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Julian Stanczak • Jonas Wood Speaks with Jacob Samuel • Picturing Islamic Spain • Hercules Segers German Romantic Prints

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Julian Stanczak • Jonas Wood Speaks with Jacob Samuel • Picturing Islamic Spain • Hercules Segers German Romantic Prints US $25 The Global Journal of Prints and Ideas May – June 2018 Volume 8, Number 1 Julian Stanczak • Jonas Wood Speaks with Jacob Samuel • Picturing Islamic Spain • Hercules Segers German Romantic Prints • Anselm Kiefer • Richter and Polke • Katharina Fritsch • Janis Kounellis • News WASHINGTON STATE UNIVERSITY ANNOUNCES THE OPENING OF THE JORDAN SCHNITZER MUSEUM OF ART AT WSU APRIL 2018 Photo: Robert Hubner, Washington State University Standing as a beacon for the arts, this crimson “jewel box” designed by internationally recognized architects Olson Kundig logotype will serve over 25,000 students who attend the University in Pullman, Washington. JORDAN SCHNITZER MUSEUM OF ART WSU COMBINING ACADEMIC NEEDS WITH COMMUNITY CONNECTIONS TO TRANSFORM THE REGIONAL ART EXPERIENCE JSMOAWSU (MAIN), SINGLE LINE LOG0 (WITH TAGLINE) Our sincerest thanks to Oregon philanthropist and businessman Jordan D. Schnitzer for his generous contribution. JSMOAWSU, SQUARE LOGO JORDAN SCHNITZER JSMOAWSU MUSEUM OF ART WSU JSMOAWSU, BRAND, CUBE LOGO JSMOAWSU, STACKED LOGO typography ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz Aa 0123456789!?& Aa 0123456789!?& Helvetica Neue LT Std (37) Thin Condensed Helvetica Neue LT Std (67) Medium Condensed AaAa Thin Condensed | Thin Condensed Oblique AaAa Medium Condensed | Medium Condensed Oblique colors brand philosophy BRAND STATEMENT | The Jordan Schnitzer Museum of Art at Washington State University serves as the intellectual center for the visual arts, combining academic needs with community connections, to enliven, educate and transform the lives of WSU students, faculty and staff, while offering enriching encounters with regional and national artists to the Inland Northwest. Pantone 201 Pantone 431 WHO WE ARE | The Jordan Schnitzer Museum of Art WSU, with its collections & learning gallery and downtown space, is actively engaged and connected with students, faculty, staff and the larger C0 M100 Y65 K34 C11 M0 Y0 K65 community by using innovative, creative and intellectually stimulating exhibitions, programs and events. R152 G30 B50 R94 G106 B113 The Museum intentionally fosters an environment that demonstrates the transformational power of the arts across academic units, the local community, K-12, state and the nation. JORDAN SCHNITZER MUSEUM OF ART WSU May – June 2018 In This Issue Volume 8, Number 1 Editor-in-Chief Susan Tallman 2 Susan Tallman On the Omnibus Associate Publisher Linda Konheim Kramer 3 Julie Bernatz The Prints of Julian Stanczak Jonas Wood Speaks with 9 Managing Editor Isabella Kendrick Jacob Samuel Nonstop Associate Editor Liza Oliver 17 Julie Warchol Engraving the Nation: Spain’s Islamic Heritage in the Era Manuscript Editor Prudence Crowther of Napoleonic Expansion Reviews Editor-at-Large Catherine Bindman Brian D. Cohen 23 Darkness Illuminated: The Printed Design Director Paintings of Hercules Segers Skip Langer Marsha Morton 26 German Life, Real and Imagined Christian Rümelin 30 Anselm Kiefer: Rolling on the River Rhine Susan Tallman 32 Richter and Polke Mason Riddle 39 Size Does Matter: Katharina Fritsch at the Walker Nicole Meily 41 Late Works by Jannis Kounellis Prix de Print, No. 29 43 Juried by Angela Griffith divining by Kelsey Stephenson News of the Print World 45 On the Cover: Jonas Wood, detail of Double Basketball Orchid (State II) (2017), 11-color lithograph. Printed and published by Hamilton Press, Venice, CA. Photo: Alan Shaffer. Courtesy of the artist and Hamilton Press, Venice, CA. This Page: Julian Stanczak, detail of Super- imposed in Light from Superimposed Series (1973), screenprint on foil. 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 awards 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 Omnibus By Susan Tallman good rubric has its delights, and Art If any figure could be cast as a mascot A in Print often revels in the unex- for this issue, pulling its many threads pected patterns that arise as essays and into one lumpy piece of macramé, it artworks orbit a conceptual nucleus. But would be Segers, the Dutch mystery man the world, as Robert Louis Stevenson recently the subject of groundbreaking has mentioned, is so full of a number of exhibitions at the Rijksmuseum and the things, it seems important periodically Met, and of a two-volume catalogue rai- to stop and look around. And so, at least sonné reviewed here by Brian D. Cohen. once a year, we open the door to wind- The challenges that Jonas Wood faced fall: new research, books and exhibitions in moving from the malleable colors of whose very diversity says more about the painting to the prickly logistics of print life of art and images than any ordered were faced down by Segers four centuries planting can do. earlier. The eccentric solutions he devel- Thus this omnibus issue wanders oped are echoed to some extent in the across two continents and five centuries, paint-print hybrids of Richter, and in Pol- stopping to look in on Hercules Segers ke’s use of reduced contrasts, layering and in 17th-century Amsterdam, drawing weird supports that, as in Segers’s prints, mountains he never saw; on the Irish- make strangers of the familiar. It is easy man James Cavanah Murphy, inventing to see Stanczak’s screenprints on metal a trans-temporal Andalusia in which foil as cousins to Segers’s experimental 15th-century Moors and 19th-century etchings on fabric, and to recognize in S. Porter, after James Cavanah Murphy, detail Spaniards stroll together in defiance of of Perspective View of the Court and Fountain Stephenson’s immersive installation an historical fact (Liza Oliver); on Julian of Lions from The Arabian Antiquities of Spain, experience akin to that of falling head- Stanczak in 20th-century Cleveland, plate 33 (1815), engraving, 48 x 64 cm. North- long into the northerner’s depicted space. using chromatic geometries to recreate western University Library, Evanston, IL. If the multiples of Fritsch and Kounel- the light of his African childhood (Linda lis share no methods or materials with Konheim Kramer). photographs and multiples of Gerhard Segers’s prints and paintings, they none- In Los Angeles, painter Jonas Wood Richter and Sigmar Polke; these bear theless convey a similar eeriness, a sense speaks with master printer Jacob Samuel none of Kiefer’s conspicuous drama, of the commonplace having taken one about baseball, Picasso, Ed Ruscha and yet are equally rooted in what Morton step to the left. what happens when an artist habituated describes as Romanticism’s “polarity Even the most elastic of mascots can with blocks of color is told to work with between solitary individualism and con- only be stretched so far, however. I can black line and white paper. nectedness—whether to families, clubs, think of no convincing link between Unexpectedly, perhaps, Romanti- communities, nature or deities.” The Segers and Murphy’s reconditioned cism looms large. In her review of The sculptural multiples of Katharina Fritsch, Alhambra. This is as it should be, and just Enchanted World of German Romantic reviewed here by Mason Riddle, similarly one of many reasons to take the omnibus Prints 1750–1850, the long-awaited cata- cycle between communal subjects (fairy instead of an Uber. logue for the Philadelphia Museum of tales, religion) and formats (monumen- Art’s eponymous 2013 exhibition, Marsha tal public statues), and the purposefully Morton calls attention to the movement’s private (how else to describe a small heart Susan Tallman is the Editor-in-Chief of Art in Print. celebration of the internal life of imagi- made of teeth?). nation, and also to the ways in which Outside of Germany, Jannis Kounellis artists and poets traded in nostalgia and spent his career lacing intimate emotions courted nascent nationalist tendencies. to shared artifacts and histories, nowhere The long shadow (or light-beam, more nimbly than in the mixed-media depending on your persuasion) cast editioned “objects” that are the subject of by Romantic artists and ideas reaches Nicole Meily’s review. Kelsey Stephenson, deep into contemporary art. Reviewing whose installation divining was selected the book Anselm Kiefer: The Woodcuts, by Angela Griffith as the winner of this Christian Rümelin addresses the art- issue’s Prix de Print, transports this con- ist’s controversial recursion to German versation about group identities and sub- myths and landscapes that were key to jective experience to the New World, with that earlier “enchantment,” and were a shimmering battery of paper sheets that also effectively emblematized by Nazism. invoke the light and topography of the My own essay surveys the offset prints, Canadian Badlands. 2 Art in Print May – June 2018 The Prints of Julian Stanczak By Linda Konheim Kramer Julian Stanczak, Modular Series A-E from Modular Composite (1981) five screenprints, 36 x 24 inches each. ulian Stanczak (1928–2017) achieved along with his family when the Soviet cuts, woodcuts, etchings and so on.”6 Jrecognition as a painter at the forefront army took control in 1940. Interned at He made his own prints and was put in of American optical and perceptual art in a Soviet labor camp in Siberia, he suf- charge of the print workshop for a semes- the 1960s and ’70s. It was, in fact, the title fered abuse and disease that caused per- ter when the teacher was ill.7 The sharp of his 1964 exhibition at the Martha Jack- manent loss of the use of his right arm. contrast of black and white and the clean son Gallery in New York—“Julian Stanc- When the family was released from the edges inherent to relief printing espe- zak: Optical Paintings”—that prompted camp in 1942, they made their way to a cially appealed to him.8 the sculptor Donald Judd to coin the term Polish refugee camp in British Uganda, The geometric forms and linear “Op Art” in his review for Arts magazine.1 where they remained for six years.
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