screen process job was a 1912 World War II, screenprinted decals were order for 40,000 Del Monte brand adver- used on aircraft (a staggering 2,000 a Medium tisements on card stock. decals for each B-29); and for the earli- Lengwiler dedicates a good deal of est printed electronic circuit boards, By Stephen Goddard space to the Selectasine process, which invented by the Austrian engineer Paul

uido Lengwiler’s A History of Screen G Printing is a remarkable achieve- ment that chronicles the history of the medium from its inception early in the 20th century through the World War II era. The lavishly illustrated text, with a foreword by Richard S. Field, is divided into seven sections and includes exten- sive footnotes, an appendix with a list of patents and an index. A ribbon bookmark accentuates this elegant production. The approach is largely chronologi- cal, with sections dedicated to stenciling techniques in the 19th and 20th centu- ries, the origins of the screenprinting process in the United States, technical developments, the spread of the medium from the United States to Europe, screen- printing during the World War II era and finally special applications. Throughout there are insets with short biographies dedicated to the many key players and innovators in the com- Brant & Garner studio, Market Street, San Francisco, 1913. This is the earliest photographic plex evolution of screenprint during the record of the screen process. Left: Joseph A. Garner, center: Frank O. Brant. Family records of first half of the 20th century. Drawing on Raymond Brant.

44 Art in Print July – August 2014 Service feature with printed sample in Selecta- sine handbook, 1926. Serico-Eich archives.

Eisler, who had emigrated to England in the wake of the Anschluss. As Lengwiler explains, due to the sluggishness of the British patent office the actual produc- tion of Eisler’s printed circuitry took off first in the United States, where it was used for fuses in anti-aircraft shells. Lengwiler’s treatment of technical advances in screenprinting is fascinat- ing. In addition to the development of knife-cut and photosensitive stencils we learn a good deal about developments in the chemistry of inks, from home-grown recipes that could include “grease, syrup, honey, water or petroleum jelly,” to luminous and transparent inks, to Day- Glo colors. The author also addresses advances in the kind of sturdy material, or bolting cloth, used for screens, most The Canyon Gateway, Arizona (1923), reproduction by the Tonge Art Company from a painting by Fred Grayson Sayre, printed in watercolors, about 30 shades, 13 × 17 1/2 inches. importantly the introduction of syn- thetic fibers. The use of screenprinting to repro- treatment of screenprint as an artistic the Prairie Print Makers member Coy duce paintings is taken up on several medium, a topic that is most extensively Avon Seward, who worked for Western occasions, including an interesting sec- addressed in the last section of the book, Lithograph Company in Wichita, Kan- tion on the Gilbert Tonge Art Company, “special applications,” under a subsec- sas, beginning in 1923 but also turned founded in Los Angeles in 1922 to make tion on serigraphy. Lengwiler points his lithographic talents to his own cre- “Sayrographs”—reproductions of paint- out that “art prints” were produced as ative work.) Lengwiler also considers ings by the significant California impres- early as the 1920s, primarily in Califor- screenprinting under the Federal Art sionist painter Fred Grayson Sayre, who nia (which he calls “the cradle of graphic Project during the Great Depression, was also a frequent collaborator of Tonge. screenprinting”), if one considers the reminding the reader that the head of Lengwiler also touches on the inclusion nonadvertising works produced by com- the New York Poster Division, Richard of screenprinting in school curricula mercial artists who had often trained Floethe, had studied at the Bauhaus; by the early 1930s and, citing J. I. Bieg- in art schools. Artists such as Leopold and that Anthony Velonis introduced leisen’s Silk Screen Stencil Craft as a Hobby, Krumel and Boris Riedel had careers in screenprinting to the Poster Division its popularization as a DIY technique for the screenprinting industry in the 1920s and later founded the Silk Screen Unit amateur artists. and later made prints of their own com- of the FAP in New York, dedicated to The readers of Art in Print will be positions. (This commercial art/fine art screenprinting as a fine art. especially interested in Lengwiler’s crossover is reminiscent of artists like Lengwiler confirms the longstanding

Art in Print July – August 2014 45 Brochure on the uses of Nufilm and Blufilm, (undated, c. 1940 or 1950s). Blufilm was developed around 1937. attribution of the term “serigraphy” to what he has initiated in this remarkable Quarterly 3, no. 4 (December 1986): 287–321, Carl Zigrosser, who used it to distinguish book.” Lengwiler’s detailed text is a won- 288; and Zigrosser’s own discussion in his article artists’ prints from commercial work in derful contribution to our understanding “The Serigraph, A New Medium,” The Print Col- his text for a Weyhe Gallery catalogue of screenprinting, especially from the lector’s Quarterly 28, no. 4 (December 1941). of screenprints in 1940.3 Lengwiler fol- perspective of its industrial applications. lows screenprinting enthusiasts active in With luck, he will escort us through the the 1940s, such as Velonis, Guy Maccoy, next fifty years in a future publication. Harry Shokler and Harry Sternberg, but he does not venture into the 1960s and the explosion of screenprint at the hands Stephen Goddard has dedicated his career to of pop artists and activists such as Sister the study of printed art. He is associate director and a senior curator at the Spencer Museum of Mary Corita. The text concludes with Art at the University of Kansas and is a former some discussion of printing on textiles, president of the Print Council of America. ceramics and glass (including the applica- tion of printed decals). On page one Lengwiler writes, “This Notes: book recounts the forgotten history of 1. The industry trade journal Signs of the Times (Cincinnati) is frequently cited and appears to screen printing in the first half of the offer a trove of information but has not been con- 20th century. Developments since World sulted by the reviewer. War II are amply documented in the pro- 2. See the short biography in Who’s Who in fessional literature.” In his foreword, Screenprinting: http://universaldomainexchange. however, Field says, “There is more to com/whoswho/guido-lengwiler/, consulted 13 May 2013. come, and I know that Guido Lengwiler 3. See also Reba Williams and Dave Williams, looks forward to the continuation of “The Early History of the Screenprint,” Print

46 Art in Print July – August 2014 BOOK REVIEW Born in Springfield, Missouri, in 1948, and Carol Weaver in New York (with Taylor lived only to age 51; he was little whom he was matched by the publisher known in the United States outside New Christopher Cordes at Mere Image Inc., York City, where he resided from 1970 on, New York), and then to Niels Borch Jen- and his first museum exhibition in the sen’s atelier in Copenhagen (introduced States took place more than a decade after by his Cologne dealer, Alfred Kren). In his death, at the Santa Monica Museum those two busy years, Taylor produced 42 in 2011.2 Europe loved him, though; he etchings—“half his entire output in this had numerous gallery exhibitions in Ger- medium,” as Semff reports. At Harlan & many and Switzerland throughout the Weaver and Jensen he learned and quickly 1990s, and his first museum survey was mastered the full range of etching, incor- held at the Kunsthalle Bern in 1992. He porating various aquatint techniques was preparing for a show at the Kunst- as well as open-biting and drypoint. All museum Luzern when he died (“Al Tay- the elements Semff identified as perme- lor: Cures and Lures” opened in July ating his work post-Africa are present in 1999). In 2006, Semff, whom Taylor had these prints. In the gritty neighborhood met in 1994 through his Munich dealer around Harlan & Weaver, for example, Fred Jahn, organized a retrospective of Taylor spotted a window with a taped- the drawings—of which there are several up crack; this became the inspiration thousand—at the Pinakothek der Mod- for a series of playful prints that riff on Al Taylor Prints: Catalogue Raisonné erne in Munich. transparency, light and points of view. By Michael Semff and Debbie Taylor, Having begun as a painter, after 1984 With Jensen, he produced a portfolio of with interviews by Mimi Thompson Taylor turned exclusively to sculpture, 11 prints titled Ten Common (Hawaiian 272 pages, 270 color illustrations. drawing and printmaking, although Household) Objects (1989). Its title page In German and English he always insisted that he remained a presents a grid of amusingly inaccurate Graphische Sammlung München, painter. Even in two dimensions his vignettes of the ten object-images that Munich, and Hatje Cantz Verlag, vision—tied to objects and phenomena follow, among them dangling flypaper Ostfildern, 2013 in the world, however abstracted—was €38.90 richly spatial. In his prints, he manipu- lated gradated tonal effects to enhance the remarkable depth and torsion he The Subtle and Curious Vision was able to achieve through line alone. of Al Taylor Already when he was in art school at the Kansas City Art Institute, which he attended from 1966 to 1970, he was mak- By Faye Hirsch ing prints. Happily for Semff, Taylor care- fully recorded all of them, even before his uoting Al Taylor in the introduc- first official publications in 1988. The first Q tion to the catalogue raisonné of part of the catalogue raisonné records 23 his prints, Michael Semff, director of the such projects, from early figurative etch- Graphische Sammlung München, writes ings and lithographs made during his that printmaking fulfilled Taylor’s “own time at KCAI to his only woodcuts, from demand to devise ‘elaborate programs, 1986. After making no prints in the 1970s, systems, and methods which break down, Taylor returned to printmaking after fall apart, and change the more success- a trip with his wife, Debbie, to Africa ful they become, taking on meanings in 1981, a journey that had a deep effect and a life beyond’ his ‘original inten- on him. As Semff writes, “It essentially tions.’”1 Prints tend to surpass “original altered his entire experiential scale of intentions” as a matter of course, and values, his basic understanding of place Taylor welcomed the medium’s balance and time, strengthened his penchant for of control and surprise. The 163 projects improvisation and love of the objet trouvé, documented in Al Taylor Prints: Catalogue and triggered a willingness to ‘use an ele- Raisonné—many in variant versions and ment of humor in art.’”3 Later trips to proofs that bring the total number of Hawaii provided further inspiration. entries to 230—testify not only to Tay- The second part of the catalogue lor’s experimental spirit in the medium records the prints, mainly in black and Al Taylor, Untitled (Large Tape) (1988), line etch- but also to the striking consistency of his white, that Taylor produced in collabo- ing, step-bitten aquatint, sugar lift aquatint and vision. Fixing on the most banal details of ration with eminent printmakers in the spit bite aquatint, printed in black from one copper the world around him, Taylor uncovered States and Western Europe. It begins with plate, image 67.3 x 34.3 cm, sheet 86.4 x 49.5 cm. Edition of 20. Catalogue Raisonné No. 27. ©2014 in their spatial and linear exposition a a flurry in 1988 and ’89, when he went first The Estate of Al Taylor; courtesy of David Zwirner, rare poetry. to the intaglio workshop of Felix Harlan New York/London.

Art in Print July – August 2014 47 graphs, the former with Maurice Sánchez at Derrière l’Etoile Studios in New York and the most significant of the latter with Robert Arber at Arber and Son Editions in Alameda, New Mexico (again under the impetus of Cordes), both in 1990. In the monotypes, made on the offset press, Taylor strikingly combines newsprint with imagery of stains and wires, recall- ing his Duchampian “Pet-Stain Removal Devices” sculptures. In the monotypes, we are placed at odd angles looking through or down upon transparent planes that seem to be lifting before our eyes by menacingly jagged wires “attached” to the edge of the sheet. (These “dangerous lines,” as Sánchez puts it in an interview in the book, were created by drawing with punctured paint tubes filled with ink.) Text materializes within and behind the planes in reverse, and pale colors appear for the first time. In the “Coathanger” series of lithographs—so redolent of Jas- per Johns—produced with Arber, a coun- terproof technique was used, whereby two fresh, identical paper impressions were placed facing each other, slightly off-register, and run through the press. The technique created a ghostly reversal, a kind of stutter, in vertical compositions of wire clothes hangers suspended from wires. Something of an anomaly in Taylor’s oeuvre is a 1994 portfolio of eight sepia- toned chromogenic prints called “Ozark Drive-Bys.” In 1993, the Taylors traveled to Missouri on numerous occasions, while Al Taylor, Hanging Puddles II (1991), drypoint, sugar lift aquatint, and spit bite aquatint printed in black Al’s mother was dying. Debbie drove the from one copper plate, image 50.2 x 40 cm, sheet 71.1 x 58.1 cm. Edition of 20. Catalogue Raisonné car, and—not wishing to stop in an area No. 112. ©2014 The Estate of Al Taylor; courtesy of David Zwirner, New York/London. where the inhabitants seemed danger- ous—Al leaned out the window and took photographs of the passing landscape. surrounded by the specks of swarming series (1991), inspired by a glance down The result was a series of scenes of coun- insects, the detached yet animate straps to the pavement below a Paris apartment, tryside and houses, in which a partial blur of flip-flops and an uncharacteristically where he noticed the traces of dog urine is reminiscent of the kinds of transparent illusionistic ceiling vent, the air below on the sidewalk. In the “Pet Stains” he effects Taylor cultivated in his drawings speckled with dust motes. In Untitled invents a network of blots labeled with and prints. The images have an ominous, (Bottles) (1989), a spin-off of the Hawaiian the names of places and creatures, at haunted feeling.4 object project, transparent plastic water once constellation and map. At Jensen, For the catalogue, Mimi Thompson bottles are upended to spill their contents too, he produced his last published edi- conducted interviews with Taylor’s main in suggestive washes of spit-bite. tion, All Thumbs (1997), a portfolio of ten collaborators. Felix Harlan “liked Al’s Taylor returned three times to Jen- photogravures starring his thumb—the humorous take on being from the Mid- sen’s workshop over the course of the most basic human device for signature west. He used it as a distancing tool to final decade of his life, producing some and measurement—surrounded by trans- hold off the whole New York art thing.” extraordinary etchings and photogra- parent, painterly lines and with its nail a About working with Taylor, whom he vures. Among them are his “Hanging kind of screen for abstract squiggles. A describes as a “fragile flower with a hard Puddles” etchings (1991), in which he line-etching and drypoint of his thumb- shell around it,” Sánchez says, “you work imagines the fantastic scenario of pud- nail—no photo this time—is the very last with an artist and they go into new terri- dles—in aquatint, of course—suspended print Taylor made. tory and you both do things you haven’t midair like clothes from a line, and his While Taylor favored etching, he also done before. It’s exciting and terrifying humorous and best-known “Pet Stains” produced fine monotypes and litho- simultaneously.” Arber also comments on

48 Art in Print July – August 2014 Left: Al Taylor, Pet Stains (Spike, Mess, Bruce, etc.) (1991), sugar lift aquatint, spit bite aquatint, and line etching printed in black from one copper plate, image 50.2 x 31 cm, sheet 78.1 x 53.5 cm. Edition of 20. Catalogue Raisonné No. 118. ©2014 The Estate of Al Taylor; courtesy of David Zwirner, New York/ London. Right: Al Taylor, All Thumbs: “I.” (1997), photogravure printed in black from a photo-sensitive polymer plate, image 25.4 x 20.3 cm, sheet 31.6 x 24.1 cm. Edition of 18. Catalogue Raisonné No. 157. ©2014 The Estate of Al Taylor; courtesy of David Zwirner, New York/London.

Taylor’s humor, and on his curiosity, add- ductions. Semff summarizes the prints Faye Hirsch is Editor at Large at Art in America, ing that he “saw vast potential in some- chronologically, but his patent love of and teaches in the MFA program at SUNY thing with almost no value to anyone the material is revealed in his occasional Purchase. else, and he could turn it into something flights of interpretation, as when he com- great.” Jensen describes the aftermath of ments on Taylor’s “Tape” etchings of 1988: a party: “You know when you move your head too fast when you have a hangover Would it be going too far to read the Notes: and there’s a slight delay? Well, this feel- small version of the image as a view of 1. Michael Semff and Debbie Taylor, Al Taylor ing caused his work [that day] to keep a window from outside, and the larger Prints: Catalogue Raisonné (Munich: Graphische Sammlung München; Ostfildern: Hatje Cantz Ver- moving from two to three dimensions as a view into an interior revealing the lag, 2013); the quote from Taylor is from Michael and back again.” Recent books seem more limitless realm of an artistic, “mental” Semff, Al Taylor: Drawings/Zeighnungen, exh. willing to turn to an artist’s printmaking space that alludes in light-handed cat. (Munich: Staatliche Graphische Sammlung collaborators for insight; here their com- aphorisms to an “oeuvre” as yet to be München; Ostfildern: Hetje Cantz Verlag, 2006), 86. ments bring Taylor to life. executed?5 2. “Al Taylor: Wire Instruments and Pet Stains,” Santa Monica Museum of Art, Jan. 22–Apr. 16, Semff’s partner in writing the cata- 2011. This was followed by an exhibition at the logue raisonné was the artist’s widow, Indeed, one is moved by the humanity High Museum in Atlanta, “Drawing Instruments: Debbie Taylor, who has contributed of Taylor’s abstractions, his spot-on, alert Al Taylor’s Bat Parts and Endcuts,” May 25–Aug. a useful chronology. Since Al Taylor’s eye trained upon our civilization’s lowli- 25, 2013. career was relatively brief, the book feels est residues, and a sensibility bent on ele- 3. Semff and Taylor, Al Taylor Prints, 11; quote by refreshingly complete. Catalogues rai- vating them. His was a subtle, curious Taylor from Semff, Al Taylor: Drawings, 171. 4. The portfolio was published by Galeri Tommy sonnés can be dry affairs, and they are vision; would that it had further unfolded Lund in Odense, Denmark, in 1994. usually accompanied by fairly brief intro- over a few more decades. 5. Semff and Taylor, Al Taylor Prints, 16.

Art in Print July – August 2014 49 Books in Brief

ings made between 1977 and 2012 ing into cleverness,” never charg- ument toppled in the 2011 Christ- as well as sketchbooks and other ing forward into cleverness.) From church earthquake. contextualizing matter. The large the time Max Klinger went toe to In between are 118 other prints, hardcover catalogue expands on toe against Impressionism, con- mostly etchings, each given its this, reproducing more than 200 temporary art has been deeply own spread with a color reproduc- works, almost all of them with conflicted about the status of pre- tion and brief essay. Cleavin works a full page to themselves. Texts cisely rendered, narrative images. in many of the print’s traditional in German by Alexandra Barcal, For 150 years it has been almost areas of strength: there are politi- Peter Kane Dufault and Mar- axiomatic that critical art requires cal works and satires, visual and tin Schaub provide biographical formal invention; it is not enough verbal puns, surreal juxtapositions background and an overview of to say something new, you have to of parts. Everything is executed Bräuninger’s concerns: spatial and invent a new language in which to with finesse. His technical skills— temporal dislocation, the theater say it. Cleavin studied briefly with Gabor of the imagination, and the sense Bräuninger’s style is undoubt- Peterdi in 1972—are superb (he in which all our understanding of edly conservative—accurate with- even indulges in viscosity printing the world is imaginative recon- out being clinically photorealist on occasion). struction. and suffused with more than a The book is organized chron- Ships, from Noah’s ark to con- whiff of nostalgia (none of his suit- ologically and the trajectory is Peter Bräuninger Schattenreisen: temporary container ships, figure cases have wheels). But his concern interesting to follow. In his early Radierungen largely in these pages. (In his youth with the psychological construc- career Cleavin seemed to be try- With texts by Alexandra Barcal, Bräuninger worked as a sailor for tion of reality, and specifically ing hard to “say something” in an Peter Kane Dufault and Martin a couple of years on the Rhine.) the filmic conventions we have all almost literary vein: the images Schaub (in German) Airplanes, railway bridges, empty internalized to explain things to are self-consciously witty and the 356 pages, with 270 color roads and tire tracks in snow ourselves, is profoundly contem- nods to Surrealism overt; people illustrations further underscore the theme of porary. –ST sprout shadow puppet hands from Published by Achilla Presse, travel and transition. His cities their shoulders, jackets transmog- Hamburg/Baltimore, 2013 are port towns (he lives and works rify into fish heads. This is the CHF 68 in Hamburg and Genoa), and his work of a masterful draftsman people are sailors, prostitutes, lone who is bored by the mere appear- walkers in the dark. Film noir and ances of things. In later work, his Shadow Journeys Edward Hopper are both obvi- fascination with skeletal struc- ous antecedents: Bräuninger likes tures is given freer reign. Tender The title of Peter Bräuninger’s deep shadows, isolated wayfarers depictions of anatomical speci- recent retrospective and accom- and seedy ends of town. mens from natural history collec- panying catalogue, “Shadow Jour- Bräuninger borrows the high, tions are allowed to stand on their neys,” is taken from an etching angled view of Hopper’s Night own, not simply as actors in some the artist made in 1989. Like all Shadows repeatedly, but where larger narrative. of his work, it is meticulously Hopper allows the dark end of the Cleavin acknowledges that rendered and lugubriously lit. A street to dissolve into individual etching is a lure to obsessiveness: lone traveler, in jacket and hat and strokes of the etching needle, “It’s such an introverted activ- accompanied by an old-fashioned Bräuninger never shows his hand ity, that it sometimes seems to valise, looks out at an approaching this way. Instead, he reveals the negate life and living.” But in his steamship. The scene is a roman- image’s artifice by seeding it with most recent work, he seems to tic evocation of a journey’s start, cognitive discontinuities: some have located vital meaning in the but things get strange quickly. otherwise conventional render- external world itself—his 2009 The man is standing, not on a ings of urban vistas feature cut- series Exercising the Black Dog con- dock, but on what appears to be a away rooms as if they were film Lateral Inversions: sists of simple studies of light and rural railway platform; the clock sets; ships repeatedly appear in The Prints of Barry Cleavin shadow that hover on the edge of mounted to the rafters above him impossible locations. Sometimes By Melinda Johnston, legibility, much as the world often reads twenty past six, and we can he provides an explanation, as in with T.L. Rodney Wilson does when we step into it from the read it thanks to the light stream- Babelsberg (1997), where the title 288 pages with darkness of the library. –ST ing from the station windows. The and the dangling lights identify 120 color illustrations position of the huge ship is ambig- the location as a movie studio. Published by Canterbury Univer- uous: it could conceivably be trav- Often he simply offers the conun- sity Press, Christchurch, NZ, 2013 eling along an adjacent canal. But drum. An untitled etching from NZ $55 what is the platform for? “Shadow” 1996 that shows a painter work- might refer to the surrounding ing at his easel in the path of an darkness, or to the possibility that advancing train has a Mark Tansey Carefully Nurtured the ship is a pipe dream, or more quality of recursive self-awareness Conundrums broadly to an inversion of the nor- about representation itself. The mal order—a “shadow journey” visual pleasure of the starlit sky is The status of Barry Cleavin in New like a “shadow government,” much matched by the conceptual com- Zealand can be discerned from the same except in a few all-impor- plexity of the situation. the sumptuousness of this pub- tant details. These are beautiful etchings, lication—nearly 300 pages long, In its mastery and peculiarity, and clever. Therein lies the rub. hard-bound, beautifully printed, Schattenreise is representative of Cleverness is a maligned virtue, and elegantly typeset in red and the etchings that Bräuninger has a term most often used to signal black. It documents a long career, been producing for the past 40 wit without depth and ultimately running from 1966 (a Schiele- years. The retrospective at ETH a kind of intellectual cowardice. esque etching of two nudes) to a Zürich included some 80 etch- (People are described as “retreat- computer-aided etching of a mon-

50 Art in Print July – August 2014 Liam Everett, Untitled (Siguer) (2014) News of the Color flatbite with aquatint etching, image 44 x 35 inches, sheet 50 3/4 x 40 1/2 inches. Edition of Print World 35. Printed and published by Paulson Bott Press, Berkeley, CA. $2,500.

Selected New Editions

Stuart Arends, Unfolded (2014) Three-color lithograph collaged onto a wooden base, 6 x 12 inches. Edition of 5. Printed and published by Yael Brotman, Trestle (2013). Tamarind Institute, Albuquerque, NM. $3,000. Brian Cypher, Entrances, Exits & Entropy (2014) Set of 12 etchings, images 8 x 6 inches each, sheets 14 x 12 inches each. Edition of 16. Printed and published by Manneken Press, Bloomington, IL. $300 individual prints, $3,600 for the portfolio.

Liam Everett, Untitled (Siguer) (2014).

Lothar Götz, House for Karl–Heinz–Adler and Stuart Arends, Unfolded (2014). The Line of Beauty–Indigo (2014) Two- and nine-color lithographs, 18 x 12 inches each. Sebastiaan Bremer, To Joy: Circle, To Joy: Vir- Edition of 25 each. Printed and published by Hole tue’s Steep Hill and To Joy: Gentle Wing (2014) Editions, Newcastle upon Tyne, UK. £400 each. Archival inkjet, hand painting and collage, 24 x 24 The Line of Beauty–Brown, Untitled and inches each. Edition of 12 each. Printed and published Extinction (2014) by Lower East Side Printshop, New York. $2,500. Ten-, eight- and twelve-color lithographs, 12 x 9 inches each. Edition of 25 each. Printed and published by Hole Editions, Newcastle upon Brian Cypher, from Entrances, Exits & Entropy (2014). Tyne, UK. £300 each.

Agnes Denes, The Ghost of Nautilus: The Soul of an Image (2014) Archival inkjet print, 11 1/2 x 15 inches. Edition of 55. Printed by Lower East Side Printshop, New York. Published by ArtTable, New York. $1,100.

Sebastiaan Bremer, To Joy: Circle (2014).

Teresa Booth Brown, Jacket, Bag, Dress, Watch, Ring (2014) Color lithograph with digital collage/chine collé, Lothar Götz, Extinction (2014). 30 x 22 inches. Edition of 25. Printed and pub- lished by Shark’s Ink, Lyons, CO. $1,500. Michelle Grabner and Brad Killam, Agnes Denes, The Ghost of Nautilus: The Soul Oyster Multiple (2014) of an Image (2014). Powder coated steel, hammered aluminum, ging- ham cotton, silverpoint and gesso on wood panel, Thorsten Dennerline and Suburban Book and DVD, 32 x 52 x 5 inches. Edi- Mark Wunderlich, The Wind (2014) tion of 10. Fabricated and published by Gallery 16, Plate and stone lithography, intaglio and letter- San Francisco. $7,500. press on handmade paper, 7 x 5 1/2 inches closed, 14 to 210 x 5 1/2 inches open. Edition of 30. Printed and published by the artists, Bennington, VT. Letterpress by Daniel Keleher at Wild Carrot Letterpress and Arthur Larson at Horton Tank Graphics. $2,400.

Teresa Booth Brown, Jacket, Bag, Dress, Watch, Ring (2014).

Yael Brotman, Trestle (2013) Etching on Kurotani and Taiwanese papers, foam- core, acrylic and adhesive, 22 x 30 x 18 inches. Unique image. Printed by Lorna Livey, Toronto. Published by the artist, Toronto. Available through Thorsten Dennerline and Mark Wunderlich, Michelle Grabner and Brad Killam, Open Studio Print Centre, Toronto. $3,600. The Wind (2014). Oyster Multiple (2014).

Art in Print July – August 2014 51 Lonnie Holley, Coming Out of the Redwoods, Pieces and So About the Solar (2013) Softground and aquatint, 19 1/2 x 16 inches each. Edition of 30 each. Printed and published by Paulson Bott Press, Berkeley, CA. $800. Obstacles Before the Goal and Our Journey (2013) Softground, aquatint and drypoint, 40 1/2 x 34 inches each. Edition of 30. Printed and published by Paulson Bott Press, Berkeley, CA. $1,800. Sharon Kopriva, Cauldron (2014). Mamiko Ikeda, Baby Stone-age TV (2014).

Michael Kukla, Hex Grid Red SD (2014) James Joyce with illustrations by Screenprint, image 18 3/4 x 23 3/4 inches, sheet Robert Berry, The Dead (2014) 25 3/4 x 30 1/8 inches. Edition of 25. Printed by Hand-bound book in linen slipcase, letterpress Aspinwall Editions, Rheine, Germany. Published printed, 60 pages, 13 illustrations, 35.5 x 26.5 cm.. by Aspinwall Editions, New York. $650. Edition of 150. Printed by Stoney Road Press, Dublin. Published by Stoney Road Press and James Joyce Centre, Dublin. €1,250.

Lonnie Holley, Pieces (2013).

Mary Hood, Swarm (2014) Michael Kukla, Hex Grid Red SD (2014). Laser engraved woodcut (seven plates) on hand- made paper, 12 x 16 inches. Edition of 10. Printed and published by the artist, Tempe, AZ. $350. Solveig Landa, The Wind Over the Earth (2013) Monoprint, 25 x 25 cm. Unique image. Printed and published by the artist and Grafisk Verksted, Stavanger, Norway. €570. James Joyce with illustrations by Robert Berry, The Dead (2014).

Atsushi Kaga, This way cat leads Robert, Usacchi listening to David Bowie, The darkness covers his work, Melancolía con verduras,The new nose for Michael Jackson’s skull, Robert Battles with the octopus, Kumacchi after the operation, Salmon and asparagus and Where is the party? (2014) Etchings, 29.2 x 25 cm each. Edition of 10 each. Mary Hood, Swarm (2014). Printed and published by Polígrafa Obra Gràfica, Barcelona. €750 each. Homare Ikeda, Six Rocks (2014) Solar plate etching, 12 x 12 inches. Edition of Solveig Landa, The Wind Over the Earth (2013). 20. Printed and published by Oehme Graphics, Steamboat Springs, CO. $600. Hung Liu, Grandfather’s Mountain: The Rock, Grandfather’s Mountain: The Steps and Grand- father’s Mountain: The Stone Table (2013) Single-color lithographs with chine collé, 20 x 24 inches each. Edition of 15 each. Printed and pub- lished by Tamarind Institute, Albuquerque, NM. $1,200 each.

Atsushi Kaga, Usacchi listening to David Bowie (2014).

Sharon Kopriva, Cauldron, Purgatory and Hormare Ikeda, Six Rocks (2014). Consummation from the Hairless Hound suite (2014) Mamiko Ikeda, Baby Stone-age TV (2014) Color etchings with soft ground, line etching, Woodcut, 12 x 12 inches. Edition of 20. Printed relief and photopolymer gravure, image 9 x and published by Oehme Graphics, Steamboat 16 inches, sheet 14 x 21 inches. Edition of 20 Springs, CO. $400. each. Printed and published by Flatbed Press, Hung Liu, Grandfather’s Mountain: The Steps Austin, TX. Price on request. (2013).

52 Art in Print July – August 2014 Jeremy Lundquist, Stability Dynamics (2013) Mary O’Malley, Hanging Garden 3 (2014) Suite of 20 etchings (all prints pulled from a single Photo lithograph, 36 x 50 inches. Edition of 12. copper plate, all but four are two layers, one with just Printed and published by Amanda Verbeck, Pele black ink, the second spot wiping color), 88 x 140 Prints, St. Louis, MO. $2,500. inches, each print 22 x 28 inches. Edition of 5. Printed and published by the artist, St. Paul, MN. $8,000.

Randi Reiss-McCormack, On the Hill (2013).

Mary O’Malley, Hanging Garden 3 (2014). Andre Ribuoli, Melencholia (after Dürer) and Knight, Death and the Devil (after Dürer) (2014) Jeremy Lundquist, Stability Dynamics (2013). Elvia Perrin, Fossil (2014) CNC engraved copper plate and CNC engraved Intaglio, image 10 x 16 inches, sheet 13 x 19 inches. copper plate with steel facing, 12 x 9 inches each. Printed and published by the artist, Austin, TX. $350. Edition of 13 each. Printed and published by Mary Mito, Invisible (2013) Ribuoli Digital, New York. $2,000. Two-color lithograph, 17 22/25 x 21 22/25 inches. Edition of 25. Printed and published by Tamarind Institute, Albuquerque, NM. $1,000.

Andre Ribouli, Melancolia (after Durer) (2014). Mary Mito, Invisible (2013). Elvia Perrin, Fossil (2014). Rosalyn Richards, Satellite (2014) Etching and aquatint, 13 3/4 x 12 inches. Edition Mônica Nador, About Homes I-II (2014) of 12. Printed and published by the artist, Lew- Two- and three-color lithographs, 13.38 x 19.38 Blake Rayne, On Fridays We Have Half Days (2014) isburg, PA. Available from Davidson Galleries, inches and 19 x 25 inches. Edition of 16 each. Seattle, WA. $500. Printed and published by Tamarind Institute, Offset poster, plexiglass, 32 x 22 1/2 inches. Albuquerque, NM. $400 and $600. Unique work. Printed by the artist, New York. Published by the artist and Miguel Abreu Gallery, New York. Price on request.

Mônica Nador, About Homes I (2014). Rosalyn Richards, Satellite (2014). Jane Allen Nodine, Apparition.85 (2014) Monotype, 24 x 18 inches. Unique image. Printed Jenny Robinson, Definitive Counterpart (2014) and published by the artist, Spartanburg, SC. $300. Drypoint on Gampi, offset drypoint, chine collé, 25 x 52 inches. Variable edition of 5. Printed and Blake Rayne, On Fridays We Have Half Days published by the artist, San Francisco. $2,500. (2014).

Randi Reiss-McCormack, On the Hill (2013) Solar etching, 18 x 22 inches. Printed and pub- lished by the artist at Sol Print Studio, Baltimore, MD. $1,000.

Jane Allen Nodine, Apparition.85 (2014). Jenny Robinson, Definitive Counterpart (2014).

Art in Print July – August 2014 53 Alison Saar, Cotton Eater (2014) Laurie Sloan, Untitled (2014) Exhibitions of Note Woodcut on found sugar sack quilt, image 54 x 26 Varnished screenprints on paper, mounted on inches, sheet 72 x 34 inches. Variable edition of 6. panel, each panel 18 x 24 inches, total installa- ALBUQUERQUE, NM Printed by Joe Freye and Jason Ruhl, Madison, WI. tion approximately 108 x 42 inches. Edition of 10. “Landmarks: Indigenous Australian Published by Tandem Press, Madison, WI. $6,000. Printed and published by the artist, Storrs, CT. Artists and Native American Artists $600 each panel, $4,800 total. Explore Connections to the Land” 25 July – 26 September 2014 Tamarind Institute This project brings together artists from opposite sides of the world to explore collaborative lithography.

ASHEVILLE, NC “Dox Thrash, An American Journey: Georgia to Philadelphia” 28 June 2014 – 7 September 2014 Asheville Art Museum Laurie Sloan, Untitled (2014). http://www.ashevilleart.org/collections/exhibitions/ This exhibition of 41 works on paper includes watercolors, relief prints, lithographs and etch- Luis Tomasello, S/T (1-4) (2013) ings, in addition to carborundum mezzotints, the Twelve lithographs (series of four, each printed process Thrash invented while working for the in three different colors), 63 x 63 cm each. Edition WPA in Philadelphia. of 50. Printed and published by Polígrafa Obra Gràfica, Barcelona. €3,000 each. AUSTIN, TX Alison Saar, Cotton Eater (2014). “Flatbed Summer Selections” 17 June 2014 – 13 September 2014 Flatbed Press Susan Schwalb, Chamber Music portfolio http://www.flatbedpress.com/ (Allegro, Allegretto, Vivace and Adagio) (2013) Internationally and locally known artists who Series of four echings, image 6 x 6 inches each, have worked in Austin at Flatbed. sheet 10 3/4 x 10 1/2 inches each. Edition of 6 each. Printed by Jennifer Melby, Brooklyn, NY. Published by the artist, New York. Available from BARTON-UPON-HUMBER, Garvey Simon Art Access, New York. $500 each, NORTH LINCOLNSHIRE, UK $1,800 for the portfolio. “North Lincolnshire Print Open 2014” 7 June 2014 – 7 September 2014 The Ropewalk http://www.the-ropewalk.co.uk/ A juried exhibition featuring artists from around the country. Luis Tomasello, S/T (2) (Verde) (2014). BRUNSWICK, MAINE “Richard Tuttle: A Print Retrospective” Janaina Tschäpe, Spilling Memory 62 (2013) 28 June 2014 – 19 October 2014 Screenprint, 29 x 22 inches. Unique image. Bowdoin College Museum of Art Printed by Erik Hougen and Keigo Takahashi, http://www.bowdoin.edu/art-museum/exhibi- New York. Published by Lower East Side Print- tions/2014/richard-tuttle-prints.shtml shop, New York. $4,000. Organized in close collaboration with the artist, this exhibition is the first comprehensive exami- nation of the prints of Richard Tuttle. Susan Schwalb, from the Chamber Music port- folio (2013). CHICAGO “What May Come: The Taller de Gráfica Popular and the Mexican Political Print” James Siena, Dis-connected Hooks (Blue) and 4 July 2014 – 12 October 2014 Dis-connected Hooks (Red) (2014) Art Institute of Chicago Pigmented linen pulp on abaca base sheet, 17 1/4 http://www.artic.edu/exhibition/what-may-come- x 13 1/2 inches each. Edition of 15 each. Published taller-de-gr-fica-popular-and-mexican-political-print by Dieu Donné, NY, as part of the Lab Grant Resi- The Mexican Taller de Gráfica Popular (the Popu- dency Program. Starting at $1,500 each. lar Graphic Art Workshop) was an influential and progressive printmaking collective that produced some of the most memorable images in mid-cen- tury printmaking.

“Onchi Koshiro: The Abstract Prints” Janaina Tschäpe, Spilling Memory 62 (2013). 19 July 2014 – 5 October 2014 Art Institute of Chicago http://www.artic.edu/exhibition/onchi-koshiro- abstract-prints Onchi Koshiro (1891–1955) was a leader and inno- vator of the sosaku hanga (creative print) move- ment that revolutionized Japanese printmaking before and after World War II.

“Summer Blue: Prints from Wildwood Press” James Siena, Dis-connected Hooks (Red) (2014). 27 June 2014 – 19 July 2014

54 Art in Print July – August 2014 Firecat Projects Jordan Schnitzer Museum of Art http://www.firecatprojects.org/ http://jsma.uoregon.edu/Norma The first solo exhibition of Hall’s work since CINCINNATI her death in 1957, this exhibition surveys Hall’s “Cries in the Night: German Expressionist 25-year career as a printmaker. Prints around World War I” 21 June 2014 – 17 August 2014 “Vistas of a World Beyond: Traditional Cincinnati Art Museum Gardens in Chinese Material Culture” http://www.cincinnatiartmuseum.org/ 17 June 2014 – 5 July 2015 This exhibition traces the renaissance printmak- Jordan Schnitzer Museum of Art ing that accompanied the founding of the Brücke http://jsma.uoregon.edu/vistas group of artists in 1905, and continued into the This exhibition features woodblock prints the early years of the Weimar Republic. describe the ideal scholar’s garden, as promoted in famous Chinese painting manuals of the 17th DENVER, CO century. Textiles, paintings and sculptures are “At the Mirror: Reflections of Japan also on view. in 20th Century Prints” 6 July 2014 – 21 September 2014 GLENS FALLS, NY Denver Art Museum “Emerging from the Shadows: http://www.denverartmuseum.org/exhibitions/mir- Edward Hopper and his Contemporaries” ror-reflections-japan-20th-century-prints 14 June 2014 – 14 September 2014 Focusing on woodblock prints produced during Hyde Collection of the 20th century, this exhibition demonstrates http://www.hydecollection.org/exhibitions/Emerg- the continuation and adaptation of this long- ing_from_the_Shadows_Edward_Hopper_and_ standing Japanese art form. his_Contemporaries_441.htm In Hamburg: “C’est la Vie: The Paris of Daumier This exhibition features approximately 25 and Toulouse-Lautrec,” through 3 August 2014. EAST HAMPTON, NY works on paper by ten artists including Edward Henri de Toulouse-Lautrec, At the Moulin Rouge, “Foundation for Art and Preservation Hopper, Martin Lewis, Louis Lozowick, George the Goulue and her sister (1892), color litho- in Embassies (FAPE) Exhibition” Bellows, Isabel Bishop, Howard Cook and Armin graph, 49 x 38 cm. Hamburger Kunsthalle, 21 June 2014 – 27 July 2014 Landeck. Prints and Drawings ©Hamburger Kunsthalle/bpk Guild Hall Photo: Christoph Irrgang. http://www.guildhall.org/events/?id=496&mode=id HAMBURG, GERMANY This exhibition presents works by some of the “C’est la Vie: The Paris of Daumier United States’ most acclaimed artists, including and Toulouse-Lautrec” LONDON work from the the Lee Kimche McGrath Original 16 May 2014 – 3 August 2014 “Contemporary Japanese Prints: Print Collection, FAPE’s longest-running program. Hamburger Kunsthalle Noda Tetsuya’s ‘Diary’ Series” http://www.hamburger-kunsthalle.de/index.php/ 5 April 2014 – 5 October 2014 EUGENE, OR cest-la-vie-460/articles/cest-la-vie-790.html British Museum “Chipping the Block, Painting the Silk: This exhibition pays tribute to two great French http://www.britishmuseum.org/whats_on/exhibi- The Color Block Prints and Serigraphs lithographers of the 19th century, Henri de tions/noda_tetsuyas_diary_series.aspx of Norma Bassett Hall” Toulouse-Lautrec (1864–1901) and Honoré This exhibition presents 22 of Noda’s Diary 23 August 2014 – 12 October 2014 Daumier (1808–1879). prints, works that span his life and career. The unusual technique of the prints combines color woodblock with photo silkscreen.

LOS ANGELES “Zuan: Japanese Design Books” 5 July 2014 – 19 October 2014 Los Angeles County Museum of Art http://www.lacma.org/art/exhibition/zuan-japa- nese-design-books Zuan, a form of elaborately printed Japanese design book, reflects an evolution in textile design that influenced the art of kimono in the 20th century. The exhibition includes more than 50 books and prints dating from the 19th and 20th centuries.

MADISON, WI “‘I knew him.’ Jim Dine Skulls, 1982–2000” 16 May 2014 – 17 August 2014 Chazen Museum of Art http://www.chazen.wisc.edu/ The 67 works on view are a gift to the museum from the artist, and include sculptures, paintings, prints, drawings, ceramics and photographs.

MUNICH “Per Kirkeby: Etchings and Bronzes” 3 July 2014 – 14 September 2014 Pinakothek der Moderne http://www.pinakothek.de/en/pinakothek-der-moderne The exhibition of works by the well-known Dan- ish artist includes bronzes and drypoints from In Munich: “Per Kirkeby: Etchings and Bronzes,” through 14 September 2014. Per Kirkeby, Wanderer the early 1960s to the present day, as well as small (1963/1976), Etching and aquatint, image 15.7 x 22.4 cm, sheet 32 x 37.5 cm. Museum Jorn, Silkeborg. format woodcuts from Kirkeby’s early career, ©Per Kirkeby, Photo: Lars Bay, Museum Jorn, Silkeborg. which have recently come to light.

Art in Print July – August 2014 55 “Alibis: Sigmar Polke 1963-2010” A solo exhibition of over 30 prints by this Rhode 19 April 2014 – 3 August 2014 Island artist. The Museum of Modern Art http://www.moma.org/visit/calendar/exhibitions/1407 “Durham Press: Polly Apfelbaum, Chitra The first comprehensive retrospective of Polke’s Ganesh, Beatriz Milhazes, Mickalene work across all media, including painting, pho- Thomas” tography, film, drawing, prints and sculpture. The Print Center “Proof” http://printcenter.org/ 27 June 2014 – 22 August 2014 20 June 2014 – 2 August 2014 Planthouse Recent prints by four artists published by Dur- http://planthouse.net/proof-ruth-lingen-jennifer- ham Press. melby-leslie-miller/ Work by Ruth Lingen, Jennifer Melby and Leslie “Ephemeral Sprawl II” Miller. 20 June 2014 – 2 August 2014 The Print Center “Objects & Fictions” http://printcenter.org/ 6 June 2014 – 25 July 2014 The second part of an exhibition of contempo- Senior & Shopmaker Gallery rary printed ephemera co-curated by The Print http://www.seniorandshopmaker.com/exhibi- Center and Printeresting. tions/2014_Objects_Fictions.html Work by John Baldessari, Oliver Boberg, Sarah SAN FRANCISCO Charlesworth, Thomas Demand, Jenny Holzer, “Summer Choices: A Group Show” Laurie Simmons and William Wegman. 6 June 2014 – 30 August 2014 In Tacoma, WA: “Ink This! Contemporary Print Crown Point Press “No (A Masterless Universe): Jason Roy” Arts in the Northwest,” through 9 November 2014. http://www.crownpoint.com/exhibitions/summer- 21 June 2014 – 24 August 2014 Janet Marcavage, Heap (2013), screenprint on choices-2014 Booklyn Artists Alliance rag paper, 28 x 22 1/4 inches. Collection of the Work by William Bailey, John Chiara, Mary Heil- http://booklyn.org/ artist. Courtesy of the Tacoma Art Museum. mann, Shoichi Ida, Anish Kapoor, Sol LeWitt, Tom This is the artist’s first solo exhibition and the Marioni, Dorothy Napangardi, Nathan Oliveira, third in a series of one-person shows dedicated Gay Outlaw, Laura Owens, Janis Provisor, Ed “I am a Sender. Multiples by Joseph Beuys” to Brooklyn-based self-publishing artists. Ruscha, Amy Sillman, Pat Steir, Richard Tuttle 26 June 2014 – 11 January 2015 and William T. Wiley. Pinakothek der Moderne NEWCASTLE UPON TYNE, UK http://www.pinakothek.de/en/pinakothek-der-moderne “International Print Biennale” A wide array of the multiples created by Beuys to SOUTHAMPTON 27 June 2014 – 8 August 2014 “From David Bomberg to Paula Rego: reach a broader public than was possible through Northern Print Gallery The London Group in Southampton” his unique artworks or ephemeral performances. http://www.internationalprintbiennale.org.uk/ 28 June 2014 – 1 November 2014 about.html Southampton City Art Gallery NEW BRUNSWICK, NJ The UK’s most important print competition http://www.southampton.gov.uk/s-leisure/artsher- “Stars: Contemporary Prints by and exhibition, featuring works by artists from itage/sotonartgallery/exhibitions/londongroup.aspx Derrière L’Étoile Studio (Part Three)” around the world, selected by Stephen Coppel, This exhibition showcases the gallery’s collection 8 March 2014 – 31 July 2014 David Nash and Susan Tallman. of London Group artworks, which will be dis- Zimmerli Art Museum at Rutgers played alongside contemporary works by current http://www.zimmerlimuseum.rutgers.edu OXFORD members including Paula Rego. The third part of a survey covering more than “Sean Scully Encounters: A New Master three decades of prints produced by Derrière among Old Masters” L’Étoile Studio in New York. TACOMA, WA 30 May 2014 – 31 August 2014 “Ink This! Contemporary Print Arts Christ Church in the Northwest” NEW YORK http://www.chch.ox.ac.uk/gallery/exhibitions/forth- 7 June 2014 – 9 November 2014 “Swoon: Submerged Motherlands” coming/2014/sean-scully-encounters-new-master- Tacoma Art Musem 11 April 2014 – 24 August 2014 among-old-masters https://www.tacomaartmuseum.org/ Brooklyn Museum Eleven paintings and 33 prints by Scully are on A wide variety of printmaking techniques, http://www.brooklynmuseum.org/exhibitions/swoon/ view in conjunction with masterpieces of the employed by dozens of Northwest artists. For this exhibition, the artist created a site- 16th century from the Christ Church collection. specific installation—a fantastic landscape cen- TEMPE, AZ tering on a monumental sculptural tree with a PARIS “Current: Bridging Post Digital Technologies” constructed environment at its base, including “1001 nuits + 1 jour” 14 August 2014 – 31 August 2014 sculpted boats and rafts, figurative prints and 5 June 2014 – 9 August 2014 Harry Wood Gallery, School of Art, drawings and cut paper foliage. mfc-michèle didier gallery Arizona State University http://www.micheledidier.com “Art on Color” http://art.asu.edu/gallery/harrywood/ A new artist’s book by Yona Friedman. 5 June 2014 – 13 September 2014 A selection of artists who integrate laser engraving Gemini G.E.L. at Joni Moisant Weyl and cutting technologies with their print practice. http://www.joniweyl.com/_exhibitions/ PHILADELPHIA For this exhibition, architects Peter Stamberg “Picasso Prints: Myths, THESSALONIKI, GREECE and Paul Aferiat, partners of the Manhattan firm Minotaurs and Muses” “Solomon Nikritin and George Grosz: Stamberg Aferiat + Associates, curated a show of 24 May 2014 – 3 August 2014 Political Terror and Social Decadence in Philadelphia Museum of Art prints drawn from the Gemini G.E.L. archive. Europe Between the Wars” http://www.philamuseum.org/exhibitions/806.html 4 June 2014 – 13 September 2014 “The Paris of Toulouse-Lautrec: This exhibition focuses on Pablo Picasso’s response State Museum of Contemporary Art Prints and Posters” to the world of classical antiquity in nearly 50 http://www.greekstatemuseum.com/kmst/exhibi- 26 July 2014 – 1 March 2015 prints from four critical decades of his career. tions/article/874.html The Museum of Modern Art Drawings and prints by Grosz and Nikritin cre- http://www.moma.org/visit/exhibitions “Allison Bianco: The Baby Powder Trick” ated in response to World War II and the Russian This is the first MoMA exhibition in 30 years 20 June 2014 – 2 August 2014 Civil War. dedicated solely to Lautrec, and features over 100 The Print Center works created at the apex of his career. http://printcenter.org/

56 Art in Print July – August 2014 VEVEY, SWITZERLAND New Books “Markus Raetz: SEE-SAW” 26 June 2014 – 5 October 2014 DDR Posters: The Art of Musée Jenisch Vevey East German Progaganda http://www.museejenisch.ch/eng/actualite By David Heather A major retrospective of the work of Markus 160 pages, 150 color illustrations Raetz, one of Switzerland’s most important and Published by Prestel Publishing, Munich, 2014 influential artists. $39.95.

VIENNA “Pablo Picasso: Master of Etching” 24 June 2014 – 21 August 2014 Galerie Ernst Hilger http://www.hilger.at/778_EN? An exhibition of 50 etchings by Picasso including rare works and estate prints.

WAIBLINGEN, GERMANY “Farmers, Dancers, Lovers: Graphics from the Time of Dürer” 2 May 2014 – 27 July 2014 Galerie Stihl Waiblingen http://www.galerie-stihl-waiblingen.de/ This exhibition presents a panorama of human depictions by Dürer.

Workshops Gerhard Richter—Editions 1965-2013 Edited by Stefan Gronert, Thomas Olbricht, Hubertus Butin, Texts by Hubertus Butin, Stefan AUSTIN, TX Gronert Art of the Cut Workshop 340 pages, 320 illustrations 19 July 2014 – 27 July 2014 Published by Hatje Cantz, Flatbed Press Ostfildern, Germany, 2014 €68. HOMBURG AM MAIN, GERMANY Summer Academy Homburg am Main 9 August 2014 – 21 August 2014 Sommerakademie Homburg am Main

ROCKLAND, MAINE Mokuhanga: Japanese Woodcuts Workshop 28 July 2014 – 31 July 2014 Farnsworth Art Museum http://www.farnsworthmuseum.org/adult-studio

STEAMBOAT SPRINGS, CO Summer Workshop 11 August 2014 – 15 August 2014 Oehme Graphics http://oehmegraphics.com/workshops Markus Raetz. The Prints 1951–2013 Edited by Rainer Michael Mason and Claudine Metzger, Museum of Fine Arts Bern Auctions Two volumes, hardback in slipcase. 892 pages, 622 color illustrations NEW YORK Published by Scheidegger & Spiess, Zürich, 2014 Prints and Multiples €130. 15–16 July 2014 Christie’s http://www.christies.com/calendar/

LONDON Watercolours, Drawings and Prints 24 July 2014 Dreweatts & Bloomsbury http://www.dreweatts.com/

Art in Print July – August 2014 57 The Origins of the Albertina: 100 Masterworks from the Collection Edited by Klaus Albrecht Schröder, texts by Chris- toph Gnant, Maren Gröning, Christof Metzger, Eva Michel, graphic design by Maria-Anna Friedl 272 pages, 150 illustrations Published by Hatje Cantz, Ostfildern, Germany, 2014 €39.80. Please view or order our Spring 2014 Catalog List No. 90 and other recent catalogs by visiting the Catalogs Decolonizing the Exhibition: page on our website. Contemporary Inuit Prints and Drawings from the Edward J. Guarino Collection By Molly McGlennen 12 pages Published by Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, 2014

Jasper Johns & John Lund: Masters in the Print Studio Holland on Paper in the Age of Art Nouveau Essay by Wendy Weitman By Clifford S. Ackley 44 pages, fully illustrated in color 256 pages, 155 color illustrations Published by Katonah Museum of Art, Published by Museum of Fine Arts, Boston, 2014 Katonah NY, 2014 $50. Underexposed: Female Artists and the Medium of Print By Frances Chiverton and Lynne Dickens. With essays by Gill Saunders, Anita Klein, Anne Desmet, Dawn Cole, Liliane Lijn, Paul Coldwell and Alicia Foster 47 pages Published by University of Kent, Canterbury, 2014

Screenprinting with John Paige DVD: 1 hour 19 minutes 37 seconds. Published by ASF, UK 2014 Just scan the QR code £27. below to access all our

Free Catalog Downloads: Chuck Close Prints: Process and Collaboration By Terrie Sultan with contributions from Richard Schiff Hardcover. 200 pages, 220 color illustrations Published by Published by Prestel, Munich, 2014 $60.

www.davidsongalleries.com Competitions & Conferences 313 Occidental Avenue South Call for Entries: Ink, Press, Repeat Seattle, WA 98104 Since 2001, the University Galleries at William Paterson University have organized an annual Contact: Dillon Gisch juried exhibition of traditional and digital print media and book art. One artist will be selected for at 206-624-6700 or 3D Printing for Artists, Designers and Makers a solo exhibition at the University Galleries and [email protected] By Stephen Hoskins other select works will receive cash prizes. Entries 143 pages, fully illustrated in color are due 31 July 2014 and the exhibition will be Published by Bloomsbury, London, 2014 held 3 November–12 December 2014. Please go to $42.95. https://wpugalleries.slideroom.com/ to apply.

58 Art in Print July – August 2014 PROOF.Ad:Layout 1 5/29/14 2:46 PM Page 1

Call for Entries: Mario Avanti Winners of Open Studio National Printmaking Award Printmaking Awards Announced The Mario Avanti Printmaking Award was estab- Open Studio in Toronto has announced the win- lished in 2013 under the auspices of the Académie ners of the seventh annual Open Studio National p r o o f des Beaux-Arts in Paris. Entries are open to con- Printmaking Awards. The awards were launched temporary printmakers from around the world, in 2008 to recognize excellence in Canadian and the award is comprised of an exhibition and printmaking. The winners were: Dan Steeves RUTH LINGEN a $40,000 prize. Entries are due by 15 July. Please (first prize), Doug Guildford (second prize) and go to http://www.academie-des-beaux-arts.fr/actu- Dan O’Neill (third prize). JENNIFER MELBY alites/ for more information and to apply. LESLIE MILLER Call for Papers: Beyond Connoisseurship: Rethinking Prints from the Belle Épreuve JUNE 27 – AUGUST 22, 2014 (1875) to the Present This conference, organized by Art in Print con- tributors Allison Rudnick and Britany Salsbury, is scheduled to coincide with New York Print Planthouse Week, and will take place on 7 November 2014 at the Graduate Center at CUNY, New York. It seeks 107 WEST 28TH STREET to highlight the work of scholars using innova- NEW YORK NY 10001 tive methodologies to address printmaking from c. 1875 to the present and to connect it to broader PLANTHOUSE.NET theoretical trends within art history. Open Studio First Prize: Dan Steeves, I hope you Modernism brought about radical transforma- have moments when you take heart (2012), tions in print culture. Once relegated primarily intaglio and etching, 17 x 23 1/2 inches. to the field of image reproduction, the graphic arts were taken up by large numbers of artists who experimented with diverse forms of print- making. Despite the prevalence of printmaking Spring Auction Report as a constant in artists’ practices, however, it is In contemporary art, Warhol prints were (as still often perceived as secondary to painting and usual) the top sellers at Phillips’ “Evening and sculpture, and interpreted using traditional, con- Day Editions” sale in New York on 28 April: the noisseurial approaches. As a result, prints seem offset litho Liz (1964) continues to climb, sell- fated to be seen as parallel to, rather than inte- ing for nearly twice its estimate, at $115,000, grated within, the scholarship of modern and while the full set of Camouflage (1987) screen- contemporary art. Suggested topics may include, prints brought $353,000. Ruscha prices were but are not limited to: surprising, with all but one lot bringing nearly, • Continuities and discontinuities in printmaking or more than, twice estimate. At Phillips’ Lon- from the 19th century to today don sale on 12 June, Cy Twombly’s Roman Notes • Exhibitions, collecting practices, and reception IV (1970), sold for £86,500. Other top sellers history; included Pablo Picasso, Minotaure aveugle guidé • Questions of multiples, editions and distribu- par Marie-Thérèse au pigeon dans une nuit étoilée tion; (Blind Minotaur Guided Through a Starry Night • The impact of new technologies (e.g., scanners, by Marie-Thérèse with a Pigeon), plate 97 from La three dimensional prints) and artistic experimen- suite Vollard (1934) at £52,500, and Jean-Michel tation with nontraditional print media; Basquiat (after), Portfolio II (1982-3/2005), a set • The use of feminist theory, media theory, queer of four screenprints, which sold for £80,500. At theory, social art history, thing theory/specula- Sotheby’s New York sale on 1–2 May, several Roy tive realism and other interdisciplinary method- Lichtenstein works sold for nearly double their ologies as applied to the study of prints; estimates, ranging from $100,000–203,000. The • The role of prints in artistic thinking; their top price was earned by Richard Diebenkorn’s relationship to other works of art (e.g., sculp- Green, at $533,000. ture, drawing, painting, installations, archives, In older art, at Swann’s “Old Master Through performance, jewelry and textiles, etc.) Modern Prints” on 29 April the top lot was an Interested participants are invited to submit an impression of Rembrandt’s Christ Healing the abstract of no more than 500 words along with Sick (The Hundred Guilder Print) (c.1643–49), at a CV or brief biographical statement by 1 August $81,250. Record prices included Pieter Bruegel Subscribe to 2014. Please direct all submissions and inquiries (after), Patience (1557) at $42,500; and Escher’s to [email protected]. Swans (1956) at $32,500. While at the “Modern and Contemporary Prints” sale at Dreweatts & Art in Print Bloomsbury in London on 27 March, the stand- out lot was the watercolor and charcoal draw- for as little as Other News ing for Henry Moore’s Highwire Walkers (1975) together with the etching, which sold for £14,880. Editions | Artists’ Books Fair $38 per year. Returns in November In a new incarnation, organized and managed by the Lower East Side Printshop, with the support of co-founder Susan Inglett, the E/AB Fair will return in November 2014. Retaining its estab- lished mission and format, the fair will take place Please submit announcements of during New York Print Week, 6–9 November, exhibitions, publications and www.artinprint.org at the newly renovated street-level space at 540 other events to West 21st Street. The curator will be Faye Hirsch and a benefit print will be produced by artist [email protected]. Enoc Perez.

Art in Print July – August 2014 59 FLATBED PRESS & GALLERY

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60 Art in Print July – August 2014 Art in Print July – August 2014 61 international fi ne IFPDA Print Fair ifpda print dealers association November 5– 9 Park Avenue Armory the world’s leading experts New York City More at PrintFair.com

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THE SEASONS CLUB Join the Crown Point Press Seasons Club to begin or expand your print collection. During the months of July and August members may purchase a print released in 2009 or earlier at reduced price. Visit crownpoint.com to join and view available prints.

Laura Owens, Untitled (LO 273), 2004. Spit bite aquatint with soft ground etching and drypoint printed in blue, 22½ x 17½", edition 40.

62 Art in Print July – August 2014 MILDRED HOWARD NEW MONOPRINTS SHARk’S INk. 550 Blue Mountain Road Lyons, CO 80540 Detail of Millennials & XYZ #IV (2014), monoprint and digital on 303.823.9190 collaged found papers, 20½ x 15 inches www.sharksink.com [email protected]

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Art in Print July – August 2014 63 Contributors to this Issue

Caitlin Condell is the curatorial assistant in the Department of Drawings, Prints & Graphic Design at Cooper Hewitt, Smithsonian Design Museum in New York.

Elleree Erdos works at Craig F. Starr Gallery in New York. A graduate of Williams College, she has worked in the print departments at The Museum of Modern Art and the Sterling and Francine Clark Art Institute, as well as in the American Wing at The Metropolitan Museum of Art.

Michael Ferut is an Editorial Associate at Art in Print. He holds a BA from Macalester College and currently lives in Chicago, where he writes and edits for a variety of publications.

Stephen Goddard is associate director and a senior curator at the Spencer Museum of Art. After graduating from Grinnell College, he spent two years conducting research in Belgium before attending the University of Iowa for his PhD. He did post-doctoral work at the Yale University Art Gallery. In 30 years at the Spencer he has organized over 40 exhibitions and offered many courses on the history of printmaking. He was, for four years, president of the Print Council of America. Several of Goddard’s recent projects have involved partnerships with colleagues in the sciences.

Faye Hirsch is Editor at Large at Art in America, and teaches in the MFA program at SUNY Purchase.

Laurie Hurwitz is a curator at the Maison européenne de la photographie in Paris. She has also written on art and design for Art & Auction, frieze, Metropolis, Aperture, Sculpture, Revue Dada and Connaissance des arts. She is Paris correspondent for ARTnews magazine.

Jaclyn Jacunski is an artist and a researcher at the Shapiro Center for Research and Collaboration at the School of the Art Institute of Chicago. She earned her MFA from SAIC and BFA from the University of Wisconsin, Madison. She has been an artist in residence at Spudnik Press, Director of the Chicago Printer’s Guild and worked as an assistant to master printers at Tandem Press.

is an artist and writer based in Paris. Her publications include a 2012 monograph FRANCES B. ASHFORTH Kate McCrickard on the work of William Kentridge for Tate Publishing, a contributing essay to William Kentridge: For- NEW MONOTYPES tuna, Thames and Hudson, 2013 and contributions to Print Quarterly and Art South Africa quarterly. Water Study 9 She opened her first solo exhibition of prints and paintings at David Krut Projects, New York in March 22 x 22, Waterbase Monotype, 2014 2008. Her next exhibition opens at Art First Gallery, London, in March 2014. francesbashforth.com Christine Nippe is a curator, writer and lecturer in Berlin, who holds a transdisciplinary PhD in Art History and Anthropology. She has been a visiting scholar in the Department of Art History and Archaeology at Columbia University. She has curated exhibitions with Vito Acconci, Johanna Billing, Natalie Czech, Song Dong, Dan Graham, Arturo Herrera, Sabine Hornig, Thomas Rentmeister and many others.

Mark Pascale is Janet and Craig Duchossois Curator of Prints and Drawings at the Art Institute of Chicago and Adjunct Professor at the School of the Art Institute. He is also a practicing lithographer with a deep knowledge of contemporary and historical printmaking techniques. He has contributed to numerous publications, most recently the exhibition catalogues Contemporary Drawings from the Irving Stenn Jr. Collection. He has organized exhibitions on topics ranging from the Harlem Renaissance to artists’ ephemera. Currently, he is working on a retrospective exhibition focused on the prints and drawings of Martin Puryear.

Peter Power lives and works in Chicago where he is an Associate Professor and Chair of the Department of Printmedia at the School of the Art Institute of Chicago.

Jason Urban is an Austin-based artist, writer, teacher and curator. His artwork has been exhibited widely in national and international venues. Currently, Urban teaches Printmaking and Foundations at the University of Texas at Austin. Urban is also co-founder of Printeresting.org: “the thinking person’s favorite resource for interesting print miscellany.” In 2011, Urban and his colleagues at Printeresting were awarded a Creative Capital | Warhol Foundation Arts Writers Grant.

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

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Dolan/Maxwell 2046 Rittenhouse Square Philadelphia, Pennsylvania 19103 215.732.7787 www.DolanMaxwell.com [email protected] by appointment please 1986, etching, carborundum collograph, hand coloring on various papers, edition 12, 70 1/2 x 31 inches, published by Dolan/Maxwell papers, edition 12, 70 1/2 x 31 inches, published by hand coloring on various 1986, etching, carborundum collograph, Seer Actor Knower Doer David Shapiro David 3 3 ARCHITECTS OF THE FUTURE : AWAY FROM THE WATCHER, 2014, Woodblock, Screenprint and Gold Leaf, 25 /4 x 31 /8 inches (65.4 x 79.7 cm), Edition of 25 CHITRA GANESH

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