US $25

The Global Journal of Prints and Ideas November – December 2016 Volume 6, Number 4

Panoramic Wallpaper in New England • Christian Marclay • Fantastic Architecture • Ania Jaworska • Barbara Kasten Degas Monotypes at MoMA • American Prints at the National Gallery • Matisse at the Morgan • Prix de Print • News PHILIP TAAFFE The Philip Taaffe E/AB Fair Benefit Prints are available at eabfair.org

Philip Taaffe, Fossil Leaves, screenprint, 25x38” variable edition of 30

Philip Taaffe, St. Steven’s Lizards, screenprint, 25x34.5” variable edition of 30

Thanks to all the exhibitors and guests for a great fair! November – December 2016 In This Issue Volume 6, Number 4

Editor-in-Chief Susan Tallman 2 Susan Tallman On the Wall

Associate Publisher Catherine Bindman 3 Julie Bernatz A French Panoramic Wallpaper in the Home of a New England Lawyer Managing Editor James Siena and Katia Santibañez 8 Isabella Kendrick Zuber in Otis Associate Editor Susan Tallman 10 Julie Warchol To The Last Syllable of Recorded Time: Christian Marclay Manuscript Editor Prudence Crowther Prix de Print, No. 20 16 Colin Lyons Editor-at-Large Time Machine for Catherine Bindman Abandoned Futures Juried by Chang Yuchen Design Director Skip Langer Exhibition Reviews Julie Warchol 18 Webmaster Ania Jaworska at MCA Dana Johnson Vincent Katz 21 Matisse Bound and Unbound Joseph Goldyne 25 New Light on Degas’ Dark Dramas Vincent Katz 29 Degas at MoMA Ivy Cooper 33 Prints in the Gateway City Lauren R. Fulton 35 On Paper, on Chairs: Barbara Kasten Book Reviews Paige K. Johnston 38 Higgins’ and Vostell’s Fantastic Architecture Catherine Bindman 40 (Printed) Art in America News of the Print World 43 On the Cover: Christian Marclay, detail of Actions: Splish, Plop, Plash, Plash (No. 4) Contributors 72 (2015), screenprint with handpainted acrylic. Image courtesy of the artist and USF Graphic- studio ©2015. Photo: Will Lytch.

This Page: Ania Jaworska, detail of Faking It from A Subjective Catalog of Columns (2015), screenprint on folio paper.

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

rints are, most commonly, pictures type; Lauren Fulton reports on the recent P of things. But they are also frequently exhibition of these seldom seen works. pictures on things. Take the early 19th- Other essays and reviews here touch century panoramic wallpaper that opens only lightly on architecture, but it is this issue of Art in Print. It depicts Roman always present. The National Gallery of ruins, Roman skies and Roman bushes, Art’s survey, Three Centuries of American but it sits stolidly adhered to the four Prints, reviewed here by Catherine Bind- walls of a dining room in a house in the man, charts American visual culture Berkshires. It offers many illusions—the from its early images-as-tools pragma- fantasy of being far away, of being out of tism to its sophisticated images-as-art doors, of brick and mortar dissolved into dominance, which also means from pic- blue heaven and rolling Campagna—and tures-in-an-album to pictures-on-the- at the same time, provides the tangible wall. As is evident from Ivy Cooper’s assurance of being exactly what it is: examination of contemporary print- printed paper glued to plaster and lathe. making in St. Louis, artists routinely As discussed by Catherine Bindman and consider the print as an occupier of space, by the house’s owners, artists James Siena not simply a delineator of it. and Katia Santibañez, the magic lies in The ’s exhibi- this doubling of solid reality and make- tion of Degas monotypes (which was so believe. substantial it is covered here by two writ- If the term “architectural prints” ers) included no pictures of buildings, yet prompts visions of Piranesi etchings and the artist’s ability to evoke the intimacy their many near relations, the centuries of close interior spaces is essential to the of conversation between flat paper and power of many of these works, as Vin- three-dimensional structures have pro- cent Katz and Joseph Goldyne point out. duced a nimble variety of strategies and Katz also reviews the Morgan Library forms—Piranesi’s views and wallpaper and Museum’s recent exhibition chart- are two, to which we might add archi- Panel of wallpaper depicting the Crystal Palace ing Henri Matisse’s involvement with the tectural blueprints, schematized pro- as seen through a garden archway, with flights of art of the book, from Mallarmé’s Poésies jections, printed paper models and an steps and architectural framework, with falsified to his own famous Jazz—a work that can perspective (1853–55), color machine print on endless array of depicted interior spaces. paper, 99 x 53.6 cm. Published by Heywood, be viewed both in the lap and on the wall. Contributors to this issue have looked Higginbottom & Smith, Manchester, England Finally, this issue contains a survey of at the many ways that artists negotiate (probable). ©Victoria and Albert Museum, recent work by Christian Marclay, an between the space of architecture and London. artist who has spent his career elucidat- the space of the page. In some cases, the ing the incongruence of sound and vision. connection is clear to see: in her Subjec- architecture from the late-20th-century Marclay’s work isn’t about architecture, tive Catalog of Columns (2015), recently on economic forces. but few artists have focused more persis- view at the Museum of Contemporary Art In the project selected by Chang tently on our myriad, imperfect strategies in Chicago, architect Ania Jaworska mim- Yuchen for this issue’s Prix de Print, artist for representing one type of experience icked the didactic crib sheets of architec- Colin Lyons has gone further—not sim- through another. People often talk about tural orders and styles that have served ply proffering a visionary design on paper the “failure of representation,” but failure to educate architects for centuries; Julie but building one: his Time Machine for is too pejorative a word. As with the Warchol discusses her wry accounting of Abandoned Futures (2015) features a roof Colosseum over the mantelpiece in the recent architectural history through the composed of etching plates and acid that Berkshires, there is space for delight in styling of vertical support elements. together form a battery to power the elec- the gap between experience and its repre- A far more conceptual—even exis- trolytic cleaning of mechanical destritus sentation—the gap that bedevils and tential—critique of the discipline is left behind after the Klondike Gold Rush. enchants and motivates all the activities embedded in Fantastic Architecture, the Barbara Kasten is best known for we call art. 1970 book assembled by Fluxus artists abstract still-life and architectural pho- Wolf Vostell and Dick Higgins. Paige K. tographs that fragment the perception of Susan Tallman is the Editor-in-Chief of Johnston reconsiders this “tripped-out coherent space, but her earliest work with Art in Print. thought experiment,” recently re-released photography used the human figure, a in facsimile form, and its contention that bentwood chair, a drafting grid and the only the unfettered ideas of art could save architectural-office medium of diazo-

2 Art in Print November – December 2016 ‘Phantasmagorias of the Interior’: A French Panoramic Wallpaper in the Home of a New England Lawyer By Catherine Bindman

Vues d’Italie wallpaper installed in the house of James Siena and Katia Santibañez in Otis, MA. All color images of the wallpaper in the house are courtesy of Armin Kunz, New York.

s New York artist James Siena tells with scenes from Italy—the Colosseum in appeared to be intact. Though neither A it, the small town of Otis in West- Rome, views of the Mediterranean, and artist immediately recognized the paper, ern (incorporated in 1810) the Carnival in Venice—all in full color Santibañez soon noticed the printed has only ever been distinguished for two on an imported paper almost 150 years inscription: “Mongin fecit in Rixheim things: an early nudist colony, established old.”3 Sixty-five years later, when Siena 1818.” It was not difficult to establish that in 1933, and the house of Squire Lester and his wife, the artist Katia Santibañez, they were now the owners of the Vues Filley, a noted lawyer, member of the acquired it, Squire Filley’s house was still d’Italie, a panoramic wallpaper designed State Legislature and founder of the local the grandest in town and its dining room by Antoine Pierre Mongin (1761–1827), Episcopal church.1 Filley’s eight-room, walls still harbored their remarkable Ital- who, for 20 years, was the chief designer red-brick residence, built in 1812, was the ian fantasy. of one of the preeminent manufactur- first grand home in Otis, and in at least By 2004 the wallpaper was water- ers of such papers, Zuber & Cie, based in one respect its interior decoration was stained in some places and slightly shred- Rixheim in the Alsace. It is fortunate that noteworthy.2 As the 1939 WPA guidebook ded in others, but the colors retained not only was Zuber one of the few firms of the area noted, “one room is decorated their vividness and the original scheme that allowed artists to sign the wallpapers

Art in Print November – December 2016 3 scenes taken from literature.8 Exported to America, they introduced a carefully calibrated fantasy world into the draw- ing rooms and dining halls of grandiose plantation houses and presidential man- sions as well as into the homes of up-and- coming bourgeois consumers like Squire Filley of Otis.9 For during the 19th cen- tury, as Walter Benjamin suggested, the home became increasingly understood as a refuge against the new demands of industrial and business life. “From this derive the phantasmagorias of the inte- rior—which, for the private individual, represents the universe. In the interior, he brings together remote locales and memories of the past. His living room is a box in the theater of the world.”10 The panoramas domesticated the dis- tant. In wallpapers such as Dufour’s Les Sauvages de la Mer Pacifique (1804) and Zuber’s L’Hindoustan (1807) the costumes Detail of the Vues d’Italie in Otis. of the natives often bear more than a touch of theatrical artifice; other papers offered battles sanitized of bloodshed and they designed but that it has also main- papers, like this one, required several mythological scenes devoid of all but the tained remarkably complete archives.4 thousand blocks. Further, the ground was mildest erotic overtones or evidence of From their records we know that the Vues carefully brushed on and subtly shaded to suffering. d’Italie, first issued in 1818, was reissued enhance the sense of depth and the illu- Wallpaper manufacturers certainly eight times until about 1870, attesting to sion that the light and air of the outside seem to have had the measure of their its popularity.5 world had been brought indoors. customers: in the Vues d’Italie, well- At the end of the 18th century, French These extravagant wallpapers typi- dressed tourists of a kind with whom the manufacturers had begun to produce cally featured classical, biblical or mytho- owners might easily identify are seen pic- ambitious panoramic wallcoverings, logical subjects, views of elegant French nicking around monuments and interact- largely for promotional purposes: in a gardens and towns, landscapes, foreign ing with picturesque locals. These scenes competitive business they fostered a lands, military and political events, and were designed to transport the propri- reputation for exceptional quality, thus supporting sales of the standard repeat- pattern papers that typically made up the bulk of production.6 While the pano- ramic papers employed the same wood- block techniques already well established in the industry, they incorporated a range of bravura technical and aesthetic effects. The Vues d’Italie is entirely representa- tive in this respect: in its complete form it comprised 20 individual lengths, each made up of joined sheets of handmade paper7 impressed with a series of colos- sal block prints (often based on published etchings and engravings); together they were designed to encircle a room with continuous, nonrepeating vistas. The manufacture of these papers was a labo- rious, largely manual operation: each element of the image was composed by superimposing distemper colors, via individually carved blocks, over an ini- tial outline to achieve gradations of tone in the manner of chiaroscuro woodblock printing. The most ambitious panoramic Detail of the Vues d’Italie in Otis.

4 Art in Print November – December 2016 Panels of the Vues d’Italie in Otis.

etors, whether living in a humid villa in the history of plants.”12 not know where the Filleys purchased the Deep South or a drafty pile in New The demand for French luxury wall- their panoramic paper, but it was likely England, to an Italianate arcadia, but papers in America was boosted by the lift- from one of the many dealers the text that came with them also touted ing of import duties on French products who placed notices in local newspapers the panorama as a kind of giant postcard after 1787 and by a general Francophilia announcing their wares. Perhaps it was “worthy of the depiction of memories of stemming from a sense of shared repub- James H. Foster, who advertised in 1817 this classic terrain.”11 And indeed, some lican values. Although a significant wall- in the New England Palladium his stock of Zuber’s wealthier clients might well paper industry had been established in of “RICH PAPER HANGINGS” “in colors have seen such monuments at first hand America by about 1800, especially in New and long-strip landscapes,” among them on the Grand Tour. England, and while local craftsmen were the “Views in Italy,”16 or maybe Josiah The existence of this promotional lit- able to produce traditional repeat-pattern Bumstead, who offered in 1821 a selection erature suggests that manufacturers were papers of good quality, fine papers and of “French Paper Hangings” including attuned to the aspirations, interests and especially panoramic papers had to be “Views of distinguished places in Europe, prejudices of their clients and wished, ordered from France.13 So brisk was the Asia and America.”17 The Zuber records above all, to reassure them of the wisdom export business to America documented reveal that a set like this would have of their investment in these costly and, in Zuber’s archives that, Catherine Lynn cost between $20 and $40, equivalent to frankly, somewhat flashy wallcoverings. notes, “it is safe to assume that examples $15,000–$30,000 today.18 It is astonish- Zuber’s rival, the firm of Dufour, went of every major scenic wallpaper printed at ing to consider that this sum was spent so far as to suggest that its first scenic the Zuber factory were readily available for the decoration of a single room in the paper, The Voyages of Captain Cook (1804– almost as soon as they were introduced in home of a devout provincial lawyer of the 6), might create “a community of taste France.”14 The company’s records further early 19th century.19 between those who live in a state of civi- reveal that before 1834, when most of the The hanging of this paper in the Fil- lization and those who are at the outset firm’s trade was handled by a New York ley house is also indicative of the design’s of the use of their native intelligence” and dealer, the Zuber firm dealt directly with ingenious adaptability. For while these could even have an educational function: 40 firms and individuals in New York, schemes were ideally intended to be “The mother of a family will give history 13 in Philadelphia, seven in Baltimore, viewed in their entirety as coherent spec- and geography lessons to a lively little five in New Orleans, and 11 in Boston, in tacles, the manufacturers typically based girl. The [several kinds of] vegetation can addition to a few each in many other cit- the designs on a modular structure: the themselves serve as an introduction to ies in the South and Northeast.15 We do narrative scenes were punctuated at

Art in Print November – December 2016 5 gone changes. A set of photographs from the turn of the century shows it crowded with late-Victorian horror vacui—the wallpaper hung with dour portraits and homely samplers and further under- mined by competition from the swirly flourishes of the ornamental rug. At some point earlier, a damaged section over the mantelpiece was covered over with a left- over panel of the Vues showing tourists in front of the Colosseum—the repair dem- onstrates distinctive Yankee thrift but little regard for spatial or narrative logic. Nonetheless, the provincial American lawyer who installed an imported wall- covering of the most luxurious and fash- ionable kind in his home at the dawn of the 19th century can hardly be accused of being a tightwad. One can almost picture Squire Filley and his wife, Corintha, in their chilly dining room during the Massachusetts winter, imagining them- Panels of the Vues d’Italie over the mantelpiece in Otis. selves wandering among the monuments in the diaphanous sunlight of the Cam- pagna as they prepare to welcome their intervals by generic landscape passages— further trimmed, as was common, with drab and faintly disapproving neighbors foliage, trees and rocky areas—that could ornamental paper borders supplied by the to view their fancy new wallpaper, the be added or removed to suit the room’s manufacturer.21 Thus a paper that might very latest thing from France. dimensions and the taste of the owner easily line a palatial entrance hall was without disturbing the central theme. made to sit comfortably in this relatively However grand the vista, it was always modest room. Catherine Bindman is a New York-based editor designed to wrap around on itself so that And yet, to find an important French and art critic who has written extensively on both the image could “begin” anywhere. One panoramic wallpaper in the New England old master and contemporary prints. could even customize the weather: the sky home of a professional man is extraordi- of Zuber’s Vues d’Italie, for example, could narily rare. Though Americans appear to Notes: be purchased with or without clouds. Per- have been drawn to wallpapers of Ital- 1. Filley donated the land for the church next haps reflective of Yankee sensibilities, ian scenes, and the frequent reissuing of door to his house and also paid more than half its the Filleys chose clouds. Zuber’s Vues d’Italie is testament to its construction costs. Edward and Lois Knight state that the church was completed in 1830; St. Paul’s This kind of flexibility distinguished popularity, the paper seems to have had Episcopal Church, Otis, Massachusetts (1984), these customizable manufactures from a poor survival rate. Not a single panel cknight12.tripod.com/stpaulsotisma/pages/histo- the tapestries, frescoes and paintings appears among the 143 panoramic papers ry-knight1984-text.html. James Siena, however, that had traditionally decorated aris- documented by pioneering wallpaper notes that a sign on the church dates it to 1827. tocratic homes. Papers such as the Vues scholar Nancy McClelland in a two-year 2. The records show that Lester Filley married Corintha Twining in 1814 and that by 1815 they 22 d’Italie could be adapted both vertically study conducted in 1924. Richard Nyl- had a daughter, the first of four children. It is rea- and horizontally. Produced in lengths of ander’s 1986 survey of New England wall- sonable to assume that Corintha had a role in the about 13 vertical feet (each ca. 20 inches paper addressed panoramic wallpapers acquisition of the wallpaper, which was not issued wide), with the main printed scenes con- only in a brief section and did not refer by Zuber until four years after the marriage. http:// fined to the lower half and the rest occu- to the Vues d’Italie,23 although Catherine ma-vitalrecords.org/MA/Berkshire/Otis/Images/ Otis_B027.shtml. pied by sky, the papers could be cut down Lynn mentions that some American 3. Federal Writers’ Project of the Work’s Progress from the top to accommodate lower ceil- examples have been discovered.24 In any Administration for Massachusetts, The Berkshire ings without disturbing the narrative.20 case, Lester Filley’s house seems to have Hills (New York: Funk & Wagnalls, 1939), 209–10. In the Otis house, the space between the escaped attention and has never been The authors also note that “the Cornwall family, chair rail and the picture rail is 5 feet 7 noted in the scholarly literature. For a occupants of the house for many years, have inches, suggesting that the paper was cut paper to have survived in a home like Fil- kept it in a good state of preservation” and that while “The house is not officially open to the pub- down by about 7 1/2 feet from the top. ley’s, especially since the early 19th cen- lic … those interested are usually permitted to go The room itself measures 16 feet 4 inches tury, appears to be especially unusual25 through.” https://archive.org/stream/berkshire- by 15 feet 5 inches and is interrupted by and may be attributable to the fact that hills00fede/berkshirehills00fede_djvu.txt. two doors, four windows and a fireplace Otis—whose population remains well 4. These are now housed in the Musée du Papier mantle and chimney. Nineteen of the under 2,000 people—has never been sub- Peint in Rixheim. 5. Odile Nouvel-Kammerer, Papiers Peints Pano- twenty available lengths were installed; ject to much in the way of development. ramiques (Paris: Flammarion/Musée des Arts the scene over the mantelpiece was The room itself has, of course, under- Décoratifs, 2002), 300, no. 62. The version print-

6 Art in Print November – December 2016 Vues d’Italie in Otis, ca. 1900. Courtesy of the Otis Library and Museum, Otis, MA.

ed in this book, of unknown date, varies in some Jackson in 1836, for example, survives in the 20. Nouvel-Kammerer, Papiers Peints Pano- details from the one in the Filley house, and it grand hallway of his home, the Hermitage in ramiques, 24. seems that differences crept into the design as Nashville, TN; a set of Dufour’s Vues d’Italie (ca. 21. Surviving photographs of the room dating to it was reissued over the years. These alterations 1822) was installed in the Gay Mont plantation ca. 1900 show that an unrelated standard pat- probably reflected wear and tear to some of the house in Caroline County, VA, probably a few terned wallpaper had been installed around the many individual printing blocks, requiring certain years after its enlargement in 1819. dado and just below the ceiling. It was removed motifs to be replaced or eliminated altogether. Ac- 10. Walter Benjamin, “Paris, Capital of the Nine- by a later owner before Siena and Santibañez cording to the Zuber website, the Vues d’Italie is teenth Century,” in The Arcades Project, tr. How- purchased the property. one of the panoramic papers for which the original ard Eiland and Kevin McLaughlin (Cambridge, 22. McClelland, “Some Famous Scenic Papers blocks were destroyed at some point, in this case MA: Belknap Press of Harvard University Press, and their Owners,” chapter 5. after the last edition in 1870. The Zuber firm cur- 1999), 19. 23. Richard C. Nylander et al. Wallpaper in New rently offers a somewhat simplified version of the 11. “dignes de représenter des souvenirs de ce England (Boston: Society for the Preservation of Vues d’Italie using silkscreen printing on a hand- sol classique”; quoted in Odile Nouvel-Kammerer, New England Antiquities, 1986), 123–5. brushed ground. www.zuber.fr. Papiers Peints Panoramiques, 300. 24. Ibid., 223. 6. In 1818, panoramic papers made up only 20 12. Catherine Lynn, Wallpaper in America: From 25. Lynn, Wallpaper in America, 224. percent of the value of Zuber’s inventory; even the Seventeenth Century to World War 1 (New in 1840, at the height of the firm’s production of York: W.W. Norton, 1980), 202 these papers, they only constituted 26 percent of 13. See Richard C. Nylander, “An Ocean Apart: its overall production; Odile Nouvel-Kammerer, Imports and the Beginning of American Manufac- Papiers Peints Panoramiques, 73. ture,” in The Papered Wall: History, Pattern, Tech- 7. Continuous rolls of machine-made paper were nique, ed. Lesley Hoskins (London: Thames and widely available in England, France and America Hudson, 1994), 114–131. by 1830. Joanna Banham, “The English Re- 14. Lynn, Wallpaper in America, 214. sponse: Mechanization and Design Reform,” in 15. Ibid., 215. The Papered Wall: History, Pattern, Technique, 16. Joanne Kosuda-Warner, Landscape Wallcov- ed. Lesley Hoskins (New York: Harry N. Abrams, erings, (London/New York: Scala in association 1994), 135. with Cooper-Hewitt, National Design Museum, 8. Among the best-known of these are Zuber’s 2001), 35. La Guerre d’Indépendence Américaine of 1852, 17. Nancy McClelland, “Some Famous Sce- a variation on the Vues d’Amérique du Nord of nic Papers and their Owners,” in Historic Wall- 1834, and the firm’s Vues d’Écosse of 1827, Papers: From Their Inception to the Introduction loosely based on Sir Walter Scott’s Lady of the of Machinery (Philadelphia: J.B. Lipincott, 1924), Lake. 274. 9. Dufour’s Les Paysages de Télémaque dans 18. Lynn, Wallpaper in America, 225. L’Île de Calypso (1818), purchased by Andrew 19. https://www.measuringworth.com/ppowerus/.

Art in Print November – December 2016 7 Zuber in Otis By James Siena and Katia Santibañez

Vues d’Italie wallpaper installed at James Siena and Katia Santibañez’s house in Otis, MA. Image courtesy of Armin Kunz.

James Siena Little did we know that the paper would panoramic paper—more than a quarter turn out to have been made in France by of the value of the house and land at the Zuber & Cie nearly 200 years ago. It was time. Thankfully he refused. n 2004 we rented a house in the remarkably intact for its age. I am struck by the ingenuity of the I Berkshires for part of the summer The previous owner of the house was paper’s design and making and the and picked up a book of real estate an elderly man named Carleton Mott (of respect it shows for its subject, despite listings for fantasy’s sake. We bought the the Motts for whom Mott Street in Little the historical ignorance of the time. The second house we saw and the reason was Italy in New York is named). When he sheer ambition of the craftsmanship simple: the wallpaper. The listing read purchased the house in 1986, the pan- is still evident: the number of colors is something like: “historic brick farmhouse oramic paper had been augmented below beyond counting and the preindustrial with hand-painted wallpaper.” We had to with a patterned wallpaper of unknown techniques used are difficult to unravel. see it. origin, as can be seen in late 19th-cen- Katia and I both make reduction prints, in The paper was not, in fact, painted, tury photographs in the collection of which the matrix is continually reduced we realized when we came to inspect the the Otis Library and Museum. Mott, an and re-printed over the existing impres- dining room, but printed, and it was like interior designer, chose to remove these sions (an often confounding process), and nothing we had seen before: a magnifi- extra papers, and while it is something I am reminded of this type of strategic cent panorama, depicting scenes of what we would never have done ourselves, it printmaking when I look at certain pas- appeared to be the ruins of ancient Rome, does serve to focus the viewer’s attention sages in the room. Take, for example, the but from a time when the preservation of on the panorama. In any case, it may well foliage, particularly the trees. I’m not sug- the past was not thought of as it is now. be that Squire Lester Filley, who built the gesting that reduction was the method These ruins were crawling with bushes house in 1812 and presumably oversaw used to make this paper, but I think a and trees and people dining al fresco, get- the installation of the Zuber paper, never similar tactical planning of color separa- ting their palms read by a gypsy, watching intended such a busy array. Mott told us tions is evident in the chiaroscuro pas- a puppet show; some in Ottoman dress. that he had been offered $35,000 for the sages depicting trees in daylight—dark

8 Art in Print November – December 2016 near the trunk, the leaves nearly black, and then a succession of leaves, rendered over multiple printings, in many values right up to a bright spring green. I can imagine the block-cutters working with drawings on some sort of very thin paper that may actually have been glued to the blocks. Am I projecting my awareness of Ukiyo-e printmaking techniques, some- thing French artisans would not see for another sixty-plus years? Perhaps. Suffice it to say, I am astounded by the technical virtuosity in this work. I am also deeply moved by the style of drawing throughout: despite the printed signature, there’s a vernacular anonymity to the way this entire work is designed. The cult of the individual, pervasive in and beyond, is not pres- ent here. My own work pays homage to craftsmanship and intricacy (albeit in a very personal way, referencing math- ematics, physics and empirical thinking), Vues d’Italie wallpaper installed at James Siena and Katia Santibañez’s house in Otis, MA. and I am struck by the modesty of the Image courtesy of Armin Kunz. overall effect of the paper in the room. It is meant to transport us, and it does. The panorama—Vues d’Italie—is in the dle of a meal, eyes and minds can slow By downplaying virtuosity in drawing, dining room, which is the first room I see down and wander into the world of the however, it communicates verisimilitude in the morning; I glance at it before step- wallpaper. of experience, leaving the technical wiz- ping into the shower. When I stand at the I hope my father will travel to Massa- ardry of the printmaking squarely in the center of the room, I am surrounded by chusetts one day and see this fabulous background. This is, to me, an emblem of Italy—but I think about the paintings of room. early 19th-century parsimony, albeit in Hubert Robert (who died ten years before the service of depicting an exotic locale the paper was first printed in 1818) and of James Siena and Katia Santibañez are artists almost none of its viewers would directly the Parc Monceau in Paris with its 18th- who live and work in and in the experience. That is a marvelous para- century faux-Classical “ruins.” Berkshires. dox when viewed from our time, one I’m I have wondered about the connection thrilled to embrace. between this wallpaper and my art: when One evening, a couple of years after I was a student at the École des beaux arts, we bought the house, we were in Paris— my paintings were informed by architec- Katia’s hometown—walking down the tural edifices and the trees surrounding Boulevard Beaumarchais, when to our them, and I always use layers of water- surprise and delight we happened upon based paint, producing a matteness and the Zuber showroom. There, in the win- opacity similar to the effect of the dis- dow, was “our” wallpaper. What a jolt temper used in the aged Zuber paper. of coincidence, connection and contra- We do not know much about Lester diction! A French vision of an Italian Filley, the lawyer who built our house in fantasy, first met in New England, then the early 19th century. Perhaps he chose re-encountered in Paris, by a Franco- this paper because he had traveled to Italian–New England couple. How fitting. Europe and wanted to share his experi- ence with his friends and his family, or Katia Santibañez perhaps for him Europe was merely a fan- tasy, as it was for many Americans. In the early 21st century, Filley’s grew up in France, and my father, a house—now our home—is a place where I decorative painter, covered the walls an American artist with Italian ances- of our home with patterned and Japanese tors and a French artist who is now also papers. I was familiar with the Zuber an American citizen spend some of each wallpaper company but I had never seen year, building a life, making art, protect- any of their panoramas. Now I am lucky ing memories. The dining room is where enough to live in a New England house we share conversation, food and music with one. with our friends, and where, in the mid-

Art in Print November – December 2016 9 To The Last Syllable of Recorded Time: Christian Marclay By Susan Tallman

t the end of the eight-page descrip- A tion of Diego Velazquez’ Las Meninas (1656) that opens The Order of Things, Michel Foucault acknowledged a fundamental snag in his undertaking: The relationship of language to paint- ing is an infinite relation . . . neither can be reduced to the other’s terms: it is in vain that we say what we see; what we see never resides in what we say. And it is in vain that we attempt to show, by the use of images, meta- phors or similes, what we are saying; the space where they achieve their splendor is not that deployed by our eyes but that defined by the sequential elements of syntax.1 Foucault was, at that moment, con- cerned with the 17th century, but the mismatch he articulates is universal—an ineluctable ellipse between two endeav- ors, both seductive, both lit indepen- dently with the promise of meaning. Contemporary art has spent the last half- century scrutinizing that ellipse with the tenacity of a dog worrying a bone, and not only with words and canvas. If “paint- ing” can be understood as a metonym for visual art in general, and music can be considered a “language” (aural informa- tion unfolding over time), then Christian Marclay may be the artist of the “infinite relation” par excellence. For nearly four decades Marclay has explored the incommutability of sound and vision, working in , perfor- mances, installations, works on paper, scores and paintings. As both a visual artist and DJ on the improvised music scene in the 1980s, Marclay did just about everything you could to do vinyl records— Christian Marclay, Actions: Splish, Plop, Plash, Plash (No. 4) (2015), screenprint with handpainted played them on turntables, cut and col- acrylic, 49 x 35 inches. Image courtesy of the artist and USF Graphicstudio ©2015. Photo: Will Lytch. laged them, cut their jackets and collaged those, stacked them in towering columns, cases. This preoccupation with pictured Though often described as a “sound glued them to the floor to be walked on, sound might have become limited and artist,” Marclay has never focused on the melted and crumpled them, inked and repetitive, an iconographic one-shtick phenomenological presence of sound printed them.2 When vinyl became less pony, but Marclay has built it into a poetic, in space in the manner of Maryanne commonplace, Marclay turned his atten- droll and occasionally bruising meditation Amacher or Alvin Lucier. It is the things tion to cassette tapes, CDs, loudspeak- on time and all our beautiful and futile we confuse with sound that fascinate ers, musical instruments and their empty attempts to fix it. him—the recordings, the notation, the

10 Art in Print November – December 2016 packaging, the devices that pretend to give solid and immutable substance to fleeting experience. Using a camera, Marclay has compiled a vast pictorial encyclopedia of objects that ask us to hear with our eyes: musical staves on blackboards and deodorant tubes, biceps tattooed with quarter notes, wrought- iron G-clefs. His 2007 portfolio of pho- togravures, Sound Holes, documents the perforated metal sunbursts, snowflakes and Chinese Checkers patterns of inter- com systems. Photography’s job is to freeze the moment, and in that sense it is the oppo- site of music, which can be experienced only by the trickling away of seconds. The nesting of such contradictions is exactly what Marclay does so well. His photographic editions Graffiti Composi- tion (2002),3 Shuffle (2007)4 and Ephemera (2009)5 are also musical scores. Each pic- ture provides a set scene and also a play- able motif that can be unfolded, mixed and sequenced by the user—unfrozen and returned, as it were, to time. There is a reason that Shakespeare had Macbeth frame the futility of existence in terms of sound.6 The allure of objects— silent and stalwart—is that they endure, but sound decays, comes to an end, gives way to the void. Implicit in much of Mar- clay’s earlier work, this trade-off has become increasingly visible over the past decade, beginning with his 2006 screen- prints, based on ’s first Electric Chair paintings (1964–65).7 Mar- clay’s versions dispensed with the chair Christian Marclay, from Sound Holes (2007), suite of 21 photogravures in a clamshell box, image and most of the room, preserving only a 9 x 7 inches each, sheet 13 1/4”x 11 inches each. Edition of 12. Image courtesy of the artist and USF door and its plangent sign: SILENCE. It Graphicstudio ©2007. Photo: Will Lytch. is a part of the composition that Warhol himself eliminated when he returned by Anna Atkins, whose 1843 Photographs itself inevitably recalls the blueprints that to the subject in 1967 and cropped the of British Algae: Cyanotype Impressions is Robert Rauschenberg and Susan Weil image more tightly. For viewers who can thought to be the first photographically made between 1949 and 1951—works that identify the chain of citations (Marclay illustrated book. constitute as good a marker as any for the to Warhol to the execution chamber at Marclay’s specimens were cassette mid-century paradigm shift away from Sing Sing), the presence of death is tapes. Each of his 35 Automatic Draw- and toward the stuff-in- explicit, but even without footnotes, the ings (2008) is an individual portrait of the-world concerns of everything since. word and its grainy delivery intimate loss a Sony cassette disgorging a loop of Marclay, however, approached cyano- and terror. tape. (Because there is no negative, each type on an unprecedented scale: over the In 2008 Marclay returned to the impression is unique.) The clear plastic course of two years he created works in six Florida workshop where he had made case produced a nimbus-like glow, and it compositional series,8 the largest more his Sound Hole photogravures, Graph- is almost impossible not to read the spools than eight feet long. While Graphicstudio icstudio, to work with cyanotype. One as eyes and the lolling twist of tape as an had some experience with the medium, of the earliest techniques for a direct elaborate tongue. The curls resemble the size and specifics of Marclay’s project photographic exposure (no camera, no the ovoid loops produced by wrists freed presented new challenges, and Tampa’s negative), cyanotype was developed in from conscious control, and Marclay’s climate created further complications— the 1840s to duplicate drawn designs like title points to Surrealist automatism, but the heat of the sun would cause the tape architectural blueprints. Its potential other associations are equally compel- to move unexpectedly, while the humid- for fixing evanescent botanical speci- ling. The tape’s seemingly organic wiggle ity meant prepared papers had to be mens was, however, quickly recognized evokes Atkins’s algae, and the medium used within the day. On the other hand,

Art in Print November – December 2016 11 Christian Marclay, Memento (Prince) (2008), unique cyanotype, 51 1/2 x 97 3/4 inches. Image courtesy of the artist and USF Graphicstudio ©2008. Photo: Will Lytch. the 15–20-minute exposure times meant was always something a little mean, a lit- recognize the destruction they repre- Marclay could drape, rake and swirl miles tle sad, a little “seventies” about them. A sent, to understand their lost promise as of disemboweled quarter-inch tape, add- black vinyl disk outside its sleeve is iconic, music. ing and removing elements, much as an but the spilled guts of a cassette are Many of the cyanotypes are sub- etcher might add or stop out lines on a mildly indecent—a sign that things have titled with the names of the bands and plate to vary the strength of different gone badly wrong. The power of Mar- composers they contain. But while it is lines, producing images of subtle, sub- clay’s cyanotypes is closely wrapped with tempting to search for hardcore urgency aquatic depth. this slightly abject, slightly tragic char- in Memento (Hüsker Dü) or classicism in Cassettes, like LPs, were once handy acter. Their one-to-one scale prompts Allover (Céline Dion, Dvořák, Mozart and metonyms for music, but they never had us to identify instantly the material Others), this is nonsense: magnetic par- the same expansive confidence—there that formed these ribbons of light, to ticles on strips of plastic block light in the same way whether they play Ignatz Biber or Justin Bieber. And in any case, the musical selection is circumstantial— the result of whatever economic cur- rents caused these particular recordings to wash up in Tampa thrift shops in the early 21st century. (Marclay, who lives most of the year in London, calls Graphic- studio his “studio away from his stu- dio,” but the city’s low-end retail outlets are also a draw; in ten years of visits to Tampa he has never been to the beach.) In the Memento cyanotypes, shattered cassette boxes litter the bottom while tape droops in bedraggled catenaries from the upper edge like party streamers the morning after—the relics of a disco- era Miss Havisham. In the Allover series he removed gravity from the equation, scattering tape across the prone paper in layers that suggest nebulae, neural Christian Marclay (center) producing a unique cyanotype at Graphicstudio, University of South Florida, ganglia, or, as per the title, the “allover” Tampa. Image courtesy of USF Graphicstudio, Photo: Will Lytch. paintings of Jackson Pollock.

12 Art in Print November – December 2016 The nod to Pollock isn’t simply a pun For Marclay, slippage, rather than trans- based on the way that tape echoes the parency, is the point. The words were fall of paint when flung. The definitive cut from American editions of Japanese “action painter,” Pollock embodied the manga: each POING and KBLOOSH rep- idea of painting as performance. What resents a sound heard, transliterated, cal- went on the canvas, as Harold Rosenberg ligraphed and printed; then translated, put it, was “not a picture but an event,”9 redrawn and printed again; then clipped, and this conflation of passive object and collaged, digitally trimmed and printed a motile behavior has implications that third time, in order to be read and trans- extend far beyond Expressionism. What- lated—finally—back into sounds in time ever truths about the human condition and space. might be read into action painting, it also Manga Scroll and the large hanging stakes a claim as a recording.10 scrolls that followed14 contrast the qui- Action has since emerged as the stated etude of traditional Japanese aesthetics subject of Marclay’s collages, gravures, with the brashness of Japan’s most popular scrolls and screenprint paintings. In contemporary cultural export. His manga them, the deep silence of the cyanotypes photogravures do something similar to the gives way to sound and fury—the jag- Western graphic tradition. The implicit ged letterforms and massed exclamation dignity of intaglio endows these excitedly points of comic book onomatopoeia.11 silly syllables with an unexpected elegance Manga Scroll (2010) is a 60-foot-long roll- and authority. In SPLOOSH (2012), the title ing torrent of cartoon verbiage that, like word explodes at the center of the page so many of Marclay’s prints, also func- in expected style, but the irregular blob tions as a musical score.12 The swell- that sits behind it has none of the linear Christian Marclay, Automatic Drawing (2008), ing or attenuation of letter blocks, their precision of a cartoon; instead it suggests cyanotype, 12 x 7 1/2 inches. Graphicstudio boldness or fragility, offer performance a beautifully etched liquid mess—the proof. Image courtesy of the artist and USF instructions as clearly as any pianissimo aftermath of a SPLOOSH, rather than its Graphicstudio ©2008. Photo: Will Lytch. marking. The comics artists who drew schematic representation. Three modes of these noises were striving for instanta- explanation are abutted here—the word, Coriander Studio in London. Cartoon neous impact, and yet onomatopoeia has the drawing, and the trace—all shouting onomatopoeias of liquid sounds—the never been a universal language—not “action” in perfect stillness. splats and slups that might accompany only do writing systems and spelling con- This pairing of an action’s result with the action of action painting—are printed ventions vary, the aural experience of par- the graphic rendering of its sound pro- overtop canvas or paper that has been ticular events seems to differ from culture vides the structure for the screenprint splashed with paint. The result is, of to culture: a drinking dog goes “glup” in paintings that Marclay has been mak- course, funny—the wiseacre visual lan- Finland, but “lefety lefety” in Hungary.13 ing since 2013 with Graphicstudio and guage of Pop defusing the metaphysical

Left: Installation view of Manga Scroll (2010) at “Christian Marclay. Action,” Aargauer Kunsthaus, Aarau, 30 August–15 November 2015. Photo: René Rötheli, Baden. Right: Christian Marclay, Manga Scroll (2010), lithography on Gampi paper, sheet 16 x 787 1/2 inches, scroll 19 x 3 x 3 inches, box 20 3/4 x 5 x 5 1/8 inches. Image courtesy of the artist and USF Graphicstudio ©2010. Photo: Will Lytch.

Art in Print November – December 2016 13 Left: Christian Marclay, Actions: Whop SwooooshSplsh (No. 8) (2012), screenprint with hand-painted acrylic, 34 7/8 x 49 1/8 inches. Above: Christian Marclay, Klak Klak Klak (2012), photogravure, image 11 11/16 x 8 1/8 inches, sheet 14 9/16 x 11 1/16 inches. Edition of 25. Both images courtesy of the artist and USF Graphicstudio ©2012. Photos: Will Lytch.

installation, The Clock (2010), which won the Venice Biennale’s Golden Lion award and has made Marclay something of a museum-going-household name. Composed of more than 12,000 film clips marking every minute of the day, The Clock is hypnotic, exhausting and exhilarating in its scale, in a way no static object—however wrapped in the sub- lime—can be. But for all the differences of form between it and Marclay’s prints and paintings, scrolls and scores, they work to pretensions of Abstract Expressionism. London. “Liquids” also incorporated frame the same thing: the ellipse between Marclay describes them as “parodies of onomatopoeic videos, a live concert the way life is lived, one note to the next, painting,” but goes on to point out, “they series, an on-site record-pressing plant and the records we feel compelled to have to be beautiful or work visually. I that could transform the concert into make of it. Maybe the space of that ellipse think the idea of beauty and parody can vinyl before your eyes, and screenprint- is infinite, as Foucault promised, and coexist.” And unlike the carefully delin- ers live-printing record jackets. (Though maybe it signifies nothing, as Macbeth eated Brushstroke paintings of Roy Lich- the art on the walls was out of reach for opines. Marclay suggests there is room tenstein, the joke here is tethered to a real most buyers, the records could be had for for both: sound and silence; silence event. The paint really did go sploosh; just £25.) Here, it would seem, you had it turned back into sound. “Time is music,” there was a moment when Marclay stood all—actions and experiences recorded, Marclay has said, and composer Nicolas a few feet away and made that happen. processed, stamped, adorned. Each stage Collins, who has performed with him The forensic evidence is as plain to see as a was duly marked and yet, in the end, time since the 1980s, notes that he has always blood splatter. disappeared anyway. been a “master of time.” First shown at Paula Cooper in 2013, Time—regulated, standardized, tick- these works anchored “Liquids,” Mar- tock time—is the subject of Marclay’s Susan Tallman is the Editor-in-Chief of clay’s 2015 exhibition at White Cube in most famous work, the 24-hour video Art in Print.

14 Art in Print November – December 2016 Notes: 1. Michel Foucault, The Order of Things: An Archaeology of the Human Sciences (New York: Vintage Books, 1973), 9. 2. Working with Judith Solodkin at Solo Impres- sion in New York in 1990, Marclay made relief prints from inked records arranged on the press bed. (The trick was in inking the surfaces so the grooves did not fill in, allowing each to appear as a luminous, weightless disk.) With Solodkin he also used letterpress to blindstamp Beatles lyrics across the central spreads of the White Album (designed by Richard Hamilton) and Sgt. Pepper’s Lonely Hearts Club Band (designed by Peter Blake). 3. Graffiti Composition began as a public art proj- ect during the Berlin sound art festival Sonam- biente; music notation paper was fly-pasted around the city and its afterlife documented in photographs. A selection of 150 photographs was published as an edition-cum-score, and has been frequently performed in concert. See Susan Tall- man, “All the World’s a Stave,” in Christian Mar- clay: Festival (New York: Whitney Museum of American Art, 2010), vol. 1, n.p., and Susan Tall- man, “Always this Tüdelditut: Christian Marclay’s ‘Graffiti Composition,’”Art on Paper 4, no. 6 (July/ Aug. 2000): 28–33. 4. Shuffle (New York: Aperture, 2007) is a boxed deck of 75 oversized cards, each bearing a pho- tograph. 5. Ephemera (Paris: mfc-michèle didier, 2009) includes 28 folios, published in an edition of 90. 6. “Tomorrow, and tomorrow, and tomorrow,/ Creeps in this petty pace from day to day,/ To the last syllable of recorded time;/ And all our yesterdays have lighted fools/ The way to dusty death. Out, out, brief candle!/ Life’s but a walking shadow, a poor player,/ That struts and frets his hour upon the stage,/ And then is heard no more. It is a tale/ Told by an idiot, full of sound and fury,/ Signifying nothing.” Macbeth (5.5.19–28). 7. The screenprinting was done with Donald M. Sheridan, who had worked for Warhol in the 1970s and ’80s. 8. In addition to the Automatic Drawings, Memen- tos and Allovers described here, there were Mashups (diptychs in which each side featured one cassette-spewing tape), large and small Cas- Christian Marclay, Sploosh (2012), photogravure, 15 3/4 x 11 5/8 inches. Edition of 10. Image courtesy sette Grids (arrangements of cassette boxes both of the artist and USF Graphicstudio ©2012. Photo: Will Lytch. filled and empty), as well as some untitled works. See Christian Marclay: Cyanotypes, (Zurich: JRP/ Ringier Kunstverlag, 2011). 9. Harold Rosenberg, “The American Action Paint- ers,” Art News 51, no. 8 (Dec. 1952): 22. 13. From Dr. Derek Abbot’s spreadsheet of animal 10. Marclay has noted, and made work about, onomatopoeia: http://www.eleceng.adelaide.edu. the propensity of jazz album covers to feature au/Personal/dabbott/animal.html/ abstract expressionist painting, a pop-cultural 14. In each of Marclay’s hanging scrolls, an acknowledgement of this equation. onomatopoeic comic-book collage occupies the 11. In 1989 Marclay made a number of works in central position held by calligraphy in a tradi- which he painted over comic book pages to iso- tional kakemono scroll. The collages were vastly late bits of onomatopoeia. See Russell Fergu- enlarged from tiny originals such that dot screens son, ed., Christian Marclay (Los Angeles: UCLA become loud polka dots and torn paper fibers look and Göttingen: Steidl, 2003) like fur. The rectangular arrangement of surround- and Madeleine Schuppli, ed., Christian Marclay: ing fabrics is more-or-less in accordance with Action (Aarau, Switzerland: Aargauer Kunsthaus tradition (a large rectangle at the top for heaven, and Ostfildern: Hatje Cantz Verlag, 2015). a slightly smaller one at bottom for earth, and nar- 12. Manga Scroll has been performed by Joan row vertical pillars either side), but their strident LaBarbara, Shelley Hirsch, Phil Minton, Elaine patterns and chemical colors echo the character Mitchener, David Moss, Theo Bleckmann and of the collages with contrapuntal precision. See Koichi Makigami. Excerpts from many of these Christian Marclay: Scrolls (Tokyo: Gallery Koy- performances can be viewed on YouTube. anagi, 2011).

Art in Print November – December 2016 15 Prix de Print No. 20

PRIX Time Machine de for Abandoned Futures PRINT by Colin Lyons Juried by Chang Yuchen

This iteration of the Art in Print Prix Traces are inevitable. Flowing water endless homework problems I did at 16). de Print has been judged by Chang changes the shape of pebbles and coast- Like a tunnel full of experiences and Yuchen. The Prix de Print is a lines, people live and then disappear. satisfactions, it leads to wide-open space bimonthly competition, open to all They leave artifacts behind, with which at the end. Printmaking is a manner of subscribers, in which a single work is we speculate and imagine their own- practice, respectful and committed, and selected by an outside juror to be the sub- ers’ existence, constructing an image of the form of the outcome is free. ject of a brief essay. For further informa- our past. Every work of art includes the activity tion on entering the Prix de Print, please Artifacts in museums attract me like of performance; whichever medium it go to our website: http://artinprint.org/ a magnet. I stare and stare, sometimes takes. There are always decisions, actions about-art-in-print/#competitions. without reflecting on what the object is, and reactions, composition and impro- merely trying to keep my eyes affixed to visation. The artist is walking, seeking, Colin Lyons, Time Machine for Abandoned it. There’s always a feeling of potential, as collecting materials and treating them Futures (2015) if something vital is about to reveal itself with (critical) affection. Artists expose Gold-rush artifacts, plexiglas, aluminum, in the rusty surface, but just not yet. It themselves in the field of discourse and copper sulphate, soda ash, copper etching is as if we—the artifact and I—will both feelings, as dancers measure and mani- plates, zinc etching plates plates, wires, vanish in loneliness as soon as I turn fest gravity in their movements. 96 x 108 x 168 inches. Unique work. my eyes away. “Gold Rush.” It is an historical event but Rust and erosion, and wrinkles, too. also a kind of poetry. The words, joined These traces are loaded with informa- together, suggest a flood of glittering, rected on a bluff overlooking tion, with the dimensions of places and molten metal—incredibly beautiful but Bonanza Creek in the Canadian E histories. They whisper stories rich in also horrifying, seductive and destruc- Yukon, Colin Lyons’ Time Machine for texture. We desire stories, always and tive. Abandoned Futures uses a vast battery, forever. “Rather than your face as a young made of etching plates and acid, to power The requirement of contemporary art: woman, I prefer your face as it is now. the electrolytic cleaning of broken tools something new, something old, some- Ravaged,” says the lover in Marguerite and machine parts left behind by the thing to look at, something to talk about. Duras’ autobiographical novel.1 Klondike Gold Rush. Once cleared of The requirement of the heart: care. rust, the artifacts were etched with what “In the essay,” Adorno writes, “concepts Lyons calls “markings of ruination.” do not build a continuum of operations, The project takes on physics, chemis- thought does not advance in a single Chang Yuchen is an artist who lives and works try, environmentalism and social history, direction, rather the aspects of the argu- in New York. but to me, as a printmaker, it is also very ment interweave as in a carpet. The fruit- much about the nature of printmak- fulness of the thoughts depends on the Notes: ing itself. And so I offer the following density of this texture.“2 1. Marguerite Duras, The Lover, tr. Barbara Bray. thoughts: (New York: Scribner’s, 1993). Printmakers tend to plan ahead, to be 2. Theodor W. Adorno, “The Essay as Form,” tr. Printmaking is about traces. A finger- never-theless flexible, to enjoy physi- Bob Hullot-Kentor and Frederic Will, New German print on a dusty desk, a childhood scar cal labor, and to be drawn to the subtle. Critique 32 (Spring-Summer 1984): 151–71. on your knee, a transparent area on a Printmaking is a kind of education, that frosted window left by a warm breath; is to say, a means to an end (I forgot my printmaking is about something once high school math long ago but I am a here and no longer. better problem solver because of those

16 Art in Print November – December 2016 Colin Lyons, Time Machine for Abandoned Futures (2015). Top: View of the installation on Midnight Dome in the Klondike. Center left: The artist using a metal detector searching through dredge tailings near Bonanza Creek. Center right: The roof-top battery composed of etching plates and acid. Lower left: Electrolytic cleaning of rust from the scavenged artifacts. Lower right: Object showing etched markings. Time Machine for Abandoned Futures was produced with the support of Klondike Institute of Art & Culture and Canada Council for the Arts. All photos by the artist.

Art in Print November – December 2016 17 EXHIBITION REVIEW Ironic Columns and Cynical Structures: Ania Jaworska at MCA Chicago By Julie Warchol

“BMO Harris Bank Chicago Works: Ania Jaworska” Museum of Contemporary Art, Chicago 25 August 2015 – 31 January 2016

he Museum of Contemporary Art’s T exhibition of prints and sculpture by Ania Jaworska was the first in its ongo- ing series on artists working in Chicago to feature an architect, and the first solo show for Jaworska. Curated by Grace Deveney, it addressed the relationship between graphic and built spaces; design and construction; history and practice through a site-specific installation of , Cynic Architectures (2012–2015) and a portfolio of 17 screenprints, A Sub- jective Catalog of Columns (2015), that offers an abridged, quirky history of mod- ern architecture through one of its most salient features. Conceptually related in their critique of form and function, the two bodies of work occupied separate spaces. The five black sculptures, arranged in a small gallery with black walls and carpet, sug- gested familiar objects and devices for directing the human passage through space. The curved steel arch of Gated Area (2015) led into a small, circular space fenced by a low steel railing; one could easily enter the circle by stepping over the railing, but the work highlighted ingrained human habit: most visitors chose to enter and exit through the arch- way. While Gated Area beckoned us in, the circled stanchions of Untitled (Empty Gesture, 2015) impeded access, restrict- ing visitors from nothing but empty space. Other sculptures employed words in mind/object games: three rectilinear Ania Jaworska, Saint from A Subjective Catalog of Columns (2015), screenprint on folio paper, columns, strategically barred and dotted, 55.9 x 76.2 cm. Courtesy of the artist. contrived to spell an elongated “HI,” and another column was topped with a slowly The architectural realities experienced play on the didactic visual catalogues rotating “HERE” sign, tweaking the mute kinesthetically in Cynic Architectures that have directed Western architectural architectonic of Robert are explored graphically in Jaworska’s understanding since Caesar Caesariano’s Morris, whose gray columnar sculptures screenprint portfolio of real and imag- 1521 translation of Vitruvius’ De architec- are meant to call attention to their pres- ined columns, which was displayed in tura (originally first-century BC), with its ence as forms that transform our interac- its entirety across two large white walls engravings of elements and elevations in tion with the surrounding space. in a separate gallery. The portfolio is a schematic isolation.1 Of all the various

18 Art in Print November – December 2016 such as Rem Koolhaas, Zaha Hadid and Will Alsop who supplanted high modern sobriety with curved lines, bright colors and seemingly impossible structures.3 After Slavin House riffs on Greg Lynn’s innovative proposal for a house to be constructed from a single curvilinear steel tube in place of straight columns. In Jaworska’s tribute, the incomplete “col- umn” spells out “WOW,” an affirmation of the design’s unprecedented conception. Some compositions act as metaphors for architectural history itself. Although the vertical corkscrew in The Future Is Informed by the Past alludes to the spi- raling of the Solomonic columns of Byz- antium, it also symbolizes the cyclical nature of history, as architects continu- ously recycle old forms in new structures. The choppy, irregular outline in Where is Installation view: “BMO Harris Bank Chicago Works: Ania Jaworska,” Museum of Contemporary Art that Knife? refers to Stanley Tigerman’s Chicago, 2015–2016. Photo: Nathan Keay, ©MCA Chicago. directive to young architects to carve out new ideas rather than reiterate the tired building parts, the column came to stand with the subject of #1, which the architect forms of their predecessors.4 The pink, as the premier representative of distinct proposes may be the first column: two curvaceous, anthropomorphic column in architectural styles. Whatever under- sticks tied together. The precariousness It’s Not Easy calls attention to the difficul- standing most of us have of the orders and flammability of early columns—the ties of women working in what remains a of ancient Greek architecture—Doric, first in ancient Mycenae and Greece were male-dominated field. Ionic and Corinthian—usually boils made of wood, not stone—is also repre- The screenprint Faking It—like the down to the columns we saw illustrated sented by Wooden Column on Fire (It Was sculpture VIP Lounge (2015)—exposes the in textbooks and classrooms. “The col- Always Burning), a flat, patterned render- symbolic nature of architectural forms umn,” Jaworska explains, “has become a ing of a Doric column set aflame. Desire stripped of their structural purpose. The complex symbol that embodies issues of highlights contemporary columns that print features two engaged Ionic col- status, taste, tradition and advancement. are constructed from artificial materials umns that blend almost seamlessly into a It has been celebrated and misused, rein- to resemble trees in a perverted effort to neoclassical stone wall, while the shad- vented and ridiculed.”2 get “back to nature.” ow cast by a free-standing Ionic column Shrewdly, Jaworska uses these In other prints, Jaworska quotes, con- emphasizes the structural irrelevance of detached architectural supports to distill torts, praises and critiques the sleek, recent and contemporary cultural zeit- minimal forms of mid-20th-century geists, from neoclassical stateliness to modernism as well as the ostentatious modernist severity to the fanciful post- appropriations of certain postmodern- modern indulgence. As in the didactic ists. The most reverent of these prints, engravings that anatomized architecture Saint, pays homage to Ludwig Mies van from 1521 onward, each of Jaworska’s sub- der Rohe, the godfather of high modern- jects is isolated on the page, decontex- ist architecture in Chicago, in the form of tualized from any natural surroundings a cross-shaped steel column, ringed with or integrated purpose. But in place of a halo, in a rich field of black. A professor engraving’s stern black-and-white linear- for two decades at the Illinois Institute ity, she has adopted the strong flat color of Technology, Mies accrued a large net- and hard-edged style of Pop screenprints, work of students devoted to his minimal updating the venerated Vitruvian model glass-and-steel International Style. Saint for 21st-century eyes and imaginations. cunningly acknowledges the soaring She designed these clean, bold images I-beams that form the façade of Mies’s using the contemporary, digital tools of famous 860–880 Lake Shore Drive Apart- the architectural trade—AutoCAD and ments (located just a few blocks from the Illustrator—and printed and published MCA) as modernist icons. them herself. In contrast to the solemnity of Mie- Subjective Catalog is not an exhaus- sian forms, The 90s depicts seven free- tive history of architectural accomplish- floating colorful, metallic columns that Ania Jaworska, It’s Not Easy from A Subjective ments, but a witty satire on history’s playfully defy expectations of vertical- Catalog of Columns (2015), screenprint on folio habitual repetition of forms, beginning ity, an oblique reference to architects paper, 55.9 x 76.2 cm. Courtesy of the artist.

Art in Print November – December 2016 19 Left: Ania Jaworska, Faking It from A Subjective Catalog of Columns (2015), screenprint on folio paper, 55.9 x 76.2 cm. Right: Ania Jaworska, After Slavin House from A Subjective Catalog of Columns (2015), screenprint on folio paper, 55.9 x 76.2 cm. Courtesy of the artist. both the pilasters and the column. VIP Julie Warchol is the Associate Editor of Lounge consists of two flat, thin, steel Art in Print and the Curatorial Associate at the shapes reminiscent of Ionic columns Terra Foundation for American Art in Chicago. propped several feet from the gallery wall by four inelegant sandbags. Left with rhyme but no reason, these forms are Notes: reduced to little more than self-aggran- 1. Liane Lefaivre and Alexander Tzonis, eds., The dizing kitsch. Emergence of Modern Architecture: A Documen- tary History from 1000 to 1810 (New York: Rout- Finally, embodying architecture’s ledge, 2004), 95. cyclical nature, Jaworska ends her Subjec- 2. Ania Jaworska, “A Subjective Catalog of Col- tive Catalog where it began, with a simple umns” (unpublished statement, 2015), in Grace vertical line: The Future brings the mini- Deveney, “Signs of Our Place,” BMO Harris mal modernist column to the point of Bank Chicago Works: Ania Jaworska (Chicago: Museum of Contemporary Art Chicago, 2015). near-invisibility. 3. Ania Jaworska, unpublished PDF document, Through these whimsical, immacu- 2016. Thanks to the artist for graciously provid- lately printed studies, Jaworska recreates ing more information on A Subjective Catalog of the typological catalogue as a sharp Columns. insider commentary on the past, present 4. Like Jaworska, Tigerman has created numer- and future of architecture. In her prints ous drawings that satirize architecture, which he calls “Architoons.” See Deveney, “Signs of Our and sculpture she makes clear that archi- Place.” tects do more than construct spaces; they create and perpetuate forms imbued with symbolism. Entertaining and educa- tional, Jaworska’s art teaches us to slow down, take notice and think critically about the structures that surround us every day.

20 Art in Print November – December 2016 EXHIBITION REVIEW Matisse Bound and Unbound By Vincent Katz

“Graphic Passion: Matisse and the Book Arts” Morgan Library & Museum, New York 30 October 2015 – 18 January 2016

he Morgan Library and Museum’s T remarkable exhibition on Henri Matisse’s book works provided a wide- ranging, in-depth view of his achieve- ments in the realm of the artist’s book and, perhaps surprisingly to some view- ers, more commercial types of publica- tion. One of the features the exhibition and its accompanying substantial cata- logue made apparent is that Matisse, at the same time he devoted himself fully to all elements of book production, maintained a catholic attitude, assess- ing each book project in its own terms, always attempting to innovate within a given form. He understood that books, by nature collaborative ventures, were Henri Matisse, linocut illustration and initial in Henry de Montherlant, Pasiphaé, Chant de Minos (Les Crétois) (Paris: Martin Fabiani, 1944). Frances and Michael Baylson Collection, The Morgan opportunities for intersections, for going Library & Museum. ©2015 Succession H. Matisse / Artists Rights Society (ARS), New York. Photography beyond what one person alone could or by Graham S. Haber, 2015. would accomplish. Of the 47 illustrated books documented in the catalogue, 30 from Henri confiding to his son details of matches the simplicity of the drawings in were included in the exhibition, often his progress on such book projects as the scale. This story is revealing, as it illus- supplemented by ancillary materials, problematic Ulysses (1935) and the classic trates clearly how artwork, and poetry including sketches, rejected designs for Jazz (1947). Objects from these two highly as well, are transposed into book form. covers, and correspondence. significant collections were supple- Despite the most meticulous planning, The exhibition, curated by John mented by choice pieces from the exten- sometimes things go awry. This exhibi- Bidwell, Astor Curator of Printed Books sive Cone Collection of Matisse’s work at tion gave several examples of the creators’ and Bindings at the Morgan, and its cata- the Baltimore Museum of Art. refusing to accept a result as definitive logue made use of previously unpublished Matisse did not focus seriously on and continuing on to another effort in correspondence that provides intimate books until the 1930s, when he was order to bring the publication closer to knowledge of the artist’s decision-making already in his sixties, but they became the artistic vision. processes with regard to layout, orna- a mainstay of his output during World There was an interesting sidebar that ment and typography for each project. War II, when he was isolated in the south came near the end of the exhibition— Alternate, unused versions were help- of France and used books to dissemi- a copy of Virgil’s Eclogues, published in fully provided along with the glorious nate his recent work. He continued to be Weimar in 1926 with woodcut illustra- final products, yet the amount of work deeply invested in such projects until his tions by Aristide Maillol. Matisse owned on display was not overwhelming, as death in 1954. a copy and used it as a model for Repli can sometimes be the case when a treat- While his fascination with books (1947), a later book collaboration with his ment attempts to be definitive. Here, on deepened later in life, the exhibition friend Rouveyre. Also on view was a trac- the contrary, the judicious choices were included some intriguing examples from ing by Matisse’s assistant, Lydia Delector- illuminating. early in his career. In 1912 he contributed skaya, from the Maillol book that Matisse The Frances and Michael Baylson a portrait of André Rouveyre to a book of shared with the printers of Repli so they Collection, donated to the museum in that artist’s drawings. In 1918 he did five would have a clearer idea of his goals. It 2010, is a definitive resource of Matisse’s drawings to go with three poems by his is an interesting example of Matisse’s books, and it formed the backbone of the friend Pierre Reverdy. The poet was not knowledge of, and appreciation for, more exhibition. This gift followed one from happy with the resulting book, Les jock- traditional typography. Matisse’s own the Pierre and Tana Matisse Founda- eys camouflés (The Camouflaged Jock- lettering was usually freer and more tion in 1997 of the Pierre Matisse Gallery eys), so took on the role of publisher for a experimental. Archives, which include correspondence second edition, in which the typography Matisse’s first engagement with the

Art in Print November – December 2016 21 Left: Henri Matisse, preliminary designs for Stéphane Mallarmé, Poésies (1932). Collection of The Pierre and Tana Matisse Foundation ©2015 Succession H. Matisse / Artists Rights Society (ARS), New York. Photography by Graham S. Haber, 2015. Right: Pierre Matisse, photograph of Henri Matisse in the Bois de Boulogne (ca. 1931–1932). Gift of the Pierre and Tana Matisse Foundation, 1997, The Morgan Library & Museum. ©2015 Succession H. Matisse / Artists Rights Society (ARS), New York. classic livre d’artiste, as it had been prac- of spreads. It also shows Matisse’s imme- trations desirable. Matisse always avoided ticed in France by such artists as Manet, diate understanding of the nature and a direct interpretation of text. Instead he Bonnard, Picasso and others, came in potential of the book form. In the prints strove to give his visual contributions an Poésies (1933), a setting of the poetry of included in the final book, Matisse’s sim- agency parallel to that of the texts they Stéphane Mallarmé (1842–1898). The ple but forceful etching line jumps off the accompanied. Macy, however, felt Joyce’s publisher Albert Skira, some 35 years white expanse of paper. He described his writing was too difficult to decipher and Matisse’s junior, had founded his press in goals in filling the sheets: “The drawing was hoping Matisse’s images could be used 1928 in Lausanne and opened an office in fills the entire page so that the page stays to make it more understandable. Paris not long after. In 1933 he contacted light, because the drawing is not massed Matisse wanted to explore a different André Breton about a Surrealist journal towards the center, as usual, but spreads medium than he had used for Poésies. that became Minotaure, but before that over the whole page.”1 Matisse was sub- “I need to conceive form in other terms Skira offered Matisse the opportunity tly transgressive in combining word and than the arabesque,” he wrote his son.2 to do a deluxe livre d’artiste, giving him image on the same sheet, as opposed to Pierre tried to convince his father to artistic control of the design. While Skira placing artwork and text on facing pages, stick with tried and true engraving, but may have chosen the type, Matisse had as in many more traditional publications. Matisse proposed to use lithography for his way with the imagery in the 29 etch- Another project with an important Ulysses, in order to work from dark to ings ultimately used. This experience was writer—this time a living one—showed light areas. These experiments did not formative, and Matisse carried that sense great promise. George Macy of the Lim- prove satisfactory, according to Matisse, of freedom into many of his later projects. ited Editions Club, based in New York, because Macy provided him with subpar It affected how he thought about books. contracted Matisse in May of 1934 to do materials. Without informing the pub- It is significant too that Mallarmé was an artist’s book version of James Joyce’s lisher, he switched to soft-ground etch- the poet chosen. Matisse felt a strong con- Ulysses. Originally published in 1922 by ing, in a further attempt to achieve depth nection to poetry—this came across very Sylvia Beach at Shakespeare and Com- and gradations. clearly at the Morgan—and he chose to pany in Paris, Joyce’s masterpiece had Macy, provoked by this turn of events, work with it much more frequently than been banned in the U.S. and was not pub- went so far as to hire another artist, the with prose. Something about its visual lished there in a complete form until 1934. American illustrator Lewis C. Daniel, quality, but also its airy, indefinable nature Matisse had not read Ulysses, but he knew but the Joyce expert Stuart Gilbert pro- attracted him. Mallarmé had been recog- the book’s structure was based on Homer’s nounced Daniel’s work to be caricature nized in his own time as a trendsetter, Odyssey, as he had seen Joyce’s schematic that overlooked the humane qualities and his importance has only grown. He’s chart indicating the parallels between his of the novel. Macy had to go back to particularly appreciated for his emphasis characters and Homer’s. Matisse decided Matisse. Ultimately 20 preliminary stud- on the musical as opposed to the semantic to use six subjects from the Greek epic and ies, reproduced in gravure on yellow and elements in his verse, and for a high degree to supplement them with a smaller num- blue paper, were included as a palliative, of abstraction that renders his poems non- ber of images referring directly to Joyce’s the publisher thought, to help explain specific, highly generalized, with powerful descriptions. Later this was reduced to six the imagery to subscribers. Matisse, frus- emotional content. Homeric subjects total, printed in soft- trated by the publisher’s lack of support, Matisse’s first step for the Mallarmé ground etching; it is worth noting that ultimately disavowed the book, a sad project was to sketch out the spreads the illustration for Circe was based on a result indeed after the amount of work he (which he called “openings”). This makes Folies Bergère–type performance Matisse poured into it. sense, as Mallarmé himself was one of the had attended. Joyce approved of Matisse’s About ten years after Poésies, Matisse first poets to conceive his work in terms approach, as he did not think literal illus- got deeply involved in a book that pro-

22 Art in Print November – December 2016 Left: Henri Matisse, Le Toboggan, plate XX in Jazz (1947), pochoir. Courtesy of Frances and Michael Baylson ©2015 Succession H. Matisse / Artists Rights Society (ARS), New York. Photography by Graham S. Haber, 2015. Right: Henri Matisse, Dernières oeuvres de Matisse 1950–1954 (Paris: Éditions de la Revue Verve, 1958). Frances and Michael Baylson Collection, The Morgan Library & Museum. ©2015 Succession H. Matisse / Artists Rights Society (ARS), New York. Photography by Graham S. Haber, 2015. jected a different direction. Pasiphaé ilene, Greece, in 1889, had gone to Paris describe his publisher as “a very gifted (1944), by Henry de Montherlant, is based to study law, changed his name to Téri- man, who has a great influence on artists, on the Greek myth in which the Queen ade, and became an important critic and especially when his passionate love for a of Crete is driven mad by Poseidon, caus- patron of the arts. The lavish treatment book is so great that it becomes part of ing her to desire and ultimately to have and the dedication of space to recent his life.”5 Clearly, this was a very different sex with a bull, thereafter giving birth production by artists such as Bonnard, experience from what Matisse had gone to the Minotaur. For this book, instead Braque, Chagall and Picasso made Verve through with Macy on Ulysses. of thin engraved black lines on a white special. As John Russell put it, “Funda- The Clown and Toboggan were the first ground used in Poésies, Matisse chose mentally it was a hedonistic publication. two images for the book that Matisse the smoother lines of linocut to give his Marvels, not monsters, were its first field showed Tériade, and, like some of the images of Pasiphaë and the bull a surging of interest.”4 The last cover designed by pieces that followed, such as Horse energy, while the effect of white lines on Matisse turned out to be posthumous, and Rider, they show that he originally a rich, dark ground enhanced the sense of and Tériade decided to make the issue an thought of the project as about the cir- darkness inherent in the myth. Pleased homage to the master’s final years, show- cus. Only later was the concept, if not the with linocut’s effect in conjunction with casing his work from 1950 to 1954. images themselves, transformed under letterpress text, Matisse would go on to After moving to Vence in 1943, Matisse the title Jazz. The greatest challenge was use it for several books. “Lino engraving began using the cutout technique to finding a printing process that could is a true medium predestined to be used compose what would become perhaps reproduce the particular gouache colors by the painter-illustrator,” he wrote.3 his best-known book, Jazz, published of Matisse’s papiers découpés. After try- Confined to a wheelchair after surgery by Tériade in 1947. Jazz is exemplary of ing—and giving up on—photogravure, for abdominal cancer in 1941, Matisse how Matisse treated each opportunity wood-engraving, photo-engraved zinc went on to develop the brilliant, colorful, to make a book in specific, experimental blocks, linocut and pochoir, they finally energetic cut-paper work that he contin- ways. Despite the difficulties of work- went back to the latter as the best at cap- ued for the rest of his life. He designed six ing on this complex project during the turing the vibrancy of Matisse’s colors, covers for the experimental art journal war, Tériade made sure that the artist albeit with some inaccuracy in reproduc- Verve during the years 1937–60. The pub- had everything he needed to achieve his ing the precise contours his scissors had lisher, born Stratis Eleftheriades in Myt- ambitious goals. Matisse was moved to demarcated.

Art in Print November – December 2016 23 It’s a failure through and through— decided upon before the work is under- and I wonder why these cutouts are taken, but develop coincidentally as appealing to me when I make them inspiration and the direction of my pur- and see them on the wall and why suits indicate.”9 This improvisatory they don’t have that puzzling aspect approach to book-making, combined I find in Jazz. I think it is the trans- with Matisse’s native genius for drawing, position that ruins them and strips color and composition, make his book off their sensual quality—without oeuvre unique. which anything I do is fruitless. For that matter I told Tériade before Vincent Katz is a poet, translator, critic and the exhibition what little sympathy curator. I have for that book. And now you see it is an unprecedented success, a Notes: landmark, etc. etc.8 1. Henri Matisse, “How I Made My Books,” in John Bidwell, Graphic Passion: Matisse and the Book Eventually, Matisse came to praise the Arts (New York: The Morgan Library & Museum, color qualities of Jazz, while allowing that 2015), 233. the contours, made by artisans imitating 2. Henri Matisse, letter to Pierre Matisse, 28 cuts the master had made, were not ade- March 1934, Pierre Matisse Gallery Archives, quoted in Bidwell, 97. quate. There must be that feeling every Henri Matisse, preliminary study for the etching in 3. Matisse, “How I Made My Books,” quoted in the Circe chapter, Ulysses (1934). Collection of time, for an artist as demanding as Bidwell, 234. The Pierre and Tana Matisse Foundation ©2015 Matisse, to see the work so transformed. 4. John Russell, “Flair for the Grand Gesture: Succession H. Matisse / Artists Rights Society But that is the essence of the book, and Celebrating a Magazine,” The New York Times, (ARS), New York. Photography by Graham S. thankfully Matisse not only persevered 9 October 1988. 5. Jack Flam, ed., Matisse on Art (Berkeley: Haber, 2015. but devoted some of his best energy to it. University of Press, 1995); quoted in The creation of the images was impro- A key to his success, from our point of Bidwell, 177. visatory in nature, which provided the view, is that he never started out with a 6. Henri Matisse to Tériade, quoted in Bidwell, link to jazz, and Matisse composed a preconceived idea, but let the materials, 180. 7. La verticale est dans mon esprit. Elle m’aide text for the book that also partook of the texts, collaborators and other ele- ments guide him. “Composition condi- à préciser la direction des lignes, et dans mes spontaneous thought-experiments. The dessins rapides, je n’indique pas une courbe, par project had originally been conceived as tioned by the elements employed as well exemple celle d’une branche dans un paysage, an examination of color properties, and as by their decorative values: black, white, sans avoir conscience de son rapport avec la the text was supposed to reflect those color, kind of engraving, typography,” he verticale. Mes courbes ne sont pas folles. Henri Matisse, Jazz (Paris: Tériade éditeur, 1947). concerns. Matisse, however, changed his wrote. “These elements are determined by the demands of harmony for the book 8. Henri Matisse to André Rouveyre, quoted in mind: “I am sick of color right now,” he Bidwell, 183. wrote Tériade, “and I dare not write about as a whole and arise during the actual 9. Matisse, “How I Made My Books,” quoted in it.”6 Instead he composed a series of short progress of the work. They are never Bidwell, 233. texts that ruminate on happiness, jazz, esthetics, creation, drawing and love. The texts, drawn by the artist in a flow- ing, cursive hand, perform an important decorative function, as is always the case with text in Matisse’s books, but that is not to say that their observations are insignificant. He writes: The vertical is in my spirit. It helps me orient the direction of lines, and in my quick drawings, I don’t make a curve, for example that of a branch in a landscape, without having an awareness of its rapport with the vertical. My curves are not mad.7 Despite the book’s success on publi- cation, Matisse’s friend Rouveyre had reservations, and Matisse wrote in agreement: I share your opinion absolutely. Henri Matisse, Circus, plate II in Jazz (1947), pochoir. Courtesy of Frances and Michael Baylson Despite all the effort I put in it, I ©2015 Succession H. Matisse / Artists Rights Society (ARS), New York. Photography by Graham S. never could get it right in principle. Haber, 2015.

24 Art in Print November – December 2016 EXHIBITION REVIEW New Light on Degas’ Dark Dramas By Joseph Goldyne

“: A Strange New Beauty” The Museum of Modern Art, New York 26 March – 24 July 2016

he recently concluded once-in-a- T lifetime exhibition of Degas mono- types at the Museum of Modern Art accomplished something rare among ambitious monographic shows: along- side works of unqualified greatness, it gave space to imperfect, experimental efforts without lessening our perception of the artist’s stature. This grand display made it clear that, despite his universally acknowledged natural gifts, Degas was all about hard work and persistence. In the case of monotype, this labor was ded- icated to a medium that did not best show off his most marketable abilities: his elo- quent draftsmanship, his convincing capture of subtle emotion, and his inno- vative and complex compositions, often with bodies in motion. Indeed, for all the interest in Degas’ remarkable pioneering efforts on its behalf, he created relatively few monotype masterpieces. So why all the fuss? Firstly, the exhibi- tion’s view of Degas as an open-minded seeker is something of a revelation, given the less venturesome artistic camps in which he felt comfortable. Secondly, it provided compelling evidence of his artistic character—if Degas found a process or subject fascinating, he pur- sued it regardless of the public, collec- tors or critics. Though personally and socially conservative, even reactionary, in his art Degas was driven by remark- able curiosity and sustained by natural enthusiasm. Like those who understand what it means to do good science, Degas seems to have been unfazed by less-than- hoped-for results or even outright failure. Hilaire-Germain-Edgar Degas, Café-Concert Singer (Chanteuse de café-concert) (ca. 1877), mono- The breadth of inventive work at MoMA type on paper mounted on board, image 18.5 x 12.8 cm, sheet 23.5 x 18 cm. Private collection. proved that Degas found paths to follow even when what he pulled from the press in copying and recopying. Replying to a of a monotype impression, whether appeared unpromising. question from about coarsely or delicately finished, was of far In her insightful catalogue essay, how an artist should learn to paint, less interest to Degas than its potential Stephanie O’Rourke interprets the art- Degas said somewhat archly: “only for inspiring post-printing alterations ist’s approach to monotype in light of his after having given every proof of being with pastel or gouache and oil paint and “enduring fascination with the chang- a good copyist could one reasonably even reproduction by means of trans- ing terms of reproduction in the nine- allow you to do a radish from nature.”2 fer lithography. Richard Kendall makes teenth century.”1 He was a great believer One can conclude that the uniqueness the important point that in “Ingresque

Art in Print November – December 2016 25 Ludovic Napoleon Lepic, The Mill Fire (L’Incendie du Moulin) (ca. 1870–76), one of the 6 monoprints exhibited from the series Views from the Banks of the Scheldt (Vue des Bords de lEscaut), etching with monoprint inking, image 34.3 x 74.4 cm, sheet 45 x 81 cm.The Baltimore Museum of Art. Garrett Collection. terms, this new departure represented was signed by both Degas and Lepic application, the paper’s moisture, the heresy and rebellion of the worst kind.”3 (probably as the printer).6 Among the thickness and freshness of the press blan- Graphic experimentation was in didactic joys of the exhibition were the kets and the pressure of the press. One Degas’ blood long before 1876, when he six unique variant monoprints of Lepic’s never knows to what degree finger- or was first introduced to monotype, a fact large etching, Views from the Banks of the brushwork has removed and/or spread underscored by the inclusion of three Scheldt (1870–76), in which the artist kept the ink in a passage, or whether a pur- impressions of his magnificent early changing the plate by monotype-like posefully thin film of ink has survived its etching The Engraver, Joseph Tourny (ca. drawing and wiping. Lepic treated the short ride under the roller. Degas’ small 1865). One impression was simply printed etched image much as a theatrical light- landscape, The River (Museum of Fine with standard wiping, but the other two ing designer might treat a set—a fixed Arts, Boston), benefits enormously from were monoprinted variants. The variant base whose mood, weather conditions the preservation of just such thin pig- in the collection of the Staatliche Kunst- and time of day could be manipulated at ment. The rapid work in ink on a metal halle, Karlsruhe, is particularly success- will. Degas must have been transfixed by plate always offers the unexpected: under ful, featuring retroussage as well as high- this magical sequence and reminded of the best of circumstances, the result not lights achieved by careful wiping on the his own experiments with Joseph Tour- only preserves the work on the plate, but head, sleeve and table. As with most of ney.7 looks even better on paper. More fre- Degas’ etchings, there are relatively few Lepic’s exciting variants are “mono- quently, the results can be disappointing. extant impressions of Joseph Tourny, sup- prints” rather than “monotypes,” because There are, and were, no guarantees. porting the contention that sales were their base is an inked etching that could The great gift of this exhibition was never Degas’ purpose in printmaking. have been identically printed multiple the inclusion of works whose less-than- Kendall points out that in 1879, when times. The monotype has no such fixed ideal displays of Degas’ talents allowed Degas was extremely active with mono- structure to fall back on. Degas created us to understand the risks he took. In the type, he showed 30 new pastels and oils at most of his by rolling or dabbing blank Omnibus (Musée Picasso, Paris) and The the fourth Impressionist exhibition, but ink on a smooth metal plate, usually Two Connoisseurs (The Art Institute of not a single print.4 The fifth Impression- copper, and then working into the inks Chicago) are “quickies” that beg for some ist exhibition of 1880 included just three with a rag or brush (to wipe away ink in refinement of facial details and details prints, and their experimental nature a broad area) or a pointed wooden imple- of dress. As completed singular impres- was emphasized by Degas’ labels: “trials ment (e.g., the wooden end of a brush sions, they do not meet our expectations and proofs of the plates” (essais et états de that could be sharpened) to achieve a fine of Degas. The same can be said for Song of planches) [see Art in Print May–Jun 2016].5 white line. Sometimes, however, he sim- the Scissors (Fogg Museum, Harvard Uni- It is the multitalented and pedigreed ply painted his image on the plate with a versity), where unresolved physiognomy Ludovic-Napoléon Lepic (1839–1889) brush and/or his fingers. and “press drag” conspire to produce a whom we have to thank for introduc- For most artists, surprise attends muddied presentation.8 And yet we know ing his nearly-as-well-bred friend Degas the printing of every monotype, a con- from other examples that, given time and to monotype, and Degas’ probable first sequence of the varying viscosities and interest, Degas could have employed this monotype, The Ballet Master (ca. 1876), drying times of inks, the density of their muddy monotype as the foundation for a

26 Art in Print November – December 2016 stunning pastel. In contrast, The Jet Ear- to Degas’ monotypes may have been the Singer (Chanteuse de café-concert, ca. ring (Metropolitan Museum of Art) and insight and imagination that prepared 1877). Small in size, each was given a Portrait of Ellen Andrée (Art Institute of him to deal with the unexpected and to wall of its own on either side of a central Chicago) show the descriptive subtle- envision the possibilities of mere effects, freestanding stanchion in the first gal- ties of which Degas was a master and harnessing them for their potentially lery. Factory Smoke acted as the exhibi- which monotype, even if executed with suggestive power. For an artist who cre- tion’s introductory image as well as the rapidity, is capable of producing. It may ated an abundance of major statements cover of the catalogue and reveals Degas’ seem unfair to disdain the product of in drawing, pastel and oil for an audience interest in the aesthetic possibilities of a medium because it has not produced increasingly receptive to his subjects and a key component of the industrial land- a more nuanced, refined image when style, monotype provided a safer place to scape. Smoke—nuanced, ineffable, con- it is still attractive to many specifically fail—and thereby learn. It was an area of stantly changing like the momentary because of its rough, finger-painting–like minimal interest to the art crowd of his gestures he captured so brilliantly—was immediacy. time, partly due to the hierarchy of media a made-for-Degas challenge. What was But is it unreasonable to hold Degas in which editioned prints were at the bot- impressive about the Café-Concert Singer to such a high standard? The truth is tom and unique prints were simply a con- was the speed with which the artist must that we—the general public—were never fusing mystery. (Even after Degas’ time, have created a believable gesture and meant to see many of these works. As monotype making was frequently a boys’ posture. Not so elaborately contrived as graphic “shavings” from his press, their club activity for after-dinner banter and some of his pastels and paintings, the lit- significance lies, not in their power as iso- relaxed creation—fun and games.)9 tle figure’s extended arm and black glove lated works of art, but in their status as The organizers of “A Strange New are articulated with an authority that steps on a way to other masterful works Beauty” clearly agreed on the excep- lives on in one’s memory. Other stand- that continue to puzzle and captivate. tional merits of two of the most mem- outs ranged in subject and treatment Mastery was an underlying theme of orable images, Factory Smoke (Fumées from the early Jet Earring—a compressed the exhibition, but the skills most critical d’usines, 1877–79) and Café-Concert prefiguration of where he would take the

Hilaire-Germain-Edgar Degas, Factory Smoke (Fumées d’usines) (1877–1879), monotype on paper, image 11.9 x 16.1 cm, sheet 14.7 x 17.3 cm. The Metropolitan Museum of Art, New York. The Elisha Whittelsey Collection, The Elisha Whittelsey Fund.

Art in Print November – December 2016 27 medium—to the later Woman Drying Her Feet (Femme s’essuyant les pieds, près de sa baignoire), ca. 1880–85 (Metropolitan Museum of Art)—loose, dramatically rectilinear and high in contrast. Degas’ use of a monotype “underlay- ment” to enhance the colors of pastel additions was one of the most felicitous pathways taken in his experiments and comprised a good portion of the exhibi- tion. Pastel over monotype, especially a dark first impression monotype, glows in an especially resonant way. Once one notes the distinct appearance of the joined media, it is hard to miss the effect, even from a distance. Unfortunately not included was the pasteled second impres- sion of that first monotype created with Lepic, The Ballet Master (1876), now in the collection of the Nelson Atkins Museum of Art. It offers one of the best examples of how Degas employed this combination of media to capture the dramatic depth and light of the theater stage and its denizens with unprecedented vividness. Less well-known are Degas’ landscape monotype works of the 1890s, almost 30 of which were included at MoMA. After one has viewed those covered in pastel, the plain monotypes can initially appear impoverished, but they have a special stat- ure as pluripotent abstractions—like stem cells, these relatively undifferentiated monotypes could transform into a variety of specific compositions, guided by Degas’ marvelously textured pastel work. As a proselytizer for graphic art in gen- eral, Degas established a microculture of experimentation, encouraging friends such as and Mary Cas- satt to become engaged in making prints. It can be argued, however, that only Hilaire-Germain-Edgar Degas, The Jet Earring (Profil perdu à la boucle d’oreille) (1876–1877) Degas rose to Olympian heights in the monotype on paper, image 8.2 x 7 cm, sheet 18 x 13.2 cm. The Metropolitan Museum of Art, New York. graphic arts of his age, and this exhibition Anonymous gift, in memory of Francis Henry Taylor. strengthened that argument. His early study of the history of draftsmanship, his Notes: 7. For a discussion of Lepic’s variant impressions of youthful exploration of silverpoint on 1. Stephanie O’Rourke, “The Singular Multiple,” in Banks of the Scheldt, of which there were at least gessoed and tinted papers, his penchant Edgar Degas: A Strange New Beauty (New York: 85, see Rena Hoisington, BMA Voices: “Views from The Museum of Modern Art, 2016), 59. the Banks of the Scheldt” at http://blog.artbma.org/ for ongoing experimentation, his keen 2. Ibid., 58. tag/views-from-the-banks-of-the-scheldt/. appreciation and collecting of great 3. Richard Kendall, “An Anarchist in Art: Degas 8. Press drag is the term some printers use for paintings and drawings, and finally his and the Monotype” in Edgar Degas: A Strange monotype passages that seem blurry and/or own supreme technical facility combined New Beauty, 25. streaked. The pressure of the roller can smear to produce an expansive genius. Degas’ 4. Ibid., 32. areas of variant viscosity (incompletely mixed ink 5. See The New Painting: 1874–1876, ed. Charles pigment and oil or thinner) relative to the stable monotypes—successes and failures—are Moffett (Oxford: Phaidon, 1986), 311. regions of well-mixed ink, and the result is a blur or a testament to a devoted explorer, fearless 6. The Ballet Master (1876), National Gallery of a plexus of streaks. to experiment technically in pursuit of Art, Washington DC. For a comparison of Degas’ 9. There is considerable literature regarding mono- rich artistic rewards. probable first monotype and the cognate or sec- type making by American students at the American ond impression that was worked up with pastel, Art Association in Paris, fundamentally a men’s see Jean Sutherland Boggs and Anne F. Maheux, club, as well as among seasoned painters in the Degas Pastels (New York: George Braziller, 1992), . See Joann Moser, Singular Impres- Joseph Goldyne is a painter and printmaker. fig. 2/10: The Ballet Master and Figure 11: Ballet sions/The Monotype in America (Washington: He lives in Sonoma, CA. Rehearsal, 28–29. Press, 1997), 11–41.

28 Art in Print November – December 2016 EXHIBITION REVIEW Meditations on Air: Degas at MoMA By Vincent Katz

“Edgar Degas: A Strange New Beauty” The Museum of Modern Art, New York 26 March – 24 July 2016

hile I was walking through the Wexhibition of Degas monotypes at MoMA, examining those interior spaces he was able to evoke, it occurred to me that his real subject was air—that Degas had chosen monotype because it is best suited to catching the ephemeral. Why did he not use oil on canvas or pastel for these images? There were examples of those media in the exhibition, but it was clear that monotype provided Degas a different mode of working and of seeing. Monotype has something in common with photography, and Degas’s use of cameras was cited in the exhibition and its accompanying catalogue. But even if Degas had never taken a photograph or referred to the form, we still would notice the connection. One similarity can be found in the speed of execution. Many of the images here are glimpses, scenes of a type that might be captured by photography—people passing on the street or engaged in activities indoors. Most of Degas’s monotypes are small, about the size of a typical photographic print of the time. Not that Degas made monotypes on the spot—he didn’t; but he devised ways to use the swiftness of monotype to capture the instantane- ity of seeing. A painting or pastel would require a much more labor-intensive process, even if the final image might partake of an air of evanescence and changing light. The monotype, by con- trast, can be made quickly, and its status as a unique object (not one of a number in an edition) also parallels its quickness Hilaire-Germain-Edgar Degas, On the Street (Dans la rue) (1876–1877), monotype on China paper, of vision. It is not something planned, or image 16.2 x 12.2 cm. Collection of Mrs. Martin Atlas. staged, in the studio. Degas made more than 300 mono- image from dark marks on white paper. at mixing techniques in order to achieve types in two distinct forays: first from Degas, however, worked not only from the precise level of visibility or obscurity the mid-1870s to the mid-1880s and again light to dark but, with greater innovation, he wanted for each section. Once one in the early 1890s. Early on he worked from dark to light. Starting with a com- focuses on them, the monotypes, despite with his friend Ludovic-Napoléon Lepic pletely inked plate he dabbed, swiped and their small size, become vast in scale. who was a key figure in the medium’s pushed away ink to reveal lighter areas Degas’s earlier, better known mono- revival, but Degas quickly began to exer- that framed subjects in darkened rooms. types consist mostly of urban scenes— cise his particular genius for invention. The spontaneity of his method conveyed close-up encounters on Parisian The standard approach was to create an a sense of contingency. He became adept boulevards and street corners, backstage

Art in Print November – December 2016 29 recall an established technique. In those moments, in the immediacy of hands on plate and a single pass through the press, he became the modern artist par excel- lence that the poet Stéphane Mallarmé claimed he was in the essay from which the MoMA exhibition took its title. Mal- larmé wrote of: the at once natural and yet modern functions of women . . . [that] have enchanted M. Degas . . . The wise and intuitive artist does not care to explore the trite and hackneyed view of his subject. A master of drawing, he has sought delicate lines and move- ments exquisite or grotesque, and of a strange new beauty, if I dare employ towards his works an abstract term, which he himself will never employ in his daily conversation.1 Many times Degas was not content with just a single impression, but would work further, turning his unique work into a kind of édition variée by printing counterproofs from the printed impres- sion or by running the plate through the press again to produce weaker impres- sions (known as cognates). He would often use these cognates, which inevita- scenes at the ballet, performers illumi- was dominated by his desire to emulate bly carried less information than the first nated by electric light at café concerts, the draftsmanship of Ingres and influ- impressions, as the basis of drawings, prostitutes lounging or encountering enced by the etchings of Rembrandt (as embellishing them with pastel. There customers, and women bathing, dress- seen in the cross-hatching of his 1857 were many of these “pastelized” mono- ing, undressing or simply relaxing in self-portrait). In this new realm Degas types in the exhibition and, though they what seem to be their private quarters. seemingly made up his technique on showed Degas’s ability to work an image In these pieces, Degas moved quickly the spot, attempting to capture the to a high degree of coloristic draftsman- away from his younger vision, which moment in front of him rather than to ship, they distracted somewhat from the raw adventurousness of his mono- type technique. With the unembellished works one felt privy to inside informa- tion, seeing what it was really like to be backstage, in the dressing room, up close, prepared to improvise. The monotypes convey drama. Jodi Hauptman, who curated the exhibition with assistance from Rich- ard Kendall, stresses in the catalogue the multiplying nature of Degas’s pro- cess as evidence of his desire to deny the uniqueness of the monotype. There may be some truth to this, but I would

Above Left: Hilaire-Germain-Edgar Degas, Heads of a Man and a Woman (Homme et femme, en buste) (ca. 1877–1880), monotype on paper, image 7.2 x 8.1 cm. British Museum, London. Bequeathed by Campbell Dodgson. Below Left: Hilaire-Germain-Edgar Degas, Dancer Onstage with a Bouquet (Danseuse saluant) (ca. 1876), pastel over monotype on paper, 27 x 37.8 cm. Private collection.

30 Art in Print November – December 2016 argue that his real transgression lay elsewhere—in his technique and choice of subject matter that, if not designed to épater la bourgeoisie, was certainly meant to open the eye to the illicit behaviors of the modern demi-monde. The technique he innovated, with its speed of execu- tion, its ability to luxuriate in tactile handling of ink, and the intimate scale of the works themselves, created a feel- ing of being allowed into forbidden precincts, shared by the artist with his viewers. One of the fascinating things about the first group of Degas’s monotypes, which includes most of his major series, is their palpable sense of the modernity of his times. “Modernity is the transient, the fleeting, the contingent; it is one half of art, the other being the eternal and the immovable,” wrote Charles Baudelaire in his famous 1863 essay “The Painter of Modern Life.”2 Though Baudelaire’s title cited painting, it is in his mono- Hilaire-Germain-Edgar Degas, The Road in the Forest (ca. 1890–1893), monotype on paper, 30 x 40 cm. /Fogg Museum, Bequest of Frances L. Hofer, M19786. Photo types that Degas can be seen to embody courtesy Imaging Department ©President and Fellows of Harvard College. Baudelaire’s ideal most perfectly. Degas worked largely from memory and his city monotypes, such as On the Street (Dans friend—or is it merely someone walking hurried gestures. Once again, Degas gives la rue, 1876–77) and Heads of a Man and past?—is in motion, mouth open, veil the impression of rapidity, within which a Woman (Homme et femme, en buste, drawn down over her eyes, her hair and the clearest details are the participants’ ca. 1877–80) are close-up views of people its clasp carefully depicted. The back- headgear. passing. They are moments that only ground, a series of vertical swipes broken Around 1880, Degas did a series of photography otherwise could capture— up by diagonals, could be buildings across monotypes inspired by the short stories of the photography of a Cartier-Bresson, the street, or the fencing of a park. A man his friend Ludovic Halévy. It is not known a Garry Winogrand, a Helen Levitt or a lurks at the edge of the composition, whether or not there was a book projected Rudy Burckhardt—or perhaps poetry, almost completely excised from view, but by the two of them, and they were never but such poetry would have to wait for his hat with wide brim, his head and his published together during their lifetimes. Guillaume Apollinaire or Frank O’Hara. shoulder are delicately evinced by Degas. The stories revolved around a Madame In On the Street, we see one woman from His face is out of focus, but it could and Monsieur Cardinal, and particularly behind, just the top of her torso, her gar- be turned in the direction of the two their two daughters, Pauline and Vir- ment smudged by a film of rain, her hair women. In Heads of a Man and a Woman, ginie, both ballerinas at the Paris Opéra. hanging down, and in exquisite detail, we see a couple straight on, but they too The conventional narratives involve the her hat, with its floral decorations. Her are in motion, their faces blurred by their daughters’ love lives and the meetings and assignations with their many admir- ers, controlled for the most part by Mme Cardinal. When Halévy did produce an edition of these popular stories, he chose a commercial illustrator. Probably the col- laboration between Degas and Halévy, if such it was, could never come to fruition precisely because Degas’s work does not literally illustrate the mundane narratives contrived by the writer. Halévy’s goal was to titillate the bourgeoisie, which is quite different from scandalizing it. Degas was not interested in shock value but was rather enraptured by secluded spaces and intimations. No doubt, like Halévy, he too enjoyed the backstage and Hilaire-Germain-Edgar Degas, Woman in a Bathtub (Femme au bain) (ca. 1880–1885), monotype the corridors of the Opéra. He probably on paper, image 20 x 41.6 cm. Private collection. liked to observe the men approaching

Art in Print November – December 2016 31 Left: Hilaire-Germain-Edgar Degas, An Admirer in the Corridor (Ludovic Halévy dans les coulisses) (ca. 1876–1877), monotype on paper, image 16.1 × 12 cm, sheet 23.6 × 17.9 cm. Staatsgalerie Stuttgart, Graphische Sammlung. Right: Hilaire-Germain-Edgar Degas, Two Young Girls (Deux jeunes filles) (ca. 1877-1879), monotype on China paper, image 15.9 x 12.1 cm. Private collection, Chicago. and conversing with the ballerinas. But for the more mainstream writer to coun- tion. These images, particularly those he he took from it something completely tenance. chose not to embellish with pastel, have a different. In the monotype An Admirer It is not known whether Degas fre- solidity distinct from the black and white in the Corridor (Ludovic Halévy dans les quented brothels, but it matters little. murk of the earlier monotypes. They coulisses, c. 1876–77) we see a befuddled Whether his subjects originated in the recall Turner’s experiments with abstrac- gentleman from the back, the sharp ubiquitous photographs of naked women tion, and look forward to the ways that angle of the corridor hurrying a bal- that circulated in the decades after the would merge color densi- lerina out of the composition at lower medium’s invention in 1839 or in his per- ties in unreal settings. Yet it is the city right, so that only the bottom of her tutu sonal experience, they were ultimately scenes, particularly those in black and and a stockinged leg are visible. In other transformed by Degas. While some of white, that captivate us most. There, pictures from the series, we can observe his motifs are common in risqué photo- Degas was truly revolutionary. Working hushed conversations, almost like trans- graphs—mirrors, stockings, etc.—Degas as fast as he could, he was able to repre- actions, but we are not near enough to used them quite differently. The women sent what it felt like to be modern, for the know exactly what the outcome may in his bordello monotypes lounge, they first time. be. Degas was interested in projecting wait for customers, they talk to one spaces, or as I said earlier, air, and the another. They are not made to fulfill a mixture of his ink, the density or fluid- male ideal of beauty or erotic fantasy; Vincent Katz is a poet, translator, critic and ity he chose, experimenting on the plate rather, they are natural and behave natu- curator. until he reached the balance of evanes- rally. The same is true of the series Degas cence and solidity of line, is each time did, mainly in the dark field technique, Notes: utterly convincing. One theory about of women by themselves, reading, drying 1. Stéphane Mallarmé, “The Impressionists and the failed collaboration with Halévy is themselves, getting ready for bed. Edouard Manet,” The Art Monthly Review and that the writer thought the protagonist Degas’s final monotypes differ from Photographic Portfolio, London, 1, no. 9 (1876): in Degas’s images resembled himself and the earlier ones in both process and sub- 121. was insulted by that figure’s aloofness. ject matter; using oil paint rather than 2. Charles Baudelaire, “The Painter of Modern Life,” in Selected Writings on Art and Literature, Another explanation may be that Degas’s printing ink, he created a series of land- tr. P.E. Charvet (London: Penguin Books, 1972), style was simply too advanced, too subtle, scapes made from memory and imagina- 402.

32 Art in Print November – December 2016 EXHIBITION REVIEW Prints in the Gateway City By Ivy Cooper

Joan Hall, Acid Ocean (2012), printed, cut, pulp painted, hand-formed paper, Mylar, acrylic and cast resin pins made with sand and beach detritus, fibers: abaca, kozo, gampi, 64 x 245 x 18 inches (variable dimensions). Courtesy of the artist.

“Printmaking in St. Louis Now” country came to St. Louis to collaborate through them at will, a reflection of the The Sheldon Art Galleries, St. Louis, MO on prints, while other artists set up their print’s historical role as a democratic 4 March – 7 May 2016 own workshops, like Tom Huck’s Evil medium. Kevin McCoy’s Cognitive Dis- Prints, or were simply inspired to think sonance screenprints appropriate a omprising works by 29 artists and 5 and create in terms of print. The results variety of images, from photos of Kim C presses, “Printmaking in St. Louis of all this activity occupied all 7,000 feet Kardashian to historic illustrations of Now” was a testament to the liveliness of of the Sheldon Art Galleries’ exhibition slave confinement implements, to explore contemporary art in St. Louis generally, space. quasi-scientific racial taxonomies that and specifically to the city’s continued The show was remarkable for the persist in some forms today. engagement with print, on the part of its breadth and variety of works and print- A continuing fascination with grand artists and its persistent and productive making approaches. Tom Huck’s com- scale was apparent in a number of works. presses. pulsively detailed woodcut triptych, Island Press founder Peter Marcus was In 1978 Peter Marcus founded Island Transformation of Brandy Baghead Pts. 1, represented by the 8-foot-long Roman Press (originally the Collaborative 2, & 3 (2009), formed the centerpiece of Ruin (1998); Sage Dawson contributed Printmaking Workshop) at Washington one room—a nearly seven-foot-tall gothic Dust (2015), a 12-foot-square compilation University in St. Louis with a focus on satire of rural life and beauty pageants. In of collagraph and linocut representa- innovative and large-scale printmaking. her News Paper Series (2015) Lisa Bulawsky tion of a house seemingly undergoing its Island alumni went on to found new col- juxtaposed evocative words and images own demolition; and Acid Ocean (2012) by laborative presses such as Wildwood Press on newsprint, mounted them on wooden Joan Hall combines cast-paper marine and Pele Prints. Artists from around the library rods, and invited viewers to page debris, Mylar and handmade paper in an

Art in Print November – December 2016 33 Left: Buzz Spector, Effaced Nabokov (2014–15), altered found book [Copies of Dimitry Nabokov, ed. The Original of Laura by Vladimir Nabokov (New York: Knopf Doubleday, 2009], 1 3/4 x 12 1/2 x 9 1/2 inches. Edition of 5. Courtesy of the artist and Bruno David Gallery, St. Louis. Right: Radcliffe Bailey, Tricky 3 (2012), pigment print, collagraph, collage, glitter, 64 x 41 inches. Edition of 8. Courtesy of Island Press, St. Louis. undulating, translucent work that spilled single gallery. Such was the case with the contemplation. Well-staged and wide- from wall to floor. Poised between nature prints of Yvette Drury Dubinsky and Car- ranging, Lahs-Gonzales’s ambitious exhi- and artifice, it suggests both the ocean’s mon Colangelo, which deal with dizzying bition established the continuing power and its vulnerability. maps and dislocations in strikingly dif- vibrancy of printmaking in St. Louis Hall was one of several artists who ferent tones. In another room, a wall plas- today. considered the print as an object as much tered with overlapping posters from as an image. Jane Hammond’s Natural Firecracker Press offered a riotous -con Ivy Cooper is a St. Louis-based writer. She is Curiosities (2010), made with Wildwood trast to Robert Goetz’s Omega Point currently Professor of Art History at Southern Press, is a contemporary Wunderkammer (2015), a spare monoprint of apes in quiet Illinois University Edwardsville. of faux animal skins, shells and insects of her own invention, all made from printed paper, mounted in a Plexiglas box. Bunny Burson’s Hidden in Plain Sight series is based on letters written by her grand parents as they sought unsuccessfully to flee Europe during World War II, and includes woodcuts, carved matrices, and envelopes transformed into printed metal talismans. Buzz Spector’s Effaced Nabokov (2014–15) is a hardback copy of Vladimir Nabokov’s The Original of Laura in which the artist has torn out pages systematically on a gradient, transform- ing the block of the codes into a slippery slope. The novel in question was left unfinished at the time of the author’s death and its subsequent publication was highly controversial; Spector’s adaptation adds a further layer of authorial confu- sion and loss. The installation, by gallery director Olivia Lahs-Gonzales, allowed works to breathe, invited close looking and forged Tom Huck, The Transformation of Brandy Baghead Pts. 1, 2, & 3 (2009), woodcut, left: 82 x 24 conversations among artworks within a inches, center: 82 x 45 inches, right: 82 x 24 inches. Edition of 40. Courtesy of the artist.

34 Art in Print November – December 2016 EXHIBITION AND BOOK REVIEW On Paper, on Chairs: Barbara Kasten By Lauren R. Fulton

“Barbara Kasten: Stages” Graham Foundation, Chicago 1 October 2015 – 9 January 2016

Barbara Kasten: The Diazotypes Edited by Ellen Alderman and Elisa Leshowitz; text by Alex Klein 56 pages, 24 color illustrations Published by Graham Foundation, Chicago and D.A.P., New York, 2015 Out of Print

or those who know Barbara Kasten’s F meticulously staged, cinematic photo- graphs, the recent retrospective orga- nized by the Institute of Contemporary Art in Philadelphia held surprises. In addition to her disrupted photographs of postmodern architecture and elaborate geometric constructions, the exhibition included two rarely seen bodies of work from the beginning of her career: a group of sculptures from 1972 and a series of diazotype prints created in 1973 that together revealed a set of conceptual con- cerns that can be seen to underpin all the work that followed. The diazotypes, titled Figure/Chair, constitute some of Kasten’s earliest work with photography. Diazotype is a pho- tomechanical print process, similar to Barbara Kasten, Figure/Chair (1973), three diazotypes on newsprint, 22 x 17 and 17 x 22 inches each. cyanotype, that was still commonly used Graham Foundation, Chicago, 2015. Photo: RCH | EKH. for architectural drafting in the 1970s. Printed on newsprint, the diazotypes the photographer herself, they bring to types reproduced in the book formed an offer a perspectival variety and ingenuity mind the body and performance work important supplement, clarifying the similar to her later, color photographic of Joan Jonas and Ana Mendieta from range and ambitions of the work. In their series such as Architectural Sites and Con- the 1960s and ’70s.2 These underscore presentation of the human body’s rela- structs. But while her later work depends Kasten’s wavering between the two- and tionship to, and negotiations with, space on complex arrangements of mirrors and three-dimensional at this time, linger- and the printed page, the diazotypes con- objects and space, the diazotypes are far ing between perceived and actual space, nect intriguingly to the Graham Founda- simpler. They document a nude model a tension that evolves throughout subse- tion’s mission to foster exchanges of ideas shot from various angles and assuming quent series. on architecture. peculiar positions—twisting, crouch- The exhibition, titled “Stages” in a Sharing a room with the diazotypes ing, and straddling a chair situated in a nod to Kasten’s theatrical arrangement were the three surviving examples of grassy area. On each sheet the subject is of spaces and forms, as well as to the Kasten’s Seated Forms fiber sculptures, represented in multiple formats—posi- chronology of her artistic career, was pre- important works that had not been dis- tive/negative, left/right reversed, profile/ sented at the Graham Foundation in Chi- played in decades.3 Each consists of a frontal. Laying over some of these images cago as part of the city’s 2015 Architecture painted wooden café chair draped with is a grid, grounding and emphasizing Biennial, and was accompanied by a lim- woven rope, hand-dyed in the same color the figure in space and reinforcing the ited edition publication on the diazo- as the paint—one green, one yellow, one architectural overtones of the diazo- types. Since just three of these works red—and suggestive of lifeless, headless type.1 Though the images do not feature appeared in the exhibition, the 24 diazo- bodies.

Art in Print November – December 2016 35 Installation view: “Barbara Kasten: Stages,” Graham Foundation, Chicago, 2015. On wall: cyanotype photograms, including Photogenic Painting, 74/1 (1974) (left) and Torso (1974) (right). In foreground: Seated Forms (1972). Photo: RCH | EKH.

As a graduate student at the Cali- Arizona, is undetectable. The subjects—more accurately, props— fornia College of Arts and Crafts (now The work for which Kasten is best in these later series have no existence California College of the Arts), Kasten known, the Constructs and Architec- outside their photographic representa- studied fiber art with Trude Guermon- tural Sites series produced in the 1980s, tion; and in presenting these elaborate prez, a German artist who merged Bau- have linked her to a younger generation three-dimensional constructions in two haus weaving traditions with the textile of conceptual photographers, includ- dimensions, from a particular fixed point, and craft movement then emerging in ing , Anthony Pearson she limits our view: we can only imagine the Bay Area. Seated Forms combines the and Jessica Labatte. Without digital or what it would be like to experience them furniture prop used in Figure/Chair and postproduction manipulations, Kasten’s as physical phenomena in space. Kasten the concern with materiality that drove photographs disorder our perception of presents the viewer, she has said, with Kasten’s involvement in fiber: “develop- space; working on site in public build- “my own selective vision of the sculpture. ing shapes and creating relationships,” ings or with scenarios assembled in her It’s my perception, it’s my photographic as she put it in a student statement.4 In studio, she fragments places and things vision that you are seeing, and in the combination, the diazotypes and fiber with strategically arranged mirrors and sculpture itself you can experience your sculptures offered viewers both rep- lighting. With their reflections, shadows own relationship to it.”6 The vivid colors resentational space and actual space. and theatrical lighting, these images draw us in, while the density and com- The relationship is clear in the way the have a dramatically different demeanor plexity push us out. woman in the diazotypes interacts with from her earlier work, but the concern In 1985, more than a decade after the the chair, undoubtedly a stand-in for the with space and perception remains the diazotypes, Kasten designed costumes and voluptuous forms presented with the same: “I move around in my sets but the sets for a performance by choreographer sculptures. Seated Forms and Figure/Chair photographs that result don’t allow the Margaret Jenkins, Inside Outside/Stages together incorporate sculpture, fiber, viewer to be physically involved,” Kas- of Light. The title is telling and the project performance and photography. Kasten’s ten notes. “I want the viewer to relate can be seen as a continuation of her inter- training in painting, in which she earned in a bodily way to the three-dimen- est in Bauhaus design and of her study of a bachelor’s degree in at the University of sional set, but not necessarily be in it.”5 how forms and bodies in action occupy

36 Art in Print November – December 2016 Inside Outside/Stages of Light (1985), still from video documentation of performance at the Brooklyn Academy of Music, New York, NY. Choreography: Margaret Jenkins; dancers/collaborators: Melissa Rolnick, Mercy Sidbury, Livia Blankman, Ellie Klopp, Bryan Chalfant, and Greg Gibble; costumes and set design: Barbara Kasten; lighting: Sara Linnie Slocum with Barbara Kasten; sound score and design: Bill Fontana; videography: Mark Robison. Courtesy of the artists. space. A video recording of the produc- where she worked with Notes: tion, on view in the exhibition, showed at the Poznań Higher School of Fine Arts. The 1.This grid can also be seen in the screen in Kas- Seated Forms were first exhibited in Warsaw, and dancers moving between and around ten’s Photogenic Paintings from the mid-1970s, continued to be shown throughout the ’70s in the large columns and pyramids. Recently as well as in Torso (1974). United States. In her catalogue essay, Jenni Sor- 2. It should be noted that unlike these artists and Kasten has returned to such construc- kin touches on the similarities between Kasten’s others of the period, Kasten did not participate tions, as in the video projection Scenario and Abakanowicz’s work and points out that the in any feminist dialogue or activism through her (2015), which was installed in the Graham latter began a series, Seated Figures (1974–79), work. However, in an interview included in Bar- resembling Seated Forms after Kasten had Foundation’s ballroom and functioned as bara Kasten: The Diazotypes, the artist states: returned to the States. See Sorkin, “Tactile Begin- the exhibition finale. “There is a synergy between the figure and the nings,” in Barbara Kasten: Stages (Philadelphia: “Stages” offered a vital overview of chair, which can be seen as symbolic of the Institute of Contemporary Art and JRP | Ringier, manipulations that are imposed on women to Kasten’s career, and also a rare and (2015), 153–54. fit into conforming roles in society; they present important look at early work that is in 4. Barbara Kasten, graduate statement, ca. 1970, another way of looking at the female nude, in defi- published in Barbara Kasten: Stages, 174. some way a missing link. Joining the ance of social mores. In both the sculptures and 5. Barbara Kasten, interview by Amanda Ross- material concerns of the Bauhaus to the the prints, the body’s relationship to designed form Ho, “Barbara Kasten and Amanda Ross-Ho Part investigation of bodies, space and repre- implies a rejection of prevailing societal structures 1,” Museum of Contemporary Art Los Angeles, even by simply making visible the practical dif- sentation, these works formed a point of 2015, http://www.moca.org/stream/post/barbara- ficulty of a body becoming one with a chair and inception for the bold, cinematic concep- kasten-and-amanda-ross-ho. the contortions that need to take place to accom- tualism that Kasten has made her own. 6. Alex Klein, “Pictures and Props,” in Barbara plish this!” See Alex Klein’s interview with Kasten, Kasten: Stages, 109. in Barbara Kasten: The Diazotypes (Chicago: Graham Foundation and D.A.P., 2015), n.p. 3. The three chair-fiber sculptures shown in the exhibition are the only ones still in existence. The Lauren R. Fulton is Curatorial Assistant at the first was created in 1971, before Kasten moved to Aspen Art Museum. Poland for a year on a Fulbright-Hays Fellowship,

Art in Print November – December 2016 37 BOOK REVIEW What follows is a compendium of proposes: “Don’t throw anything away nearly 70 radical architectural projects by for 70 years. Keep it. Live with it. Put it 36 contributors from the United States, in your room hause, appartement or gar- Western Europe and Japan. The projects den.”6 range from paper architecture to land Alongside such visionary project pro- art, essays and instruction pieces, under- posals—unrealized and unrealizable— scoring Vostell’s declaration that “Action the book also includes documentation is architecture! Everything is architec- of extant land art works such as Michael ture!”3 In his introduction, Higgins sug- Heizer’s Dissipate (1968); as Vostell points gests that artists have a unique ability out, what unites all of them is a desire to to see things in the world without being disturb the familiar.7 bound to any particular framework. In Peppered throughout the volume are other words, the problem with architec- 14 short texts by Higgins and Vostell, ture is architects and the system that sup- headed “Captions” and printed on tracing ports them.4 paper (Mylar in the facsimile). Histori- Fantastic Architecture, first published cally, architects used tracing papers to in 1969 in German under the title Pop produce, amend and layer their drawings, Fantastic Architecture Architektur, was released in English by and the editors surely used it to make this Edited by Dick Higgins and Wolf Vostell Something Else Press the following year. reference. But where the utility of trans- 200 pages, 120 B&W images Primary Information released this fac- lucent paper lay in the connections that Published by Something Else Press, simile edition, hardbound with fabric could be made between layered drawings, New York, 1970. Facsimile English covers and a glossy jacket, in 2015. The Higgins and Vostell use it to print text, edition published by Primary projects are presented as if in a scrapbook, which creates visual noise that disrupts Information, Brooklyn, 2015. reproducing photographs, typewritten the legibility of the texts as well as what $28. descriptions, telegrams, hand-written lies on the page behind. Unlike captions notes, drawings and early computer print- in a newspaper, which sit obediently outs. Printed on heavy stock, the images beneath photographs to clarify things, bleed to the edge and often occupy the these captions sometimes physically A New Polymorphous Reality: full spread; the orientation of both texts disrupt and obscure their subjects: the Higgins’ and Vostell’s Fantastic and images shifts unpredictably from spread reproducing Dissipate is bisected horizontal to vertical. This disorienta- by Caption 7, a gesture that cuts into the Architecture tion caused by these formal discontinui- photograph in much the way that Dissi- By Paige K. Johnston ties heightens the individual personality pate cuts into the landscape of the Black of each project, making for a particularly Rock Desert. antastic Architecture is a playground, physical reading experience as the reader Loosely topical, these captions cover a F a tripped-out thought experi- turns the book this way and that. range of subjects such as “change, renewal, ment freed of hypothesis and conclu- These artists thought big—cutting the metamorphosis,” “ecology,” “compres- sion. Between its covers, architecture is earth in half (Stefan Wewerka), blowing sion” and “cost,” providing avenues for unconstrained by logistical, material or up the earth with 12,000 nuclear bombs understanding projects whose purpose financial limitations, residing instead in in order to send it zooming into outer may at first be opaque, as well as draw- the realm of ideas. space (Raoul Hausmann), cross-country ing out links between them. Written in The book begins with an explosion: conveyor belts (Geoff Hendricks), giant a consistent voice, both professorial and the endpapers (front and back) present balls (Claes Oldenburg), giant scis- poetic, the captions are most engaging a halftone photograph of a mushroom sors (Oldenburg), giant irons (Vostell), when they ask questions of the reader and cloud, labeled, with drolly unnecessary giant train cars (Hans Hollein). In Plan of the projects. “Why propose a stair lead- didacticism, “nuclear explosion.” The for building a new city of Vienna (1968), ing nowhere?” the first caption inquires, image is a metaphor for what the edi- Gerhard Rühm proposes four buildings, in response to Hausmann’s “How about a tors—Fluxus artists Dick Higgins and each in the shape of a letter—W I E N— city with only rumpus rooms?”8 The book Wolf Vostell—intended to do to the archi- collectively spelling the city name. The is a conversation between the editors and tectural status quo in the late 1960s: blow buildings would be “completely sealed off the projects, between the projects them- it up. In Vostell’s introductory manifesto, from the outside . . . so that the inhabit- selves, and between the book and the which, in its placement before both the ants are not troubled by having to go out,” reader. title page and front matter “blows up” the suggesting that everything man needs to Before the nuclear explosion that architecture of the book itself, he laments sustain life could be found within: one closes the volume, Higgins and Vostell that man is languishing in a world of building for city administration, one for drop a penultimate bomb. In a conclud- repressive architecture where “everything meditation, one for “the sex lives of the ing caption, which appears unexpectedly is forbidden.”1 Unleashing an arsenal of inhabitants” and one for the elderly and after the author photos and final credits, exclamation points, he declares, “only invalids.5 Other projects manifest the they observe that “not one of the projects the realization of utopias will make man gigantic through a relationship to time. in this entire book [deals] primarily with happy and release him from his frustra- For example, Ben Vautier’s handwritten the problems of race or of nationality, tions!”2 Architecture Project 1963 (1963) succinctly the two great questions of our time . . .

38 Art in Print November – December 2016 Gerhard Rühm, Plan for building a new city of Vienna (1968), reproduced from Dick Higgins and Wolf Vostell (ed.), Fantastic Architecture (New York: Something Else Press, 1970 and Brooklyn: Primary Information, 2015). are these questions being avoided?”9 wont to do, may be a lively and essential Fantastic Architecture was born at the end endeavor, but in turning their final ques- of one of the most tumultuous decades tion to the merits of their own endeavor, in United States history, and yet beyond perhaps the editors were acknowledging lampooning consumer culture the proj- that fundamental societal change ects do little to address the issues roiling requires more than provocative propos- the world around them. For the editors to als: it takes action. assemble this book only to end it by pos- ing their own critique of what they have just presented pivots the conversation Paige K. Johnston is one half of the collaborative further in the direction of the reader, duo Life After Life whose work has recently been featured in exhibitions at Villa Vassilieff, Paris, now implicated in the need to pursue and Company Gallery, New York. questions yet unanswered. But after five decades of similarly criti- cal, satirical, political artworks, the con- Notes: sumption and luxury critiqued by the 1. Dick Higgins and Wolf Vostell, eds., Fantastic artists in Fantastic Architecture have bal- Architecture (Barton, VT: Something Else Press, looned into a full-blown throw-away 1970; facsimile edition, New York City: Primary Information, 2015), Vostell introductory section. society. Questions of race and geopolitics (No page numbers). remain urgent, as evidenced by refugee 2. Ibid. crises, recent efforts by state lawmakers 3. Ibid. to undermine voting rights (reversing 4. Ibid., Higgins introduction. Civil Rights gains from the 1960s), and 5. Ibid., Gerhard Rühm submission. 6. Ibid., following Caption 13. the continued brutalization of African- 7. Ibid., Vostell introduction. Americans by police. Turning a discipline 8. Ibid., Caption 13. on its head, as Higgins and Vostell were 9. Ibid., Caption 14.

Art in Print November – December 2016 39 BOOK REVIEW Susan Tallman describes in her essay as “the general imbalance of power between those who control representa- tion and those who are its subjects—the all-important difference between being depicted and being heard that is core to all forms of oppression.”1 The first major museum exhibition in decades to survey the full history of American prints, the National Gallery show (3 April–24 July 2016) included 150 prints divided both chronologically and thematically through nine sections, beginning with “Transatlantic Exchange” and ending with “Pluralism.” The cata- Three Centuries of American Prints from logue also proceeds chronologically, but the deviates from the exhibition in its orga- By Judith Brodie, Amy Johnston and nization and articulation of themes. An Michael J. Lewis with essays by 12 introductory overview by Michael J. Lewis authors and a closing essay on the museum’s col- 360 pages, 206 color illustrations lection by curator Judith Brodie bracket Published by the National Gallery of Art, three broad historical divisions—Colo- Washington, D.C. / Thames & Hudson, nial Era to the Civil War, Reconstruction New York, 2016 to World War II, Post-World War II—each $39.95 softcover / $60 hardcover containing a number of short, distinctive John Simon after John Verelst, Sa Ga Yeath Qua views by scholars of American history, art The exhibition travels to the National Pieth Tow, King of the Maquas (after 1710), and literature. At the expense of a certain mezzotint, 41 x 25.4 cm. National Gallery of Art, Gallery in Prague (4 October 2016 – amount of coherence, this arrangement Paul Mellon Fund. 5 January 2017) and to the Antiguo provides a complex, textured, individual- Colegio de San Ildefonso in Mexico City ized picture of a vast territory—a vision ship,” Lewis makes the point that prints (7 February – 30 April 2017). no less ambitious than that of the exhibi- were nonetheless of central importance.3 tion itself. The rudimentary engraving practiced Lewis’s lengthy introduction is clever, by metalsmiths and other artisans could often humorous and largely convinc- easily be translated to prints, and com- ing. He establishes commercial con- mercial illustration played an essential (Printed) Art in America siderations as essential to American role in a mercantile culture devoid of By Catherine Bindman printmaking from the beginning and courtly patronage. From these Colonials deftly synthesizes two tendencies “that to Winslow Homer, Andy Warhol and mong the earliest works in the have been at loggerheads throughout beyond, American artists have often A National Gallery of Art’s compre- the history of the American print—the obtained their early training in commer- hensive summary of the history of Amer- impulse to make an intrinsically beautiful cial graphic art. ican printmaking are four mezzotint object and the desire to convey an urgent Lewis’s tale of early printmaking in portraits made by John Simon after John message.”2 (Often, of course, regardless of America is populated with pragmatists, Verelst’s paintings of the Native Ameri- the artist’s intent, the two tendencies col- opportunists and men-on-the-make. Con- can leaders who made a diplomatic visit lide in a single mesmerizing image.) Lewis sider Paul Revere’s brazen pilfering of Peter to Queen Anne in London in 1710. These is especially strong on the early colonial Pelham’s depiction of the Boston Massa- documents, freighted to contemporary material, introducing the first-known cre, which Revere rushed to press before eyes with the weight of “noble savagery,” American print, John Foster’s woodcut of Pelham could do so. The Bloody Mas- set in motion a story that ends three cen- the grim-looking Puritan minister Rich- sacre (1770) establishes Revere’s primacy turies later with Kara Walker’s 2010 etch- ard Mather (ca. 1675), as a prime example in recognizing the commercial opportu- ing and aquatint, no world (from the series of didacticism in early American print- nities offered to printmakers by a major An Unpeopled Land in Uncharted Waters), making. Even here, however, he finds political event.4 There is also something of showing what might be a slave ship held a probable commercial angle: Foster’s the tabloid journalist about the engraver aloft in choppy waters, the tragic disso- use of two separate blocks would have Amos Doolittle, who, with the painter nance between black and white boldly allowed him easily to replace Mather’s Ralph Earl, showed up in Lexington and reiterated through the contrast of bright head and potentially print a whole series Concord to interview participants just paper and dark ink. These works not only of Puritan ministers with minimal effort. ten days after the battles there on April 19, frame the history of American print- While New England remained “a highly 1775. Their awkwardly rendered but cap- making in terms of a transition from literate culture, troubled by the Second tivating cycle of hand-colored engravings the largely functional to the consciously Commandment, lacking great collections showing the course of the battle was in artistic, but also starkly represent what and having no tradition of connoisseur- print before the end of the year.5

40 Art in Print November – December 2016 In the mid-19th century, James Smil- The other writers—not charged with lie’s engraving after Thomas Cole’s Voy- having to cover this complete history— age of Life—Youth (1853–56) was among were free to work from perspectives the fine prints produced by the Ameri- both wide-angled and close-up. Alexan- can Art-Union in contrast to the sea der Nemerov takes an eccentric angle of workmanlike images that had char- on The Bloody Massacre, reconsidering acterized American print production it in the context of Boston coffeehouse in the 1840s. The arrival of German culture and as “equivalent to a strong lithographers such as Julius Bien after cup of coffee”—a stimulant and a call to the 1848 revolutions provided a much- action “made to be borne on the winds, needed shot of technical expertise too; carried by the latest shouts.”9 John Fagg Bien responded to a pressing demand looks at and John Sloan for geological surveys and other practi- through their treatment of female bod- cal images and also produced, in 1858, ies in relation to those that proliferated the first full-sized chromolithographed in popular publications at the turn of edition of Audubon’s Birds of America.6 the century.10 Adam Greenhalgh consid- Lewis’s discussion of the later periods is ers the Ashcan School in terms of con- somewhat less compelling. His argument temporary anxieties about burgeoning Paul Revere, after Henry Pelham, The Boston that John Sloan and George Bellows— immigrant populations and unsustain- Massacre (The Bloody Massacre) (1770), who both worked as illustrators for the able urban expansion11—by these lights hand-colored engraving, image 20 × 21.91 cm, left-wing periodical The Masses—shared Bellows’ 1916 lithograph Splinter Beach is sheet 27.31 × 23.81 cm. National Gallery of Art, Whistler’s and Cassatt’s chiefly aesthetic not a lighthearted scene of city urchins Rosenwald Collection. “freedom from narrative or moralizing at play but a depiction of “wharf rats” content” seems questionable.7 Ultimately, (the slang term for juvenile delinquents, Dance) and Brooklyn Bridge, No. 6 (Sway- he returns to the notion of commer- which the artist used to subtitle the origi- ing), might also reflect simmering worries cial illustration as an essential training nal drawing), and is related to popular about imminent structural collapse, both ground for American artists, informing imagery that “triangulated immigration, architectural and economic.13 the visual idioms of such contemporary contagion, and swimming.”12 Similarly, It is, of course, easy to follow any num- printmakers as Warhol and Barbara Kru- while Greenhalgh accepts the ortho- ber of tantalizing routes through this ger, among many others. For Lewis, Kara doxy that before the Great Depression thicket of printed matter. It is worth not- Walker’s no world, with its “ineffably deli- American artists generally championed ing, for instance, that many of the most cate printmaking in the vein of Whistler” the dynamic energy of the modern city, striking and least familiar prints are by and “chilling political content,” fruitfully he convincingly argues that the insta- women. Two exquisite Currier & Ives unites what he sees as the two conflicting bility inherent in John Marin’s famous lithographs by Frances Flora Palmer—A tendencies in American printmaking.8 1913 etchings, Woolworth Building (The Midnight Race on the Mississippi (1860) and “Wooding Up” on the Mississippi (1863)— show steamboats at night. In the first, two boats engage in a race; in the sec- ond, African-Americans load logs while white passengers on the decks enjoy the moonlit view. As David C. Ward observes, Palmer has pictured “an antebellum America about to explode.”14 Later we find the austere geometries of Helen Lun- deberg’s beautiful lithograph Planets (ca. 1937), made under the auspices of the Fed- eral Art Project in a style she described in a 1934 manifesto as “Postsurrealist.” The stillness and purposeful enigma of Lundeberg’s print contrasts sharply with the busy mechanistic dynamism of Jolán Gross-Bettelheim’s Home Front (1942), showing an assembly line in a munitions factory. By the early ‘40s this Hungarian- Jewish immigrant and card-carrying Communist had moved away from capi- talist conspiracies to this kind of war propaganda. Elizabeth Catlett’s famous 1953 linocut of the abolitionist Harriet Frances Flora Bond Palmer, “Wooding Up” on the Mississippi (1863), color lithograph with extensive hand-coloring on wove paper, image 18 x 27 3/4 inches, sheet 21 x 30 inches. Published by Currier & Tubman leading her fellows north is a Ives. National Gallery of Art, Donald and Nancy deLaski Fund. powerful image in which Tubman is not

Art in Print November – December 2016 41 through lenses of race and gender, its drama encapsulating “the last moment of the old New World before all things are soiled.”20 There will surely be more opportuni- ties to explore this extraordinary mate- rial: the exhibition represents only a tiny taste of the National Gallery’s exemplary collection of more than 22,500 American prints, one that has almost doubled in size since 2000 through the donations of Dave and Reba Williams as well as acqui- sitions from the Corcoran Gallery of Art since it closed in 2014. At a time when issues of American identity and culture are as fraught as they have ever been, we could do worse than to reflect upon what our printmakers have had to say about this experiment in modern nationhood. For as Michael Lewis observes, “print, far from being a minor art, is the archetypal form of American artistic expression.”21

Kara Walker, no world from An Unpeopled Land in Uncharted Waters (2010), etching, aquatint, Catherine Bindman is a New York-based editor sugarlift aquatint, spitbite aquatint and drypoint, image 60.7 90.2 cm, sheet 76.8 x 100.5 cm. National and art critic who has written extensively on both Gallery of Art, Donald and Nancy deLaski Fund. old master and contemporary prints. merely a depicted subject but an agent of he so closely resembles is nearly as zany historical change. as the row of three middle-aged bot- Notes: The connection between printmaking toms on the left turned decisively toward 1. Susan Tallman, “American Printmaking, 1977 and film is touched on in several essays. the viewer. The Reverend Mather would to the Present,” in Three Centuries of American Joyce Tsai notes how Louis Lozowick’s surely not have sanctioned it. Prints from the National Gallery of Art (Washing- important lithograph New York (ca. 1925) During the post-war period, as Ameri- ton, D.C.: National Gallery of Art, 2016), 264. All subsequent essay citations refer to this “compresses the sheer verticality of the can art took on international significance exhibition catalogue. Manhattan skyline into a dynamic if not for the first time, artists began to dispense 2. Michael J. Lewis, “American Prints, Their Mak- claustrophobic enclosure like a backdrop with both figuration and three-dimen- ers, and Their Public,” 27. for German expressionist cinema.”15 sional effects. Amy Johnston addresses 3. Ibid., 3. Edward Hopper and Martin Lewis pro- the lack of “a coherent system of picto- 4. Ibid., 8. 5. Ibid., 8. vide obvious examples of what might rial depth” in post-war American art—the 6. Ibid., 18. be called cinematic etching, and Leo G. sheer flatness of the printed abstractions 7. Ibid., 23. Mazow discusses the lithographs that of artists like Jackson Pollock, David 8. Ibid., 27. Twentieth Century Fox commissioned Smith and Louise Nevelson.18 Jennifer L. 9. Alexander Nemerov, “Paul Revere’s Caffeine: from Thomas Hart Benton in 1940 to Roberts introduces another kind of flat The Bloody Massacre,” 34, 36. 10. John Fagg, “Marking Distinction,” 126–31. promote the film version of The Grapes of screen, enlivening our understanding of 11. Adam Greenhalgh, “Building Bodies, Body Wrath, contrasting the broken-down car both the technique and the bland ano- Buildings: New York City around 1900,” 142. that hinders the Joads’ departure from nymity associated with the screenprints 12. Ibid., 143. Oklahoma with the easy mobility of such of the ‘60s and ‘70s. Her description of 13. Ibid., 146. popular prints.16 My personal favorite in Ed Ruscha’s 1970 screenprint portfolio, 14. David C. Ward, “ ‘And the War Came …’: Rup- this context is Mabel Dwight’s Queer Fish News, Mews, Pews, Bews, Stews, and Dues, ture and Contradiction in Mid-Nineteenth-Century Visual Culture,” 77. (1936), a lithograph of four adults look- as “essentially a series of strained stains,” 15. Joyce Tsai, “American Mosiac: Modern Ameri- ing at (and, in one case, suspiciously like) is a highlight.19 Beyond their obvious can Prints,” 162. the bug-eyed inhabitant of an aquarium; movie-star connections, she links War- 16. Leo G. Mazow, “Mobility and Connectedness,” David Lubin points out that the print was hol’s screenprints to that other screen- 199. made the same year as Hitchcock’s Sabo- based image mediator, television—at the 17. David M. Lubin, “ ‘Just Looking’: Prints 1925– 1940,” 185. tage, in which two conspirators meet in a height of its ascendance during the ‘60s. 18. Amy Johnston, “Picturing Depth in Mid- dark aquarium at the London Zoo.17 Here Finally, Tallman closes out the story with Twentieth Century America,” 220. the tank’s glass wall serves as a screen a discussion of recent printmaking and its 19. Jennifer L. Roberts, “Sifted: Screenprinting against which each group of creatures savvy combination of conceptual clarity and the Art of the 1960s,” 240. watches the other as if in a film. The and tactile intimacy. Like Lewis, she takes 20. Tallman, “American Printmaking, 1977 to the Present,” 262. strange moment of eye contact between up Kara Walker’s no world as an iconic 21. Lewis, “American Prints, Their Makers, and the man on the right and the fish that contemporary American image, focused Their Public,” 4.

42 Art in Print November – December 2016 John Baldessari, Madame Cezanne’s Hairdos News of the (Pyramid, Cube, Oval, Trapezoid, Cone, Rhom- boid, Sphere, Octagon) (2016) Print World Three-color screenprints, various dimensions. Edition of 60 each. Printed and published by Gemini G.E.L. LLC, Los Angeles. $8,000 each.

Selected New Editions

Hurvin Anderson, Paradise (2016) Woodblock, screenprint and silver leaf, 35 3/4 x 28 inches. Edition of 40. Printed and published by Durham Press, Durham, PA. Price on request.

Chakaia Booker, Untitled (2016).

Willem Boshoff, Lost in dark I and Lost in dark II (2016) John Baldessari, Madame Cezanne’s Hairdos Two color lithograph and sandblasted relief (Pyramid) (2016). prints, 75 x 60 cm. Edition of 25. Printed by Mark Attwood and Jacky Tsila, White River, South Huma Bhabha, Leochicospeedy (2016) Africa. Published by The Artists’ Press, White Photogravure, spit bite aquatint, image 74.5 x 49.5 River. R9,500. cm, sheet 88.5 x 60 cm. Unique image. Printed and published by Niels Borch Jensen Editions, Copenhagen. Price on request. Hurvin Anderson, Paradise (2016).

Richard Armendariz, Modern Prometheus Unbound (Remix) (2016) Woodcut, 35 x 47 3/4 inches. Edition of 10. Printed and published by Flatbed Press, Austin, TX. $2,000.

Willem Boshoff, Lost in dark I (2016).

Sascha Braunig, Stays (2016) Huma Bhabha, Leochicospeedy (2016). Aquatint etching, soft ground, sugar lift aquatint, burnishing, 38 3/4 x 27 3/4 inches. Edition of 25. Allison Bianco, The Old Jamestown Bridge Printed and published by Wingate Studio, Hins- Series (2016) dale, NH. Price on request. Three prints: etching, mokuhanga, screenprint, 12 x 18 inches each. Edition of 24 (only 1–14 will be reserved for complete, boxed suites). Printed by the artist and Lois Harada, Providence, RI. Pub- Richard Armendariz, Modern Prometheus lished by the artist and Cade Tompkins Projects, Unbound (Remix) (2016). Providence. $1,800 for the series, $750 each.

Frances B. Ashforth, Water Study 50 (2016) Water base monotype, 30 x 30 inches. Unique image. Printed by Chris Shore at the Center for Contemporary Printmaking, Norwalk, CT. Pub- lished by the artist, Center for Contemporary Printmaking. $2,100.

Sascha Braunig, Stays (2016). Allison Bianco, The Old Jamestown Bridge (2016).

Chakaia Booker, Untitled (2016) Lithograph and chine collé, 20 x 29 inches. Edition of 25. Printed by Justin Sanz and John Andrews, New York. Published by EFA Robert Blackburn Printmaking Workshop, New York. $1,000.

Frances B. Ashforth, Water Study 50 (2016).

Art in Print November – December 2016 43 John Buck, The Cat (2016) Rodney Carswell, Orbelus and Root (2016) Color woodcut with hand coloring, 37 x 74 1/4 Color lithograph with pochoir and color litho- inches. Edition of 15. Printed by Bud Shark, graph, 26 x 30 1/2 inches and 26 x 30 1/2 inches. assisted by Evan Colbert, Lyons, CO. Published Edition of 25 each. Printed by Bud Shark, assisted by Shark’s Ink., Lyons, CO. $5,200. by Evan Colbert, Lyons, CO. Published by Shark’s Ink., Lyons, CO. $2,000 each.

Tacita Dean, LA Exuberance 9 (2016).

Lesley Dill, In This Short Eternity Inside my John Buck, The Cat (2016). Thought (2016) Relief on Kozo with clay, silk organza and thread, Andy Burgess, Pool House (2016) 12 x 5 x 7 inches. Edition of 12. Printed by Jason Lithography, 29 1/2 x 37 inches. Edition of 30. Rodney Carswell, Orbelus (2016). Ruhl, Madison, WI. Published by Tandem Press, Printed by Joe Freye, Madison, WI. Published by Madison. $4,500. Tandem Press, Madison. $5,000. Enrique Chagoya, Aliens Sans Frontières (2016) Color lithograph, 24 x 28 inches. Edition of 30. Printed by Bud Shark, assisted by Evan Colbert, Lyons, CO. Published by Shark’s Ink., Lyons, CO. $2,000.

Lesley Dill, In This Short Eternity Inside my Thought (2016).

Mario Doucette, La dispersion des Acadiens Andy Burgess, Pool House (2016). (after Henri Beau) (2016) Etching, 18 1/4 x 24 inches. Edition of 10. Printed by Laine Groeneweg, Toronto, Ontario. Pub- Robin Cameron, Maquette I–XII (2016) lished under the auspices of the Open Studio Vis- Series of 12 chine collé monoprints, 19 x 13 5/8 Enrique Chagoya, Aliens Sans Frontières iting Artist Program 2016, Toronto. $800 CAD. inches, 17 1/4 x 12 3/4 inches, 13 x 12 3/4 inches (2016). and 19 x 8 3/4 inches. Unique image. Printed and published by Wingate Studio, Hinsdale, NH. Stephanie Cormier, Tool To Taste The Tears $1,200 each. Of The Moon (2016) Screenprint, 48 x 38 inches. Edition of 5. Printed by Nicholas Shick, Toronto, Canada. Published under the auspices of the Open Studio Visiting Artist Program 2016, Toronto. $1,800 CAD.

Mario Doucette, La dispersion des Acadiens (after Henri Beau) (2016).

Robin Cameron, Maquette VII (2016). Liza Eurich, Staging (2016) Screenprint on acetate, variable dimensions. Nancy Campbell, Uwabe (2015) Edition of 10. Printed by Flora Shum, Toronto, Screenprint, 22 x 30 inches. Edition of 12. Printed Ontario. Published under the auspices of the and published by the artist, Amherst, MA. Avail- Open Studio Visiting Artist Program 2016, able from Stewart & Stewart, Bloomfield Hills, Toronto. $700 CAD. MI. $700. Stephanie Cormier, Tool To Taste The Tears Of The Moon (2016).

Tacita Dean, LA Exuberance 1–15 (2016) Hand-drawn three-color blend lithograph, 29 7/8 x 29 7/8 inches each. Edition of 36 each. Printed and published by Gemini G.E.L. LLC, Los Angeles. $4,000 each.

Nancy Campbell, Uwabe (2015). Liza Eurich, Staging (2016).

44 Art in Print November – December 2016 Nancy Friese, Still Grove (2016) Soft ground etching with aquatint, drypoint and roulette, image 24 x 48 inches, sheet 30 x 54 inches. Unique image. Printed by the artist with assistance by Peter Pettengill, Wingate Studio, Hinsdale, NH. Published by the artist and Cade Tompkins Projects, Providence, RI. $8,750.

Ana Maria Hernando, Flores para la Nũsta I Mildred Howard, I’ve been a Witness to this (2016). Game XIII (2016).

Nancy Friese, Still Grove (2016). Daniel Heyman and Lucy Ganje, In Our Jacqueline Humphries, : ) : ) (2016) Own Words: Native Impressions: We Can Be Self- Color soap ground and spit bite aquatint with Takuji Hamanaka, Tiles (2015) Sufficient (2015–16) aquatint, 20 x 20 inches. Edition of 20. Printed by Water based woodcut mounted on museum Suite of 12 reduction woodcuts on handmade Sam Carr-Prindle, San Francisco, CA. Published board, 32 x 25 inches. Unique image. Printed and paper and 12 letterpress prints, 26 1/4 x 19 1/4 by Crown Point Press, San Francisco. Price on published by the artist, Brooklyn, NY. $4,000. inches each. Edition of 9. Printed by the artists request. and Kim Fink, Sundog Multiples, North Dakota. Published by the artists and Cade Tompkins Proj- ects, Providence, RI. $40,000.

Takuji Hamanaka, Tiles (2015). Daniel Heyman and Lucy Ganje, from Jacqueline Humphries, : ) : ) (2016). In Our Own Words: Native Impressions: Don Ed Hardy, Ink is King (2016) We Can Be Self-Sufficient (2015–16). Sidney Hurwitz, Bristol Port (2016) Color lithograph, 30 x 22 inches. Edition of 30. Etching/aquatint, 23 x 32 inches. Edition of 15. Printed by Bud Shark, assisted by Evan Colbert, Jim Hodges, (2016) Printed by Robert Townsend in Georgetown, Lyons, CO. Published by Shark’s Ink., Lyons, CO. Intaglio, screenprinting, woodcut collé and pig- MA. Published by the artist. Available from Stew- $1,800. ment printed Gampi sheet with cut outs, image art & Stewart, Bloomfield Hills, MI. $900. 34 x 24 inches, sheet 41 x 30 inches. Edition of 28. Printed by Highpoint Editions, Minnea- polis, MN. Published by Highpoint Editions and Walker Art Center, Minneapolis. $14,000.

Sidney Hurwitz, Bristol Port (2016).

Michael Joo, 7 Sins (2016) Set of seven silvered screenprints, 47 x 35 inches Don Ed Hardy, Ink is King (2016). each. Variable edition of 8. Printed and published by the LeRoy Neiman Center for Print Studies, Ana Maria Hernando, Flores para la Nũsta I New York. $35,000 for the set, $6,000 each. and II (2016) Jim Hodges, ɹǝɯɯnS ɟo (2016). Color lithographs with cut outs, 40 3/4 x 27 inches each. Edition of 30 each. Printed by Bud Mildred Howard, I’ve been a Witness to this Shark, assisted by Evan Colbert, Lyons, CO. Pub- Game XIII and XVIII (2016) lished by Shark’s Ink., Lyons, CO. $3,000 each, Monoprint/digital/collage with metal leaf, 20 5/8 $5,400 for the pair. x 15 1/8 inches each. Unique images. Printed by Bud Shark, assisted by Evan Colbert, Lyons, CO. Published by Shark’s Ink., Lyons, CO. $3,500 each.

Michael Joo, from 7 Sins (2016).

Art in Print November – December 2016 45 Paula Kraemer, Roast I–V (2016) Serena Perrone, Alberi Site Specific Portfolio Analia Saban, One-Continuous Line (Pocket Drypoint monoprint and monotype, image 3 x 3 (2014–15) Watch, Blender, Electric Toothbrush, Combo inches, sheet 10 x 8 inches. Edition of 20. Printed Suite of 12 etchings, 10 x 8 inches each. Edition Television Unit, Massage Recliner) (2016) and published by the artist, Open Gate Press, of 7. Printed by the artist, Philadelphia. Published Series of five one-color etchings, 54 1/4 x 41 inches Madison, WI. $150 each. by the artist and Cade Tompkins Projects, Provi- each. Edition of 18 each. Printed and published by dence, RI. $5,000. Gemini G.E.L. LLC, Los Angeles. $5,000.

Serena Perrone, Alberi Site Specific Portfolio (2014–15). Paula Kraemer, Roast I (2016). Endi Poskovic, Čuvalo (Agony in the Garden) Robert Kushner, Morning, Noon, Night (2016) (2016) Color lithograph triptych with gold leaf, 27 x 75 Woodcut printed in colors, 32 x 24 inches. Analia Saban, Pocket Watch (One-Continuous 3/4 inches. Edition of 30. Printed by Bud Shark, Edition of 20. Printed and published by the art- Line) (2016). assisted by Evan Colbert, Lyons, CO. Published ist at the Jan Matejko Academy of Fine Arts in by Shark’s Ink., Lyons, CO. $5,500. Krakow, Poland. Available from Stewart & Stew- Matt Saunders, Malina 1, 2 and 3 (2016) art, Bloomfield Hills, MI. $800. Five-color lithograph, 60 x 83.5 cm. Edition of 15. Printed by Ulrich Kuehle, Berlin. Published by Keystone Editions, Berlin. €1,500 each.

Robert Kushner, Morning, Noon, Night (2016).

Mary McCleary, Names Written In Water and Young Crow Arranging His Collection (2016) Polymer gravure etching and chine collé polymer gravure etching, image 17 x 22 inches, sheet 22 x 30 inches and image 22 x 18 inches, sheet 32 x 24 Endi Poskovic, Čuvalo (Agony in the Garden) Matt Saunders, Malina 1 (2016). inches. Edition of 30 each. Printed and published (2016). by Flatbed Press, Austin, TX. $1,400. Richard Serra, Elevational Weight I–VI (2016) Ed Ruscha, Unstructured Merriment (2016) Hand-applied Paintstik and silica on handmade 19-color lithograph and screenprint, 23 1/4 x 30 paper, various dimensions. Edition of 28 each. inches. Edition of 60. Printed and published by Printed and published by Gemini G.E.L. LLC, Los Gemini G.E.L. LLC, Los Angeles. $15,000. Angeles. $10,000–14,000 each.

Mary McCleary, Young Crow Arranging His Collection (2016). Richard Serra, Elevational Weight IV (2016). Ed Ruscha, Unstructured Merriment (2016). Beatriz Milhazes, Mother’s day (2016) Mungo Thomson, Pocket Universe #7 (Silver) Woodblock, screenprint and gold leaf, 51 7/8 x 17 Alison Saar, Deluge (2016) (2016) inches. Edition of 40. Printed and published by Relief with hand painted dye, 23 1/2 x 14 Aluminum blind embossment,, 26 x 22 inches Durham Press, Durham, PA. Price on request. 5/8 inches. Edition of 30. Printed by Bruce (including frame without glazing). Edition of 20 Crownover, Madison, WI. Published by Tandem aluminum unique works. Printed and published Press, Madison. $1,500. by Highpoint Editions, Minneapolis, MN. $4,000.

Mungo Thomson, Pocket Universe #7 Beatriz Milhazes, Mother’s day (2016). Alison Saar, Deluge (2016). (Silver) (2016).

46 Art in Print November – December 2016 Wayne Thiebaud, Hot Chocolate (2016) Ken Wood, Writ Large IV and Write Large V Direct gravure with drypoint printed in brown, (2016) 7 3/4 x 10 inches, sheet 13 3/4 x 15 inches. Collagraph and relief, 44 x 40 inches each. Edition of 25. Printed and published by Crown Edition of 6 each. Printed and published by Point Press, San Francisco. Price on request. Amanda Verbeck, Pele Prints, St. Louis, MO. $2,200 each.

Jacob Robert Whibley, things we are for (2016).

Stanley Whitney, Untitled (2016) Series of nine prints: spit bite aquatint, line etch- ing, soft ground etching, image 49.5 x 62 cm each, sheet 74 x 82.5 cm each. Edition of 18. Printed and published by Niels Borch Jensen Editions, Copenhagen. €1,800. Wayne Thiebaud, Hot Chocolate (2016).

Jessie Van der Laan, talus integument p3 and talus integument s5 (2016) Monotype and relief, 50 x 30 inches and 20 x 12 Ken Wood, Write Large V (2016). inches. Unique image. Printed and published by Amanda Verbeck, Pele Prints, St. Louis, MO. John Zurier, Summer Book blue sugarlift (2016) $1,500 and $400 each. Series of 10 spit bite aquatints, image 20 x 14 cm, sheet 35.5 x 27 cm. Edition of 12. Printed and pub- lished by Niels Borch Jensen Editions, Copenha- gen. €1,100.

Stanley Whitney, from Untitled (2016).

Claudia Wieser, Untitled (2016) Seven-, six- and three-color lithographs with 23.6 Karat gold leaf, 55 x 39 cm and 39 x 39 cm each. Edition of 30 each. Printed by Sarah Dudley, Ber- lin. Published by Keystone Editions, Berlin. €750 and €600 each.

Jessie Van der Laan, talus integument p3 (2016). John Zurier, Summer Book blue sugarlift (2016). Dan Walsh, Axis (2016) Reduction woodcut, image 19 3/4 x 19 3/4 inches, John Zurier, Lighthouse/Mirror (2016) sheet 22 x 22 inches. Edition of 21. Printed by Color soft ground etching on gampi paper chine Justin Israels, New York. Published by Pace collé, image 15 x 9 1/2 inches, sheet 22 x 15 1/2 Editions, Inc., New York. Price on request. inches. Edition of 15. Printed and published by Crown Point Press, San Francisco. $1,500.

Claudia Wieser, Untitled (2016).

Paula Wilson, In the Desert: Mooning (2016) Collagraph on muslin from two plates with handprinted collage on muslin and inkjet collage on silk, mounted on canvas and wood slats, 72 x 48 inches. Edition of 10. Printed and published by Island Press, St. Louis, MO. $3,750.

Dan Walsh, Axis (2016).

Jacob Robert Whibley, things we are for (2016) Relief print, 16 x 25 1/2 inches. Edition of 15. John Zurier, Lighthouse/Mirror (2016). Printed by the artist and Pamela Dodds, Toronto, Ontario. Published under the auspices of the Open Studio Visiting Artist Program 2016, Toronto. $600 CAD.

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

Art in Print November – December 2016 47 Exhibitions of Note Niels Borch Jensen http://www.nielsborchjensen.com/ ALBuquERquE, NM “Garo Antreasian: Innovation in Print” DAVENPoRT, IA 9 September 2016 – 27 January 2017 “American Scene on Paper” 2016 Tamarind Institute 10 September – 31 December 2016 http://tamarind.unm.edu/ And: “Mauricio Lasansky: Kaddish” FALL CATALOG AuSTIN, TX 12 November 2016 – 8 January 2017 “Xu Bing: Book from the Sky” And: 19 June 2016 – 22 January 2017 “Rembrandt and the Jews: now online: And: The Berger Print Collection” 8 October 2016 – 15 January 2017 www.davidsongalleries.com “Warhol by the Book” 16 October 2016 – 29 January 2017 Figge Art Museum http://figgeartmuseum.org/ or Blanton Museum of Art http://blantonmuseum.org hard copy $12 DENVER, Co BALTIMoRE “Performance on Paper: The Posters of “Front Room: Guerrilla Girls” Phil Risbeck and John Sorbie” [email protected] 25 September 2016 – 17 March 2017 10 July 2016 – 8 January 2017 206.624.7684 Baltimore Museum of Art Denver Art Museum http://artbma.org http://denverartmuseum.org 313 Occidental Ave. S. | Seattle, WA 98104 BASEL ESSEN, “Enthralling Engraving: “Richard Deacon: The Enterprise of Hendrick Goltzius” Drawings and Prints 1968–2016” 20 August – 13 November 2016 26 August – 13 November 2016 Kunstmuseum Basel Museum Folkwang http://kunstmuseumbasel.ch https://www.museum-folkwang.de/

BEDFoRD, uK FLINT, MI “Picasso & The Masters of Print” “Pressed for Time: History of Printmaking” Logo size on brochure covers Minimum clearance around the logo 10 September – 30 December 2016 and invites should be 1 inch wide 15 Octoberis half the total 2016 height of the– logo.16 April 2017 This space must be kept free of all Flint Institute of Arts Thegraphic Higgins and typographic Bedford elements http://thehigginsbedford.org.uk http://www.flintarts.org/

BoSToN FoRT WoRTH, TX A CRITICAL DISCOURSE “Sam Francis: Prints” ON THE CURRENT “one Wall, one Work: Daniel Buren” 10 September – 10 December 2016 3 August 2016 – 5 February 2017 STATELogo sizeOF on brochurePRINTMAKING covers Minimum clearance around the logo Amon Carter Museum of American Art and invites should be 1 inch wide is half the total height of theBarbara logo. Krakow Gallery This space must be kept free of all X http://www.cartermuseum.org/ graphic and typographic elementshttp://www.barbarakrakowgallery.com/

“William Merritt Chase” HouSToN “Prints and Plates” X 9 October 2016 – 16 January 2017 Museum of Fine Arts, Boston 21 September 2016 – 12 January 2017 http://mfa.org 1600 Smith Street Gallery Available for sale at X http://www.artsbrookfield.com/ store.openstudio.ca CHICAGo “Edwin Schlossberg: From Here” X “Chicago Printers Guild—Publishers Fair” 18 November – 19 November 2016 1 October – 26 November 2016 Elastic Arts Hiram Butler Gallery http://www.chicagoprintersguild.org/fair/ http://hirambutler.com/ The descriptor is not locked-up with the logo, it must appear on all “Degas: A New Vision” CHICHESTEROpen Studio publications, uK 16 October 2016 – 16 January 2017 “Prints for the Pub: Museum of Fine Arts, Houston The descriptor is not locked-upThe Guinness Lithographs” with the logo, it must appear on all http://mfah.org Open Studio publications 19 October 2016 – 15 January 2017 Pallant House Gallery http://pallant.org.uk ITHACA, NY “JapanAmerica: Points of Contact, 1876–1970” CINCINNATI 27 August – 18 December 2016 “The Book of only Enoch and The Herbert F. Johnson Museum of Art The Jackleg Testament, Part I: Jack & Eve” http://museum.cornell.edu 24 September 2016 – 12 March 2017 Cincinnati Art Museum http://cincinnatiartmuseum.org/ LoNDoN “Marcel Dzama and Raymond Pettibon: “Connie Sullivan: Ripples Through Time” Let us compare mythologies” 17 September – 18 November 2016 5 October – 12 November 2016 HudsonJones David Zwirner http://hudsonjonesgallery.com http://davidzwirner.com “Surface Cutting” CoPENHAGEN 7 September 2016 – 20 February 2017 “Copenhagen | Georg Baselitz” Royal Academy of Arts 23 October – 19 December 2016 http://royalacademy.org.uk

48 Art in Print November – December 2016 LoS ANGELES NEW BRuNSWICK, NJ “Warhol 80's” “Circa 1966: American Prints from 22 October – 11 November 2016 the Collection” Gallery Brown 3 September 2016 – 29 January 2017 http://gallerybrown.com And: “Circa 1866: European Prints from “Renaissance and Reformation: German the Collection” Art in the Age of Dürer and Cranach” 3 September 2016 – 8 January 2017 20 November 2016 – 26 March 2017 Zimmerli Art Museum, Rutgers University And: http://www.zimmerlimuseum.rutgers.edu/ “Picasso and his Printers” 23 July – 27 November 2016 NEW YoRK Los Angeles County Museum of Art “Analia Saban is Broken” http://www.lacma.org/ 27 October – 3 December 2016 Gemini G.E.L. at Joni Moisant Weyl “Paper or Plastic? New Editions by http://www.joniweyl.com/ Analia Saban” 10 September – 12 November 2016 “Black Pulp!” Mixografia 1 October – 3 December 2016 http://www.mixografia.com/ International Print Center New York http://www.ipcny.org/ “Pop for the People: Roy Lichtenstein Prints by Gemini G.E.L.” “2nd New York International Miniature 7 October 2016 – 13 March 2017 Print Exhibition” Skirball Cultural Center 1 November – 18 December 2016 http://skirball.org Manhattan Graphics Center http://www.manhattangraphicscenter.org/ MADRID “Marco Rountree. Muralismo Floritural” “Printing a Child's World” 15 September – 19 November 2016 27 May – 6 November 2016 And: And: “ugo Rondinone. Windows, Stars & Poems” “Workshop and Legacy: Stanley William 26 September 2016 – 11 February 2017 Hayter, Krishna Reddy, Zarina Hashmi” La Caja Negra 6 October 2016 – 26 March 2017 http://www.lacajanegra.com/ Metropolitan Museum of Art www.metmuseum.org/ MANCHESTER, uK “Marcantonio Raimondi and Raphael” “Dubuffet Drawings, 1935–1962” 30 September 2016 – 23 April 2017 30 September 2016 – 2 January 2017 The Whitworth, The University of Manchester And: http://www.whitworth.manchester.ac.uk/ “Word and Image: Martin Luther's Reformation” 7 October 2016 – 22 January 2017 “Corot, Daubigny, Millet: Visions of France” Morgan Library and Museum 5 August – 27 November 2016 http://www.themorgan.org/ And: “Gods and Heroes: Classical Mythology in “A Curious Hand: The Prints of Henri European Prints” Charles Guerard (1846–1897)” 2 December 2016 – 2 April 2017 2 November 2016 – 26 February 2017 Milwaukee Art Museum Stephen A. Schwarzman Building, http://mam.org/ New York Public Library https://www.nypl.org/ MINNEAPoLIS “Art of the Print: Recent Work from the “The Art of Politics or Politics in Art” Royal Society of Painter-Printmakers” 1 October – 12 November 2016 28 October – 23 November 2016 The Old Print Shop Highpoint Center for Printmaking http://www.oldprintshop.com/ http://highpointprintmaking.org NoRTH FARGo, ND “Beyond order: Selections from “ “The Black Sun of Melancholy”: Monsters Highpoint Editions” of the unconscious, From Goya and Blake 17 September 2016 – 27 January 2017 to Redon and Munch” Plains Art Museum 23 August – 11 December 2016 http://plainsart.org/ Montreal Museum of Fine Arts, Graphic Arts Centre NoRTHAMPToN, MA http://mbamtl.org “When in Rome: Prints and Photographs 1550–1900” MoRAGA, CA 30 September – 30 December 2016 “Social Justice: It Happens to one, And: It Happens to All” “Eric Avery: AIDS WoRK” 18 September – 11 December 2016 12 August – 11 December 2016 Saint Mary's College Museum of Art Smith College Museum of Art http://gutfreundcornettart.com/ http://smith.edu/artmuseum

Art in Print November – December 2016 49 Syracuse University Art Galleries PASADENA, CA “States of Mind: Picasso Lithographs http://suart.syr.edu 1945–1960” 14 October 2016 – 13 February 2017 TRoY, NY Norton Simon Museum of Art “2016 Screenprint Biennial” http://www.nortonsimon.org/ 28 October – 23 December 2016 Arts Center of the Capital Region PHILADELPHIA http://www.artscenteronline.org/ “Paul Keene: Post-War Explorations in Painting” WELLESLEY, MA 28 September – 2 December 2016 “Anni Albers: Connections” LaSalle University Art Museum 28 September – 18 December 2016 http://lasalle.edu/museum Davis Museum at Wellesley College https://www.wellesley.edu/davismuseum/ “Victoria Burge: Penumbra” 19 September – 19 November 2016 WEST HARTFoRD, CT And: “HANGA NoW: Contemporary Japanese “Celestial/Terrestrial” Printmakers” 16 September – 19 November 2016 23 September – 10 December 2016 The Print Center University of St. Joseph Art Museum http://printcenter.org http://www.usj.edu/arts/art-museum/

PoRTLAND, oR WILMINGToN, DE “Warhol Prints from the Collection “Lasting Impressions: The Artists of of Jordan D. Schnitzer and his Currier & Ives” Family Foundation” 17 September 2016 – 8 January 2017 8 October 2016 – 1 January 2017 Winterthur Museum, Garden & Library And: http://www.winterthur.org/ “Corita Kent: Spiritual Pop” 13 August 2016 – 29 January 2017 Auctions Portland Art Museum http://portlandartmuseum.org/ LoNDoN “Prints & Multiples” SANTA ANA, CA 16 November 2016 “The Virgin of Guadelupe: Images in Bonhams, New Bond Street Colonial Mexico” And: 8 October 2016 – 29 January 2017 “Prints & Multiples” The Bowers Museum 30 November 2016 http://bowers.org Bonhams, Knightsbridge http://www.bonhams.com/ SANTA FE, NM “Rick Bartow: Things You Know But Can- NEW YoRK not Explain, a Retrospective Exhibition” “Prints & Multiples” 19 August – 31 December 2016 2 November 2016 IAIA Museum of Contemporary Native Arts Christie's https://iaia.edu/iaia-museum-of-contemporary- http://www.christies.com/ native-arts/ “old Master through Modern Prints Featur- SHELBuRNE, VT ing Camille Pissarro: Impressionist Icon” “Hard-Edge Cool: The Routhier 3 November 2016 Collection of Mid-Century Print” Swann Auction Galleries 19 November 2016 – 22 January 2017 And: Shelburne Museum “Printed & Manuscript Americana” http://shelburnemuseum.org 17 November 2016 Swann Auction Galleries SPRINGFIELD, MA And: “Small Worlds: ’s “Art, Press & Illustrated Books” Experiments in Printmaking” 1 December 2016 14 June 2016 – 15 January 2017 Swann Auction Galleries Springfield Museums http://swanngalleries.com https://springfieldmuseums.org/ “Modern & Contemporary Prints & ST. LouIS, Mo Multiples” “Impressions of War” 6 December 2016 5 August 2016 – 12 February 2017 Bonhams And: http://www.bonhams.com/ “Conflicts of Interest: Art and War in Modern Japan” 16 October 2016 – 8 January 2017 Events St. Louis Art Museum http://slam.org PHILADELPHIA “Screen Shots: The Print Center SYRACuSE, NY Annual Auction” “About Prints: The Legacy of 3 December 2016 Stanley William Hayter and Atelier 17” The Print Center 18 August – 20 November 2016 http://printcenter.org

50 Art in Print November – December 2016 AuSTIN, TX Kate Krasin: Luminous Prints “PrintAustin 2017” Carmen Vandelin 15 January – 15 February 2017 96 pages, 60 illustrations PrintAustin Published by Pomegranate Press, http://printaustin.org Portland, OR, 2016 $29.95. Fairs

BRooKLYN “Prints Gone Wild” 4 November 2016 Littlefield http://www.cannonballpress.com/

NEW YoRK “IFPDA Print Fair” 2 – 6 November 2016 Park Avenue Armory http://www.ifpda.org/content/print-fair Copy.Right: Adam von Bartsch: Kunst, Kommerz, Kennerschaft “Editions/Artists’ Books Fair” Edited by Stephan Brakensiek, Anette Michels, 3 – 6 November 2016 Anne-Katrin Sors The Tunnel 352 pages, 264 illustrations http://eabfair.org Published by Michael Imhof Verlag, Petersberg, Germany, 2016 “NY Satellite Print Fair” €45. 4 – 6 November 2016 Bohemian Hall http://www.nysatelliteprintfair.com/

“Buy the Book Fair” 5 – 6 November 2016 PRESENTS Central Booking http://centralbookingnyc.com/ “Self Publisher Invitational METROPOLIS Exhibition and Fair” 3 – 6 November 2016 & Rogue Space, Chelsea http://spifair.org/ INVISIBLE FLINT, MI “Flint Fine Print Fair” The Print Before Photography CITIES 18 – 20 November 2016 Antony Griffiths Flint Institute of Arts 569 pages, 310 illustrations OCT 21 – DEC 24 http://www.flintarts.org/support/events/printfair. Published by British Museum Press, html London, 2016 $75. Artists Books & New Books Collaborative book projects Prints in Translation, 1450–1750: Exhibit of artists’ books and folios Image, Materiality, Space for collaborative leporello book Edited by Suzanne Karr Schmidt, Edward H. Wouk that present new interpretations of 252 pages, 17 color and 93 b/w illustrations urbanity. Over 150 domestic and Published by Routledge, London, 2016 international artists represented. $149.95. FOR MORE INFO

(402) 438-0049 WWW.CONSTELLATION-STUDIOS.NET Prints: A Catalogue Raisonné: Erratum and Printing Sequences (Catalogue Numbers 00–315) Richard H. Axsom with Leah Kolb 184 pages Published by Jordan Schnitzer Family Foundation, Portland, OR, 2016 Free downloadable PDF: www.jordanschnitzer.org/s/stellaprintsequences

Art in Print November – December 2016 51 Arrested Ephemera: Haiga IFPDA Announces Recipients of 2016 Ellen Peckham Foundation Grant Awards 132 pages, 66 illustrations The International Fine Print Dealers Association Published by Paper Crown Press, Guttenberg, NJ, (IFPDA) announced the recipients of the 2016 2015 IFPDA Foundation grant awards in support of $28.50. exhibitions, scholarly publications and educa- tional programs that promote a greater aware- ness and appreciation of fine prints. This year’s projects range from exhibitions to performance- based community happenings, to scholarly research. The seven grant recipients are: Arts Center of the Capital Region (Troy, NY); Kala Art Institute (Berkeley, CA); The Lawrence Arts Cen- ter (Lawrence, KS); RISD Museum (Providence, RI); Smart Museum of Art at the University of Chicago (Chicago, IL); University of St. Joseph Art Museum (West Hartford, CT); and the Win- terthur Museum, Garden & Library (Winterthur, DE).

Temporarily accessioned Paul Coldwell 72 page artist book, edition of 150 Published by the artist, London, 2016 £42.

EXPo Chicago 2016 EXPO Chicago returned for a fifth year at Chi- cago’s Navy Pier, with over 145 galleries and more than 38,000 visitors over its four-day span (22–25 September). Though EXPO Chicago is a general art fair, prints featured prominently throughout the event, brought by print dealers and publish- ers, by non-specialist galleries and in the curated “projects” scattered through the venue. In the Other News main section of EXPO, Alan Cristea Gallery pre- sented Michael Craig-Martin’s new screenprints, Call for Entries: Wolfgang Ratjen Award Fundamentals, along with recent work by Antony The Wolfgang Ratjen Award is an annual award Gormley (see Art in Print Sep-Oct 2016). Right for distinguished research in the field of graphic around the corner, the Crown Point Press booth arts. Consideration will be given to a PhD dis- featured beautifully delicate new works by Leon- sertation, MA thesis or scholarly article of larger ardo Drew. Other exhibiting print publishers scope dealing with art historical questions that included Graphicstudio, Landfall Press, Carolina involve drawings or prints in Western art. The Nitsch, Poligrafa Obra Grafica and Tandem Press. winning candidate, chosen by an independent Galleries specializing in prints and multiples, committee of scholars, will receive €5,000, and such as Sims Reed Gallery and Flowers Gallery, is expected to spend three months conduct- exhibited contemporary and modern works. The ing research at the Zentralinstitut für Kunstge- fair also included a specialized section, EXPO schichte in Munich. Please go to http://en.zikg. Editions + Books, with smaller booths showcas- eu/fellowships/awards-for-emerging-scholars/wolf- ing artists’ books, editions and prints: Chicago’s gang-ratjen-award for more information. No Coast Editions presented an unusual screen- print on hand-dyed fabric by Aay Preston-Myint Call for Entries: The Print Center 91st and offset prints by Math Bass. Finally a number Annual International Competition of blue-chip galleries took the trip to Chicago The Print Center invites artists who use print- as an opportunity to highlight works on paper, making and/or photography as critical compo- including a wall of woodcuts at nents of their work, or whose work pushes the David Zwirner’s booth and a large woodcut boundaries of traditional photographic and by Martin Puryear at Matthew Marks Gallery. printmaking practices, to enter its annual Inter- Finally, one of the most striking EXPO Projects national Competition. Awards include three solo was Samuel Levi Jones’ 48 Portraits (Underex- exhibitions at The Print Center to be held May– posed) (2012), a wall of black-on-black inkjet August 2017; inclusion in an online exhibition of prints recasting Gerhard Richter’s 48 Portraits portfolios; a Philadelphia Museum of Art Collec- (1972) with African-American cultural heroes, tion Award; and more than $2,000 in purchase raising questions of visibility on several levels. and material prizes. The deadline for entry is 15 November 2016. For more information, please go to http://printcenter.org/100/competition/. Please submit announcements of exhibitions, publications and Alan Cristea Gallery opens New Space other events to The Alan Cristea Gallery’s new space at 43 Pall Mall, St. James’s opened on 5 October with the [email protected]. exhibition, “Howard Hodgkin: After All.”

52 Art in Print November – December 2016 The MFA Book Arts + Printmaking Program and the Borowsky Center at the University of the Arts in Philadelphia are pleased to announce the release of two new editions by two exceptional artists, Lesley Dill [left] and Wardell Milan [below].

For more information please visit: bookprintmfa.uarts.edu or contact Cynthia Nourse Thompson, Director [email protected] 215.717.6106

All proceeds from sales support MFA student travel scholarships. MASTER OF FINE ARTS: PRINTMEDIA Expand the definition of contemporary print while acknowledging its rich history and tradition. Work across disciplines to create prints, artists’ books, three-dimensional objects, installations, new media, and time arts.

APPLY BY JANUARY 10 saic.edu/gradapp Learn more at saic.edu/printmedia

GRADUATE ADMISSIONS 800.232.7242 312.629.6100 [email protected]

Melanie Teresa Bohrer (MFA 2016), Untitled (Memorial), 2016 Announcing two artist books from Arion Press in Fall 2016 Pedro Páramo by JUAN RULFO with 10 color images and a separate print by ENRIQUE CHAGOYA In September 2016, Arion Press published a classic of Latin American fiction, the 1955 novel Pedro Páramo. Hailed by Susan Sontag as a “masterpiece of twentieth century world literature,” this haunting novel was a formative influence on Gabriel Garcia Márquez, who knew it by heart. Enrique Chagoya has created 10 two-sided color prints bound into the book so they can be read from both sides. Signed by the artist, the book is printed by letterpress and bound by hand, in an edition of 300. A separate 9-color print is available in an edition of 30. Arion Press publications can be viewed online and in New York at the Park Avenue Armory IFPDA Print Fair, November 2 through 6.

The Little of our Earthly Trust Poetry by ELIZABETH BISHOP selected and with an introduction by HELEN VENDLER with 24 prints by JOHN NEWMAN

In November 2016, Arion Press will publish the poetry of Elizabeth Bishop (1922–1979), the American poet considered “the most pop- ular of her generation.” The selection is by Harvard professor Helen Vendler, a friend of Bishop’s, who also contributed an intro- duction. Sculptor John Newman, a longtime admirer of Bishop’s poetry, has made prints based on 24 of his small sculptures. Signed by the artist, the book is printed by letterpress and bound by hand, in an edition of 300. A separate hand-colored linoleum block print is in an edition of 30. The 25 original John Newman drawings are offered individually for purchase with a copy of the book. For prospectuses and information use the address below.

THE ARION PRESS 1802 Hays Street, The Presidio, San Francisco, California 94129 415-668-2542 • [email protected] • www.arionpress.com Miami Art Fair November 30 - December 4, 2016 Modern & Contemporary Works on Paper

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EDITIONS/ARTISTS’ BOOKS FAIR 2016 THE TUNNEL, 269 ELEVENTH AVENUE, NYC NOVEMBER 3–6, BOOTH A5

DERRICK ADAMS FLOATER, 2016 36 X 36 INCHES PIGMENT PRINT ON HOT PRESS SIGNED AND NUMBERED EDITION OF 18

A 1 3 6 - B A X T E R - S T - S U I T E 1 C - N E W - Y O R K - N Y 1 0 0 1 3 T 2 1 2 2 0 3 2 0 5 1 E M S F I N E A R T 5 5 @ G M A I L . C O M W M I C H A E L S T E I N B E R G F I N E A R T . C O M

Introducing THE ROOM Twelve woodcuts by Alice Leora Briggs Poem by Mark Strand

Deluxe artist suite of twelve wood relief prints by Alice Leora Briggs, each corresponding to a line in Mark StrandÕs poem of the same title. Housed in a hand-made box with title page and colophon signed by the artist and Mark Strand, 1990 U.S. Poet Laureate, MacArthur Fellow and Pulitzer Prize Winner.

Edition of 24. Numbers 1-14 are reserved as deluxe boxed suites; 15-24 of each image are available as individual impressions. Complete suite may be viewed at www.flatbedpress.com.

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232 3rd Street, B302 Brooklyn, NY 11215 junglepress.com Camp Bedlam lithograph, edition: 25, paper size: 22 x 28 in. [email protected]

60 Art in Print November – December 2016 Strike a PoSe: 145 West 58th St., suite 6D SPectacular imagery of the kabuki theater New York, NY 10019 September 8 – November 8, 2016 tel. 212.585.0474 open viewing during Asia Week & Print Week, 11am – 5 pm [email protected] otherwise by appointment www.scholten-japanese-art.com

During Print Week Visit The David Allen Fine Arts NY The Annex Galleries SATELLITE PRINT FAIR Armstrong Fine Art AT THE Marc Chabot Fine Arts

BOHEMIAN HALL Davidson Galleries th th November 4 — 6 2016 C. & J. Goodfriend

Daily Complimentary Admission Conrad R. Graeber Fine Art Friday 10 to 8 KADS New York Saturday 10 to 7 Sunday 10 to 5 Ernest S. Kramer Fine Arts Edward T. Pollack Fine Arts www.nysatelliteprintfair.com Stevens Fine Art BOHEMIAN NATIONAL HALL M. Lee Stone Fine Prints 321 E. 73rd STREET between 1st & 2nd Avenues Egon & Joan Teichert Fine Prints NEW YORK, NY 10021 a - z portfolio of 26 aquatints with chine collé 14 x 14 inches (sheet) Matthew Carter edition 52 2016 Center Street Studio is pleased to announce the publication of E/AB Fair 2016 a portfolio of 26 aquatints by type designer Matthew Carter. It The Tunnel NYC will be on view at the Edition/Artist Book Fair booth A7. November 3-6

Center Street Studio www.centerstreetstudio.com

62 Art in Print November – December 2016 Art in Print November – December 2016 63 SASCHA BRAUNIG

STAYS, 2016 38.75 x 27.75 inches edition of 25

visit us at E/AB FAIR NOVEMBER 3-6 2016

NADA MIAMI DECEMBER 1-4 2016

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64 Art in Print November – December 2016 ROBERT KUSHNER 0 YEARS 4 O G f IN T P A R I R N NEW LITHOGRAPH T B E I N L

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“Morning, Noon, Night” (2016) S m IN IN S color lithograph with gold leaf, 27 x 75¾ inches, edition of 30 K • SHARK

Dolan/Maxwell @ the IFPDA Print Fair November 2–6, 2016 Park Avenue Armory Park Avenue at 67th Street New York, New York

2046 Rittenhouse Square Philadelphia, Pennsylvania 19103 215.732.7787 office Ron Rumford, Director

www.DolanMaxwell.com Helen Phillips Judith Rothschild The estates of Helen Phillips and Judith Rothschild are represented by Dolan/Maxwell.

Left: Helen Phillips, Moving Angles 1952, open bite etching, proof printed in black only, image: 10 9/16 x 8”; sheet: 14 15/16 x 9 5/8” Right: Judith Rothschild, Greenwich Village 1945, color screenprint, proofs only, image: 8 1/4 x 7 5/16; sheet: 14 x 11”

Art in Print November – December 2016 65 HAND PRINT WORKSHOP INTERNATIONAL PRINTS 1997-2017 The Athanaeum, Alexandria, Virginia February 27 - April 2, 2017

Hand Print Workshop International [email protected] www.hpwi.org

Mary Judge New Intaglio Editions

Untitled, 2016 Etching and aquatint Image: 24” x 24”, sheet: 28”x 28” edition of 12 Published by Manneken Press

This print & many (309) 829-7443 others will be on [email protected] view at booth B38. www.mannekenpress.com

66 Art in Print November – December 2016 Jane E.

, 2016, pigment print/hand painted, ed: 25, sh: 21.75” x 29.75” Goldman Audubon February

The IFPDA Print Fair • 2-6 November 2016 • Park Avenue Armory (67 & Park) • New York, New York Flint Fine Print Fair • 18-20 November 2016 • Flint Institute of Arts • Flint, Michigan

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Art in Print November – December 2016 67 68 Art in Print November – December 2016 Crown Point Press

JACQUELINE HUMPHRIES ten new etcHinGS DecemBer 2016

:):), 2016. Color soap ground and spit bite aquatints with aquatint. 20 x 20", edition 20.

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JACOB HASHIMOTO Tiny Rooms and Tender Promises

2016 Mixografía® print on handmade paper and archival pigment print with pushpins Edition of 27 • 30.5” X 23”

1419 East Adams Boulevard Los Angeles • CA 90011 www.mixografia.com 323.232.1158

Art in Print November – December 2016 69 ALICIA McCARTHY PAULSON FONTAINE PRESS NEW LIMITED EDITIONS

2390 C FOURTH ST. BERKELEY, CA 94710 T.510.559.2088 WWW.PAULSONFONTAINEPRESS.COM [email protected]

VISIT OUR WEBSITE TO VIEW NEW PRINTS BY ANDY BURGESS SUZANNE CAPORAEL LESLEY DILL SANDRA RAMOS ALISON SAAR

WWW.TANDEMPRESS.WISC.EDU Andy Burgess [email protected] Movie Night, 2016 Relief, intaglio, archival inkjet, enamel paint, collage, ed. 15 608.263.3437 24 x 24 inches

70 Art in Print November – December 2016 Back Issues of Art in Print

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

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

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

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

Volume 5, Number 1 Volume 5, Number 2 Volume 5, Number 3 Volume 5, Number 4 Volume 5, Number 5 Volume 5, Number 6 Complete your library now! Purchase digital or print versions of all back issues from MagCloud, our print-on-demand service at www.magcloud.com/user/established-2011. Volume 6, Number 1 Volume 6, Number 2 Volume 6, Number 3 Contributors to this Issue IFPDA Print Fair 02–06 November 2016 | Stand #424

New Editions John Armleder Alix Lambert Catherine Bindman is an editor and art critic who has written extensively on both old master and Liza Lou contemporary prints. She was Deputy Editor at Art on Paper magazine and lives in New York. Bernar Venet Chang Yuchen is an artist who currently lives and works in New York. She graduated from Central Temporary Tattoo Project #1 Academy of Fine Arts, Beijing (BFA) in 2011 and School of the (MFA) in 2013. Brian Alfred Her solo exhibitions include “Chang Yuchen: Barbaric Poetry” at Between Art Lab, Beijing, 2015 and “Chang Yuchen: Snake and Others” at Fou Gallery, New York, 2013.

World House Editions Ivy Cooper reviews art in St. Louis for local and national publications including Art in America and Member IFPDA ArtForum. She received her PhD in Art and Architectural History from the University of Pittsburgh and www.WorldHouseEditions.com is currently Professor of Art History at Southern Illinois University Edwardsville.

Lauren R. Fulton is Curatorial Assistant at the Aspen Art Museum. She received her MA in Art His- tory, Theory and Criticism from the School of the Art Institute of Chicago and holds a BA in Art His- tory and a BS in Journalism from the University of Kansas (2011). She has worked at the Museum of Contemporary Art Chicago, Nasher Sculpture Center, Modern Art Museum of Fort Worth and the Kemper Museum of Contemporary Art.

Joseph Goldyne came to prominence with his first solo exhibition of monoprints in 1973. Initially educated as a physician, he went on to earn a graduate degree in art history. A retrospective of his work was held at the Corcoran Gallery of Art in 2001, and a catalogue raisonné of his artist’s books has just been published by Stanford University Library to accompany an exhibition there. Pele Prints Paige K. Johnston is one half of the collaborative duo Life After Life, whose work has been featured at Villa Vassilieff, Paris (2016) and Company Gallery, New York (2015). Through her consulting studio, MIXED NUTS, she has worked with Theaster Gates Studio. She has curated numerous exhibitions and public programs as Manager of Special Collections for the Flaxman Library at the School of the Art Institute of Chicago (SAIC), from which she received masters degrees in Art History and Arts Admin- istration.

Jessie Van der Laan Vincent Katz is a poet, translator, critic and curator. He was the editor of Black Mountain College: www.peleprints.com Experiment in Art (MIT Press, 2002, 2013) and curator of an exhibition on Black Mountain College for the Reina Sofia Museum, Madrid in 2002. He has written extensively on contemporary artists including Ghada Amer and Reza Farkondeh, Jennifer Bartlett, Rudy Burckhardt, Francesco Clemente, Red Grooms and Kiki Smith. He was appointed Critic at Yale School of Art in 2015.

Katia Santibañez was born in Paris, France in 1964 and received her degree in 1990 at the Ecole Superieure des Beaux Arts in Paris. Solo exhibitions include Jancar Gallery (Los Angeles, CA), IMC Lab (New York, NY), and she has participated in group shows at Pace Prints (New York, NY) and Jeff Bailey Gallery (New York, NY). Her paintings, drawings, and prints are in numerous public and private collections. Santibañez lives and works in New York City and in the Berkshires.

James Siena is a New York-based artist whose complex, rule-based linear abstractions have situated him firmly within the trajectory of modern American art. Mr. Siena works across a diverse range of media, including lithography, etching, woodcut, engraving, drawing, and painting. His work is held in numerous public and private collections across the U.S., including Museum of Fine Arts, Boston; San Francisco Museum of Modern Art; and The Metropolitan Museum of Art, The Museum of Modern Art and the Whitney Museum of American Art in New York.

Julie Warchol is the Associate Editor of Art in Print and the Curatorial Associate at the Terra Foundation for American Art in Chicago. She holds an MA in art history from the School of the Art Institute of Chicago. She has curated exhibitions of 20th-century American prints, photographs and artists’ publications at the Smith College Museum of Art and the Joan Flash Artists’ Book Collection at SAIC.

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.

72 Art in Print November – December 2016

Editions/Artist’s Book Fair Jim Hodges, , 2016 November 3 – 6, 2016 intaglio, screenprinting, woodcut collé and pigment printed Gampi sheet with cut outs Jim Booth: B2 41 x 30 inches, Edition of 28 Published by Highpoint Editions and Walker Art Center Hodges Photo Credit: Walker Art Center

Inquiries: 612 . 871.1326 | [email protected] | highpointprintmaking.org