Edvard Munch
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US $25 The Global Journal of Prints and Ideas May – June 2014 Volume 4, Number 1 Tauba Auerbach • John B. Flannagan • Richard Hamilton • German Romantic Prints • Edvard Munch • Anton Würth Flavin, Judd, Sandback • Jin Joo Chae • Fin de Siècle Printmaking in Paris • Adam Jeppesen • Prix de Print • ≤100 • News CROWD, 2014 | PORTFOLIO OF 5 COPPER PLATE ETCHINGS | 18 X 14", EDITION 40 Wayne Gonzales New Etchings GRAPHIC MATTER LEGUIT 23 | 2000 ANTWERP | BELGIUM | +32 475 27 51 62 | WWW.GRAPHICMATTER.BE | [email protected] May – June 2014 In This Issue Volume 4, Number 1 Editor-in-Chief Susan Tallman 2 Susan Tallman On Four Associate Publisher Karen L Schiff 4 Julie Bernatz Tauba Auerbach: Dimensional Slippages Managing Editor Katherine Rangoon Doyle 9 Dana Johnson John B. Flannagan: Sculptor as Printmaker Reviews News Editor Isabella Kendrick Paul Coldwell 14 Richard Hamilton in London Manuscript Editor Jay A. Clarke 19 Prudence Crowther The Enchanted World of German Romantic Prints Online Columnist Sarah Kirk Hanley Alison W. Chang 23 Edvard Munch: Works on Paper Design Director Skip Langer Tiffany Johnson Bidler 27 Anton Würth and Engraving in the Editorial Associate 21st Century Michael Ferut Allison Rudnick 30 Prints: Flavin, Judd, Sandback Owen Duffy 32 III Elleree Erdos 34 Jin Joo Chae Susan Tallman 37 Adam Jeppesen Photogravures Elliott Mickleburgh 42 Out of Hand: Materializing the Postdigital Britany Salsbury 44 Printmaking in Paris CROWD, 2014 | PORTFOLIO OF 5 COPPER PLATE ETCHINGS | 18 X 14", EDITION 40 Treasures from the Vault 38 William Cole Christian Rohlfs: Der Gefangene Prix de Print, No. 5 40 Gill Saunders On the Cover: Carl Wilhelm Kolbe the Elder, Isca Greenfield-Sanders:Pikes Peak detail of Youth Playing a Lyre to a Maiden by Book Reviews 46 a Fountain (ca. 1802‑3), etching and drypoint. Courtesy of the Philadelphia Museum of Art. <100 47 This Page: Marie Watt, detail of Landmark: News of the Print World 48 Wayne Gonzales A Thousand Names (2013), two‑color litho‑ Contributors 64 graph. Printed and published by Tamarind Institute, Albuquerque, NM. Art in Print 3500 N. Lake Shore Drive The series “Treasures from the Vault” New Etchings was made possible with the generous Suite 10A support of the IFPDA Foundation. Chicago, IL 60657-1927 www.artinprint.org [email protected] 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published GRAPHIC MATTER without the written consent of the publisher. LEGUIT 23 | 2000 ANTWERP | BELGIUM | +32 475 27 51 62 | WWW.GRAPHICMATTER.BE | [email protected] On Four By Susan Tallman ore than 500 years after Euro- but interestingly, its essential underpin- Mpean culture was first trans- ning—the ancient printerly idea of art-via- formed by the meeting of paper, ink and template—was simply assumed. template (and with seeming disregard All this points to a dismantling of for the digital revolution that was sup- some of the prejudice that has tended to posed to change it all), printed images keep prints at a distance from the better- remain a pandemic presence. Prints are trafficked areas of museums and galleries. now, as they have been for centuries, the Certainly the volume of announcements things most of us hang on our walls. The flowing into Art in Print suggests that mediation that is integral to print—the the territory of prints is vast and grow- intercession of devices and templates ing larger. between instigator and recipient—has so Art in Print is doing its best to keep up. permeated the way we see and think that We are currently rebuilding our website we hardly notice it. Yet printed images as to make it faster and more functional. objects, and as a specific and determining The new site will maintain most of the mode of communication, get scant press appearance of the old one (nobody likes coverage; the art we are most likely to to relearn navigation), but subscribers own is also the art we are least likely to will now be able to access all articles elec- read about. tronically without having to download a One of the great pleasures of editing View of the “Salon International de Livres PDF (though downloading will still be an Art in Print is that there is so much to be Anciens—Etampes—Dessins” at the Grand option). Search capabilities will be hugely surveyed. This issue marks the begin- Palais, Paris, April 2014. Photo: J. Bernatz. expanded, and the members’ page will ning of our fourth year. In that time we feature easily identifiable new content have addressed Renaissance engravings this issue documents an embarrassment and a renewal system that actually works and Expressionist woodcuts (as well of riches in terms of recent exhibitions. (to all of you have found yourself in the as Renaissance woodcuts and Expres- Jay Clarke surveys the Philadelphia old system, seemingly designed by Franz sionist engravings); the poetics of the Museum of Art’s ambitious show of Ger- Kafka, we do apologize). livre d’artiste and the influence of the man Romanticism; Alison Chang reports At the same time, we will continue to photo-copier on the aesthetics of Punk. on how museums in Oslo and Zürich pursue intriguing questions about art, We have reviewed hundreds of new edi- used works on paper to celebrate Edvard culture and society. Upcoming issues will tions, books, exhibitions and events. This Munch’s 150th birthday; Tiffany Johnson focus on prints and domesticity; dreams year we welcomed Sarah Kirk Hanley’s Bidler takes apart the inter-century play of Arcadia; art produced in states of crisis; INK Blog, which continues to break new between contemporary engraver Anton and prints as messengers of globalization stories about prints and the print world, Würth and the 17th-century paradigms avant la lettre and after. The next issue and we inaugurated the “Prix de Print” of Robert Nanteuil at the Snite Museum; will look at screenprint, perhaps the most competition to help level the playing field and Allison Rudnick revisits the Mini- commonly used hand-print technology for artists trying to bring their work to a malist prints of Dan Flavin, Donald Judd in the world—and the least respected. global audience. and Fred Sandback on view at David We hope to remedy that. This issue opens with the first serious Zwirner Gallery. studies of the prints of Tauba Auerbach Unlike these exhibitions, the Tate Susan Tallman is the Editor‑in‑Chief of and of the early 20th-century Ameri- Modern’s grand Richard Hamilton Art in Print. can sculptor John Flannagan, who both retrospective (reviewed here by Paul set up a flirtation between flatness and Coldwell) was not explicitly a print dimensionality. In other essays, the show: it included paintings, collages, promise of repetition held out by print- sculptures and installations, but openly ing is broken into a source of poignant acknowledged the importance of print— meaning in both Adam Jeppesen’s recent and of prints—to Hamilton’s thinking grand photogravures and Christian and processes. A similar integration and Rohlfs’ 1918 woodcut, Prisoner (1918). “normalization” of print is visible on a As Britany Salsbury notes in her review more modest scale in the exhibitions of Printmaking in Paris: The Rage for Prints reviewed by Owen Duffy and Elleree at the Fin de Siècle, the fashionability of Erdos. The survey of digital fabrication at prints ebbs and flows with broader cul- New York’s Museum of Arts and Design tural currents, and while it is customary (catalogue review by Elliott Mickle- to decry the sorry state of the present, burgh) generated buzz for its novelty, 2 Art in Print May – June 2014 A selection of recent and current artist books THE ARION PRESS JULIE MEHRETU Poetry of Sappho, in Greek with English translations by John Daley with Page duBois, with twenty double-page relief prints by Julie Mehretu in the book and four additional prints—three of them hand-colored—as an extra suite in portfolio. Book edition 400; suite edition 40. KARA WALKER Porgy & Bess, the libretto by DuBose Heyward and Ira Gershwin, with sixteen lithographs by Kara Walker in the book and four additional lithographs as an extra suite in portfolio. Book edition 400; suite edition 40. JONATHAN HAMMER Animal Farm, the novel by George Orwell, with twenty-four relief prints by Jonathan Hammer in the book and an extra suite of all twenty-four prints in portfolio. Book edition 300; suite edition 30. LUCY GRAY The Day of the Locust, the novel by Nathanael West, with an introduction by David Thomson and twenty photographs by Lucy Gray. Book edition 400. WENDY ARTIN Stone from Delphi, poems with classical references by Seamus Heaney, selected and with an introduction by Helen Vendler, with sixteen watercolor drawings by Wendy Artin. Book edition 300. RAYMOND PETTIBON South of Heaven, the novel by Jim Thompson, with an introduction by Arnold Hano and forty-four drawings by Raymond Pettibon. Book edition 400. WILLIAM T. WILEY Don Quixote, the novel by Miguel de Cervantes, translated by Edith Grossman,with ninety-seven relief prints and a large print with colors by William T. Wiley. Book edition, in two volumes, 400; print edition 40. THE ARION PRESS 1802 Hays Street, The Presidio, San Francisco, CA 94129 415-668-2542 • [email protected] • www.arionpress.com Tauba Auerbach: Dimensional Slippages By Karen L. Schiff ow can our multidimensional Hworld be conveyed by a flat surface? Tauba Auerbach has explored this ques- tion in artist’s books and print editions over the past few years through diverse strategies for representing the spaces between two and three dimensions. Many of her most successful prints deliver spatially disorienting surprises similar to those of the breakout paintings she showed at the 2010 Whitney Biennial, in which two-dimensional surfaces seemed wrinkled into funky three-dimensional textures.