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

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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

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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. It was rhythms that are hallmarks of his mature The concepts behind Stanczak’s, lumi- here that Stanczak received his first art style can already be seen in a black-and- nous abstract paintings and the compli- lessons. He later acknowledged that the white woodcut from 1948 or ’50, Afri- cated techniques he invented to produce essential characteristics of his creative can Village, in which simple dwellings them have been well documented, but vision were influenced by the vibrant pat- are reduced to architectural blocks and scant attention has been paid to the terns of the local fabrics, the rhythms of planes differentiated by contrasting nearly 100 screenprint editions he pro- the music, and the dramatic colors of the linear patterns.9 Slightly later wood- duced between 1969 and 1981. landscape: “First the rain would come, cuts such as Female Figure (1953) and Still Though Stanczak had made wood- and then the sun after the rain. I would Life (1953) define abstracted figures and cuts, etchings and lithographs as a stu- look at the jungle and it would turn from objects through patterns of repeated dent in the late 1940s and early ’50s, as purple to almost red, and then back again marks—dots, dashes and longer strokes, well as some lithographs in the early ’60s, to blue-green or black. It was a dazzling not unlike those of his later paintings. it was not until he discovered screenprint color display. I was moved by this drama But it was difficult for Stanczak to cut the that he found a medium perfectly suited and wanted to do something visually.”3 wood and print the images with only one to replicating and extending the imagery Woodcuts that reflect Ugandan land- working arm, and he did not pursue the of his paintings: “For the visual effect scape and culture are among his earliest medium for long.10 that I want,” he said, “even, textureless works. While a student in Cleveland, Stanczak color is necessary so that the division In 1948 the family was able to move became friends with Richard Anuskie- and distribution of adjacent colors can be to England,4 and Stanczak, now twenty wicz, another child of Polish immigrants. controlled. Only silkscreen can do that.”2 years old, enrolled at the Borough Poly- Graduating a year before Stanczak, The prints that resulted are not only technic Institute to study art.5 Two years Anuskiewicz went on to the Yale School carefully calibrated and chromatically later, when the family relocated to Cleve- of Art and Architecture to study with vibrant, they are unexpectedly evoca- land, Ohio, to be near relatives, Stanczak Joseph Albers; Stanczak followed a year tive—even personal. continued his studies at the Cleveland later.11 Stanczak’s early life left its mark on Institute of Art, graduating in 1954. At At Yale he did not make prints but both the artist and his work. Born in that time, “everybody at the Institute was focused on color, which would become rural Poland in 1928, he was deported cutting,” Stanczak recalled, “linoleum a defining element of his art. In Albers’s

Art in Print May – June 2018 3 year. During the late 1950s and the early ’60s he explored the visual effects created by varying the width and distance between lines, both straight and undulat- ing, and he captured the colors of nature in tones and hues reminiscent of Albers and Paul Klee. These colorful line paintings, such as April in Paris (1959) and Com- position with Verticals (1957), recall the eccentric shapes and the linear patterns of his African Village woodcut.13 It was not until 1963, when he was invited to participate in a lithography workshop in Kalamazoo, Michigan, that Stanczak returned to printmaking. His wife, Barbara, whom he married that year, recalls that he loved the experience—having an assistant to do the heavy work of grinding the stones and putting them

Julian Stanczak, African Village (1948-1950), woodcut, 11 x 15 inches. through the press freed him to draw on the stones and experiment with images, renowned courses on color—required read Richard Arnheim’s 1954 book, Art papers and sizes. “Julian,” she remembers, at the school—each student was given a and Visual Perception: A Psychology of the “had his vision set on squares, wiggles, packet of colored papers with which to Creative Eye, but Albers wanted students and contrasting visual beats.”14 examine how the perception of a color to train themselves by directly observ- Nineteen sixty-four marked a turning is changed by its relationship to adja- ing what happens when colors interact point: Stanczak was appointed professor cent colors, as well by its size, placement rather than by studying scientific color of painting at the Cleveland Institute of and shape. These color studies, based on theory.12 Both Stanczak and Anuskiewicz Art and had a solo exhibition at the Day- the ideas Albers articulated in his 1963 developed abstract painting styles that ton Art Institute, where Martha Jackson book, Interaction of Color, were at the focused on optical perception and effects, saw his work. His first show in her gallery core of Stanczak’s mature style. Stanc- but Anuskiewicz’s compositions were opened on September 8 of that year, lead- zak and Anuskiewicz were both deeply grounded in geometry, while Stanczak’s ing to Judd’s influential review. “Optical” influenced by Albers’s color and design expressed sensations of nature. or “perceptual” art received official rec- theory, as well as by the commitment to Stanczak received his MFA from Yale ognition as an international movement craft that he brought to America from in 1956 and began teaching at the Art in 1965 when the Museum of Modern Art the Bauhaus. The two young artists also Academy of Cincinnati the following mounted the exhibition “The Responsive

Left: Julian Stanczak, Waving Down from Eight Variants (1970), screenprint, 25 x 25 inches. Edition of 165. Right: Julian Stanczak, Fractions from Twelve Progressions (1971), screenprint, 26 x 26 inches. Edition of 90.

4 Art in Print May – June 2018 Julian Stanczak, Epode Gold (1973), screeenprint on foil, 40 x 32 inches. Edition of 30. the Jackson Twelve Progressions (and four variants, of which only artist proofs exist) were executed by Edition Dom- berger in Stuttgart in editions of 90.22 (The edition size for the René/Mayer group of eight, and for another group of seven prints made in Krefeld in 1970, are somewhat larger because the prints were shared by the two European galleries.)23 Stanczak went to Germany to mix the colors and oversee quality control. His Julian Stanczak, Superimposed in Light from Superimposed Series (1973), screenprint on foil, 24 x 24 inches. Edition of 20. wife and their two young children helped carry the maquettes to the studio of Luit- Eye,” curated by William Seitz. Stanczak to use assistants for his paintings. pold Domberger, widely regarded as the was included, and in the catalogue Seitz In 1969, Martha Jackson and Denise most professional continental European specifically discussed works based on René, whose gallery represented Stanc- screenprinter of his generation. Bar- Albers’s theories.15 zak in Paris, each commissioned a series bara, who watched the process firsthand, Jackson gave Stanczak further solo of screenprints in the hope of enlarg- remembers Domberger as a bit rigid but exhibitions in 1965, 1966 and 1968; after ing his market.18 Stanczak made small the kind of perfectionist that Stanczak her death in 1969, her son David Ander- acrylic paintings on Masonite using appreciated: “The work they did was son continued to run the gallery, exhibit- the gesso and tape method he used in immaculate.”24 ing Stanczak’s work through 1975. By the his large paintings, which technicians Both sets of prints survey the com- late 1960s, Stanczak had arrived at his would then translate into screenprint. positional formats of his paintings at mature style, utilizing straight and curv- The maquettes are the same size as the the time—lines, rectangles, circles in ing lines, squares, grids, circles and other prints—25 or 26 inches square—so he luminous atmospheric colors—but the geometric forms as “containers” for color, “could precisely predict the effect of his new medium and reduced scale forced as he put it. His fine color sense moved color interaction,” his widow explains.19 him to simplify his shapes and reduce critic Roberta Smith to describe his work In order to reduce costs, Stanczak limited the number of colors. This was a chal- as “some of the most emotionally grip- the number of screens to be cut by using lenge but, according to Barbara, “sim- ping paintings associated with the Op basic shapes and in most cases only three plicity was always an ideal for Julian as trend.”16 colors.20 He took the painted studies to it meant abstracting his designs to the “I might spend days mixing my colors New York, where Jackson and René div- fewest, only utmost necessary marks.”25 for the specific vision in my mind,” Stanc- vied them up.21 He had learned from Albers that the illu- zak explained. “It might embrace only a The Eight Variants published by René sion of additional colors can be produced few colors or it may embrace a hundred or are dated 1970 and the Twelve Progres- by varying the proportions and place- more separate mixtures.”17 He developed sions published by Jackson 1971, though ment of the applied colors. The opti- a complicated and laborious system using both sets were printed in 1969 in Ger- cal mix occurs in the eye of the viewer tape and layers of color to achieve the many by different firms. The René edi- rather than in the print shop. His subse- desired effect. Believing strongly that the tions, co-published by René and Hans quent paintings show the impact of this quality of the finished work depended on Mayer, were printed at the Hans Mayer thinking. Barbara notes that “the daring the artist’s hand and eye, he preferred not Gallery in Krefeld by local printers, while simplification of shapes, as well as the

Art in Print May – June 2018 5 Left: Julian Stanczak, Early Solar (1973) screenprint on foil, 36 x 36. Edition of 30. Right: Julian Stanczak, Carter Manor (1973), screenprint on wove paper, 32 x 15 inches. Edition of 150. minimum of colors for the maximum mounted on plastic sheets.) Four of these a building in downtown Cleveland; one effectiveness, found application in the prints are 24-inches square and offer vari- of ten commissions to Cleveland artists paintings in the 1970s and beyond.”26 ations on linear renditions of two inter- to create work on blank city walls as part Though he enjoyed making prints, locking cubes that float in space against of the Cleveland Area Arts Council’s City Stanczak was frustrated by certain a background of closely spaced vertical Canvases initiative.31 The project was aspects of the process. The challenge of lines. The other two, Epode—Frozen Light memorialized by a portfolio of 10 screen- working on the smaller scale and with and Epode—Late Night, adopt a somewhat prints, “City Canvases—Cleveland,” pub- reduced colors was productive but also larger, vertical format and are composed lished in 1974 as a vehicle to raise funds time-consuming, and he found it dif- of closely spaced curved lines. to complete the murals.32 The murals no ficult to train the various printers he In 1973, Stanczak worked with Wahl longer exist, though there are plans to worked with to see “the visual elements to produce six prints on metal foil and repaint Stanczak’s mural on its original and relationships” his way. Finally, he was plastic. Solar Gold, Solar Midway and site in the summer of 2018.33 disturbed by the reflections caused by the Early Solar—each using a grid of nine In 1977, Stanczak began working glass on framed prints.27 circles that fill a 36-inch-square sheet— with a grid structure in his paintings To address the reflection problem, are closely related to two 50-inch-square and prints. The Filtrations series, again for his own interest Stanczak began a paintings done the same year, Solar #1 and printed by Wahl, glow with the light collaboration to produce screenprints Solar White, and convey the memory of and atmosphere of the natural world: on metallic foil with Felix Wahl, a com- the natural world through the reflection cool lavender, hot ochre, warm red, icy mercial printer in Cleveland. Accord- of light on a geometric object.30 In Brim, gray, serene blue. Of the grid, Stanczak ing to Barbara, Wahl liked optical art Golden Brim and Brim Variant, respec- said, “the beauty of it is so matter of fact and “enjoyed doing the art prints with tively black, white, and pink and also because of its verticality and horizon- Julian” as a break from his regular busi- 36-inches square, a cubic corner appears tality . . . I am not interested in offering ness.28 Incorporating reflection into the to jut forward into the viewer’s space. visual intrigue to the viewer but in offer- art object itself, the six prints of Superim- Wahl also printed Stanczak’s 1973 ing an atmosphere in which to repose.”34 posed Series (1973) were printed in black or commission for the Cleveland Print Club, Stanczak self-published these prints as white on gold or silver stainless-steel foil, Quadrille, on foil. Another screenprint “an expedient way of making variations and mirror the viewer within the image.29 made the same year, Carter Manor, is of colors on a particular theme.”35 (To preserve the fragile foil the prints are based on Stanczak’s design for a mural for In 1981, Stanczak produced several

6 Art in Print May – June 2018 series of screenprints with Vistec Graph- ics in Rochester, New York, each made up of variants on this compositional type. Eight prints were produced for print publisher Eugene Schuster, most of which repeat the conceits of the Filtration series. Finding the printer compatible, Stanc- zak produced and self-published three further groups of prints with Vistec— Sequential System Series, Composite Series and Nocturnal Hue Series—exploring further the possibilities of the grid structure.36 All are distant cousins of Albers’s nested squares, in which color blocks are complicated by small grids and divided diagonally into four triangular sections. In the Sequential System Series, the color of the outer square or frame of each—purple, pink, blue, gray, and red and blue—sets the tone for subtle color variations in the grid in the center square. Barbara Stanczak explains that her hus- band achieved this effect by experiment- ing with overlapping multiple screens, shifting and rotating them (something he could not do in painting).37 The Com- posite Series uses the same compositional format and color variations, but the colors are closer to one another in hue so the framing square and the diagonals, though still visible, are less pronounced, and the colors almost blend into one overall tone. In the Nocturnal Hue Series, the structural elements are further minimized, creating the illusion of the faint glow of a darken- ing sky, progressing print by print from the green/blue of dusk to the blue/black of night. Following these three series, in 1981 Stanczak again self-published with Vistec two groups of five vertical prints each, Modular Composite and Sectional Compos- ite. Employing a similar grid pattern and composition, the prints were designed to be hung together as one unit. Those in Modular Composite are somber in tone, suggestive of his memories of the light in the tropical forest of Uganda, progressing “from purple to almost red, and then back again to blue-green or black.”38 In Sectional Composite, the colors progress in sequence from cool lavender to warm red, perhaps a recollection of a Ugandan sky as the sun came out after a rain.39 Though he later made two tenuously

Above right: Julian Stanczak, Red and Green from Filtration Series (1977), screenprint, 33 x 33 inches. Edition of 12. Below right: Julian Stanczak, Red and Blue from Sequential System Series (1981), screenprint, 30 x 30 inches. Edition of 45.

Art in Print May – June 2018 7 Left: Julian Stanczak, Composite – Brown with Purple from Composite Series (1981), screenprint, 30 x 30 inches. Edition of 45. Right: Julian Stanczak, Nocturnal Hue from Nocturnal Hue Series (1981), screenprint, 30 x 30 inches. Edition of 12.

print-related editions (three stencil 5. Now London South Bank University. 26. Ibid. works and a set of digital reproductions 6. Neil K. Rector, interviewer and editor, Commu- 27. McClelland, 52. of paintings), Modular Composite and nicating in a Different Way: The Julian Stanczak 28. Stanczak, e-mail to the author, 12 Mar 2018. Sectional Composite marked the end of Interviews (Typescript, 22–24 Jun 2000), 38. 29. McClelland, 52. 7. Barbara Stanczak, “Julian Stanczak Prints from 30. Both paintings in the Stanczak Collection, Stanczak’s creative exploration of screen- 1970–1971,” notes sent to the author. Cleveland. print.40 The medium had been critical to 8. Rector interview, 38. 31. The other artists were Ray Domingo, Mort the development of his images and ideas: 9. Ibid., 17. Stanczak claimed that he made this Epstein, Joe Hruby, John Morrell, Edwin Miez- he spoke about the interchange of ideas woodcut in England in 1948, but his wife, in con- cowsi, Jody Trivison, Susan Todys, Phyllis Sloane between his prints and his paintings, versation with the author, 17 Jan 2018, said he and Elijah Shaw. I am grateful to Jane Glaubinger, was mistaken. He had no print materials in Eng- and Joan Brickley of the Cleveland Art Museum, and appreciated the “distinctly different land, and she is certain that he made it when he for assisting me with information about this project images and surfaces” that resulted from was at the Cleveland Institute in 1950. and portfolio. the challenge of shaping the imagery of 10. Ibid., 39. 32. The portfolio was published by the Cleveland his paintings with the tools and materials 11. Ibid., 78. Area Arts Council in conjunction with the Ameri- of print media.41 12. Joe Houston, Op Out of Ohio: The Anonima can Institute of Architects/Cleveland Chapter and Group, Richard Anuskiewicz, Julian Stanczak the New Organization for Visual Arts [NOVA], in In his last screenprints we can see (New York: D. Wigmore Fine Art, 2010), 9. an edition of 150. Stanczak’s print career brought full cir- 13. Both paintings in the Stanczak Collection, 33. The mural is to be painted under the auspices cle—from the woodcut of an African vil- Cleveland. of Cleveland’s first Triennial International exhibi- lage in which we first see the telltale 14. Barbara Stanczak e-mail to the author, 10 Jan tion, called FRONT. Collection files. Print depart- characteristics of his mature style, to 2018. ment of the Cleveland Museum of Art. screenprints recreating the long remem- 15. William C. Seitz, “Optical Paintings,” in The 34. Website statement, www.julianstanczak.com/ Responsive Eye (New York: The Museum of Mod- life.php. bered “dazzling color display” of the light ern Art, 1965), 18. 35. Stanczak, e-mail to the author, 11 Jan 2018. in the jungle. 16. Roberta Smith, “Julian Stanczak, Abstract 36. Ibid. Painter, Dies at 88,” New York Times, 11 April 37. Conversation with the author, 27 Jan 2018. 2017. 38. McClelland, 14. Linda Konheim Kramer is the Executive Director 17. McClelland, “The Art of Julian Stanzak,” 22. 39. Ibid. The progression has been illustrated in Emerita of the Nancy Graves Foundation. 18. Stanczak, notes. reverse, from red to lavender. 19. Ibid. 40. The stencil prints (sometimes misleadingly 20. Ibid. referred to as “etchings”) were made with oil- Notes: 21. Stanczak, e-mail to the author, 10 Jan 2018. based paints and in an edition of 30 for a special 1. D[onald] J[udd], “Stanczak,” Arts Magazine 39, I saw for myself how close Fractional, a 1971 publication of his monograph Decades of Light no. 1 (October 1964): 67–68. Stanczak preferred acrylic on canvas (28 x 28 in.) is to the screen by Rudolph Arnheim, Harry Rand and Robert J. to call his style “perceptual art.” print Fractions, commissioned by Martha Jackson Bertholf, (1990). The other project, Color/Color 2. Elizabeth McClelland, “The Art of Julian Stan- Graphics, for which it is a study of the same date (1993) is a suite of 20 digital prints after Stanczak zak,” in Julian Stanzak: A Retrospective 1948– and almost the same size (26 x 26 in.). paintings and accompany poems by Harry Rand. 1998 (Youngstown, OH: The Butler Institute of 22. Ibid., 12 Mar 2018. It was published in an edition of 40 by The Dov American Art, 1998), 52. 23. Ibid., 13 Mar 2018. Press in Washington D.C. 3. Ibid., 14. 24. Stanczak, notes. 41. McClelland, 52. 4. Ibid., 15. 25. Ibid.

8 Art in Print May – June 2018 Nonstop: Jonas Wood Speaks with Jacob Samuel

Jonas Wood signing the screenprint, Landscape Pot with Plant (2017) in his studio, Culver City, CA. Image courtesy of Wood Kusaka Studios.

onas Wood is a Los Angeles-based painter I inherited it and it had all of these etch- Museum, and my parents would take Jand printmaker working across a vari- ings. Interestingly, I bought a Picasso us to New York, where we would visit ety of techniques and publishing formats. etching about a year ago, only to realize MoMA, the Metropolitan Museum of Art With the intaglio master printer Jacob later that it is in that catalog. and the Whitney. Samuel, who has collaborated with Wood And because my grandfather collected, since 2013, the artist reflects on his learning JS You grew up around Boston. Did you I grew up with art. That was kind of a big curves, ambitions and inspirations drawn go to museums when you were young? deal for me. He had a giant Francis Bacon from Picasso, Piranesi and the Boston Which ones did you like? painting, Picasso prints and Calder draw- Red Sox. ings. My parents had Andy Warhol’s pink JW Well, certainly the Museum of Fine and green cow prints, which felt impor- Jacob Samuel In 2013, when we started Arts, Boston. I was interested in figura- tant, but really it was an open-edition working on our first collaboration, tion and I tried to paint or draw the fig- wallpaper that came in a couple of dif- 8 Etchings [2014], you brought in a very ure, but I was never really accurate. The ferent colors. We had this downstairs all large book from 1970 of Picasso’s 347 modern masters were interesting because 18 years that I lived in my parents’ house. etching series [1968] to the studio that they had created their own language in And we had Matisse prints, editions from your grandfather had given you.1 figuration. I remember seeing a lot of the 1940s and ’50s. Alexander Calder and a lot of art from Jonas Wood Yes. He was a collector and Asia, like Japanese scrolls. JS My next question was going to be about he had a lot of books. When he started My father was an architect and my your first encounter with printed art- getting older, he asked us to think about mother was a drama teacher. We went work. But if you’re living in a house with what art or books we might want. He to a lot of interesting buildings, like Warhol and Matisse prints . . . had this giant box that said “Picasso” Walter Gropius’s house. We went to the and I knew I wanted it, but I don’t think [Isabella Stewart] Gardner Museum JW And there was a Rauschenberg print I even knew what was inside. Years later and the deCordova [Sculpture Park and] that we grew up with too. I have that in

Art in Print May – June 2018 9 Jonas Wood, 8 Etchings (2014), series of eight etchings on Japanese paper, 16 x 14 inches each. Edition of 10. Printed and published by Edition Jacob Samuel, Santa Monica, CA. Courtesy of the artist and Edition Jacob Samuel, Santa Monica, CA. Photo: Brian Forrest. my studio, inherited from my grandfa- of college in 1999. Then I made Red Sox Larry Bird T-shirts, and printed a couple ther, and one Calder drawing from 1962. T-shirts with my friends that we would on paper.4 I never really editioned them sell outside of games. They were based though. Anything I made in grad school JS In one of the prints in the 8 Etchings on our favorite player, whose nickname was only scratching the surface of the portfolio, there’s a poster of the Cure on was El Guapo; he was the closer for the materials. the wall. That was also something you Red Sox.2 At one playoff game we had Maybe I was a late bloomer. When I grew up with—in your sister’s room? these big black plastic trash bags full of moved to Los Angeles in 2004 I learned T-shirts that we were selling for like ten a lot because I had exposure to other art- JW Yes, she’s about six years older than bucks each, but then my friend almost got ists—seeing other artists’ studios, work- me and she had this giant the Cure poster arrested. He got a ticket instead, but they ing for artists . . . up in her room forever. I made a painting took the shirts. Later, he fought the ticket of it later and found the same poster at a and they gave him the shirts back. JS In my experience as a teacher, I can see yard sale in Mar Vista, California. Now it it’s really difficult for students to retain hangs in a closet in my studio. JS Glad to hear that. Do you still have the technical information about etching. one of those shirts? Often when they do something great, JS Did you get a BFA? they are not really sure how they’ve done JW I might have one and my dad might it, because they’ve only done it once. It JW No, I got a BA in psychology, but have one. When I was growing up in takes prolonged exposure and experience my minor was studio art. I wanted to Massachusetts, everybody would say the to really figure things out. be a doctor, then I took a year off and it Red Sox were cursed because we traded became clear that I really didn’t want to Babe Ruth for a bag of prunes or some- JW But to start making stuff that tran- be a doctor. So in my senior year I started thing. In 2004, when the Red Sox won scends learning about the materials and taking art seriously, really learning how the World Series, I made a Wicked Curse to have it be personal, your own sort of to paint. After college, I had a studio and Reversed poster with my friend, the artist story—that’s what’s been really interest- then decided to get an MFA at the Uni- Matt Johnson.3 We made an edition of ing to me about making prints for the last versity of Washington in Seattle. 86 because that’s how many years it had five or six years. been since they’d won a World Series. When we started the 8 Etchings, you JS Did you make prints there? wanted me to make a bunch of my old JS So that’s your first limited-edition work into etchings, and my first question JW I made some etchings, but I was just print. was, how are we going to make all these messing around. I had made things in flat areas of color work? And you were silkscreen—psychedelic stuff—right out JW A couple of years later I screenprinted like, “Well, we’re going to make those

10 Art in Print May – June 2018 start with the line and the accumulation things because I didn’t really see my work of the lines. Like Piranesi—how every- through this lens of printmaking. A cou- thing he made was drawn out of a line. ple of years into it, I started realizing that There are no flat shapes. etching and mark-making came into my paintings. After that I started to realize JS Well, that’s one of the beautiful things that the way I painted was almost an accu- about studying your precedents, old mas- mulation of different printing methods. ters like Albrecht Dürer. I think of Dürer Recently you mentioned that we as being very formal and stylized, like should try a 25-color screenprint because Piranesi. They created amazing volume it relates so well to how I paint. That and beautiful shape only using line. prompted me to want to explore printmaking based on how I layer things, JW Also just black and white. how I incorporate underpaint and then overpaint details on top. And in the last JS I imagine that was a huge challenge few years I’ve made a couple prints with for you. You’re known for your color, so to Cirrus that delve into the collage aspect start out with a monochromatic palette of my practice, using a lithograph of a must have been hard. photograph and screenprint on top of that, which really synced up with my Jonas Wood and Matt Johnson, Wicked Curse JW It was good though. sensibility and how I see things. Reversed (2004), screenprint, 24 x 19 inches. I’ve also started to collect prints and Edition of 86. Printed and published by the artists, Los Angeles, CA. Courtesy of the artists. Photo: JS At this point do you look at print media look at prints, and see how other people Brian Forrest. as ways to explore aspects of your paint- have made prints—I just got this Lichten- ings? In other words, can you hone in stein print, a brushstroke one. And when with line.” I was dumbfounded. But then on certain things, like, “Oh, I think this I started examining it, I discovered how you said something really interesting. might be interesting as a litho, or maybe amazing it was that he could translate You said that I have a very particular line. this would be good as an etching, or I his work so directly into printmaking. So could explore this as a screenprint”? yes, it really opens up—a few years after JS I would say idiosyncratic. In the best we started I realized that drawing had possible sense. Your line is so personal. JW Well, I’ve been thinking about that always informed my painting; then I saw more and more. When we first started how collage had informed it. But once JW Being limited to only using line was in 2014 it felt like a tutorial, and it was printmaking entered the equation, that a real challenge. But it was way better to great to have you pushing me into certain also started informing my painting and

Jonas Wood, Hammer Interior (2016), 18-color letterpress print, 11 1/4 x 20 3/4 inches. Edition of 20. Printed and published by Leslie Ross-Robertson, Wavelength Press, Los Angeles, CA. Courtesy of the artist and Wavelength Press, Los Angeles, CA. Photo: Brian Forrest.

Art in Print May – June 2018 11 Monoprints produced with Cirrus Gallery & Cirrus Editions Ltd., Los Angeles, CA, 2010. Image courtesy of Wood Kusaka Studios. vice versa. Even when thinking about the JS To me, Jean Milant is the great unsung JW We printed all the birds and the bird- process of making a painting, I started hero of Los Angeles printmaking. He cages and then I hand-drew all of the taking cues from printmaking and put- doesn’t get the credit he deserves. details of the birds on each one. That was ting them back into paintings. 2011, and then in 2014 I merged a collage JW So in 2009 we made three prints concept with lithography to make cutout JS In the last five years you’ve worked based on still lifes with plants, and I photos of landscape pots with silkscreen with quite a few printers and publishers. experimented with the combination of plants “growing” out of them. I had never Every master printer has evolved their lithography and silkscreen. Jean showed used photolithography, I’d always used own way of working and their own tech- me the ropes and taught me about the lithography for drawing (though in my nique. So you must be picking up quite a history of printmaking at the same time. first set with Jean, we used the impression lot of information. I still remember a couple of things he said of wood grain to make a floor plane). We that were really poignant, like how you have made other things since then. It’s JW Yes, definitely. Collaborating with can’t just make one print and stop, that like he said, “You can’t stop.” Jean Milant at Cirrus in 2009 was my printmaking is something you have to real first experience making a set of edi- continue to do. JS You’ve also done a lot of work with tions with a print house. I had been in a In 2010 we made a series of monoprints Ed Hamilton, another great lithographer three-person show at his gallery in 2006. on a lithograph, which I had never even who doesn’t get the attention that he I didn’t know much about him then, but thought about doing. You paint a plate, deserves; he’s a very quiet person. I went to his gallery and realized that he print it once and then it would pull a had made all of this amazing stuff with bunch of color off, so you’d paint it again. JW I love Ed and Pat Hamilton at Ham- artists I love, like Ed Ruscha and Baldes- (I haven’t done monoprints again, so it ilton Press. I started working with them sari and . . . would be interesting to revisit.) The next in 2011. The first big studio that I rented big project with him were a series of bird- in 2007 in Culver City [California] was JS Joe Goode . . .. cage prints [see Art in Print Jan–Feb 2012]. owned by Ed Ruscha, so he was my land- lord for ten years. It was Ed Ruscha who JW Chris Burden . . . JS Oh, those are really nice. introduced me to them.

12 Art in Print May – June 2018 Left: Jonas Wood, Landscape Pot with Plant (2017), 16-color screenprint, 39 x 29 1/2 inches. Edition of 100. Printed by Coriander Studio, London. Published by Counter Editions, London. Courtesy of the artist and Counter Editions, London. Photo: Mariell Lind Hansen. Right: Jonas Wood, Untitled (2014), lithograph and 11-color screenprint, 48 x 37 inches. Edition of 50. Printed and published by Cirrus Gallery & Cirrus Editions Ltd., Los Angeles, CA. Courtesy of the artist and Cirrus Gallery & Cirrus Editions Ltd., Los Angeles, CA. Photo: Douglas M. Parker Studio.

JS Their history goes all the way back to to keep. Around this time Ed Ruscha had on making a couple of my wife’s [Shio the Tamarind workshop, when Tamarind told me that he kept a lot of his prints. Kusaka] Greek dinosaur pots as prints. Institute was in LA. That was eye-opening. There’s a lot of He picked this really interesting green power in keeping things because you’re paper and suggested a gradient of color in JW Yes, exactly. Ed Ruscha had actually able to amass a whole archive of your the pot that gave the print a whole new bought some of the monoprints I had own work. depth even though we’re dealing with a made at Cirrus. He asked me if I was Then, in 2014, we made a second print lot of flatness. interested in meeting Ed Hamilton, so of an interior. In 2017, we made double basketball I went to the studio, and it’s smoky and orchids; I wanted a cream-colored paper amazing and there is all this history—he’s JS I remember this one. and thought to print on a black back- made some of the most amazing Ruscha ground as well. prints in the last 25 years. JW Ed Hamilton came to my studio and saw a black-and-white drawing of my JW The more recent prints with Hamil- JS Yes, the definitive Ed Ruscha lithos parents’ Martha’s Vineyard house and he ton were a couple sets of notepad doodles. are via Hamilton. loved it. He suggested using three differ- I sketch painting ideas on notepads in ent colors of paper but the exact same ink my studio and I wanted to make oversize JW The first thing I wanted to do was to colors, to create three different times of notepad prints with the painting ideas re-create a drawing of white pencil on day in the same room. on them. This was the first time I was black paper. But Ed [Hamilton], who has making a print of a casual drawing as a vast knowledge of different papers and JS That’s really smart. opposed to a super sharp, specific image. how the paper functions as part of the print, said, “Well, I think we should print JW It’s just the way his mind works. He JS You know, the fact that these are on blue paper.” And it really looked the realizes a gray piece of paper is going to feel 14-color lithographs takes them out of the way I wanted it to. like dusk, a reddish piece of paper is going realm of casual drawing. It really becomes The way they do business was a shift to feel like dawn, and a brighter white a substantial piece of art. You’ve given for me: they would take care of every- piece of paper is going to feel like noon. it so much richness and depth by apply- thing and just give me half of the edition The next project, in 2015, was based ing so many different colors and layers.

Art in Print May – June 2018 13 JW I agree, but at the same time it still has at the Hammer Museum of my Calder JW Yes, my grandfather owned these the casual vibe to it. It’s a very specific and plant paintings. I definitely want to make mini-books, published by a French beautiful print, but ultimately, it’s a print more prints with her. Her ability to match company, ABC Tudor Publishing Co., on of a painting idea. the colors is amazing and I love working Van Gogh, Monet, etc. They weren’t deep, with somebody who doesn’t work with historical books—more like something JS You’ve also made full-color prints with artists all the time. She’s a one-woman you’d buy on the street in front of a a letterpress, which is unusual. team with a little shop at the back of her museum for five bucks. house. JW My friend Leslie Ross-Robertson JS I know the ones you’re talking about. owns a letterpress company, Wavelength JS Maybe we could talk about your Press, that makes artists’ prints, but she relationship with Karma in New York? JW I inherited them. Later I had an idea also makes stationery and other things about appropriating them. There’s so like that. JW Yes, Brendan Dugan is a good friend much appropriation in my work already, I was fascinated by the technique who runs Karma [bookseller/art gallery] it felt natural to appropriate these mini- because the paper actually takes the and An Art Service [graphic design/art books, but pick artists working today. embossed form of the plate at the same direction firm], and I’ve made four—soon We copied the format, the scale and used time it takes the color. The first thing we to be five—books with him. In the last black-and-white pictures in the essays. made in 2012 was a tennis court print. couple of years, he has started to publish We made books on Shio, Matt Johnson, The result was spectacular—wish we’d prints, including Four Majors, which are Ry Rocklen, Amanda Ross-Ho, Tony Ma- made more in the edition. It was only 8 four tennis court prints we are making telli, Mark Grotjahn, Anne Collier, Brian by 11 inches because her press is small, together. It’s fun because we’re using a Sharp, William J. O’Brien. The project’s and it’s printed in four colors with four company in New York that works with been on a hiatus for three or four years passes. A couple of years later, we made artists but also silkscreens posters and but I’m ready to pick it back up. They an 18-color, 19-pass letterpress print, clothing, which is different from work- were fun and I liked the idea that we which she said was unheard of. ing with Hamilton Press, Cirrus or other were publishing historical art books with master printers. younger artists. We sold them for $14 or JS It’s a beauty. less, so it was affordable. JS Speaking of books, you and Shio have JW This one is around 11 by 20 inches and self-published a series of books on other JS You also did a screenprint with Coun- based on a painting show I had in 2010 artists. ter Editions in London.

Left: Jonas Wood, Double Basketball Orchid (State I) (2017),10-color lithograph, 34 1/2 x 27 inches. Edition of 26. Printed and published by Hamilton Press, Venice, CA. Courtesy of the artist and Hamilton Press, Venice, CA. Right: Jonas Wood, Double Basketball Orchid (State II) (2017), 11-color lithograph, 30 1/4 x 27 inches. Edition of 15. Printed and published by Hamilton Press, Venice, CA. Courtesy of the artist and Hamilton Press, Venice, CA. Photos: Alan Shaffer.

14 Art in Print May – June 2018 to attach it to the wall, the color started leaking out of it. Later we took the silkscreens and scanned them to make digital wallpaper. So while my first idea was to have silkscreened wallpaper, I love this trompe l’oeil wallpaper. It’s digitally printed, but it looks exactly like a silkscreen. Later I made tennis ball wallpaper myself from drawings of tennis balls that we scanned. So it’s all digitally printed but the tennis balls looked like drawings and the basketballs looked like silkscreen. We haven’t really talked about it, but in the last couple of years, you helped me start my own print house, WKS Edi- tions. We were thinking about setting up a whole silkscreen studio, and then realized that it’s probably best to find people who are excellent at this, who we could—not collaborate with—but outsource the work to. So now we are Screenprinting in the studio, Culver City, CA, 2009. Image courtesy of Wood Kusaka Studios. working with Kevin Giffen and Daniel Wlazlak. Kevin was Jeff Wasserman’s JW Yes, and we’re going to make another paper for Miami Art Basel in 2013 and apprentice. In the last year we’ve been one pretty soon. I was approached by my original idea was to have it all silk- making very detailed prints, around 30 Carl Freedman, who has a gallery and screened and handmade. He made it but colors, of red Matisse pots. We’re recre- also has a print house. They’ve made used a kind of paint that, when we tried ating works of mine that already exist, some really nice things. I made a mash- up of a landscape pot painting from 2014—this is probably the print that’s most connected to a painting. I think it’s a 16-color silkscreen. I made all the vellums in LA and sent them to London. And Carl does something really cool where he—he’s actually going to start printing in-house now—but he used to have all these different silkscreeners in London he worked with to make the prints. The printers we worked with were great. A couple of vellums got messed up in shipping and they fixed them perfectly. We did everything through the mail, email and pictures. And the finished product was spectacular. It is the most detailed print, and has the most color, and it’s among the biggest I’ve made— around 40 by 30 inches. It got closer to what you and I had been discussing for a while, which is complicated, multi-screened silkscreen prints, because that’s really connected with my practice.

JS Exactly. Most people interested in screenprinting know the name Jeff Wasserman . . .

JW We worked together right at the end, Jonas Wood, Matisse Pot 1 (2017), 29-color screenprint from a set of three prints, 27 1/2 x 28 inches. when he was closing down. He did an Edition of 50. Printed and published by WKS Editions, Los Angeles. Courtesy of the artist. Photo: amazing project—I made basketball wall- Brian Forrest.

Art in Print May – June 2018 15 Jonas Wood, 8 Pots (2017), series of eight etchings with chine collé,16 × 14 inches each. Edition of 15. Printed and published by WKS Editions, Los Angeles, CA. Courtesy of the artist. Photo: Brian Forrest. but making hybrid versions with more my last show at David Kordansky Gallery. landscapes. And we’ve just started dab- immediate drawing on top. That was everything I’ve learned with you bling with color in the small orchid and in one print. When we first started, my the doodle, which is new. JS Well, one of the great things about inclination was to try to figure out how to printmaking is that you can edit. You can make flat planes, and then we ended up JS We need to do some color aquatint as add and subtract. doing this last print with a series of eight well. to ten aquatint planes, all gray tonalities JW Exactly. So it’s perfect because now on top of the hard-ground etching. JW Yes. That’s the plan. We can’t stop. we’ve started to work with them, and we can use their studio to make my prints. JS There’s also soft-ground etching there The only thing that I had to set up was as well, so it’s hard ground, soft ground Jonas Wood is a Los Angeles-based painter and printmaker. A survey of his prints is on view the etching studio, and I started work- and aquatint. at Gagosian Madison Avenue until 25 May 2018. ing with your apprentice Sam Gessow. That was when you and I decided to work JW That’s right. Before 2017, I had never Jacob Samuel has been printing etchings together and you became my spiritual done soft ground, I had never done aqua- for 42 years. and professional printmaking guru. tinting. And there’s so many other things that I haven’t learned about yet. It just Notes: JS Exactly. seems like there’s a big world ahead of me 1. Picasso 347: 347 Engravings That Picasso in printmaking. Executed At Mougins from March 16th to Octo- JW You became my print studio advisor There’s not a lot of young people mak- ber 5th, 1968. Two volumes (New York: Random House/Maecenas Press, 1970. and we started printing just my work, not ing prints. And I like the idea of establish- 2. Rich Garcés, who played for the Red Sox from other artists. We had Sam working on ing that for myself, but also hopefully for 1996 to 2002. this 8 Pots [2017] set for a year. other people in the future as time goes 3. The Boston Red Sox did not win a World Series on, so I can do the same thing for a young between 1918 and 2004. It is the third-longest dry JS Also, one cutting print and a notepad artist that Ruscha did for me. spell in baseball history, superseded only by those print. of the Chicago White Sox (87 seasons) and the Chicago Cubs (107 seasons). JS We’ve got to start some new stuff up. 4. Larry Bird played for the Boston Celtics from JW Yes we made an orchid and a little 1979 to 1992. doodle etching that was more in line with JW Well, that takes us to where we’re at the prints I made with Hamilton. Sam fin- right now. We’ve been talking about mak- ished off the year with the Jungle Kitchen ing a couple more interiors with this kind [2017] etching, based on the painting in of density and then maybe even some

16 Art in Print May – June 2018 Engraving the Nation: Spain’s Islamic Heritage in the Era of Napoleonic Expansion By Liza Oliver

The memory of the Moors is still alive in Granada. One would say that it was yesterday that they left the city, and, if one judges from what they left behind, it really is a shame. —Théophile Gautier (1811–1872)1

The abode of beauty is here, as if it had been inhabited but yesterday. —Washington Irving (1783–1859)2

ames Cavanah Murphy’s 1815 Arabian JAntiquities of Spain marks the first major British visual study of the great Islamic monuments of the Iberian Pen- insula: the Alhambra of Granada and the Great Mosque of Cordoba. Containing nearly 90 elephant-folio engravings with accompanying textual descriptions, this compilation sits at the intersection of two genres of Enlightenment and post- Enlightenment engraving projects. On the one hand, its systematic display and dissection of architectural spaces recalls the classificatory impulses of the Napo- leonic Description de l’Egypte (1809–1828), the first volumes of which had been published in France several years earlier. On the other, it aligns itself with a major project of the Hispanic Enlight- enment concerned with recuperation of the region’s Islamic heritage, namely Las Antigüedades Arabes de España (The Arab Antiquities of Spain), published in two volumes by Madrid’s Real Academia de Bel- las Artes (Royal Academy of Fine Arts) in 1787 and 1804. Murphy (1760–1814), an Irish architect and amateur archeologist who had previ- Fig. 1. I. Shury, after James Cavanah Murphy, Cornices, Capitals, and Columns in the Alhamra from ously published on Portugal’s medieval The Arabian Antiquities of Spain, plate 88 (1815), engraving, 64 x 48 cm. Northwestern University architectural heritage, traveled to Spain in Library, Evanston, IL. 1802 to begin work on Arabian Antiquities. His sojourn was terminated by the Napo- research. In 1809 he returned to England, bian Antiquities of Spain emphasized the leonic Peninsular War, which erupted where Arabian Antiquities was completed; value of Muslim Spain, or Al-Andalus, in 1808 as a result of Spanish and British it was published serially between 1815 and relative to the subsequent Catholic phase resistance to the French occupation of 1816, roughly a year after both Murphy’s of Spanish history. Erasing post-Islamic Spain, and only ended with Napoleon’s death and the French expulsion from structures from his depiction of the fall in 1814. Fraught with famine and guer- Spain. Alhambra and reviving Moors as staffage rilla warfare, this occupation made Spain In the face of prevailing 18th-century to inhabit his architectural views along- too volatile for Murphy to continue his Spanish historiographies, Murphy’s Ara- side contemporary Spaniards, Murphy

Art in Print May – June 2018 17 Fig. 2. Joaquín Ballester, after Juan de Villanueva and Pedro Arnal, Comares Palace and the Palace of Charles V from Las Antigüedades Arabes de España, plate 7 (1787), engraving (two plates), left plate 41.9 x 77.9 cm, right plate 41.7 x 77.7 cm. The Getty Research Institute, Los Angeles. envisions a novel paradigm of cultural sequent engravings of the Great Mosque Boabdil (ca. 1460–ca. 1533), the last Nasrid and historical synthesis. In doing so, he of Cordoba and the palaces of the Alham- ruler, who was defeated by Ferdinand II suggested a model for contemporary bra. A large number of engravings are (1452–1516) and Isabella I (1451–1504) in nationhood that served as an imaginary then devoted to the decorative and archi- the 1492 finale of theReconquista , a nearly corrective to the French occupation of tectural details of these monuments, 800-year period during which Christian Spain during the Peninsular War. including the inscriptions, carvings and forces sought to overthrow the Iberian Arabian Antiquities begins with a brief the occasional mural that Murphy attri- Peninsula’s caliphates. introductory panegyric on the beauty of butes to the Moors (Fig. 1). The collection Murphy devoted 14 years to Arabian Al-Andalus, followed by short textual aptly ends with the Palace of the Gen- Antiquities, which he hoped would “enable descriptions that coincide with the sub- eralife, which served as the residence of the reader to form an accurate estimate

Fig. 3. J. Walker, General Plan of the Fortress of the Alhamra from The Arabian Antiquities of Spain, plate 11 (1815), engraving, 64 x 48 cm. Northwestern University Library, Evanston, IL.

18 Art in Print May – June 2018 Fig. 4. S. Porter, after James Cavanah Murphy, Ground Plan of the Royal Palace of Alhamra from The Arabian Antiquities of Spain, plate 12 (1815), engraving, 64 x 96 cm. Northwestern University Library, Evanston, IL. of the very high state of excellence, to Alhambra and its reception describes by Ferdinand and Isabella. Charles III, which the Spanish Arabs attained in the Murphy’s work as a mere plagiarism of however, formed alliances with Morocco Fine Arts, while the rest of Europe was Las Antigüedades Arabes,5 but this occludes in an effort to increase trade and gain overwhelmed with ignorance and barba- major differences between the works’ access to Islamic markets for Spanish rism.”3 To aid his effort, he called upon contents and ideologies. Departing from commerce, thus ending centuries of war- two main sources: the British attorney both Las Antigüedades and Swinburne’s fare and spawning increased interest in Henry Swinburne’s Travels through Spain Travels, Murphy effaced a key structure of Spain’s own Islamic heritage.7 in the years 1775 and 1776, published in post-Reconquista Spain—the 16th-century Las Antigüedades’ visual synthesis of London in 1787, and Las Antigüedades Palace of Charles V in the Alhambra— the Palace of Charles V with the earlier Arabes de España. Foreshadowing Mur- which constituted a large portion of the Islamic structures that surround it in the phy’s work, the first volumeof Las Antigüe- visual and narrative elements of earlier Alhambra testifies to this new policy of dades Arabes contains architectural plans works. inclusion—bridging what had been per- and elevations of the Great Mosque and Until the Spanish Enlightenment of ceived as two antagonist cultures and the Alhambra, while its second contains Charles III (1716–1788) in the mid-18th visual traditions (Fig. 2). The Palace of decorative elements and inscriptions. Las century, Spanish scholars had either Charles V, begun in the 16th century but Antigüedades Arabes was well respected ignored the history of Islamic presence never completed, was erected in a classi- and a commercial success; after the end or emphasized what historian William cal style according to Vitruvian principles of the French occupation, Francisco Goya Gallois has termed the “continuity nar- of symmetry and order: a perfectly square (1746–1828) requested that Madrid’s Real rative” of Spanish history, which viewed structure of Doric and Ionic pilasters and Academia purchase a copy in 1816 as par- Catholic Spanish hegemony in the Iber- a rusticated base that encases a circular tial payment for a portrait commission of ian Peninsula as preordained.6 It saw its inner courtyard. While the angles of the the newly reinstated emperor Ferdinand teleological fulfillment in the reconquest Palace of Charles V and the Comares Pal- VII (1784–1833).4 of the peninsula and the subsequent per- ace of the Nasrid dynasty actually meet Robert Irwin’s 2004 history of the secution and expulsion of infidel Moors obliquely, Las Antigüedades’ cross-section

Art in Print May – June 2018 19 realigns them seamlessly on a straight axis, emphasizing continuity.8 Nonetheless, Swinburne (1743–1803), Murphy’s most influential textual source for Arabian Antiquities, makes evident that this new rapprochement did not necessarily translate to a perceived equality of aesthetic value. Representative of 18th- century views, Swinburne praises the Palace of Charles V as an exquisite and magnificent structure—“It was never finished, which is much to be regretted by all lovers of fine arts, for there are few edifices more deserving of their admiration”9— while describing the Islamic palaces as “a huge heap of as ugly buildings as can well be seen, all huddled together, seemingly without the least intentions of forming one habitation out of them.”10 Murphy reverses these preferences. His “General Plan of the Fortress of the Alhamra [sic]” presents the large, square palace in a lighter shade than the Nasrid structures it adjoins (Fig. 3), and in the corresponding commentary he laments: Fig. 5. J. Byrne, after James Cavanah Murphy, Perspective View of the Gardens of the Generaliffe from The Arabian Antiquities of Spain, plate 95 (1815), engraving, 48 x 64 cm. Northwestern This grand pile of building, com- University Library, Evanston, IL. menced for Emperor Charles V, was never finished in consequence of his fre- began to disfigure its symmetry by personal thoughts pertaining to the Napo- quent absences from Spain, occasioned modern erections, which continued leonic Wars. However, the overwhelming by the almost perpetual wars in which to be made in succeeding reigns, in fear of Napoleonic invasion felt by the Brit- he was engaged: . . . In any other situ- order to convert it more effectually ish, the animosity it engendered against ation but this, the palace of Charles V into a temple for celebrating the sol- the French, and Murphy’s own forced would excite admiration; but here it is emn rites of the Christian religion; departure from Spain because of the Pen- misplaced, and produces only disgust, by which injudicious scheme both the insular War make it likely he would have especially when it is recollected that Moorish and Christian architectures harbored anti-Napoleonic sentiments.13 its expense was defrayed by part of the are deprived of everything like unity Murphy’s Moorish-Spanish staffage is in money obtained under a false pretence of design. In vain have remonstrances some sense a vision of territorial cohesion from the unhappy Moors.11 been repeatedly made at different and cultural unity, articulated at a time times, by the lovers of the arts, nay, when French expansion threatened such It is not the building’s aesthetic that even by royalty itself, against these national sovereignty across Europe. offends Murphy but the violence of the misplaced and tasteless alterations.12 The figures that populate Murphy’s Reconquista that was the precondition of engravings include Moors and contempo- its construction. Murphy enlists the Pal- While Las Antigüedades emphasizes rary clergymen, nuns, Spanish soldiers, ace as a visual metonym of the Reconquista the synthesis of Islamic and Catholic ladies and majos—lower-class Spaniards and of the injustices endured by Moors in Spanish history, but still subordinates whose characteristic dress was a signi- its wake. He corrects this historical ill in Islamic forms, Murphy asserts the Ibe- fier of Spanish identity.14 Some scenes his more detailed “Ground plan on the rian Peninsula’s Islamic artistic heritage seem situated in the early 19th century, Royal Palace of the Alhambra,” where the as a valuable and dominant quality for his while others transport us into the past. palace is indicated with only a singular contemporaries. The “Perspective View of the Royal Gar- line at bottom left. (Fig. 4) Swinburne’s To people the scenes of his engravings, dens of the Generaliffe” (Fig. 5), shows two and Las Antgüedades’ authoritative para- Murphy uses staffage drawn from both Moors alone in the courtyard of Boabdil’s digm of architectural vocabulary and the the Islamic and contemporary periods Granada residence, enacting the sense European cultural heritage it embodied of Spanish history, charting an idealized of a lingering presence articulated by here dissolve into a fragile line encasing fantasy of national and historical cohe- Gautier and Irving in the opening quotes hollow space. sion. This is not a facile sublimation of of this article. More often, Murphy The alteration of the Great Mosque historical fact but an innovative method elides historical designations, juxtapos- of Cordoba, converted to a church after of depicting history vis-à-vis the Romantic ing figures anachronistically to conjure the Reconquista, also warrants condem- nationalisms that erupted across Europe a world in which the Moors had never nation. Murphy states that beginning in during and following Napoleon’s aggres- been expelled, as in “Perspective View of 1528 Spaniards sive expansion. We do not have Murphy’s the Court and Fountain of Lions,” where

20 Art in Print May – June 2018 The Catholic invocation of the Recon- quista as a rallying cry of resistance to the French illustrates the ideological complexity of Spanish history and its uses. Whereas the clergy viewed the Reconquista favorably, Murphy imagines the Moors’ continued presence in Spain as a sign of the Reconquista’s failure to fully vanquish the resistance of Al- Andalus, thereby implying that Catho- lics forces, with their “ignorance and barbarism,” were the actual occupiers.20 In the same way that Murphy drasti- cally diminishes the Palace of Charles V as a centerpiece to whose architectural authority the surrounding Islamic structures must submit, so too the Moors in his engravings coexist with, not under the yoke of, Catholic clergy. They articu- late a concept of nationhood not predi- cated on the domination of one group over another. Murphy was not the only printmaker Fig. 6. S. Porter, after James Cavanah Murphy, Perspective View of the Court and Fountain of concerned with the visualization of Lions from The Arabian Antiquities of Spain, plate 33 (1815), engraving, 48 x 64 cm. Northwestern Spanish national identity during this University Library, Evanston, IL. time. Goya, in the 33 etchings of his 1815 Tauromaquia, shows both Spaniards and Moors appear alongside a contemporary rallying a popular interest in Andalusia Moors engaged in the act of bullfighting. Spanish lady and her suitor in current previously unknown in Britain.17 As Andrew Schulz has argued, Goya used military uniform (Fig. 6). Sébastien Blaze (1785–?), a French this well-established and popular trope The Spanish soldiers that appear in medical officer conscripted in the- Pen to identify a set of shared cultural prac- this and other prints may refer to those insular War, shed light on the wholesale tices that premise national identity not assigned to the Alhambra prior to the domestic opposition to the occupation. on ethnicity or religion but on territory war, or to the common practice of for- Writing from the French perspective, he (Fig. 8).21 Murphy’s engravings parallel eign tourists hiring Spanish soldiers for recalled: Goya’s Romantic nationalist project to protection from bandits. But consider- unify Spain through shared geography ing that French soldiers commandeered The monks artfully employed the and culture; but Murphy enlists Spain’s Granada during the Peninsular War and influence they have always had over Islamic architectural space, not the bull- used the Alhambra to garrison troops Spanish credulity . . . Thousands of ring, as the environment in which to and store weapons, Murphy’s depiction bandits donning the frock by con- enact coexistence among ancient Moors of Spanish soldiers in the Alhambra straint or by desire, joined to inflame and contemporary Spanish citizens. would have likely held a political mes- the populace and exacerbate the The French, however, remain conspic- sage for contemporary audiences. (The implacable hatred they already had uously absent in Murphy’s engravings. French occupied the Alhambra until their for us . . . As a result, just being French The erasure of Napoleonic forces at the expulsion from Spain in 1814, at which became a crime in the eyes of the moment when they were most dominant point they blew up eight of its towers.) country.18 clears space for the reimagining of con- The French occupation was a disaster quest narratives pertaining to Muslim for Andalusia and particularly Granada, Insurrections against the French led and Catholic history in Spain while visu- which was an area of strong resistance to to the implementation of draconian mea- ally obviating the actual French invasion the occupation. Guerrilla militias com- sures in Granada, such as an 1808 decree of Spain and, by extension, the threat of prised of peasants who had taken up arms that ordered the immediate execution of such an invasion in Britain. By the mid- joined forces with the Spanish army and peasants caught carrying arms.19 Goya 19th century, the musings of writers such monks of usurped churches and mona- references both this mandate and Catho- as Théophile Gautier and Washington steries in massive local uprisings.15 As lic resistance to it in his series The Disas- Irving that the Moorish presence was still historian Adam Knobler notes, to galva- ters of War (Los Desastres de la Guerra), tangible within the walls of the Alhambra nize resistance to the French, the clergy etched between 1810 and 1820. In “On had become a standard convention in equated their own insurrection with account of a knife” (“Por una nabaja”) a writings about contemporary Spain. But the earlier struggle to free Spain from priest clings to a cross while he is gar- its origins lie in the foreign occupation the Moors.16 British presses regularly roted, with the cause of this harsh sen- witnessed by Murphy and the Romantic fed their audiences harrowing stories of tence—a knife—hanging from his neck nationalisms fomented in British and Spanish bravery against French forces, (Fig. 7). Spanish citizens alike.

Art in Print May – June 2018 21 Liza Oliver is Assistant Professor of Art History and an affiliate faculty of South Asia Studies at Wellesley College.

Notes: 1. My translation from Voyage en Espagne. Tras Los Montes (Nouvelle édition), originally published 1835 (Paris: Laplace, Sanchez, et Cie., éditeurs, 1873), 274. 2. Tales of the Alhambra, originally published 1829, reprinted in The Works of Washington Irving: The Adventures of Captain Bonneville (New York: John B. Alden, 1884), 26. 3. James Cavanah Murphy, “Introduction,” Arabian Antiquities of Spain (London: Cadell and Davies, 1815). 4. Andrew Schulz, “Moors and the Bullfight: History and National Identity in Goya’s Tauroma- quia,” Art Bulletin 90, no. 2 (2008): 212. 5. Robert Irwin, The Alhambra (Cambridge: Harvard University Press, 2004), 38. 6. William Gallois, Time, Religion, and History (New York: Routledge, 2007), 191. 7. James Monroe, Islam and the Arabs in Spanish Scholarship: Sixteenth Century to the Present (Leiden: E.J. Brill, 1970), 24. 8. Andrew Schulz’s forthcoming study on Islamic art in the Spanish imagination will address Las Antigüedades Arabes de España in greater depth than these pages permit. 9. Henry Swinburne, Travels through Spain in the years 1775 and 1776, in which several monuments of Roman and Moorish Architecture are illustrated by accurate drawing taken on the spot (London: P. Elmsly, 1787), 272–73. 10. Ibid., 275. 11. Murphy, “General plan of the fortress of the Alhamra” (plate xi), Arabian Antiquities, n.p. 12. Ibid., “Mosque of Cordova in present state” (plate ii), n.p. 13. See, for example, Jenny Uglow, In These Times: Living in Britain through Napoleon’s Wars, 1793–1815 (New York: Farrar, Straus, and Gir- oux, 2014). 14. See Tara Zanardi, Framing Majismo: Art and Royal Identity in Eighteenth-Century Spain (State College, PA: Penn State University Press, 2016). 15. Ronald Fraser, Napoleon’s Cursed War: Spanish Popular Resistance in the Peninsular War, 1808–1814 (New York: Verso, 2008), 83. 16. Adam Knobler, “Holy Wars, Empires, and the Portability of the Past: The Modern Uses of Medi- eval Crusades,” Comparative Studies in Society Above: Fig. 7. Francisco Goya, Por una nabaja (On account of a knife), from Los desastres de la and History 48, no. 2 (2006): 293–325. Guerra, plate 34 (etched 1810-1820, printed 1863), etching, drypoint, burin and burnisher, 15.5 x 20.5 17. Rory Muir, Britain and the Defeat of Napoleon, cm. The Metropolitan Museum of Art, New York. Below: Fig. 8. Francisco Goya, The Moors make a 1807–1815 (New Haven: Yale University Press), different play in the ring calling the bull with their burnous from The Tauromaquia, pl. 6 (1816), 38. etching, burnished aquatint and drypoint, 24.5 x 35 cm. The Metropolitan Museum of Art, New York. 18. My translation from Sébastien Blaze, Mémoires d’un Apothécaire sur la Guerre d’Espagne pendant les Années 1808 à 1814, vol. 1 (Paris: Ladvocat, 1828), 71–73. 19. Charles Esdaile, Fighting Napoleon: Guerrillas, Bandits, and Adventurers in Spain, 1808–1814 (New Haven: Yale University Press, 2004), 70. 20. Murphy, “Introduction,” Arabian Antiquities. 21. Schulz, “Moors and the Bullfight,” 195.

22 Art in Print May – June 2018 BOOK REVIEW his death. Accompanying major exhibi- wake of Flemish landscape painting of tions at the Metropolitan Museum of the 16th century, and working in a vibrant Art in New York and the Rijksmuseum in artistic milieu of admiring colleagues Amsterdam, the book is the most signifi- and a burgeoning middle-class market cant work on Segers ever published.1 for easel paintings and prints. Segers presents art historians with The first volume of the two-volume virtually every possible challenge: just 18 set comprises the introduction, essays paintings (6 of them new attributions) and annotated catalogues of the prints and 184 prints from 53 plates are known and paintings. The introduction opens to exist. His works have been widely with an anecdote about the great turn- misattributed. And his processes as a of-the-century museum director Wil- printmaker lie well outside conven- helm von Bode correctly reattributing a tional techniques: he rarely printed a Segers painting that had been assigned plate the same way twice, often painted to Rembrandt, an allegory for the broader over his prints, cut down and repurposed rediscovery of this esoteric artist so long his plates for other images, and experi- overshadowed by his celebrated younger mented with grounds and unusual sup- contemporary. In her essay, Nadine M. ports, including fabric. Though relatively Orenstein charts Segers’s appreciation little is known about Segers’s life, he has of, and influence on, Rembrandt, par- Hercules Segers: Painter, Etcher been portrayed for centuries as a solitary ticularly in their shared use of drypoint, Edited by Huigen Leeflang and Pieter and misunderstood figure. The cata- selective wiping, extensive revision over Roelofs logue’s authors recognize what a remark- multiple states, and printing on a variety Two volumes, 700 pages, fully illustrated able and curious artist he was, yet place of supports. An essay by Jaap van der Veen in color him squarely within the Dutch art world separates biographical facts from legend Published by Rijksmuseum, Amsterdam of his time, as an artist following in the despite a paucity of sources, and reminds and Metropolitan Museum of Art, New York, 2017 $120

Darkness Illuminated: The Printed Paintings of Hercules Segers By Brian D. Cohen

Another fitting example here is that of Hercules Segers, disregarded and yet a great artist . . . His observation was unwavering and effective, particularly in his design of landscapes and compositions, with imaginary mountains and caves. It was as if he were pregnant with whole provinces, giving birth to them with immeasur- able spaces, and picturing them to a marvel in his paintings and prints.

—Samuel Dirksz van Hoogstraten, introduction to the Academy of Painting, or the Visible World (1678)

monumental and revelatory under- A taking, this handsome two-volume catalogue raisonné of the prints and paintings of Hercules Segers (1589/90– 1633/40) gives this exceptional artist the attention he has only sporadically Hercules Segers, Rocky Landscape with a Gorge, First Version (ca. 1625–1630), line etching and received in the nearly five centuries since drypoint printed in blue, on a pink ground; second state of two, 16.6 x 15.4 cm. Rijksmuseum, Amsterdam.

Art in Print May – June 2018 23 sive), he was also willing to exploit them as palimpsests, leaving earlier marks to surface rather than burnishing the plate entirely smooth. In many ways, Segers points ahead four centuries to the experimental techniques of innovative 20th-century printmakers: in addition to his openness to chance events, he is often credited with inventing or advanc- ing the development of lift ground, soft ground and open bite techniques; he experimented with printing from multiple plates, on hand-colored supports, and in white ink on dark ground; and he used drypoint to produce areas of tone rather than as a linear medium as was customary. The results of this unprecedented and Hercules Segers, Mountain Landscape with a Crest, First Version (ca. 1622–1625), line etching exhaustive investigation into Segers’s and drypoint printed in green-blue, on a cream tinted ground, colored with brush; second state of two, dauntingly unorthodox methods are 11.2 x 19 cm. Rijksmuseum, Amsterdam. clearly outlined in the catalogue that follows the essays, where each print us that Segers earned a living primarily as also uncovers the secrets of the art- and painting is described in detail painter and art dealer, his prints coming ist’s fascinating mark making. Segers’s and illustrated, many accompanied by into considerable popularity immediately varied, idiosyncratic graphic syntax of micrographs, enlargements, X-rays, following his death. Huigen Leeflang granular patterns and broken textures reflectograms, reconstructions and spec- offers a context for Segers’s experiments was highly unusual in his time. It was tral analyses. Leeflang’s catalogue of in printmaking within the practice of often the product of chance, as the artist etchings breaks the prints down by sub- landscape art and the tastes of contempo- allowed the encroaching of foul biting ject or theme, using the system employed rary collectors in Holland in the 17th cen- (acid breaking through or undermining in the 1973 standard work by Egbert tury, while wrestling with the chronology the ground to eat away erratically on Haverkamp-Begemann, with two new of Segers’s work (especially difficult as the plate) to create unexpected textures; works added to the known attributions of the artist did not date individual prints). when reusing plates (copper was expen- his etchings, and identifying additional An essay on Segers’s paintings by Pieter Roelofs locates the artist’s themes and subjects in the context of Bruegel and the Flemish landscape tradition, and reminds us that Segers’s imaginary landscapes and ruins exhibit craggy topographies and high vantage points he could not have acquired from observation of the Dutch landscape. Dionysia Christoforou and Erik Hinterding’s essay offers research on the variety of supports used by Segers for his etchings, and traces watermarks and repairs to his paper and textile supports over the years. Conservator Arie Wallert discusses the relationship between the artist’s painting and printmaking, charting how he combined or exchanged the same materials and motifs in both media, as well as the significant role of color in his prints. Ad Stijnman painstakingly assesses Segers’s printmaking technique—again paying particular attention to his paper, linen and cotton supports—and reveals that Segers used oriental papers long before Rembrandt did the same, the Hercules Segers, Landscape with a Waterfall, Second Version (ca. 1625–1627), Line etching earliest known example of a European printed with tone and highlights, on a dark pink ground, varnished; first state of four, 15.2 x 18.8 cm. artist using an Asian paper. Stijnman Rijksmuseum, Amsterdam.

24 Art in Print May – June 2018 different states and sequences. Pieter Roelofs’ catalogue of the paintings is equally thorough and comprehensive and does much to enhance Segers’s reputation in that medium. Recent research at the Rijksmuseum has brought the total number of paintings that can be confidently attributed to Segers from 12 to 18. Given the perception of Segers as having been overlooked by history, it is somewhat surprising to find in the bibliography that so much has been published in the centuries since Samuel van Hoogstraten first wrote copiously (and perhaps apocry- phally) on the artist several decades after his death. The first effort to catalogue his work dates from 1829. While Segers has often been included in compendia of 17th-century etchers, his work has never received this degree of scrutiny. The catalogue vastly supersedes the two previous resources in English, by Leo C. Collins (1953) and John Rowlands (1979). Volume two is composed of plates illus- trating all 18 known paintings and 184 known printed impressions in full color, most reproduced at actual size. Presented without dust jackets, the elegant black covers are embossed with the book’s title and feature a subtle and barely contrasting enlarged negative of a detail of a landscape print—the cover for volume one has a bluish cast, while volume two’s is green- ish. The mystery and quiet of the covers is echoed in multiple black endsheets printed with blue or green ink. Within the text, full-bleed plates and enormous enlargements that reward minute attention to the varied terrain of Segers’s marks and textures act as an entrée to each essay. The text volume is copiously illustrated, but full pages of text with two monolithic columns of type, small mar- gins and sans-serif type make for visually tough going; section headings in bold do help a bit. The book is printed on a matte stock, though this does not detract from the quality of the plates, which are stun- ning in their detail and remarkably faith- ful to the evanescent and nuanced colors of the originals. Designed by Irma Boom, these volumes reflect the sparseness, solemnity and intimacy of the exhibitions’ installations. Hercules Segers, The Mossy Tree (ca. 1625–1630), lift-ground etching printed in green, on a light pink This landmark scholarly achievement ground, colored with brush; unique impression, 16.8 × 9.8 cm. Rijksmuseum, Amsterdam. is a credit to all those who worked on it. Segers emerges with his mythic grandeur Brian D. Cohen is a printmaker, painter, writer Notes: and mystery still whole, and now, illumi- and educator. 1. Rijksmuseum, Amsterdam, 7 Oct 2016–8 Jan nated by these copious analyses and 2017; Metropolitan Museum of Art, New York, 13 investigations, even more worthy of our Feb–21 May 2017. marvel and admiration.

Art in Print May – June 2018 25 BOOK REVIEW World of German Romantic Prints, 1770– the meticulously detailed research, evi- 1850, are either associated with the city dent in the endnotes (especially those (Warren Breckman, Catriona MacLeod by Ittmann) and catalogue list, will be and Cordula Grewe are affiliated with the of great use to print specialists as well University of Pennsylvania) or the original as art historians who do not read Ger- Leipzig dealers (Carlo Schmid is the cur- man. Even authorities in the field will rent director of C.G. Boerner in Düssel- find abundant new material, since the dorf). book is filled with the names of unfa- This book, to which much care has miliar artists (many of them reproduc- been given in the design and the quality tive printmakers), rare impressions and of illustrations, is the result of Philadel- new attributions and identifications.1 phia Museum of Art print curator John Among the discoveries to be found, for Ittmann’s love of the material. He first example, are the charming etchings by presented it in the 1992 show “Art and Dresden printmaker Johann Christian Nature: German Printmaking, 1770– Klengel of the villagers in Kesselsdorf, 1850” and more recently in the 2013 exhi- his hometown. Recorded on small cop- bition for which this publication serves per plates he carried with him, they are as the belated catalogue [see Art in Print candid sketches of daily peasant life that The Enchanted World of May–June 2014]. The expansive nature of anticipate mid-19th-century Realism by German Romantic Prints, 1770–1850 the book, however, reflects the ambitions over five decades. Edited by John Ittmann with additional of a collection catalogue, comprising 24 This publication will henceforth serve essays by Warren Breckman, Mitchell essays by leading scholars, an annotated as the definitive English-language source B. Frank, Cordula Grewe, Catriona list of illustrations that includes the for information on the German Roman- MacLeod and F. Carlo Schmid reference citations and provenance of tic graphic arts from late Neoclassicism 412 pages, 325 illustrations the 325 works by 120 artists, a bibliogra- to the Biedermeier era, and their cultural Published by Philadelphia Museum of phy and an index of names. Brimming context. While much of the material has Art, Philadelphia, 2017 with factual information, the writing is been the subject of German scholarship, $65 accessible to a general audience, while The Enchanted World presents a signifi-

German Life, Real and Imagined By Marsha Morton

t is a little-known fact that the Phila- I delphia Museum of Art owns 8,500 prints by 850 late 18th- and early 19th- century German, Austrian and Swiss artists. One of the many unique aspects of this collection is its historical and regional significance. The core 7,000 works were acquired between the 1850s and 1870s by John Smith Phillips, a Philadelphia businessman and founder of the Frank- lin Institute. Phillips bought most of the prints from Leipzig dealers, one of whom, Carl Gustav Boerner, had actually commissioned some of the art (Ludwig Rich- ter’s 1830 cycle of Salzburg views). Phillips’s collection is the vestige of a time when Germany was revered in the United States as a land of preeminent cultural excel- Johann Christian Klengel, Peasant Family Eating at Table, with One Child Eating on the Floor lence, and Pennsylvania was a state largely (1787), etching, plate 7.9 x 9.6 cm, sheet 8.5 x 10.2 cm. Philadelphia Museum of Art. The Muriel and populated by German immigrants. Given Philip Berman Gift, acquired from the John S. Phillips bequest of 1876 to the Pennsylvania Academy these origins it is therefore fitting that of the Fine Arts, with funds contributed by Muriel and Philip Berman, gifts (by exchange) of Lisa Norris Elkins, Bryant W. Langston, Samuel S. White 3rd and Vera White, with additional funds contributed most of the contributing authors of the by John Howard McFadden, Jr., Thomas Skelton Harrison, and the Philip H. and A.S.W. Rosenbach museum’s new publication, The Enchanted Foundation, 1985, 1985-52-9530.

26 Art in Print May – June 2018 of favored topos—portraits of friends and family, travel, and fairy tales and folklore. Eight additional essays provide comprehensive biographical and biblio- graphical information on individual artists, and one narrates the story of John Phillips, the collector. Additionally, three comparative case studies are presented of pairs of print cycles (Times of Day by Johann Heinrich Lips and Philipp Otto Runge, and the Salzburg Albums of Ferdinand Olivier and Richter) and graphic styles (outline and arabesque) that share “the allure of the archaic,” in Grewe’s words. Breckman’s essay on Central Europe and German Romanticism serves as an introduction by providing the historical background of a politically turbulent era bookended by the French (1789) and 1848 revolutions and characterized by growing nationalism. Events are recounted for which prints often provided visual ac- companiment or commentary, but whose tensions were more frequently avoided. Breckman also tackles what he calls the “maddeningly elusive” nature of Roman- ticism, defining it through its contra- dictions and anomalies. Of these, the polarity between solitary individualism and connectedness—whether to families, clubs, communities, nature or deities— serves as one of the themes of the book. Broadly defined, it emerges in a variety of contexts: the fluctuating experiences of “prolonged contemplation” and conversation when interacting with framed prints in the home; the distinction drawn by Jacob Grimm between art poetry, which originates from the individual, and folk poetry, which “stems from the soul of the entire community”; scenes of Eugen Napoleon Neureuther, Little Briar Rose (Sleeping Beauty) (1836), etching on steel, plate group travel undertaken for personal self- 68.9 x 51.9 cm, sheet 79.2 x 58.5 cm. Philadelphia Museum of Art. The Muriel and Philip Berman Gift, development; and portraits of artist col- acquired from the John S. Phillips bequest of 1876 to the Pennsylvania Academy of the Fine Arts, with funds contributed by Muriel and Philip Berman, gifts (by exchange) of Lisa Norris Elkins, Bryant W. Lang- leagues and families in which each mem- ston, Samuel S. White 3rd and Vera White, with additional funds contributed by John Howard McFadden, ber is both “a self-sustaining individual” Jr., Thomas Skelton Harrison, and the Philip H. and A.S.W. Rosenbach Foundation, 1985, 1985-52-2324. and “part of a . . unit.”2 Another unifying concept is that of cant addition to a field largely claimed, of the writings are thematic and con- enchantment. The term’s dual meanings outside of Germany, by British scholars sider art within a social and intellec- are visualized in the book’s first two illus- whose major contributions include tual framework. Three deal with new trations: Eugen Neureuther’s Little Briar Anthony Griffiths and Frances Carey, methods of print circulation and mar- Rose (1836) on the cover and the detail of German Printmaking in the Age of Goethe keting (Galeriewerk, Kunstverein prints Adrian Zingg’s View of Altenburg Castle in (British Museum, 1994) and Guilia Bar- and Taschenbücher); two with emula- Thuringia (ca. 1800–1810) that serves as trum, editor of German Romantic Prints tions of the revered Renaissance mas- the book’s frontispiece. The first evokes and Drawings from an English Private ters Albrecht Dürer (with a focus on the states of being conveyed in fairy tales, Collection (British Museum, 2011). Prayer Book of Emperor Maximilian which “permeated German culture” and The essays here have been expertly and the centrality of Nuremberg) and were linked to national heritage.3 The edited by Ittmann, with Cordula Grewe Raphael (Madonnas and the Marien- second form of enchanting occurs in serving as the editorial consultant and cult); three analyze directions in land- reassuring and harmonious scenes of cultural history adviser. More than half scape; and three explore the centrality everyday life filtered to exclude anything

Art in Print May – June 2018 27 Adrian Zingg and workshop, View of Altenburg Castle in Thuringia (c. 1800–1810), outline etching, hand-tinted with brush and sepia ink wash, 31.6 x 43.7 cm. Philadelphia Museum of Art. Purchased with the funds contributed by Mr. and Mrs. John Nesbitt III, 2009, 2009-209-1. disturbing. In Zingg’s etching this is evi- ers and artists, new collecting practices were marketed at different price points, dent, Schmid notes, in the clear demar- and technological innovations (lithogra- and their success was often linked to cations between social classes and the phy and steel engraving) that increased the emerging prominence of women as nostalgic evocation of the past embodied the accessibility and affordability of, customers, readers and authors. Inno- by the towering castle. Both applications among other things, reproductive vative methods of print circulation and of enchantment imply escapism and, not prints of art in public and private col- new formats (larger-scale engravings, unexpectedly, several authors in the book lections (Galeriewerk) like that of Sulpiz illustrated gallery guides and almanacs) conclude that art provided, as Grewe and Melchoir Boisserée (brothers from are discussed by Grewe, who examines put it, “refuge from the harsher realities Cologne whose Northern Renaissance their role in shaping bourgeois taste via of the modern world,” whether poverty, paintings were later sold to Ludwig I of widespread image recognition. Through political tensions, or the psychological Bavaria). Regional Kunstvereins emerged reproductive engravings of works such trauma occasionally featured in Roman- and fostered relationships with collec- as Raphael’s Sistine Madonna, biblical tic literature.4 tor members who received reproduc- subjects like the veneration of the Vir- One of the book’s central narrative engravings of works shown in the gin were “domesticated” into everyday tives is the expanding role played by organizations’ annual exhibitions. Such scenes of contemporary “virtuous maid- the graphic arts in the lives of the cul- prints were enthusiastically acquired ens and doting mothers” and “motifs of turally aspirational middle classes, who by Phillips and several are illustrated, lived belief” such as praying and church- were its consumers and frequently its together with membership certificates. going.5 subjects. Berlin artist Daniel Chodow- Prints were also increasingly avail- It should be noted that thematic iecki, for example, chose to advertise his able through the growing number of choices and print selections for this book professional identity in A Painter’s Study illustrated books and journals, includ- have constructed a view of German art (1771) through bourgeois family values ing the new, conveniently pocket-sized during the first half of the 19th century of work and the cultivation of aesthetic Taschenbücher. These, as MacLeod ob- that is not completely comprehensive. taste. Essays discuss networks of deal- serves in her essay on the reading public, Largely absent are urban views, illustra-

28 Art in Print May – June 2018 tions in the satirical press by prominent artists such as Moritz von Schwind and Carl Spitzweg, and, scenes of death. Also, although the level of scholarship is exemplary, little attention was paid to recent interdisciplinary research on landscapes and science, music and literature.6 Nonetheless, this is a masterful and beautiful publication that provides an enormous service to art historians and general readers interested in what has been an understudied subject in this country. To those whose notions of German art are limited to the 20th century, it will be a revelation.

Marsha Morton is Professor of Art History at Pratt Institute in Brooklyn.

Notes: 1. See, for instance, Ittmann’s identification of the previously anonymous portrait by Johann Got- thard Müller of his friend Georg Friedrich Vischer, the Hohe Carlsschule professor and librarian. It is the only known impression of one of merely two etchings ever completed by the artist (Frank, 275, 280n19). 2. Grewe, 83; MacLeod, 218; and Frank, 187. 3. MacLeod, 223. 4. Grewe, 81; MacLeod, 213; and Ittmann, 337. 5. Grewe, 73, 75. 6. Among several publications, these include Landschaft am “Scheidepunkt”: Evolutionen einer Gattung in Kunsttheorie, Kunstschaffen und Literatur um 1800, ed. Markus Bertsch and Reinhard Wegner (Göttingen: Wallstein Verlag, 2010); Julie Ramos, Nostalgie de l’unité: Paysage et musique dans la peinture de P.O. Runge et C.D. Friedrich (Rennes: Presses universitaires de Rennes, 2008); and Nina Amstutz, “Caspar David Friedrich and the Anatomy of Nature,” Art History 37:3 (June 2014): 454-481. While these deal with paintings, the insights could profitably be applied to the graphic arts.

Above: Daniel Nikolaus Chodowiecki, A Painter’s Study (the Artist Surrounded by His Family) (1771), etching, plate 17.8 x 23 cm, sheet 23.2 x 28.5 cm. Philadelphia Museum of Art. Print Club of Philadelphia Permanent Collection, 1943, 1943-48-4. Below: Wilhelm Oelschig after Eduard Julius Friedrich Bendemann, Going to Church (c. 1841), etching with masked plate tone, plate 19.2 x 27.1 cm, sheet 29.6 x 40.4 cm. Printed by C. Schulgen-Bettendorff, Düsseldorf. Published by Julius Buddeus, Düsseldorf. Philadelphia Museum of Art. The Muriel and Philip Berman Gift, acquired from the John S. Phillips bequest of 1876 to the Pennsylvania Academy of the Fine Arts, with funds contributed by Muriel and Philip Berman, gifts (by exchange) of Lisa Norris Elkins, Bryant W. Langston, Samuel S. White 3rd and Vera White, with additional funds contributed by John Howard McFadden, Jr., Thomas Skelton Harrison, and the Philip H. and A.S.W. Rosenbach Foundation, 1985, 1985-52-14298.

Art in Print May – June 2018 29 BOOK REVIEW people; and role of the forest and Armin- terms both personal (he grew up within ius’s (Hermann’s) routing of Roman occu- walking distance) and historical, pulling pying forces at the battle of the Teutoburg in references from Goethe to Apollinaire Forest in the year nine. to the Siegfried line, and linking the Kiefer, who left Germany in 1991 and “deficiency and limitation” of woodcut to has lived in the south of France since the “great song” of the river. 1993, was closely involved in the selection In one of the catalogue essays, the of works for the show, and its focus on German art historian and former direc- the Rhine invokes, among other things, tor of the Centre Pompidou, Werner the river’s role as a geographical marker Spies, draws links between Kiefer and of the Franco-German relationship that the woodcuts of Paul Gauguin, Edvard produced so many catastrophes over the Munch, Ernst Ludwig Kirchner and even past two centuries. Dürer, as well as to contemporary images One of the most elucidating texts of the Rhine by artists such as Andreas included in the catalogue is a letter from Kiefer to Henri Loyrette, then-director of the Louvre, who had invited the artist to Anselm Kiefer: The Woodcuts create an entrance foyer for the exhibition Edited by Antonia Hoerschelmann “De l’Allemagne, 1800–1939: de Friedrich 160 pages, 71 color illustrations à Beckmann” in 2013. Kiefer chose to line Published by Hatje Cantz Verlag the space with 12-foot-tall woodcuts in Ostfildern, Germany, 2016 which the river is seen through a stria- $60 tion of tree trunks, flowing implacably from one image to the next, while other images—words, fire, border fortifications, the eccentric polyhedron from Albrecht Dürer’s Melencolia—float in the air. Kiefer’s letter speaks about the river in Anselm Kiefer: Rolling on the River Rhine

By Christian Rümelin

nternationally renowned for his paint- Iings, drawings, sculptural artists books and oversized (and often over- painted) prints, Anselm Kiefer requires little introduction. In German-speaking countries, however, the artist remains a controversial figure, glorified and -con demned for his persistent use of subjects and formats linked to the Nazi regime and to the Germanic dreamtime it repeatedly invoked. In 2016 the Albertina in Vienna mounted an exhibition of 35 monumental Kiefer woodcuts made between 1977 and 2015; that show and its substantial catalogue will continue to fuel this discussion long past the exhibition’s closing date. Apart from six sheets relating to the 17th-century Paracelsian scholar Robert Fludd and the relation between micro- and macrocosm, all the woodcuts on view dealt with the iconography of the Rhine and with German history—events of the 20th century and also the myths, histories and legends that were used to bolster the idea of a pan-German identity: the cult Left: Anselm Kiefer, Fadensonnen – für Paul Celan (1982-2013), collage of woodcuts on canvas with acrylic and shellac, 375 x 190 x 5.5 cm.©Anselm Kiefer. Image courtesy Galerie Thaddaeus Ropac / of the Niebelungen and the assertion of Ulrich Ghezzi. Right: Anselm Kiefer, Für Robert Fludd (1996), woodcut, acrylic and shellac on paper, the Rhine as a metonym for the German mounted on canvas, 305 x 102 cm. ©Anselm Kiefer. Photo: Atelier Anselm Kiefer.

30 Art in Print May – June 2018 Anselm Kiefer, Dem unbekannten Maler (1982-2013), collage of woodcuts on canvas with acrylic, 190 x 330 cm. ©Anselm Kiefer. Photo: Charles Duprat.

Gursky. Kiefer’s complex use of woodcut essence. Kiefer recognizes this, but as von Weber and Karl Marx in Grane (1978). goes beyond simply appropriating histor- Hoerschelmann points out, his affirma- He does this not only with woods and for- ical exemplars. As the German cultural tive use of woodcut resists any simplistic ests, but with all types of landscapes. The philosopher Peter Sloterdijk explains in reading; his strategy is to surpass former catalogue helpfully groups these works, his inspiring essay, in his woodcuts Kiefer connotations, which is why he has taken and offers short texts that establish links is also dealing with the perception and on subjects exploited by Nazi propaganda. to other pieces and give information on stability of monetary value, which is con- Again, however, one cannot reduce his their genesis and background (even pro- nected to taste and acceptance. Kiefer approach to a simple confrontation with viding maps to identify the host of faces refuses to satisfy traditional demands: history. Beginning with the Grane and in the Ways of Worldly Wisdom). his prints are too big and his book-objects Paths of Worldly Wisdom woodcuts of the In assembling this body of work and in are too bulky (both are often purchased 1970s, he has used woodcut to develop an explaining its many associations, both by museum departments of paintings archive of handmade, reusable images, internal and external, Hoerschelmann and sculpture rather than prints and including many portrait heads, which and her colleagues offer a moving survey drawings); finally, neither are released in he has assembled in different configura- of Kiefer’s achievements, adding fresh regular editions, despite the undoubted tions in paintings, prints and books. And insights and opening up the discussion of market demand. Huge, fragile and dis- while these works may allude to German this rich and important oeuvre. turbing, Kiefer’s woodcuts are, Sloterdijk myth (Grane is the name of Brunhilde’s claims, sublime. He does not argue that horse in the Niebelungenlied, and the Christian Rümelin is Keeper of Prints and Kiefer means to recreate the art philo- Paths woodcuts combine images of the Drawings at the Musée d’art et d’histoire in sophical categories of the 17th and 18th forest with portraits of German histori- Geneva. centuries, but he uses the word to charac- cal figures, good, bad and ugly), the result terize what separates Kiefer’s works from cannot be seen as limited to a particular those of his contemporaries. subject. In her own essay, the volume’s editor, Kiefer’s habit of working on various Antonia Hoerschelmann, begins with subjects in parallel means that the same materiality—the fact of wood, how Kiefer element—a tree trunk or the head of Carl uses it, and the connotations he assigns Maria von Weber—may appear on various to it. Here again there is a historical pro- occasions and in different contexts. This pagandistic element to consider: any strategy, Hoerschelmann points out, dis- discussion of German forests or wood is rupts the sense of a coherent subject—as necessarily colored by the Nazi assertion when the head of Brunhilde’s horse rises of them as markers of atavistic German above a pyre strung between the heads of

Art in Print May – June 2018 31 REVIEWS Richter and Polke By Susan Tallman

“Sigmar Polke: The Editions” me Collectors Room Berlin 28 April – 27 August 2017

“Gerhard Richter. Die Editionen” Museum Folkwang, Essen 7 April – 30 July 2017

Sigmar Polke: the Editions By Tereza de Arruda 128 pages, illustrated in color in English and German Published by Walther König, Cologne 2017 $45

Gerhard Richter: die Editionen With texts by Tobias Burg, Peter Daners, Hans-Jürgen Lechtreck, Sonja Pizonka, Annika Schank 64 pages, illustrated in color; in German Published by Edition Folkwang / Steidl, Göttingen, 2017 €12.80

Gerhard Richter: Unikate in Serie/ Unique Pieces in Series By Hubertus Butin 163 pages, illustrated in color; in English and German Published by Snoeck Verlagsgesellschaft, Cologne, 2017 €34

I don’t mistrust reality, of which I know next to nothing, I mistrust the picture of reality conveyed to us by our senses . . . My own relationship to reality . . . has a great deal to do with Gerhard Richter, Hund (Dog) (1965), screenprint, 64.9 x 49.9 cm. Image courtesy Museum imprecision, uncertainty, transience, Folkwang, Essen. incompleteness or whatever. works of contemporary art: Gerhard Rich- Deeply suspicious of both images and ter’s 21-meter-high column of glass in the power, they spent 50 years prodding art, —Gerhard Richter, 19721 colors of the German flag—cool, elegant perception and human behavior. The and enigmatic—and a set of lenticular extraordinary range and persistence of fficial projections of national iden- light boxes by Sigmar Polke, where Till this effort was on full view this past sum- Otity are never casual, and for the Eulenspiegel, Konrad Adenauer and Ger- mer in the hundreds of prints, multiples, united Germany they are particularly mania flicker and cavort in ways irrever- books, posters and photographs that filled treacherous. So there is more than aes- ent and, again, enigmatic.2 Richter (b. the exhibitions “Sigmar Polke: The Edi- thetic significance to the fact that visitors 1932) and Polke (1941–2010) have become tions” at the me Collectors Room in Ber- to the rebuilt Reichstag—an artifact of the in some sense official—or at least emblem- lin and “Gerhard Richter: The Editions” German past reimagined for the future atic—artists of the new Germany, yet two at the Museum Folkwang in Essen.3 by a British architect of the present—find artists constitutionally less suited to offi- Drawn from the holdings of just two themselves flanked on entry by two major cialdom would be hard to imagine. people—Thomas Olbricht (Richter)

32 Art in Print May – June 2018 potato onto the bottom of the rod and turn on the motor, the titular action unfolds.) Wisely, neither catalogue attempted to impose a false cogency on this material. The 290 Polke images are allowed largely to speak for themselves, accompanied by a checklist and brief overview essay by exhibition curator Tereza de Arruda. The Richter catalogue takes the inverse approach, including no fewer than 16 short essays spotlighting topics from “Gray” to “the Venice Biennale 1972.” Though modest in scale, both books are valuable additions to the literature on the artists and on contemporary prints more broadly. Meanwhile, Hubertus Butin, consistently among the informative and most insightful writers on Richter, has also now authored a book on the editioned paintings and other unique works in series. (For more detailed information on Richter editions, readers can turn to the exemplary catalogue raisonné (2014) and to the art- Sigmar Polke, Freundinnen I (Girlfriends I) (1967), offset print on board, 47.9 x 60.8 cm. Courtesy ist’s thorough and informative website.5) Galerie Christian Lethert, Köln. Photo: baumann fotostudio GmbH. Polke and Richter met as students at and Axel Ciesielski (Polke)—the shows of an office directory. Similarly, those the Kunstakademie in Düsseldorf in 1962, affirmed the artists’ status as figures of who came for Polke’s vibrant raster- when Richter, a recent arrival from East critical importance, and also built a case dot prints might have struggled with his Germany, was 30 and Polke 21. Though for the value of old-fashioned, encyclope- deliquescing photographs or oddities painterly abstraction was still dominant dic collecting. Editions, as Olbricht notes, such as Apparat, mit dem eine Kartoffel in the West, they were ensnared by the offer “a field which, in contrast to indi- eine andere umkreisen kann (Apparatus external world and the pictures that lit- vidual works such as oil paintings, prom- Whereby One Potato Can Orbit Another) ter it; they made paintings of things like ised a chance of completeness, at least as (1969)—a small table with an electrical advertisements for socks (Polke) and dry- a theoretical possibility. Only passion- motor and a curved, hanging rod. (If you ing racks (Richter) and news photos of ate collectors, who are at the same time put a potato on the floor, poke another Lee Harvey Oswald (both). Drawn to the systematists, will understand.”4 Unlike the more common vision of collecting as a kind of selfie-by-proxy, such systematic acquisition has the virtue of ceding control to the artist. If Richter or Polke made it and called it an edition, it counts, regardless of Olbricht’s or Ciesielski’s private preferences. By exhibiting all the editions rather than just a curated selection, the organizers extended to the viewing public an invitation to be both bedazzled and befuddled. Both shows had their fair share of famous faces—the Mod beauties of Polke’s Freundinnen (Girlfriends) (1967) gazed out coyly from their disintegrating dot screen, Richter’s Mao (1968) smiled his spectral smile (four years earlier than Warhol’s and far more unnerving). But viewers drawn to the luminous melan- choly of Richter’s orchids might well have been baffled by Bilderverzeichnis (Picture Inventory) (1969), a three-column list of Sigmar Polke and Gerhard Richter, Umwandlungen (Transformation) (1968), offset print on board, painting titles with all the visual allure 46.5 x 67.2 cm. Courtesy Galerie Christian Lethert, Köln. Photo: baumann fotostudio GmbH.

Art in Print May – June 2018 33 On 26 April 1968, for the duration of two hours, the mountain turned into a sphere.”7 The first of the five photographs does indeed show a snowy Alpine peak, while those that follow get darker and blurrier until all that remains is a fuzzy orb of light. With its slightly nasty cardstock, indif- ferent graphic design and 200-strong edition, Transformation seems addressed, in the manner of a spitball, to the legacy of German Romanticism. What is more awe-inspiring than a mountain? More sublime than a sphere? More Romantic than the notion of the artist as magician, turning one into the other? Polke and Richter’s decision to wrap this exercise in the trappings of humorless conceptualism (“for the duration of two hours” is a neatly pompous touch) reveals their awareness that the allure of sublimity did Sigmar Polke, Danneckers Hausgecko. Die Frau mit Kind (Danneckers Hausgecko. The Woman not die with Caspar David Friedrich. with a Child) (2009), screenprint and lithography on paper with stamped lizard skin texture, 69 x 99.5 cm Nonetheless, Friedrich is, Butin notes, (one from the set of four). Courtesy Galerie Christian Lethert, Köln. Photo: baumann fotostudio GmbH. the historical painter about whom Rich- ter has spoken most often and, truth be possibilities of nonprecious art, they also of these works, so at odds with the told, Romanticism is never far from view played with low-grade technologies and ideal of art as a socially and spiritually for either Richter or Polke.8 What does cheap distribution (one essay in the Essen redemptive force.6 The book is a kind Polke’s “apparatus” do, after all, except catalogue is titled “Art for All!”). of paginated, absurdist buddy film (one turn humble vegetables into a model of The earliest work in the Polke show well-known image shows the two artists the cosmos? And the question prompted was a 1963 announcement for an exhi- together in a bathtub like happy tod- by Richter’s picture-free list of pictures bition of prints and paintings by him- dlers). The print consists of a set of five is not whether art is magic but where does self, Richter, Manfred Kuttner and grainy photographs above the explana- that magic reside? Is it still there if we Konrad Lueg (aka the art dealer Konrad tory caption, “5 Phases of a transfor- take away the color? The canvas? The Fischer). The square offset-lithograph mation executed by Polke and Richter. picture? carries a word soup of contemporary art movements wrapped around a collaged magazine snippet. It’s just a show announcement, but insofar as it is ambi- tious, confusing, pulled from seemingly random bits of the real world, and inexplicably hypnotic, it is pure Polke. Richter’s first professional prints were screened from old snapshots, but erratically: in Hund (Dog) (1965), the ink was smeared with a brush while wet; in Fami- lie (1966), eccentric inking and misregis- trations confound legibility and undercut both the medium’s industrial panache and its potential for autographic expres- sion. Every customary route for deriving meaning from art—gesture, technical mastery, iconography—has been blocked. And yet—as would be true of his work from here on—it is hard to stop looking. Richter and Polke collaborated only twice: on the catalogue/artists book Polke/Richter (1966), and two years later on the offset lithograph Umwandlung (Transformation). Butin writes of the Sigmar Polke, Der zweite Fall (The Second Fall) (1995), screenprint, 55 x 75 cm. Courtesy Galerie “self-deprecating, anti-heroic character” Christian Lethert, Köln. Photo: baumann fotostudio GmbH.

34 Art in Print May – June 2018 there were also the many types of layering: photos on texts, drawings on photos, painting on printed fabric, printing on patterned paper. There were the photographic solarizations and multiple expo- sures that turned snapshots of party girls and street people into something resembling 19th-century spirit photography. There were the voracious borrowings from the history of printed matter— Dürer, Goya, Ernst, treatises on optics and dopey cartoons. In the 1990s, Polke installed a photocopier in his studio, and (mis)used it to produce writhing, elastic transformations, fodder for further layering, rasterizing and recombining. Printing could be a metonym for com- munication (he once painted two small diptychs that ostensibly record his tele- pathic conversations with the printmakers William Blake [1757–1827] and Max Klinger [1857–1920]). But it could also be a metaphor for the inevitable membrane between world and self—the neurologi- cal systems, psychological preferences and social structures that dictate what we see before we see it. (Polke’s interest in hallucinogens is of a piece with this idea: appearances are illusory, but you might as well enjoy the ride.) As a working method, print facili- tated his preference for serial variation and serendipitous accident; every solu- tion was just one in a potentially endless series of state changes. The printer and publisher Mike Karstens said that he has never known an artist “so demanding, so reckless, so experimental, so provoca- tive, so full of ideas.”10 Looking at works such as Danneckers Hausgecko (2009), one can only stand in awe of a juggling act that somehow keeps eloquence and chaos, absurdity and Sigmar Polke, Später oder früher (Later or Sooner) (2003–2005), screenprint on board, 70 x 50 cm. beauty, glee and despair all in the air. The Courtesy Galerie Christian Lethert, Köln. Photo: baumann fotostudio GmbH. bevy of sensorial distractions—raster dots and ink puddles on flocked and liz- Looking back, one can see the tra- and onto the color photographic paint- ard-skin embossed paper—resolve into jectories of both artists rooted here: ings and abstractions that would make a line of bacchantes, a woman with her Richter’s looping, methodical investiga- him one of the most celebrated artists on head in hand, another gazing upward, a tions of pictorial presence; Polke’s mer- the planet. Each, however, continued to mother and child beneath a veil. Electric curial pursuit of double identities and employ systems of replication as both a colors notwithstanding, these women in dissolutions that can turn a newspaper means of production and a subject. their frozen theatrical attitudes suggest clipping into a shining sun and into a In an important 1991 essay, John an elegy. And with good reason: they spitball. Paoletti enumerated ten tactics the art- come from sketches by the neoclassi- By the 1970s, they were moving ist deployed to disrupt pictorial cohesion cal sculptor Johann Heinrich von Dan- in separate directions. Polke became and comprehension.9 Almost all derive necker (1758–1851), and three relate to his increasingly involved in photogra- from printing. The most famous is the mausoleum for Karl Graf von Zeppelin phy, filmmaking and psychedelia, then raster dot—large or small, congealing (1766–1801).11 Danneckers Hausgecko was returned to painting on a grand scale; like algae or dispersing like a marching Polke’s last edition. Richter worked through his system- band—that Polke used so consistently For Richter also, editions served as a atized geometric Farbfelder (Color Fields) it became an impersonal signature. But platform for experiment, but this is

Art in Print May – June 2018 35 The cover of the Folkwang catalogue reproduces Blattecke (Sheet Corner) (1967), a trompe l’oeil offset that shows a piece of paper curling up to reveal a par- tial signature and date below. Printed in an edition of 739, the offset originally sold for five Deutschmarks (about ten dollars in current money). The setup is witty enough: the curling paper that’s actually flat; the personal signature that’s actually mass-produced. But the game is more complicated: the print reproduces a 1965 painting, Umgeschla- genes Blatt (Turned Sheet), though the painting lacks the semi-hidden signature and date; and the painting is one of 14 canvases all showing a cream-colored page curling up from the lower right. Taking this one step further, the reproduction on the catalogue cover is tipped on, but adhered only at one side, so the image of the lifted corner can itself be lifted, revealing not a hidden signature but a thumbnail reproduction of Rich- Gerhard Richter, Fuji (1996), oil on Alucobond, 29 x 37 cm. Edition of 110 paintings. Image courtesy ter’s 2008 print, 40,000, a 200 x 200 grid Museum Folkwang, Essen. of randomly distributed values of gray, experimentalism of a different order. decades later: an edition of steel spheres resembling a hyperactive QR code. The exhibition in Essen charted a engraved with the names of Alpine The effect of all this repetition and steady process of identifying and iso- peaks, from 1992, is a kind of post-facto reiteration is to keep in play the ques- lating variables—color, imagery, mate- prop for the 1968 Transformation; a 2012 tion of just what exactly images do for rials, gesture. There were prints after edition, Elbe, reproduces 31 weirdly pre- us. In early works like Neun Objekte (Nine photographs, photographs after paint- dictive monoprints Richter made as a Objects) (1969) and Wolke (Cloud) (1971), ings, prints after paintings. Images and student in 1957. As with Polke, there is Richter used retouching and montage ideas crop up, disappear, then reappear no such thing as a final state. to mock the nonfiction status of photo-

Gerhard Richter, Strip (II) (2013), digital print between two panes of glass, 60 x 110 cm. Edition of 9. Image courtesy Museum Folkwang, Essen.

36 Art in Print May – June 2018 Left: Cover of Gerhard Richter: die Editionen (Göttingen: Edition Folkwang/ Steidl). Right: Gerhard Richter, Wolke (Cloud) (1971), offset lithograph, 44 x 44 cm. Image courtesy Museum Folkwang, Essen. graphy. More recently, he toyed with painting and dividing it into 4,096 color of immanence screened by another’s. You nanotechnological images of atoms, segments that could be rearranged and don’t have to believe in either to be moved which look photographic but are made stretched horizontally. Though some by both. by measuring invisible atomic forces are categorized by the artist as paintings From Joseph Beuys to Anselm Kiefer, and translating the data into analogous and some as editions, all are digitally many postwar German artists maintained areas of light and dark—as pictures they printed. Inversely, Richter has regularly Expressionism’s emphasis on dramatized are simultaneously true and false. In produced abstract paintings in edi- subjective experience and geopolitics as one extended body of work, Richter took tions, either by painting multiple works a site of personal emotional struggle. In close-up black-and-white photographs with the same conceptual and material Richter’s and Polke’s art, however, sub- of one of his colorful abstract paintings parameters (Fuji [1996] is an “edition” jectivity and geopolitics enter with the and arranged them in various formats— of no fewer that 110 distinct paintings), inevitability of air, unannounced by Sturm books, editions, a wall piece—that docu- or by dividing a single painting up into or Drang. References to World War II are ment every visual aspect of the painting parts. Just as the photographic paintings not hard to find (see, among many oth- except what it looks like to the human and editions throw open the question ers, Polke’s 1984 Kölner Dom. Skulptur eines eye. of what exactly photography repre- unbekannten Meisters (vermutlich englischer In 1985 Richter said that he was ready sents, cutting up and serializing paint- Bomber-Pilot) (Cologne Cathedral. Sculpture to “try out my abstract works in print- ings poses a challenge to presumptions by an unknown master (presumably an Eng- making but in a more conventional man- about abstraction (if the gestures can lish bomber pilot)) (1944). But the lasting ner . . etching and all that,” but it did not be repeated without diminution, and impact left by their particular histori- happen.12 Instead he continued to cycle the composition can be divided without cal moment seems less to do with being between mechanical reproduction (with diminution, what does that say?). bombed than being lied to. increasingly refined production values) That Richter has an unerring eye for “Ideologues,” Richter notes, “always and haptic hand-facture. The squeegee, form is beyond question (even the ran- know irrefutably what the world is like employed so willfully in Hund and Fami- domly cut-up canvases look great), but and what one may or may not do. I was lie, returned as the defining instrument what makes his work affecting is its con- always afraid of this terrible simplifica- of his abstract painting, while photogra- nectedness, the way in which each object tion.”13 Perhaps the most trenchant qual- phy and its digital descendants provided acknowledges its dependence on things ity running through the shows in Berlin ever more sophisticated means for inves- beyond itself. In Essen, Richter’s famous, and Essen is this fear of simplification— tigating and extending the paintings. plangent paintings of a lit candle were or the inverse, a defense of irreducible The visually compelling Strips (2011– present in the form of offset reproduc- complexity. 2015), for example, were made by tak- tions defaced by a scrawled signature or The works in the Reichstag, like the ing a digital slice of an earlier abstract smears of squeegeed ink—one era’s icon myriad editions that preceded and post-

Art in Print May – June 2018 37 Sigmar Polke, Kölner Dom. Skulptur eines unbekannten Meisters (vermutlich englischer Bomberpilot, 1944) (Cologne Cathedral. Sculpture by an Unknown Master [Presumably an English Bomber Pilot, 1944]) (1984), photograph, 30.5 x 40.4 cm. Courtesy Galerie Christian Lethert, Köln. Photo: baumann fotostudio GmbH.

dated them, are enigmatic not out of per- vorgenommenen Umwandlung. Das Massiv wurde Notes: versity, but because enigma is a shield am 26. April 68 für die Dauer von 2 Stünden in 1. Interview with Rolf Schön, reprinted in Gerhard eine Kugel verwandelt.” against certainty. Given that Germany is, Richter–Text: Writings, Interviews and Letters 8. Butin, “Gerhard Richter’s Editions,” 93. for the moment at least, a nation still 1961–2007, ed. Dietmar Elger and Hans Ulrich 9. John Paoletti, “Higher Beings Command: The Obrist (London: Thames & Hudson, 2009), 60. leery of its own power, Polke and Richter Prints of Sigmar Polke,” Print Collector’s News Originally published in 36. Biennale in Venice: may indeed be its apt ambassadors. But letter 22, no. 2 (May–June 1991): 38. German Pavilion (Essen: Museum Folkwang, elsewhere in the world, certainty and 10. Mike Karstens, quoted in Tereza de Arruda, 1972). Sigmar Polke: The Editions (2017), 71. simplicity are on the march again. We 2. Gerhard Richter, Schwarz Rot Gold (1999), 11. I am indebted to Armin Kunz for this infor- could do worse than to look at and learn glass and colored enamel, 67 x 10 3/4 feet; mation. from these two artists. “Pictures which Sigmar Polke, Vor-Ort-Sein (1998–99), five len- 12. “Gerhard Richter: An Interview,” Dorothea ticular light boxes, 70 7/8 x 47 1/4 inches each. are interpretable, and which contain a Dietrich, The Print Collector’s Newsletter 16, no. 3. The Museum Folkwang was, in 1970, the site meaning, are bad pictures,” Richter 4 (Sep–Oct 1985): 130 of Richter’s first solo museum show, which was argues. Good pictures show things “in all 13. Gerhard Richter, Denys Zacharopoulos, “Die also an exhibition of his editions. Figur des Werks,” in Gerhard Richter, ed. Ulrich the manifold significance and infinite 4. Thomas Olbricht, “Foreword,” in Hubertus Loock and Denys Sacharopoulos (Munich: Silke variety that preclude the emergence of Butin, Gerhard Richter: Unikate in Serie/Unique Schreiber,1985), 50. 14 Pieces in Series (Cologne: Snoeck Verlagsgesell- any single meaning and view.” 14. Gerhard Richter–Text, 32–33. schaft, 2017), 7. 5. Hubertus Butin, Stefan Gronert, Thomas Susan Tallman is the Editor-in-Chief of Olbricht, Gerhard Richter: Editions 1965–2013 Art in Print. (Ostfildern: Hatje Cantz, 2014), and gerhard- richter.com. 6. Hubertus Butin, “Gerhard Richter’s Editions and the Discourses of Images,” ibid., 67. 7. “5 Phasen einer von Polke und Richter

38 Art in Print May – June 2018 EXHIBITION REVIEW Size Does Matter: Katharina Fritsch at the Walker By Mason Riddle

Installation view of “Katharina Fritsch: Multiples,” 2017, Walker Art Center, Minneapolis. Photo: Gene Pittman. ©Walker Art Center.

“Katharina Fritsch: Multiples” The more than 40 works included in Sheet)(1981), a photolithographic insert Walker Art Center, Minneapolis, MN “Katharina Fritsch: Multiples” roughly for a newspaper started by friends, and 11 May – 15 October 2017 spanned the artist’s career, with the earli- the screenprint Lexikonzeichnung, Bremer est objects dating from 1979 and the most Stadmusikanter (Lexicon Drawing, Bre- cale, whether monumental or min- recent from 2013. The Walker has been men Town Musicians) (1996). The latter is S ute, has its own power, as does repli- committed to collecting Fritsch’s work drawn from a 1936 children’s illustrated cation. These aesthetic strategies, so deeply since 1991, when it acquired 14 of her mul- dictionary and references the Brothers understood by Katharina Fritsch, were tiples, and most of the works on view were Grimm fairy tale about outcast animals— strikingly effective in her recent exhibition drawn from its permanent collection. a donkey, a dog, a cat and a rooster—who at the Walker Art Center in Minneapolis. Dispersed in an irregular pattern terrify a group of robbers while standing The German artist is well known for her through the expansive gallery were white on each other’s backs. cast sculptures of ordinary objects, figures pedestals, each supporting one work Four sound works—Regen (Rain), and animals, with their light-absorbing, under Plexiglas—an arrangement that Unken (Toads), Mühle (Mill) and Kranken- matte finishes in unnatural hues. The allowed the viewer to take in the colorful wagen (Ambulance)—produced between Walker exhibition was organized to cele- cache in one panoramic gaze. These were 1982 and 1990 played continuously. The brate the installation of her 23-foot-tall, complemented by eight Schirms (Umbrel- Walker categorizes these pieces also as ultramarine blue Hahn/Cock (2013) , which las) (2004) in four different colors—black, “multiples,” explaining on the didac- stands like an unexpected sentinel in the white, purple and green—suspended tic label: “In this series of multiples . . . redesigned Minneapolis Sculpture Garden handle-downward from the ceiling, and Fritsch expands the concept of replica- adjacent to the museum.1 by two prints: Werbeblatt 1 (Advertisement tion to ephemeral sound.”

Art in Print May – June 2018 39 Most of Fritsch’s multiples, however, are more substantial—cast from plastic and finished with paint in saturated hues, as in the chartreuse-yellow Madonnenfigur (Madonna Figure) (1982), the dense black Pistole (Pistol) (2006) and the frosty-blue Apfel (Apple) (2009/10). A deep purple that would have made Prince proud sheaths Bettlerhand (Beggar’s Hand, 2007) as well as St. Nicolas (2002). Upon a closer look, a heart lying flat on its pedestal seems to have been cast from dozens of teeth (Herz mit Zähnen (Teeth Heart) (1998/2004). A few objects have reflective surfaces such as the slightly burnished Goldene Kugel (Golden Ball) (1999) and Silberne Kugel (Silver Ball, 1999), and the shiny chrome Betende Hände (Praying Hands) (2004). Fritsch’s sources of inspiration include fairytales, myths, animals, humans, reli- gious iconography and mass-produced objects, but she does not play with artifice in the manner of Pop Art. Instead they are mysterious, vaguely narrative and often Katharina Fritsch, Hahn/Cock (2013/2017). Photo: Gene Pittman. Courtesy Walker Art Center, ominous, partly due to their scale, ano- Minneapolis. nymity, and highly realistic presence in unnatural colors. One is relieved that the The small-scale works comprising the large black Fliege (Fly) (2000) with white exhibition were in effect more compelling Mason Riddle is a Saint Paul-based writer on the visual arts, architecture, applied arts wings, anatomically correct and eight than the Hahn/Cock towering outside (cre- and design. inches in height, is contained within ated in an edition of two, it is also a mul- its display case. The meaning of these tiple). They could be observed and assessed objects, distanced from their originat- at eye level, giving us the potential to con- Notes: ing contexts, is opaque. The velvety-black trol how their mysteriousness affects us. 1. The garden is curated by the Walker Art Center but owned by the city of Minneapolis. Maus (Mouse) (1991/1998) sitting upright In contrast, the impact of the Brobding- 2. Katharina Fritsch in, respectively, Charlotte on its haunches is unnerving. Like most nagian blue cockerel is diminished, as we Higgins, “Big blue cock erected on fourth plinth of Fritsch’s work, it tugs on the viewer’s see it only in relationship to the wide- in London’s Trafalgar Square,” Guardian, 25 Jul memory, suggesting a story but lacking a open expanse of the Sculpture Garden. 2013; Euan Kerr, “Meet the artist behind the big specific referent. Her sculptures remind Furthermore, the work’s installation—in blue rooster” (interview), Minnesota Public Radio, 8 Jun 2017; and Higgins. us of something, if we could only put our close proximity to the playful and much finger on it. loved Spoonbridge and Cherry (1985–1988) Scale and containment are the ultimate by Claes Oldenburg and Coojse van Brug- arbiters of visual, emotional and psycho- gen, and the iconic Cor-Ten steel LOVE logical impact here. Fritsch’s sculptures (1966–1998) by Robert Indiana—suggests are most effective when they are restricted, Fritsch’s work grows out of a Pop art whether by a vitrine or a room. Her noto- aesthetic, which it does not. rious Rattenkönig (Rat King) (1993/1994), Fritsch has called Hahn/Cock “a femi- first produced for the Dia Art Foundation nist sculpture” and a “feminist statement,” in New York City, was encased in a room as the rooster is often a symbol of mascu- hardly any larger than the work itself. A line power; when it was first installed, in circle of nine-foot-tall rats stood on their 2013 on the empty fourth plinth in Lon- haunches facing outward, their tails inter- don’s Trafalgar Square, it provided a twined into a central knot that, in the humorous counterbalance to the sur- medieval German tale that inspired the rounding statues of, as Fritsch put it, work, served as a throne for the rat king. “male persons standing on pedestals.”2 In At Dia the gallery ceiling was relatively Minneapolis, however, the big cockerel low and the path to circumnavigate the cannot compete with the mystery that Rattenkönig was relatively narrow; a permeated the small-scale multiples in claustrophobic sense of being trapped the gallery. It seems simply big. with giant rats was inescapable. Even the Rattenkönig Modell (Rat King Model) at the Walker had a threatening aura.

40 Art in Print May – June 2018 EXHIBITION REVIEW Late Works by Jannis Kounellis By Nicole Meily

“Jannis Kounellis, Objects” Carolina Nitsch Project Room, New York 10 January – 24 February 2018

rintmaking and found objects came Ptogether to form visually compelling juxtapositions in “Jannis Kounellis, Objects” at Carolina Nitsch Project Room. Kounellis, who died last year at the age of 80, was a key figure in the Arte Povera movement, best known for sculptures and installations that invoke the contemporary world of politics and things, industrial and natural, while conjuring experiences that border on the mystical. The 12 works on exhibit, created between 2003 and 2015, all adopt the same format: large, shallow, steel-framed glass boxes holding different arrangements of found objects and two-dimensional works—mostly lithographs but also paint on paper and pochoir on sandpaper. Pro- duced in editions of 25 variants, these are among the many unconventional editions Kounellis produced throughout his life that feature manmade objects such as clothing and domestic items, and natural elements such as metals, coal and smoke. These late works are a continuation of the core concern of the artist’s career: the evocative and associative nature of objects. Highlighting the personal invest- ment in objects, the show underscores the centrality of human experience in Kounellis’s oeuvre. The use of found objects in, and as, art is a key characteristic of Arte Povera. Jannis Kounellis, Untitled (Shoes) (2006), steel and glass case, leather shoes, Murano glass, wire, It was not simply a statement against an lithograph on paper, 77 x 57.5 x 18 cm. Edition of 25 variants. Published by Lelong Editions, Paris. ivory towered “high art” but an effort to Image courtesy Carolina Nitsch, New York. shed light on the relationship between art and life, an investigation of our daily backdrops, but the effects when com- set against a lithograph of horizontal experience of the world.1 In Kounellis’s bined with a minimalist welded-metal lines that recall both a musical staff “objects,” the convergence of two- and angle (V) or a quartet of leather oxfords and the strings of the mandolin. One three-dimensional materials engages the inexplicably stuffed with Murano glass can also imagine the sound of colliding senses, imagination and emotion. The (Shoes) are entirely different. billiard balls in Untitled (Billiard Balls) pairing of image and object always has The wool in Untitled (Coat Sleeve) (2011) (2014) or the heavy footsteps of the glass- a logic to it, but its nature changes from evokes the sense of touch and its texture filled shoes. composition to composition, sending the is echoed in the lithograph, the marks of Other works activate the viewer’s mind down different avenues of physical which were made with the sleeve used imagination through objects associated and conceptual associations. Both Unti- as a sort of stamp applied to the matrix. with physical labor and prints whose tled (Shoes) (2006) and Untitled (V) (2005) The sense of sound is evoked in Untitled marks echo those actions. In Untitled (Iron) use expressionist splats of black ink as (Mandolin) (2009)—a found instrument (2009), a rusty iron with a wooden handle

Art in Print May – June 2018 41 Left: Jannis Kounellis, Untitled (Mandolin) (2009), steel case with glass, mandolin, charcoal, wire, lithograph on paper, 101 x 70.5 x 18 cm. Edition of 25. Published by Lelong Editions, Paris. Image courtesy Carolina Nitsch, New York. Right: Jannis Kounellis, Untitled (Corriere Della Sera) (2009), steel case with glass, glass shards, lithograph on newsprint, 57 x 41 x 12.7 cm. Edition of 25. Published by Lelong Editions, Paris. Image courtesy Carolina Nitsch, New York. hangs at the center of the composition In Untitled (Corriere Della Sera) (2009), viewers to consider the literal and figura- on a metal hook. The tedious action it the object is a newspaper pierced with tive functions of two- and three-dimen- evokes is mimicked in the repetitive back- glass shards that protrude toward the sional objects and their relationships. and-forth movements across the litho- viewer. In and around these fragments Laid out spaciously at Carolina Nitsch, graph. The worn-down crayon fragments one can pick out words: “protesta,” they encouraged viewers to draw connec- in Untitled (Pastels) (2015) suggest they “polizia,” “massacrando”; the lithography tions between them. This is the first have been heavily used, perhaps in ges- component consists of the word “Notte” major New York gallery exhibition of tures like the print’s circular markings. (night) scrawled across the center of the Kounellis’s work since Cheim and Read’s Kounellis’s works also point to the emo- page. A closer look shows the date of the 2013 sculpture show, and the only to con- tive function of commonplace objects— paper as 25 June 2009 and the lead story centrate on these late editions. Following how they can embody identity, meaning to be bloody protests surrounding the the fall 2017 Arte Povera exhibition at and memory. In Untitled (Axe) (2003) a Iranian presidential election. The agi- Hauser and Wirth, Carolina Nitsch’s pre- painterly rectangular smudge applied by tated handwriting and the stabbing of the sentation illuminated the quiet poetry of pochoir echoes the shape of an ax-head newspaper bring the theme of violence one of the movements guiding forces. wedged into a lead box; Kounellis painted into the viewer’s immediate presence, the ax with the colors of the Italian flag, though safely behind glass. a reference to his adopted home.2 In “All these images are of experience,” Nicole Meily is curatorial assistant of the Untitled (INRI Crucifixion) (2011) the order Kounellis said. “If you subtract the emo- Andy Warhol Film Project at the Whitney of layers is reversed: a hand-drawn, cut- tion from these things you will not even Museum of American Art. out lithograph of Christ on the cross lies find them anymore.”3 This emphasis on on top of a grid of 70 billiard balls. The subjectivity dovetails with the essentially Notes: crucifix might be a nod toward spiritual humanist spirit of Arte Povera. The art- 1. Carolyn Christov-Bakargiev, ed., Arte Povera or mystical content, but its juxtaposition ist’s decision to leave the works untitled (London: Phaidon, 1999), 20, 25. with billiard balls—metonyms for idle hands viewers the freedom to draw their 2. In 1956 Kounellis left his native town of Piraeus, pleasures—is typical of Kounellis’s art- own meanings from the impetus of the Greece, and moved to Rome, where he based his artistic practice until the end of his life. ful ambiguity and defiance of any single artwork. 3. Andrea Bellini, “Jannis Kounellis: Man and interpretation. “Jannis Kounellis, Objects” invited Myth,” Flash Art, March–April 2007, 114.

42 Art in Print May – June 2018 Prix de Print N0. 29 PRIX de divining (2016) PRINT by Kelsey Stephenson Juried by Angela Griffith

This iteration of the Art in Print Prix divining is a conceptual response to traditional print methods. Each com- de Print has been judged by landscape. As a genre, landscape has ponent represents a different mode of Angela Griffith. The Prix de Print is attracted artists for centuries. In ideal- experiencing place: through geographical a bimonthly competition, open to all ized form, it has served as a backdrop for mapping, through a viewfinder, through subscribers, in which a single work is figurative compositions and as a forum being on site and through memory. The selected by an outside juror to be the sub- for theoretical investigation. Other art- installation also includes soundscapes ject of a brief essay. For further informa- ists have looked to recreate its physical composed by Alex Gray and Ryan Stennes, tion on entering the Prix de Print, please appearance through acute observation. derived from the natural cadences of run- go to our website: https://artinprint.org/ The natural environment has also pro- ning water, a moving glacier and rustling about-art-in-print/. vided a point of departure for modern- wind. The soothing white noise echoes ist, subjective, formalist explorations. the nuanced and abstracted forms of the Kelsey Stephenson, divining (2016) Stephenson took her title from a poem by printed surfaces. Print installation: monoprint, digital Mary Pinkoski, who explores themes of Stephenson felt compelled to consider print, screenprint and etching, 9 x 72 feet. self, identity and connection to place. In the terrain she grew up with when she Unique work. Printed by the artist, divining the artist invokes homeland, the moved to Tennessee in 2013 to study. Like Edmonton, Alberta, Canada. Drumheller Badlands of Alberta in Can- many before her, she experienced a more ada, presenting a sense of place drawn defined sense of “home” when viewing it from the mind’s eye and from personal from a distance—recognizing or seeing experience. The multi-faceted composi- for the first time the characteristics that tion combines digital prints of real and make it unique—which lead her to exam- created survey maps, and the artist’s pho- ine its meaning within her own narrative. tographic studies, all manipulated using Though she is aware of the political issues eraclitean notions of flow and flux Hpermeate Kelsey Stephenson’s monumental print installation, divining. The viewer enters a space made up of three modulated walls comprising individual sheets of Japanese paper, each of which has been subjected, in differing degrees, to the artistry of the printmaker. This expansive area is 9 feet in height and 70 feet long. Each sheet hangs from its upper corners, and this relative freedom allows the assembled elements to react to air currents within the space and to the turbulence created by people passing. The resulting movement across the paper walls emulates movements in nature: the flow of water, the ebbing sea, windblown long grass. The effect is soothing, yet also disconcerting; the shifting forms are at odds with the architectural order of the installation, causing the viewer to pause and engage with the entire space. Kelsey Stephenson, detail from divining (2016).

Art in Print May – June 2018 43 Kelsey Stephenson, divining (2016). embedded in depictions of the land, this control, but Stephenson welcomed the realities, divining challenges earlier large- is not her focus. Her palimpsestic maps alchemistic sense of discovery. She let scale landscape painting, from Albert are without place names—the colonial liquids flow unhindered, each finding Bierstadt to Claude Monet, and echoes ones removed by the artist, the ancient their own course; then, applying paper the experiments of Anselm Kiefer, David ones never printed. to absorb the saturated surfaces, she Hockney and Peter Doig in reimagining The landscape represented in divining controlled what appeared to be uncon- and visualizing the personal landscape is not a nationalistic or patriotic emblem. trollable. As the paper became physically through the medium of print. Kelsey Ste- Instead, the work stems from subjective stressed and destabilized by fluids, it phenson has created a rich, complex and explorations of identity and what it means became an index for water in nature, its affecting aesthetic experience, and a work to belong to a place. Working from per- ability to cultivate, to destroy and, over of imposing emotional impact. sonal experience, she finds the universal millennia, to shape the earth itself. Ste- in the local. Viewers experience a shared phenson exerted further control through consciousness with the artist, allowing her choice of color. Directed by memory, Angela Griffith is an assistant professor with the them to respond through the lens of their she sought the blues, grays and blacks of Department of the History of Art and Architecture, Trinity College Dublin. own memories and imaginations. ever-changing Alberta skies; the shifting divining is also a testament to devel- yellows, ochres and siennas of expan- opments in contemporary printmaking. sive prairie, and the burnt umbers and It combines digital and analogue tech- blacks of soil and coal. In the final stage, niques on a scale that challenges the in response to the happenstance effects historical domestic culture of the print. of the monoprinting, abstracted motifs In a variation on monotype processes, were applied by screenprint and etching. digitally printed sheets of Washi paper The natural landscape is the product were laid on expansive sheets of Plexi- of uncontrollable, often aggressive, glas, where pools of ink and water had forces. Humankind has occupied, used been allowed to gather randomly, creat- (and abused) it to its own ends. In art, it ing varying densities of diffuse color. The has been, and remains, an ideological degree to which the pages became satu- space onto which we project our ideals rated with water and ink was difficult to and ambitions. Acknowledging these

44 Art in Print May – June 2018 Anne Beresford, A Discourse (2018) Heidi Fourie, Crown (2017) News of the Monoprinted paper-plate lithograph, 23 x 14 1/2 Watercolor monotype, 42 x 34 cm. Unique image. inches. Edition of 7. Printed and published by the Printed and published by David Krut Workshop, Print World artist, Florence, MA. $600. Johannesburg, South Africa. Available from David Krut Projects, New York. $500.

Selected New Editions

J.L. Abraham, You Called (Inheritance) (2017) Woodcut (24 6-inch square blocks), 40 x 30 inches. Variable edition of 25. Printed and published by the artist, New York. Available through The Old Print Shop. $1,850.

Anne Beresford, A Discourse (2018). Heidi Fourie, Crown (2017).

Henry F. Brown, ESOnline (poem) (2017) Katherine Jones, The Precious Hours (2018) Three-color copper plate photogravure, 13 x 11 Collagraph and relief print, 58 x 78.5 cm. Edi- inches. Edition of 20. Printed and published by tion of 25. Printed and published by the artist, the artist, Providence, RI. $700. London. Available through Rabley Contempo- rary, Wiltshire. £950.

J.L. Abraham, You Called (Inheritance) (2017).

Richard Armendariz, Tell Me Where It Hurts (2018) Woodcut, 47 x 36 inches. Edition of 12. Printed and published by Tracy Mayrello, Alex Giffen at Flatbed Press, Austin, TX. $2,000. Katherine Jones, The Precious Hours (2018). Henry F. Brown, ESOnline (poem) (2017). Robert Kushner, Blue Iris (2017) Helen Cantrell, La Chasse (The Hunt) (2018) Five-plate aquatint etching with sugar lift, soap Woodcut, hand-rubbed from the back on kitakata ground and spit bite, image 24 x 24 inches, sheet paper, 36 x 50 inches. Unique image. Printed and 30 x 30 inches. Edition of 30. Printed and pub- published by the artist, Old Lyme, CT. $2,000. lished by Wingate Studio, Hinsdale, NH. Price on request.

Richard Armendariz, Tell Me Where It Hurts (2018).

Clinton Barker, The Imminent Parting–II (2017) Lithograph, 58 x 77 cm. Edition of 5. Printed and Helen Cantrell, La Chasse (The Hunt) (2018). published by Grey Hand Press Pty. Ltd., Brisbane, Queensland, Australia. $750. Patty deGrandpre, Brother & Sister (2017) Robert Kushner, Blue Iris (2017). Monoprint (diptych), 6 1/2 x 8 inches. Unique image. Printed and published by the artist, Dorothy LaFara, Dots (2017) Beverly, MA. $400. Screenprints bound into book with piano hinge binding, 8 x 8 x 6 inches. Unique work. Printed and published by the artist, Fishers, IN $500.

Clinton Barker, The Imminent Parting–II (2017).

Patty deGrandpre, Brother & Sister (2017). Dorothy LaFara, Dots (2017).

Art in Print May – June 2018 45 Dominique Labauvie, Golden Rain (2017) Tanja Softic, Beginnings and Endings: Sandy Walker, Forest Rhapsody (2017) Lithograph and woodcut, 23 x 29 inches. Edition Murmuration (2018) Woodcut print, 48 x 36 inches. Edition of 6. of 4. Printed and published by Erika Schneider, Intaglio with digital photography collage, 34 x Printed and published by Ryan Harrison, Oak- Bleu Acier Inc., Tampa, FL. $2,500. 30 inches. Edition of 15. Printed and published land, CA. $1,800. by the artist, Richmond, VA. Available through Reynolds Gallery, Richmond, VA. $2,400.

Dominique Labauvie, Golden Rain (2017).

Julia Lucey, Understory (2017) Sandy Walker, Forest Rhapsody (2017). Aquatint etchings collaged on panel, 36 x 30 Tanja Softic, Beginnings and Endings: inches. Unique image. Printed and published by Murmuration (2018). Paul Weissman, O Beautiful (2017) the artist, Fairfax, CA. Available through Kala Art Lithography and intaglio, 30 x 22 1/2 inches. Institute, Berkeley, CA. $3,200. Hester Stinnett, Bifocal (2018) Edition of 8. Printed and published by the artist, Screenprint monoprint, 12 x 12 inches. Unique Honolulu, HI $1,050. image. Printed and published by the artist, Phila- delphia. $400.

Julia Lucey, Understory (2017).

Beauvais Lyons, Circus Orbis: Paul Weissman, O Beautiful (2017). The Splendarium (2017) Hester Stinnett, Bifocal (2018). Lithograph, 22 x 30 inches. Edition of 30. Printed Judy Youngblood, Unexpected Moon (2017) and published by Hokes Archives, Knoxville, TN. Swoon, Girl with Dappled Sunlight (2018) Color etching with aquatint, soft ground, lift $1,000. Relief, etching, screenprint, 24 x 36 inches. Edi- ground and white ground on paper, 21 x 26 tion of 18. Printed and published by Tandem inches. Edition of 16. Printed and published by Press, Madison, WI. $3,500. Flatbed Press, Austin, TX. Available through William Campbell Contemporary Art, Flatbed Press or the artist. $1,250.

Beauvais Lyons, Circus Orbis: Swoon, Girl with Dappled Sunlight (2018). The Splendarium (2017). Barbara Takenaga, Falling (blue concentrate) Judy Youngblood, Unexpected Moon (2017). Corinne Rhodes, Elegant jellyfish (2017) (2017) Century plate lithograph, 24 x 26 inches. Unique Five-plate aquatint etching with soap ground and Susan Ziegler, Rose Room I (2017) image. Printed and published by Cherry Press, hand painting by the artist, 33 1/8 x 25 7/8 inches. Charbonnel ink, crayon and watercolor stencil Rutland, MA. $450. Edition of 25. Printed and published by Wingate monotype, 22 x 15 inches. Unique image. Printed Studio, Hinsdale, NH. Price on request. and published by the artist, Brooklyn, NY. $1,400.

Corinne Rhodes, Elegant jellyfish (2017).

Barbara Takenaga, Falling (blue concentrate) Susan Ziegler, Rose Room I (2017). (2017).

46 Art in Print May – June 2018 Exhibitions of Note

ALBUQUERQUE, NM “Movers and Shakers—Works by Artists Who Teach, Lead and Inspire” 2 March – 25 May 2018 Gallery with a Cause http://gallerywithacause.org

AMSTERDAM “Van Gogh & Japan” 23 March – 24 June 2018 VAN GOGH MUSEUM https://vangoghmuseum.com

AUSTIN, TX “Out of La Romita” 14 April – 19 May 2018 Flatbed Press http://flatbedpress.com

BALTIMORE “Sacred Spring: Vienna Secession Posters from the Collection of LeRoy E. Hoffberger and Paula Gately Tillman Hoffberger” 25 March – 29 July 2018 Baltimore Museum of Art In Aarau, Switzerland, through 11 November: “Pictures for Everyone: Prints and Multiples by Thomas https://artbma.org/ Huber, 1980–2018.” Thomas Huber, 1750 m über dem Meeresspiegel (1750 meters above sea level) (2002), screenprint, 60 x 79.7 cm. Private collection, Germany. ©2018, ProLitteris, Zurich. Photo: Winfrid BEDFORD, UK Mateyka, Berlin. “Bawden’s Beasts” 10 February 2018 – 27 January 2019 “The Other Side: Osaka Prints from the FAIRFIELD, CT The Higgins Bedford Brooks McCormick Jr. Collection” “William Kentridge: Universal Archive” http://thehigginsbedford.gov.uk 15 February – 10 June 2018 1 March – 19 May 2018 “Expanding Narratives: Theme and The Fairfield University Art Museum BOSTON Variations—The Multiple Sorceries of http://fairfield.edu/museum “M. C. Escher: Infinite Dimensions” Félix Buhot” 3 February – 28 May 2018 24 April – 22 July 2018 FORT WORTH, TX “Japanese Prints: The Psychedelic Seventies” Smart Museum of Art “100 Years of Printmaking in 2 February – 12 August 2018 The University of Chicago San Antonio: Bill Reily” “The German Woodcut: Christiane http://smartmuseum.uchicago.edu 12 April – 1 July 2018 Baumgartner” “Cities on Parade: 300 Years of 30 September 2017 – 28 May 2018 CINCINNATI European Festival Books” Museum of Fine Arts, Boston “Saul Steinberg: Prints 1948–1996” 1 March – 10 June 2018 http://mfa.org 20 April – 15 July 2018 McNay Art Museum Carl Solway Gallery https://www.mcnayart.org CAMBRIDGE, MA http://solwaygallery.com “Inventur—Art in Germany, 1943–55” GRAVELINES, FRANCE 9 February – 3 June 2018 COBURG, GERMANY “Chemins de Traverse: Harvard Art Museums “Rembrandt. Von der Macht und Wendelien Schonfeld—Pascale Hémery” http://harvardartmuseums.org Ohnmacht des Leibes” 7 April – 16 September 2018 22 June – 9 September 2018 Musée du dessin et de l'estampe originale CAPE TOWN, SOUTH AFRICA Kunst Sammlungen der Veste Coburg de Gravelines “The Colourist Manifesto” http://www.kunstsammlungen-coburg.de http://gravelines-musee-estampe.fr/ 17 March – 31 May 2018 David Krut Projects DAVENPORT, IA HONG KONG http://davidkrut.com “Joseph Lappie: Personal Mythologies” “Emerald City” 24 February – 20 May 2018 28 March – 31 May 2018 CHANTILLY, FRANCE Figge Art Museum chi art space “Rembrandt at the Condé Museum” http://figgeartmuseum.org http://k11artfoundation.org 27 January – 3 June 2018 Cabinet d’Arts Graphiques DENVER, CO HOUSTON Domaine de Chantilly “Degas: A Passion for Perfection” “Radicals and Revolutionaries: http://domainedechantilly.com 11 February – 20 May 2018 America’s Founding Fathers” Denver Art Museum 10 March – 28 May 2018 CHICAGO http://denverartmuseum.org Museum of Fine Arts Houston “Helen Frankenthaler Prints: https://www.mfah.org/ The Romance of a New Medium” EUGENE, OR 20 April – 30 September 2018 “Long Nineteenth Century in ITHACA, NY Art Institute of Chicago Japanese Woodblock Prints” “Drawing the Line: 150 Years of http://www.artic.edu/ 18 November 2017 – 1 July 2018 European Artists on Paper” Jordan Schnitzer Museum of Art 20 January – 10 June 2018 http://jsma.uoregon.edu Johnson Museum of Art, Cornell University http://museum.cornell.edu

Art in Print May – June 2018 47 KOCHEL AM SEE, GERMANY “Paul Klee: Landscapes” 25 February – 10 June 2018 Franz Marc Museum http://franz-marc-museum.de

LAWRENCE, KANSAS “Big Botany: Conversations with the Plant World” 27 March – 15 July 2018 Spencer Museum of Art, University of Kansas http://spencerart.ku.edu

LINCOLN, NE “Pattern Play: Woodcut Print Invitational” 1 June – 31 July 2018 Constellation Studios http://constellation-studios.net

LONDON “Julian Opie” 26 April – 16 June 2018 Alan Cristea Gallery http://alancristea.com

“Print! Tearing It Up” 8 June – 22 August 2018 In Philadelphia, through 22 August: “Biting Wit and Brazen Folly: British Satirical Prints, 1780s–1830s.” Somerset House William Heath, Monster Soup Commonly Called Thames Water, Being a Correct Representation http://somersethouse.org.uk of that Precious Stuff Doled out to Us (ca. 1828), hand-colored etching, image 26 × 37.6 cm, sheet 28.7 × 40.6 cm. Philadelphia Museum of Art, Gift of Mrs. William H. Horstmann, 1955. “The EY Exhibition: Picasso 1932— Love, Fame, Tragedy” MILWAUKEE, WI NEW YORK 8 March – 9 September 2018 “Daring Technique: Goya and “Joan Snyder / Selected Prints, 1975–2018” Tate Modern the Art of Etching” 12 April – 24 May 2018 http://tate.org.uk 20 April – 9 September 2018 Anders Wahlstedt Fine Art Milwaukee Art Museum http://wahlstedtart.com LOS ANGELES http://mam.org “March of Eyes” “2018 National Juried Exhibition” 24 March – 26 May 2018 MUNICH 21 June – 14 July 2018 Cirrus Gallery “SKETCHBOOK[HI]STORY, Sketchbooks First Street Gallery http://cirrusgallery.com from the collection of the Staatliche http://firststreetgallery.org Graphische Sammlung München” “Rembrandt and the Inspiration of India” 22 February – 21 May 2018 “Paper/Print: American Hand 13 March – 24 June 2018 “Japanese Posters. Ikko Tanaka—Faces” Papermaking, 1960s to Today” J. Paul Getty Museum, Getty Center 3 March – 17 June 2018 5 April – 14 June 2018 http://getty.edu “Paul Klee: Construction of Mystery” International Print Center New York 1 March – 10 June 2018 http://ipcny.org “The Chiaroscuro Woodcut in Sammlung Moderne Kunst, Pinakothek der Moderne Renaissance Italy” “New Prints 2018/Summer” http://pinakothek.de 3 June – 16 September 2018 21 June – 21 September 2018 Los Angeles County Museum of Art International Print Center New York http://www.lacma.org/ NANTES, FRANCE “Luc-Olivier Merson: Illustrateur et http://ipcny.org Décorateur” MADISON, WI “Vacancy” “Art/Word/Image” 16 March – 17 June 2018 Musée d’arts de Nantes 4 April – 24 June 2018 12 December 2017 – 12 August 2018 https://museedartsdenantes.nantesmetropole.fr Lower East Side Printshop Madison Museum of Contemporary Art http://printshop.org http://www.mmoca.org/ NEW BRUNSWICK, NJ “On the Prowl: Cats and Dogs in “Obsession: Nudes by Klimt, Schiele MELBOURNE, AUSTRALIA French Prints” and Picasso from the Scofield Thayer “Colony: Australia 1770–1861” 5 September 2017 – 31 July 2018 Collection” 15 March – 15 July 2018 “Set in Stone: Lithography in Paris, 1815–1900” 3 July – 7 October 2018 “Colony: Frontier Wars” 20 January – 29 July 2018 “Leon Golub: Raw Nerve” 15 March – 2 September 2018 Zimmerli Art Museum, Rutgers University 6 February – 27 May 2018 National Gallery of Victoria http://zimmerlimuseum.rutgers.edu The Met Breuer http://ngv.vic.gov.au http://metmuseum.org NEW HAVEN, CT MILAN, ITALY “Japan’s Global Baroque, 1550–1650” “Before/On/After: William Wegman and “Matt Mullican: The Feeling of Things” 23 February – 21 May 2018 California Conceptualism” 12 April – 16 September 2018 “Joel Shapiro: Plaster, Paper, Wood 17 January – 15 July 2018 Pirelli HangarBicocca and Wire” “Visitors to Versailles (1682–1789)” http://hangarbicocca.org 2 March – 10 June 2018 16 April – 29 July 2018 Yale University Art Gallery http://artgallery.yale.edu

48 Art in Print May – June 2018 The Metropolitan Museum of Art SAN JOSE, CA UNIVERSITY PARK, PA http://metmuseum.org “Printstallations” “Dox Thrash, Black Life, and the “Grant Wood: American Gothic and 17 February – 10 June 2018 Carborundum Mezzotint” Other Fables” San Jose Institute of Contemporary Art 16 January – 20 May 2018 2 March – 10 June 2018 https://www.sjica.org/ Palmer Museum of Art Whitney Museum of American Art https://palmermuseum.psu.edu/ http://whitney.org SANTA FE, NM “Rolande Souliere: Form and Content” VEVEY, SWITZERLAND NORTHAMPTON, MA 9 January 2018 – 27 January 2019 “Alexis Forel Graveur” “体 Modern Images of the Body from IAIA Museum of Contemporary Native Arts 30 March – 27 May 2018 East Asia” http://iaia.edu Musée Jenisch Vevey 2 February – 26 August 2018 http://museejenisch.ch/ “Flowering Stars: Prints by Dwight Pogue” ST. LOUIS 13 April – 19 August 2018 “The New York Collection for VIENNA Smith College Museum of Art Stockholm Portfolio” “Keith Haring” http://smith.edu/artmuseum 2 January – 21 May 2018 16 March – 24 June 2018 Kemper Art Museum Albertina OXFORD, UK Washington University in St. Louis http://albertina.at “America's Cool Modernism: http://www.kemperartmuseum.wustl.edu/ O’Keeffe to Hopper” “Sun Xun: Time Spy” WALNUT CREEK, CA 23 March – 22 July 2018 16 February – 12 August 2018 “Personal to Political: Celebrating the African Ashmolean Museum of Art and Archaeology Saint Louis Art Museum American Artists of Paulson Fontaine Press” University of Oxford http://slam.org 15 April – 24 June 2018 http://ashmolean.org Bedford Gallery STUTTGART, GERMANY http://www.bedfordgallery.org PHILADELPHIA “Gemalt, Gedruckt, Gebraucht: “Keith Smith at Home” Bild und Buch in Spätmittelalter” WASHINGTON, DC 17 February – 8 July 2018 9 February – 27 May 2018 “Georg Baselitz” “Biting Wit and Brazen Folly: British Staatsgalerie Stuttgart 21 June – 16 September 2018 Satirical Prints, 1780s–1830s” https://staatsgalerie.de Hirshhorn Museum and Sculpture Garden 4 May – 22 August 2018 http://hirshhorn.si.edu Philadelphia Museum of Art SUDBURY, UNITED KINGDOM https://www.philamuseum.org/ “Cedric Morris at Gainsborough’s House” “Heavenly Earth: Images of 10 February – 17 June 2018 Saint Francis at La Verna” PITTSBURGH, PA Gainsborough’s House 25 February – 8 July 2018 “Under the Blankets: Printmakers Together” http://gainsborough.org “Sharing Images: Renaissance Prints 4 May – 8 July 2018 into Maiolica and Bronze” Pittsburgh Center for the Arts THE HAGUE, NETHERLANDS 1 April – 5 August 2018 http://center.pfpca.org “A Breath of Fresh Air: The Barbizon School” National Gallery of Art 24 March – 24 June 2018 http://nga.gov PONCE, PUERTO RICO Gemeentemuseum Den Haag “Pequeños tesoros de la Frick Collection” https://gemeentemuseum.nl 17 March – 6 August 2018 Museo de Arte de Ponce https://www.museoarteponce.org

PRINCETON, NJ “Frank Stella Unbound: Literature and Printmaking” 19 May – 23 September 2018 Princeton University Art Museum http://artmuseum.princeton.edu

RICHMOND, VA “Birds & Poppies: Large-Scale Woodcuts by Richard Ryan” 16 January – 2 July 2018 Joel and Lila Harnett Museum of Art University of Richmond https://museums.richmond.edu/

SAN FRANCISCO “Coming Together: Artistic Traditions of the Quilt and the Print” 4 November 2017 – 27 May 2018 “Weapons of Mass Seduction: The Art of Propaganda” 5 May – 7 October 2018 “First Impressions: Prints from the Anderson Collection” 2 June – 8 December 2018 de Young Museum https://deyoung.famsf.org/ In Washington, DC, through 5 August: “Sharing Images: Renaissance Prints into Maiolica and Bronze.” Marcantonio Raimondi after Raphael, Il Morbetto (The Plague)(ca. 1515–16), engraving, 19.5 x 25.2 cm. National Gallery of Art, Washington, Gift of W.G. Russell Allen.

Art in Print May – June 2018 49 “Hung Liu In Print” New Books Joan Snyder/Selected Prints 1975-2018 19 January – 8 July 2018 Marilyn Symmes National Museum of Women in the Arts Allen Ruppersberg: Intellectual Property 26 pages, 11 illustrations https://nmwa.org/ 1968–2018 Published by Anders Wahlstedt Fine Arts Edited with text by Siri Engberg. Introduction New York, 2018 “The Sweat of Their Face: by Olga Viso. Text by Thomas Crow, Matthew S. $15. Portraying American Workers” Witkovsky, Aram Moshayedi, Allen Ruppersberg 3 November 2017 – 3 September 2018 352 pages, 120 color and 100 b/w illustrations “Black Out: Silhouettes Then and Now” Published by Walker Art Center, Minneapolis, 11 May – 24 March 2019 2017 National Portrait Gallery $60. http://npg.si.edu

WELLESLEY, MA “Intermezzi: The Inventive Fantasies of Max Klinger” 13 February – 10 June 2018 Davis Museum, Wellesley College https://www.wellesley.edu/davismuseum/

ZURICH “Irene Kopelman: On Glaciers Other News and Avalanches, In Search of Glaciological Traces” Gillian Ayres (1930–2018) 25 April – 24 June 2018 Gillian Ayres, one of Britain’s leading abstract Graphische Sammlung ETH Zürich painter-printmakers, died on 11 April, at the age http://gs.ethz.ch of 88. Born in London, she exhibited with Young Contemporaries in 1949, with the London Group Symposia and Conferences in 1951, and was included in the Whitechapel The Printed Image: The Flowering of Art Gallery’s important 1963 exhibition “British Painting in the 60s.” She continued to exhibit BIRMINGHAM, UK Japan’s Wood Block Print Culture actively throughout her life. She was elected to “Script, Print, and Letterforms in Global Text by Matthi Forrer the Royal Academy in 1987, was shortlisted for Contexts: The Visual and the Material” 400 pages, 400 color illustrations the Turner Prize in 1989, and was appointed a 28 – 29 June 2018 Published by Walther König, Köln, 2018 CBE in 2011. Birmingham City University $55. After making her first group of three etchings http://www.cphc.org.uk for Alan Cristea Gallery in 1998, Ayres became an active and dedicated printmaker, working with ROME, ITALY master printers Jack Shirreff at 107 Workshop “Print Think Conference 2018” in Wiltshre, and Peter Kosowicz at Thumbprint 14 – 22 May 2018 Editions, London. Her most recent woodcuts, Temple University Rome published in 2017 were true to form, with bright, https://tyler.temple.edu/print-think-2018 interlocking blocks of color and spirited compositions. WARSAW, POLAND Ayre’s paintings and prints can be found in “Multiplied and Modified: Reception of many major museum collections, including the the Printed Image in the Fifteenth and Tate; the British Museum; the Museum of Mod- Sixteenth Centuries” ern Art, New York; Museum of Fine Art, Boston; 28 – 29 June 2018 and the National Gallery of Australia, Canberra. University of Warsaw and the National Museum in Warsaw http://reframedimage.uw.edu.pl/ Artists Who Make Books Edited by Andrew Roth, Philip E. Aarons and Auctions Claire Lehmann 336 pages, 450 illustrations LONDON Published by Phaidon, London, 2017 “Evening & Day Editions” $125. 7 June 2018 Phillips https://www.phillips.com/

NEW YORK “Contemporary Art” 22 May 2018 Swann Auction Galleries http://www.swanngalleries.com/

Events

NEW YORK “IPCNY Spring Benefit Dinner & Silent Auction” 21 May 2018 Tribeca Rooftop Gillian Ayres at home on the Cornwall / North http://ipcny.org Devon border, 2009. Photo: Mike Hoban.

50 Art in Print May – June 2018 BIG BOTANY

THROUGH 07Spencer 15 Museum 2018 of Art University of Kansas

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Included in The Sharkive Print Collection: Yvonne Jacquette, Whitney Construction at Dusk (2015), color lithograph, 34 1/4 x 31 1/2 inches. Edition of 30. Printed and published by Shark’s Ink, Lyons, CO.

Prints For Protest™ 2018 Campaign University of Colorado Art Museum www.artinprint.org In the wake of the 2016 election, students at the Acquires Sharkive Print Collection Rhode Island School of Design created a set of The Sharkive—more than 40 years of prints and prints to raise money for the ACLU, Black Lives related materials produced with master printer Matter, CAIR, Make the Road NY, Planned Par- Bud Shark at Shark’s Ink—has been acquired enthood and Sane Energy Project. The project by the University of Colorado Art Museum in raised $7,529. A second round of Prints For Pro- Boulder. The collection includes more than test have now been launched, with a new web- 700 signed prints by major contemporary art- site, and all profits will support the ACLU, The ists such as Enrique Chagoya, Red Grooms, John Audre Lorde Project, Black Lives Matter, Make Buck, Robert Kushner, Betty Woodman and the Road NY, Planned Parenthood and Southside Hung Liu , as well as artist studies, trial proofs, Community Land Trust. Please visit https://www. unique proofs with paper alternatives and art- printsforprotest.org/. ist and printer’s notes and correspondence. The nearly $1.35 million acquisition will increase the Betsy Best campus museum’s total holdings about 40 per- Fred Sandback Archive Pattern Play Anne Burton New Online Print Catalogue cent. An exhibition is being planned for 2021, Woodcut Print Invitational Brian Curling The Fred Sandback archive has launched an online and works will be available by appointment Jean Gumpper catalogue providing comprehensive documenta- beginning in 2019. Bud, however, is not retir- June 1 – July 31, 2018 Keiko Hara tion of the late artist’s graphic work, produced ing: “I plan on continuing to print until I can’t over the course of four decades. More than 200 anymore.” works are included, with detailed information and new photography. The broader website includes exhibition news; complete texts and interviews by and with Sandback; a history of exhibitions of the work from 1967 to the present, and a bibliography Please submit announcements of from 1968 to the present. For more information exhibitions, publications and and to download the catalogue, please visit https:// other events to www.fredsandbackarchive.org/. 2055 O Street Lincoln, NE 68510 [email protected]. www.constellation-studios.net

Art in Print May – June 2018 51 the California Society of Printmakers PRESENTS

OUTSIDE THEFRAME THINKING

May 18 - Sept 30, 2018 reception Thurs May 17, 6-8pm The California Society of Printmakers is proud to provide members with this opportunity to take risks and push the boundaries of printmaking. Beth Fein Betty Friedman Robynn Smith Karen Gallagher-IversoN Ewa Gavrielov Ginger Tolonen Kent Manske Ellie Honl Michelle Murillo Donna Westerman Ashley Rodriguez Reed Luz Marina Ruiz Katherine Venturelli Carrie Ann Plank “Rescoldo” Luz Marina Ruiz

Printmaking has often been characterized by its unconventional use of traditional techniques. THINKING OUTSIDE THE FRAME reflects that spirit of innovation Juror Cathy Kimball in awe-inspiring works that include woven paper, artists’ books, large scale, multi-panel prints and even video. The 14 artists in this exhibition explore the Executive Director and Chief Curator various permutations of printmaking methods and installation approaches, San Jose Institute of Contemporary Art successfully bending the dynamics of this age-old art form. - Cathy Kimball

Detail from “Untitled 196”, Betty Friedman THINKING OUTSIDE THE FRAME is generously supported by The Daane Family and The California Society of Printmakers. caprintmakers.org

The California Society of Printmakers, CSP National the oldest printmaking organization in the nation, is proud to host a juried exhibitionThe California Society of Printmakers, the oldest of work responding to the issues andprintmaking organization in the nation, is excited challenges of global climate change.to provide membersCli withm aRt CALL FOR ENTRY This is a NATIONAL CALL to all printmakersthis opportunity to take risks and push the boundaries addressing climate change acrossof the printmaking. 2018 Membership Climate Actionis open to S printmakersummit Ex hibit throughout the world. Open to ALL Printmakers United States, including CSP members. The exhibition is scheduled to coincide September 8 - 23, 2018 with the September 2018 Global Climate Academy of Art University Cannery Galleries Deadline June 11, 2018 Action Summit in San Francisco. JUROR: Gail Wight,52 ArtAssociate in Print ProfessorMay – June 2018 Stanford University http://www.caprintmakers.org/call-for-entry-climart/ VISIT OUR WEBSITE TO SEE NEW PRINTS FROM

RICHARD HAAS MASER JUDY PFAFF DAN RIZZIE ALISON SAAR SWOON

WWW.TANDEMPRESS.WISC.EDU Maser Genus, 2017 [email protected] Relief, ed. 30 608.263.3437 24 x 18 inches

Art in Print May – June 2018 53 POLLY APFELBAUM Atomic Mystic Puzzle 8 | 2017 25 5/8 x 25 5/8 in (65.1 x 65.1) Woodblock Monoprint on Handmade Japanese Paper

DURHAM PRESS 892 Durham Road | PO Box 159 | Durham, PA 18039 | 610.346.6133 | www.durhampress.com

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PATRICIA TREIB NEW ETCHINGS

on view in the gallery May 3 - June 30, 2018

Cuff, 2018 Color sugar lift and soap ground aquatints with aquatint 20¾ x 16½", edition 25

Crown Point Press 20 Hawthorne Street San Francisco CA 94105 crownpoint.com 415-974-6273

External Determination 42 (2018) monotype, 33 x 54 in. JENNIFER MARSHALL new large-scale monotypes J U N G L E P R E S S E D I T I O N S 232 THIRD STREET BROOKLYN NY 11215 Contact: Andrew Mockler at [email protected]

Art in Print May – June 2018 55 Harvey Quaytman Dolan/Maxwell 2046 Rittenhouse Square (1937–2002) Philadelphia, Pennsylvania 19103 215.732.7787 Left: Untitled Blue Yellow 1988; Center: Untitled Red Black 1988; Right: Untitled Diamond 1988 All aquatint, mezzotint & screenprint with glass beads, editions of 20, image/sheet 34 x 34”, each signed in recto www.DolanMaxwell.com

new edition

Barbara Takenaga Falling (blue concentrate)

Five plate aquatint etching Edition of 25 plate 24 x 18 inches sheet 33.125 x 25.875 inches

[email protected] wingatestudio.com +1 603 239 8223

56 Art in Print May – June 2018 JOHN NEWMAN NEW LITHOGRAPH

“A Small Monument for Heliotropism” (2018) color lithograph 20 x 18 inches edition of 25

SHARk’S INk. sharksink.com

MODERN & CONTEMPORARY PRINTS & MULTIPLES Tuesday May 22, 2pm New York

International Auctioneers and Appraisers bonhams.com/prints

Art in Print May – June 2018 57 Contributors to this Issue

Brian D. Cohen is a printmaker, painter, writer and educator. He founded Bridge Press, publisher of limited edition artist’s books and etchings, in 1989. His artist’s books and prints have been shown in 40 individual exhibitions and more than 150 group shows, and his essays and reviews have appeared, in print and online, in national journals and magazines.

Angela Griffith is an assistant professor with the Department of the History of Art and Architecture, Trinity College Dublin. Her research focuses on the art and agency of the printed image from early modernism to contemporary practices.

Linda Konheim Kramer is the Executive Director Emerita of the Nancy Graves Founda- tion. She had previously held curatorial and administrative positions at the Guggenheim ㄀㌀䔀愀猀琀㘀㤀琀栀匀琀爀攀攀琀一攀眀夀漀爀欀Ⰰ 一夀㄀㈀㄀ Museum and was Curator of Prints and Drawings at the Brooklyn Museum. She received her ㈀㄀㈀ⴀ㔀㜀 ⴀ 㤀椀渀昀漀䀀琀甀渀椀挀欀愀爀琀⸀挀漀洀眀眀眀⸀琀甀渀椀挀欀愀爀琀⸀挀漀洀 PhD from New York University, Institute of Fine Arts.

Nicole Meily is curatorial assistant of the Andy Warhol Film Project at the Whitney Museum of American Art, where she is working on the second volume of the Warhol film catalogue raisonné. As an undergraduate at Loyola Maryland she curated a show of Honoré Daumier lithographs, and she retains an enthusiastic interest in prints.

Marsha Morton is Professor of Art History at Pratt Institute in Brooklyn. Her books include Max Klinger and Wilhelmine Culture: On the Threshold of German Modernism (Ashgate 2014) and the co-edited anthology The Arts Entwined: Music and Painting in the Nineteenth-Century (Garland 2000). She has published numerous articles and catalog essays on 19th-century German and Austrian art and visual cultural history, many with a focus on interdisciplin- New Prints ary topics. Morton has served as president of The Historians of German, Scandinavian, and by Central European Art (HGSCEA) for the past two terms. Richard Bosman Jane E. Goldman Liza Oliver is Assistant Professor of Art History and an affiliate faculty of South Asia Studies Sidney Hurwitz at Wellesley College. She researches and publishes on visual cultures of colonialism in the Hugh Kepets 18th and 19th centuries. She has a particular interest in early 19th-century European print Catherine Kernan culture and has previously published on the Napoleonic Description de l’Egypte (1809–1828). Her current book project, Forging French India: Art, Trade, and Imperialism in the Early Modern

Printer/Publisher & Dealer of Fine Prints Since 1980 Era, explores the integration of the French East India Company with the 17th- and 18th- www.StewartStewart.com century textile industries of India’s Coromandel Coast.

is a Saint Paul-based writer on the visual arts, architecture, applied arts and Member Mason Riddle design who contributes to a range of publications. She is also a fine arts appraiser and is a member of the International Society of Appraisers and is a communications consultant for the Minnesota Design Center. She is the former director of the Goldstein Museum of Design and the Percent for Art in Public Places program.

Christian Rümelin is Keeper of Prints and Drawings at the Musées d’art et d’histoire in Geneva, which houses one of the most outstanding collections of prints produced after World War II. He has published extensively on various aspects of printmaking, both Old Masters and contemporary.

Jacob Samuel has been printing etchings for 42 years. Between 1988 and 2015 Edition Jacob Samuel (EJS), published 65 series of prints with 60 artists, including Marina Abramović, Mona Hatoum, Jannis Kounellis, Josiah McElheny, Meredith Monk, Gabriel Orozco, Ed Ruscha, Christopher Wool and Jonas Wood. The complete EJS archives are held by LACMA and the Hammer Museum (jointly); and the Museum of Modern Art (NY). His new imprint, Green Dolphin Street was founded in 2016.

Jonas Wood is a Los Angeles-based painter and printmaker. Since 2004 he has produced more than 50 print editions, and the first retrospective survey of his prints was organized by Gagosian New York in spring 2018. His work is held by many museums including the Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Museum of Contemporary Art, Chicago.

Susan Tallman is the Editor-in-Chief of Art in Print.

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