On Domesticity • Cézanne, Wallpaper and Painting • Edward

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The Global Journal of Prints and Ideas September – October 2014 Volume 4, Number 3

On Domesticity • Cézanne, Wallpaper and Painting • Edward Bawden in 1949 • Paper Dresses • Jim Dine • Jasper Johns Lyonel Feininger • Chiaroscuro Woodcuts • Wall Works • Louise Lawler • Beyond Tamarind • Prix de Print • News if pda The International Art Fair November 5 – 9 for Fine Prints and Editions Park Avenue Armory Old Master to Contemporary New York

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Plan Your Visit www.printfair.com September – October 2014 In This Issue Volume 4, Number 3 EXHIBITORS

Aaron Galleries | Glenview, IL Marlborough Graphics | New York Editor-in-Chief Susan Tallman 2 Susan Tallman On Domesticity Brooke Alexander, Inc. | New York, NY Mixografía® | Los Angeles, CA print fair Allinson Gallery, Inc. | Storrs, CT Frederick Mulder | London, United Kingdom Associate Publisher Julia V. Hendrickson 3 Cézanne and Wallpaper: Backgrounds Arion Press | San Francisco, CA Neptune Fine Art | Washington, DC Julie Bernatz As Imaginary As They Are Real Armstrong Fine Art | Chicago, IL Carolina Nitsch | New York, NY Managing Editor Ars Libri Ltd. | Boston, MA The Old Print Shop, Inc. | New York, NY Dana Johnson Andrew Raftery 7 The Art of Japan | Medina, WA Osborne Samuel Ltd. | London, United Kingdom Charm, the Great English Blight: Edward Bawden in 1949 Emanuel von Baeyer | London, United Kingdom Pace Prints | New York, NY News Editor Isabella Kendrick James A. Bergquist | Newton Centre, MA Paragon | London, United Kingdom Stamos Fafalios and Joel R. Bergquist Fine Art | Palo Alto, CA Paramour Fine Arts | Franklin, MI Manuscript Editor Vassilis Zidianakis 14 C. G. Boerner | New York, NY Paul Stolper Gallery | London, United Kingdom Prudence Crowther ‘Fragile,’ ‘Souper’ and POP! The Atopos Paper Fashion Collection Galerie Boisserée | Cologne, Germany Paulson Bott Press | Berkeley, CA Online Columnist Niels Borch Jensen Editions | Copenhagen, Denmark Polígrafa Obra Gráﬁ ca | Barcelona, Spain Sarah Kirk Hanley Susan Tallman 18 Catherine E. Burns | Oakland, CA Pratt Contemporary / Pratt Editions | Kent, United Kingdom Marking Marx: Jim Dine’s History of William P. Carl Fine Prints | Durham, NC Paul Prouté | Paris, France Design Director Communism Skip Langer Childs Gallery | Boston, MA Redfern Gallery Ltd. | London, United Kingdom Prix de Print, No. 7 22 Alan Cristea Gallery | London, United Kingdom Helmut H. Rumbler Kunsthandel | Frankfurt, Germany Editorial Associate Nigel Frank Crown Point Press | San Francisco, CA Mary Ryan Gallery | New York, NY Michael Ferut A Television ‘Tronie’ by Brian Cohen Dolan/Maxwell | Philadelphia, PA Scholten Japanese Art | New York, NY Reviews

Sarah Grant 29 Thomas French Fine Art | Fairlawn, OH Sims Reed Gallery | London, United Kingdom Chiaroscuro Woodcut: Galerie St. Etienne | New York, NY Carl Solway Gallery | Cincinnati, OH Baselitz Divided Pia Gallo | New York, NY Stanza Del Borgo | Milan, Italy Susan Tallman 32 Gemini G.E.L. at Joni Moisant Weyl | New York, NY Stewart & Stewart | Bloomﬁ eld Hills, MI Frameless: Wall Works in Berlin Roger Genser: The Prints and the Pauper | Santa Monica, CA Stoney Road Press | Dublin, Ireland Sharon Mizota 36 Gerrish Fine Art | London, United Kingdom John Szoke | New York, NY Beyond Tamarind: June Wayne Israel Goldman | London, United Kingdom Tamarind Institute | Albuquerque, NM Goya Contemporary/Goya-Girl Press | Baltimore, MD Tandem Press | Madison, WI Owen Duffy 38 Vector Analysis: Louise Lawler Conrad R. Graeber Fine Art | Riderwood, MD Susan Teller Gallery | New York, NY Graphicstudio/U.S.F. | Tampa, FL Simon Theobald Ltd | London, United Kingdom Chara Kolokytha 39 Line v. Color: Matisse Prints Antiquariat Günter Linke | Berlin, Germany The Tolman Collection | New York/Tokyo On the Cover: Edward Bawden, detail of Hill-Stone, Inc. | South Dartmouth, MA David Tunick, Inc. | New York, NY Jasper Kettner 40 The Baker (1949), color lithograph from six Christiane Baumgartner: White Noise Bernard Jacobson Graphics | London/New York Two Palms | New York, NY hand-drawn zinc plates, 9.8 cm x 15.5 cm. Jan Johnson Old Master & Universal Limited Art Editions, Inc. | Bay Shore, NY ©The Estate of Edward Bawden. Hans Jakob Meier 42 Will Photography Kill Engraving? Modern Prints, Inc. | Quebec, Canada Ursus Rare Books | New York, NY R. S. Johnson Fine Art | Chicago, IL Verne Collection, Inc. | Cleveland, OH This Page: Justin Diggle, detail of Window News of the Print World 45 Jim Kempner Fine Art | New York, NY Diane Villani Editions | New York, NY Watcher (2014), etching and photo etching, image 39 x 22 inches, sheet 44 x 22 inches. Contributors 60 Galerie Sabine Knust | Munich, Germany William Weston Gallery Ltd. | London, United Kingdom Edition of 5. Printed and published by the artist, Guide to Back Issues 62 Barbara Krakow Gallery | Boston, MA Weyhe Gallery | Mount Desert, ME Salt Lake City, UT. August Laube Buch-und Kunstantiquariat | Zurich, Switzerland World House Editions | Middlebury, CT Daniela Laube Fine Art | New York, NY Worthington Gallery | Chicago, IL Art in Print Jörg Maass Kunsthandel | Berlin, Germany 3500 N. Lake Shore Drive Suite 10A Presented by The International Fine Print Dealers Association Chicago, IL 60657-1927 www.ifpda.org www.artinprint.org [email protected] Show managed by Sanford L. Smith & Associates, Ltd. 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published ONLINE EXCLUSIVELY at without the written consent of the publisher. Champion & Partners Pop-Up Restaurant hosted by Proud Sponsor of The Richard Hamilton Acquisition Prize

Art in Print_Sept_Oct_2014.indd 1 8/11/14 11:43 AM On Domesticity By Susan Tallman

here are many words of faint praise prompted a flurry of artworks that imi- T with which works of art can be tated domestic objects, and domestic damned, but “domestic” is surely one objects that imitated artworks. Among of the most condescending. Even if we the most quixotic of these hybrids were eliminate the servitude attached to the the paper dresses produced in the late noun, the adjective is often meant to 1960s and surveyed here by Stamos denote things that are small and tame Fafalios and Vassilis Zidianakis. The without the compensating virtue of being “Wall Works” exhibition at the Ham- endearing. Important art, we are told burger Bahnhof (reviewed on p. 32) docu- again and again, is large and wild—bel- mented a further stage in this trajectory: ligerent rather than accommodating, the appropriation of whole swathes of adventurous rather than homely. In a interior architecture, not as backdrop but word: nondomestic. as a primary surface for art. Louise Lawl- The obvious gender component to er’s recent works (review by Owen Duffy) these distinctions has been broadly seize control of the wall through scalable acknowledged: in contrast to the manly vector tracings of her earlier photographs realms of battle, industry and executive of the private life of “great art”—the Pol- office suites, feminized domestic space lock in the dining room, the Hirst in the has been seen, almost by definition, as storage space. less culturally significant—the realm of The private collection is an obvious decoration rather than of art and intel- nexus of art and domesticity, and Sarah lect. This is problematic in and of itself, Fragment of lining or wallpaper (late 17th Grant examines a thought-provoking but it has had specific implications for century), woodblock print on paper, from a deed pair of exhibitions: Georg Baselitz’s the print. Prints are traditionally domes- box found at Clandon Park, Surrey, England. superb collection of chiaroscuro wood- tic in scale and demeanor—they live ©Victoria and Albert Museum, London. cuts, and Count Duerckheim’s collection indoors—and this quality has certainly of Baselitz (and other postwar German contributed to their marginalization. At were made to reclaim domesticity as a artists). the same time, of course, prints are the domain of critical thought and creativ- The title of Edward Bawden’s 1946 Life most widely traveled, socially gregarious ity: Henri Matisse (exhibition review by in an English Village suggests twee domes- and conceptually complex of art objects. Chara Kolokytha) famously invited the tic cliché, but as Andrew Raftery shows, For this issue of Art in Print we invited domestic environment into the picture the book is both a gimlet-eyed depiction writers, artists and scholars to consider with his ideal of an art that was “some- of postwar domestic life and a compli- domesticity—the domain where art and thing like a good armchair which pro- cated domestic object in its own right, life intersect most intimately—in all its vides relaxation from physical fatigue.” small enough to fit in a jacket pocket conflicted glory. The early prints of Lyonel Feininger without deforming the seams—modest, One of the many achievements of (exhibition review by Catherine Bind- unassuming, stealthy and sad. Perilous 19th-century French art was its reasser- man) purposefully invoked the small discontent is similarly the implicit sub- tion of domestic life as a legitimate sub- scale and casual intimacy of childhood ject of Brian Cohen’s tender portrait etch- ject of painting (picking up where the toys. June Wayne (exhibition review ing, selected by Nigel Frank as the winner Dutch 17th century left off)—pictures of by Sharon Mizota) experimented with of this issue’s Prix de Print, in which the casual interiors proliferated at the same “domesticated” art forms from prints gleaming pate of Walter White, Breaking time that new print technologies altered to textiles. Bad’s milquetoast meth-dealer, emerges the appearance of those interiors. Julia Jasper Johns’ recent prints (exhibitions from oblivion. Hendrickson looks at how Impressionist review by Allison Rudnick) continue to We round off the issue with Jasper and Post-Impressionist painters manip- intertwine the pedestrian and the pro- Kettner’s review of White Noise, the first ulated printed wallpaper backdrops to found: the bruised title of his Regrets major catalogue of the prints of Chris- serve the modernist reconfiguration of series comes from a rubber stamp the tiane Baumgartner, whose smart, com- space and representation. Stephen Bann’s artist had made for declining invitations. pelling, rock-solid renditions of ephem- new book, Distinguished Images, reviewed Jim Dine (edition review on p. 18) bridges eral imagery bring it all home. here by Hans Jakob Meier, details the the impersonal realm of ideology and slow, meandering drift in 19th-century his own hardware store of the heart by Susan Tallman is the Editor-in-Chief of attitudes as engraving gave way to photo- supplementing found East German litho- Art in Print. graphic reproduction on the one hand graphs with his own toolbox. and “original” prints on the other. The postwar desire of artists to break Throughout the past century, efforts down the barriers between art and life

2 Art in Print September – October 2014 Cézanne and Wallpaper: “Backgrounds As Imaginary As They Are Real” By Julia V. Hendrickson

English wallpaper (c. 1850-1860), panel of flock wallpaper with gold quatrefoils on a dark brown ground. Supplier: W. B. Simpson & Sons Ltd., London. Victoria and Albert Museum, London.

their portraits and still life paintings.2 As a decorative, mechanically produced product, wallpaper presented a series of rules (symmetry, balance, order) that could be broken. Susan Sidlauskas identifies a “mix of asymmetry, imbalance, and distortion” as three major qualities of domestic figuration “that have come to be identified as the early signs of ‘modernity’ in painting.”3 Using wallpaper as a tool to challenge aca-

Paul Cézanne, Madame Cézanne Sewing (Portrait of the Artist’s Wife) (c.1877), oil on canvas, demic modes of painting, modern painters 59.5 x 49.5 cm. Nationalmuseum, Stockholm. systematically upended the rules of perspective, color and subject matter. While wallpaper handprinted from t the turn of the 20th century, a decorative products and wallpaper. The woodblocks had been in use in Europe A curious symbiosis developed be- origins of this complex relationship since the early 1500s, it remained a lux- tween decorative arts—especially wall- between painting and the decorative arts ury product until the early 19th century.4 paper—and painting, even as modern can be traced back along many avenues, In the 1830s relief-cut cylinders used for painters were increasingly asserting from Wagnerian Gesamtkunstwerken to fabric printing were adapted to print their independence from tradition. The the socio-aesthetic reforms of William wallpaper, and by 1844 the production Nabi artists Maurice Denis and Pierre Morris, but one intriguing line of descent of continuous roll paper, improvements Bonnard designed wallpaper, screens, runs through the development of modern in cylinder printing and the adaptation murals, furniture and ceramics through- painting itself. of steam power had made possible the out the 1890s and early 1900s.1 The Mai- In the 1870s a number of French artists mechanical production of wallpapers son Cubiste at the 1912 Salon d’Automne began using strange, nonrealistic depic- printed with as many as 54 colors.5 By displayed Cubist painting alongside tions of wallpaper in the backgrounds of the late 1850s, wallpaper could be cheaply

Art in Print September – October 2014 3 prominently placed): crisscrossing ochre rows of florets and leaves that merges prelapsarian nature and modern mecha- nization. Edgar Degas, who turned toward the depiction of modern life in the 1860s, incorporated wallpaper with varying degrees of precision. Woman Seated beside a Vase of Flowers (Madame Paul Valpin- çon?) from 1865 sets an overripe bouquet against the regular patterns of both wallpaper and table cloth (the sitter is rel- egated to the edge of the picture), while his Portrait of a Woman in Gray painted around the same time eschews a realistic background in favor of mottled, playful green brushstrokes against a shadowed yellow. In Portrait of Mlle. Hortense Valpin- çon (c. 1871), a young girl appears in front of a stretch of floral pattern that evokes the broad expanses of nature. The pattern loosens as it approaches the edges of the canvas, so that flowers seem to hover around the girl in an indeterminate space. The pale blue floral wallpaper inLa famille Bellelli (1858–67) articulates a psychological division of space separating the femi- nine domestic sphere from the father. It was Paul Cézanne, however, who experimented most radically with wallpaper, remaking it from a backdrop into a subject. In two portraits of the artist’s wife from the late 1870s, wallpaper helps create the disorienting space of the modernist picture plane and, at the same time, shows its force in the evocation of psychological content. In Mme Cézanne in a Red Armchair, Hortense stares forward, wearing a blue-green jacket and bow above a full skirt with vertical stripes. Perched in a misshapen red chair that Rainer Maria Rilke described as “a personality in its own right,” she is framed by ochre wallpaper bearing blue quatrefoil motifs.6 In Madame Cézanne Sewing, Hortense is Above: Edgar Degas, A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?) looking down at her hands, which hold a (1865), oil on canvas, 73.7 x 92.7 cm. Metropolitan Museum of Art, H. O. Havemeyer Collection, Bequest tumbling, angular blue-gray mountain of of Mrs. H. O. Havemeyer, 1929. Below: Edgar Degas, Portrait of Mlle. Hortense Valpinçon (ca.1871), fabric that fills the entire bottom of the oil on mattress ticking, 75.57 x 113.67 cm. Minneapolis Institute of Art, The John R. Van Derlip Fund. painting. The red chair, still unwieldy, engulfs her body. Her head is flanked by printed, and in the subsequent decades it tic interiors (found in department stores, the same blue and ochre wallpaper on the became pervasive in most middle-class sample books and advertising), it conse- right and a door on the upper left.7 European homes. quently began to appear more frequently In both paintings, Cézanne inter- Portrait painting of the 1830s and ’40s in paintings. In James Tissot’s Portrait de rupts what should be a mechanically rarely showed printed wallpaper: both Mlle L.L. (Jeune fille en veste rouge) (1864), repeating grid so that blue shapes float Eugène Delacroix and Jean-Auguste- delicate pink and blue wallpaper flowers ungrounded around Hortense’s head, Dominique Ingres usually downplayed frame the indolent posture and heavy at times almost overlapping the chair. backgrounds altogether in order to high- clothes of the sitter, behind whose head a Maurice Merleau-Ponty noted, “In a por- light the figure as the focal point. By the mirror reflects more pattern and an open trait of Mme Cézanne, the border of the 1870s, however, because wallpaper had door. Edouard Manet’s famous Olympia wallpaper on one side of her body does become a cheap, popular fixture of domes- (1863) also contains wallpaper (though less not form a straight line with that on the

4 Art in Print September – October 2014 James Tissot, Portrait de Mlle L.L. (Jeune fille en veste rouge) (1864), oil on canvas, 124 x 99.5 cm. Musee d’Orsay, Paris, France. Photo: Hervé Lewandowski. ©RMN-Grand Palais / Art Resource, NY. other: and indeed it is known that if a line passes beneath a wide strip of paper, the two visible segments appear dislocated.”8 It is possible this irregularity indicates that, rather than depicting a conven- tionally wallpapered room, Cézanne had pinned up multiple sheets of wallpaper as a backdrop (this would also explain the rectangles of plain blue on the left of Mme Cézanne in a Red Armchair). Curator Benedict Leca notes, “Cézanne himself sought to enhance inspiration through an evolving still-life-like collage of prints, reproductions, images of all kinds, and even possibly bolts of wallpaper he affixed to his studio wall.”9 Paul Cézanne, Mme Cézanne in a Red Armchair (c. 1877), oil on canvas, 72.4 x 55.9 cm. Museum Academic interest in Cézanne’s use of Fine Arts, Boston. Bequest of Robert Treat Paine, 2nd, 44.776. Photograph ©2014 Museum of Fine of wallpaper has mostly focused on its Arts, Boston. utility in assigning paintings to specific times and places. The author of the most shallow space, suggesting that the chair perspectives, and a patterned massing of recent catalogue raisonné, John Rewald, is pushed directly against the wall. It also brushstrokes. In paintings such as Apples has expressed frustration with such reli- suggests infinite depth: a yellow field and Biscuits (1879–80) and Still Life with ance on wallpaper: “To follow up the clues stretching back farther than the eye can Fruit Dish (1879–80) Cézanne surrounded provided by a wallpaper pattern would see. The hovering blue motifs, endlessly his still lifes with rich color and mis- mean to disregard all artistic aspects of shifting from solid to gas, augment the aligned patterns that merged background these paintings.”10 But Cézanne did not quality of contemplation—of imagina- and foreground. This collapsing of deco- incorporate such vivid and strategically tive interior life—that suffuses the image: rative and symbolic space marked a fun- placed graphic imagery into his work it is not for us to know what Hortense is damental development in modern art. unknowingly. Indeed, the inclusion of thinking, only that she is thinking. As It would be taken up a decade later the wallpaper is inherently an “artistic Paul Gauguin observed in 1885, “The lit- by Gauguin and Vincent van Gogh, who aspect” of Cézanne’s oeuvre; each element erary side of [Cézanne’s] pictures is like during their time in Arles deployed back- of each painting—its presence and dispo- a parable; his backgrounds are as imagi- ground wallpaper to add Symbolist fore- sition—is the result of intention and car- nary as they are real.”11 boding and mysticism to their portraits. ries meaning. Cézanne’s distinctive use of wallpaper Van Gogh’s La Berceuse series (1889) is one In the two portraits of Mme Cézanne, appeared in the late 1870s in conjunc- example, and the illustrative, graphic line the blue-on-ochre wallpapered back- tion with other radical developments in of wallpaper design continued to appear ground serves two purposes: it delimits his painting: close-cropping, eccentric in Gauguin’s paintings such as Portrait of a

Art in Print September – October 2014 5 Left: Vincent van Gogh, La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930) (1889), oil on canvas, 92.7 x 73.7 cm. Met- ropolitan Museum of Art, The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 1996, Bequest of Walter H. Annenberg, 2002. Right: Paul Gauguin, Portrait of a Young Woman, Vaite (Jeanne) Goupil (1896), oil on canvas, 75 x 65 cm. Ordrupgaard Collection, Copenhagen.

Young Woman, Vaite (Jeanne) Goupil (1896). ducted for my MA dissertation at the Courtauld Frederick A. Stokes, 1923), 2–60. In the 1890s Bonnard and Jean-Édouard Institute of Art, London, in 2012. I’m indebted to 6. Rainer Maria Rilke, Letters on Cézanne [1907, Vuillard used patterned paint to capture my thesis adviser, Gavin Parkinson, and my class- 1952], ed. Clara Rilke, trans. Joel Agee (New claustrophobic interiors—rooms that mates for their advice and assistance. For an up- York: North Point Press, 2002), 70. to-date history of wallpaper production (mainly in 7. The exact wallpaper Cézanne depicted has absorbed their inhabitants with walls of France) with excellent full-color images, see Car- never been identified, but its design is similar to shimmering, shifting color and light, as in olle Thibaut-Pomerantz, Wallpaper: A History of a mid–19th century paper produced by the Brit- Vuillard’s La Liseuse (Intimité) (1896). Styles and Trends (Paris: Flammarion, 2009). For ish company W.B. Simpson & Sons and a French Cezanne’s incorporation of wallpaper— a history of American wallpaper production see wallpaper design by Jules-Edmond-Charles a printed, popular artifact—as a vehicle of Catherine Lynn, Wallpaper in America, from the Lachaise. Seventeenth Century to World War I (New York: 8. Maurice Merleau-Ponty, “Cézanne’s Doubt” both stylistic experimentation and per- The Barra Foundation & W.W. Norton, 1980). [1945], in Sense and Non-Sense, trans. Hubert sonal content changed how subsequent 3. Susan Sidlauskas, “Psyche and Sympathy: L. Dreyfus and Patricia Allen Dreyfus (Evanston, artists would understand and employ the Staging Interiority in the Early Modern Home,” Illinois: Northwestern University Press, 1964), 14. decorative and the mass-produced. in Not at Home: The Suppression of Domesticity 9. Benedict Leca, “The World is an Apple: in Modern Art and Architecture, ed. Christopher Cézanne’s Parisian Still Lifes and Portraits,” in Reed (London: Thames and Hudson, 1996), Cézanne and Paris, ed. Denis Coutagne (Paris: 67–68. Éditions de la RMN–Grand Palais, 2011), 114. Julia V. Hendrickson is a freelance curator, editor 4. See Alison Stewart, “Woodcuts as Wallpaper: 10. John Rewald, The Paintings of Paul Cézanne: and writer. Sebald Beham and Large Prints from Nurem- A Catalogue Raisonné (London: Thames and berg,” in Grand Scale: Monumental Prints in the Hudson, 1996), 1: 217–18. Notes: Age of Dürer and Titian, Larry Silver and Elizabeth 11. Paul Gauguin, “Letters to Emile Schuffe- 1. A few of Maurice Denis’ wallpaper designs were Wyckoff , eds. (New Haven & London: Yale Uni- necker: Thoughts on Aesthetics” [1885], quoted in published in L’Art Decoratif 8 (May 1899): 52, 77. versity Press, 2008). Symbolist Art Theories: A Critical Anthology, ed. Marie Laurencin, Sonia Delaunay, and the artists 5. In the mid-1600s Chinese hand-painted papers Henri Dorra (Berkeley, Los Angeles, London: Uni- of the Omega Group also designed wallpaper in flooded the French market, and in 1688 Jean versity of California Press, 1994), 187. the early 1910s. In the 1920s, both René Magritte Papillion formed the first wallpaper printing house, and Charles Burchfield designed wallpaper pat- developing continuous patterns printed from wood terns for commercial production. For more on con- blocks. To combat English competition, in 1760– nections between modern artists and wallpaper 65 the French lowered export taxes and raised designs, see Marilyn Oliver Hapgood, Wallpaper import taxes on wallpaper. In the late 1790s Zuber and the Artist: From Dürer to Warhol (New York & and Dufour established competing wallpaper London: Abbeville, 1992). companies that used hundreds, even thousands, 2. Portions of this paper stem from research con- of woodblocks per printing. See Phyllis Ackerman, Wallpaper, Its History, Design and Use (New York:

6 Art in Print September – October 2014 Charm, the Great English Blight: Edward Bawden in 1949 By Andrew Raftery

…and what did I find? Charm again. “Not quite my cup of tea,” I thought; “this is too English.” I have the fancy for rather spicy things, you know, not for the shade of the cedar tree, the cucumber sandwich, the silver cream-jug, the English girl dressed in whatever English girls do wear for tennis—not that, not Jane Austen, not M-m-miss M-m-mitford. Then, to be frank, dear Charles, I despaired of you… and Charles—I speak of your art, my dear—is a dean’s daughter in flowered muslin…. …Charm is the great English blight. It does not exist outside these damp islands. It spots and kills anything it touches. It kills love; it kills art; I greatly fear, my dear Charles, it has killed you.” —Anthony Blanche to Charles Ryder in Edward Bawden, The Bell (1949), color lithograph from six hand-drawn zinc plates, 9.8 cm x 15.5 cm. ©The Estate of Edward Bawden. Evelyn Waugh, Brideshead Revisited (1945)1

aving sat through any number of with a wit and aplomb that is irresistibly embroiderers guild—and bring to it pro- H devastating art school critiques charming and unmistakably English. fessionalism, wit and of course charm. since the early 1980s, I must admit that Edward Bawden’s work from the Perhaps his closest American corollary Anthony Blanche is the meanest, most middle 1920s to World War II presents a is Rockwell Kent, who also excelled at so focused and most delicious critic I have highly individual perspective on English many aspects of fine and applied art. ever encountered. He dismisses Charles subjects and visual traditions viewed If Bawden’s career had ended in 1940 Ryder’s paintings for their “charm,” an through modernist forms and tech- he would still be one of the most memo- epithet that, like “tasteful” or “polite,” niques, especially those coming from rable British illustrators of his time. His is both damning and irrefutable when France. Bawden, born in 1903, was part posters for the London Underground and applied in the pejorative sense. I know of a generation too young to partici- Shell and his illustrations for novels and this from experience. pate in World War I and who developed cookbooks mix an appreciation for Vic- Ryder and Blanche are fictional char- new styles while studying in the 1920s.3 torian popular art (Richard Doyle, Staf- acters, and the failure of Ryder’s art is a Trained at the Royal College of Art along- fordshire ceramics, printed ephemera driving force in the plot of Waugh’s great side his great friend, occasional collabo- and decorative arts) with a sophisticated novel. It has proven impossible to find a rator and sometime rival Eric Ravilious, application of modernist influences, such real life model for his artist, though many he studied with John Nash and devel- as the engraved illustrations of Jean- attempts have been made.2 But the ques- oped a broad range of skills that allowed Émile Laboureur. Individuals are simpli- tion of charm as a negative characteris- him to work professionally in many art fied to types and scenes are reduced to tic of English art of the 1920s and ’30s is and design fields. His achievements in their most characteristic graphic forms, nonetheless very real. Within the field of poster and advertising design and book rendered in a dry, slightly askew manner prints, it could be said that Eric Gill, Gwen illustration are balanced by his highly that is funny and a bit reticent. Raverat, Laura Knight, Stanley Anderson, innovative prints, especially linocuts. By the start of World War II, Bawden Robert Austin and Graham Sutherland His deeply individual graphic/painterly was a mature artist, with a reputation as all sought a style that defied Continental vision was expressed in his lifelong prac- an illustrator and designer, and a success- modernist developments with a specifi- tice of watercolor. In the William Morris ful exhibition record for his watercolor cally English charm. Even in the brilliant tradition, he would take any job—beer paintings and prints. He had settled in linocuts of Cyril Powers, Sybil Andrews label, wallpaper, Wedgwood dinnerware, the village of Great Bardfield in Essex, and Lili Tschudi, modernism is tempered murals for ocean liners, tapestry for an acquiring Brick House, a large 18th-cen-

Art in Print September – October 2014 7 Edward Bawden, A Man from Benghazi: Pte Mohamed Libyan Labour Corps. South Afri- can 18th Casualty Clearing Station, Maaten Bagush (1941), ink drawing, 50.9 cm x 63.7 cm. Image ©Crown Copyright: Imperial War Muse- ums. ©The Estate of Edward Bawden. tury residence on the principal street. He married the potter Charlotte Epton and started a family, creating a hub that began to attract other artists to Great Bardfield, notably Ravilious and John Aldridge. When this secure world was disrupted by war, Bawden became an official war artist, a post that took him far from village life and the professional concerns of his cozy circle. The immediacy of his work from Egypt, North Africa and the Middle East—his vivid portraits of living individuals, the settings and purposeful activities depicted—show an artist shaken out of complacency, a reserved person forced to interact closely with others. Bawden maintained his fastidious touch under the most difficult circumstances, but new elements of human sympathy and increased curiosity in the face of the larger world dominate this work. When he returned to Great Bardfield, Bawden encountered a place that had undergone privations (and was still suf- fering under rationing), but appeared largely unchanged. Though Brick House had sustained significant bomb damage (the only building in the village to do so), Bawden’s greatest personal loss in the war Edward Bawden, Life in an English Village: Sixteen Lithographs by Edward Bawden with was his friend Ravilious, killed on a mis- an Introductory Essay by Noel Carrington (book cover) (1949), letterpress in three colors, 18.3 cm x 12 cm. Printed at Curwen Press, Plaistow, London. Published by Penguin Books, London. sion to Iceland while also serving as a war ©The Estate of Edward Bawden. artist. In the immediate postwar period Bawden created a book of prints exam- ining the seemingly placid environment The Bawden volume consists of four artistry and design. It is a seductive object of Great Bardfield in light of his experi- elements: the cover, the short text by Car- that promises delight, yet close examina- ence during the war. The result was Life rington, six line drawings interspersed tion reveals a serious work that questions in an English Village: Sixteen Lithographs by through the text and 16 color lithographs its quintessentially charming subject, Edward Bawden with an Introductory Essay printed by Curwen Press. Unique among English village life. by Noel Carrington, published by Penguin Bawden’s illustrated books, it is driven The cover is a three-color relief print of in 1949 as one of a series of pocket-sized primarily by images. Though the litho- deceptive sophistication. Across the front monographs edited by Nikolaus Pevsner, graphs are printed on both sides of paper and back boards, a gray-green background the great art historian and later author of that is far from deluxe (a reflection of gives way to unprinted paper in a subtly The Englishness of English Art.4 postwar shortages), the book is a gem of repeating pattern of oak leaves, some com-

8 Art in Print September – October 2014 tablecloth with steam rising in the background; a pile of handwoven baskets, useful and ornamental. A confident line and rigorous compositions capture the objects’ spooky sen- tience. Bawden collected these things and lived with them. I understand his impulse, having acquired 19th-century British ceramics and decorative arts with similar characteristics myself. Their infinite charm seduces me as it seduced him. They have a vivid presence that belies the fact that they represent an era that can never be reclaimed (an era that was, from a medical and sociopolitical point of view, pretty dreadful). The elegiac quality of these drawings is quite different from the liveliness of his work in the 1930s. The salt shaker and celery glass Bawden drew as a tailpiece for the cookbook Good Food on the Aga in 19336 may indeed be Victorian, but the fly that perches on the glass rim and the freshly cut cucumber within add a sense of transience and quickness that is Left: Edward Bawden, Teapots (1949); Right: Staffordshire Figures (1949); photomechanical relief absent in the six English Village cuts. prints from line drawings, 15 cm x 9.2 cm each. ©The Estate of Edward Bawden. As representatives of the past, the line cuts act as a foil for the core of the book, pletely outlined or articulated with veins city dweller seeking a change of pace from Bawden’s lithographs of English village dotted in dark gray. The foliage seems the strains of the metropolis. He recounts life as he saw it in 1949. The prints are a to have tumbled out of a Matisse cutout the decline of agricultural life, from the marvel of freshness—he drew the color to occupy a Victorian parlor. In fact, the small landowners of Tudor England to separations in pen, brush and crayon pattern is similar to the linocut wallpa- the impoverished farmers who ended up directly onto zinc plates. The rapidly pers Bawden designed in the 1930s and in 19th-century workhouses. He chas- sketched pen outlines and deft touches of installed in his own home.5 The wallpaper tises English novelists from Jane Austen brushed color and tone resemble the rapid reference is made explicit by the old-fash- and Anthony Trollope to Nancy Mit- ioned rush seat chair set against the pat- ford for depicting the village only from terned wall and surmounted by an ornate the position of aristocratic landowners. picture frame that contains the book’s let- Finally he expresses hope that postwar terpress title. These objects, printed in a social movements might give new auton- shiny dark black, cast deep gray shadows omy to residents of small agrarian towns. on the wallpaper and are slightly offset to The essay mentions Bawden only once in the left so that object and shadow together passing, but sets the stage for a more con- are centered. The cover wittily proclaims temporary view of village life. the artist’s sensibilities, a synthesis of old Inserted within the letterpress text and new, with verve and humor. of the essay are six relief cuts, photome- In contrast, the plain endpapers strike chanically reproduced from Bawden’s a note of austerity, and the title page is ink drawings. These vignettes of antique conservatively set in the letterpress style objects and near-obsolete handcrafts of a 19th-century tract. The fanciful deco- succinctly express nostalgia for the seem- rations and inventive hand lettering that ingly stable, prosperous world of Victo- characterized Bawden’s book work of the rian England: five oil lamps shining in the 1930s are absent. The small font used for moonlight with a couple of gothic arches Carrington’s essay is made legible by per- in the background; a table covered with fect spacing and layout, a tribute to the Staffordshire ceramics (a shepherdess unobtrusive craftsmanship of the print- spill vase, a Scotsman and his lass, tame ers at Curwen Press. After the inviting and wild animals, Napoleon, a phreno- appeal of the cover, the typography is logical head); rickety wire plant stands Edward Bawden, Cucumber, vignette from deliberately sober. interspersed with ivy; straw sculptures Good Food on the Aga, by Ambrose Heath (1933), photomechanical relief print from line Carrington’s essay begins by mocking (“corn dollies”), including an anchor drawing, 8.5 cm x 5.2 cm. Published by Faber the idealized view of the English village twisted like a strand of DNA; marching and Faber Limited, London. ©The Estate of as seen from a bicycle or motorcar by the rows of English teapots on a patterned Edward Bawden.

Art in Print September – October 2014 9 watercolor technique he developed in his war work, and offer a marked contrast to the controlled linear structures of the preceding black-and-white drawings.7 Bawden opens with “The Vicar,” a stooped, bald man, seated at his desk, procrastinating by gazing out the window as he writes his sermon. Despite the comfortable study, nicely appointed with antiques and religious objects, and his stature in the village, the vicar seems small and faintly defeated as he takes on his weekly task. On the following spread two churches are being cleaned. The pretensions of “Saint Mary the Virgin”—clearly the Anglican church ministered by the vicar—are evidenced by the richly orna- mented baptismal font, pulpit and elaborate stained glass windows. “The Methodist Chapel” on the opposing page is distinguished by its plain decora- tions and prominent heating system. The social positions of the two churches are distinctly different but the women clean- ing them are practically interchangeable. There is a humorous contrast between the industry of the cleaners and the leth- argy of the vicar, but the issue Bawden points to was a serious one: do religious leaders have the vision to shepherd their flocks into the postwar world? The busy generation pictured in “The Junior School” and “The Child Welfare Institute” on the next spread will not directly remember what England was like before the war. But the two scenes of private life that follow focus on people of middle age. A stout woman peels potatoes for dinner in a below-stairs kitchen. Drying laundry hangs about her head and two cats keep her company. Her brow is furrowed as she concentrates on her work. In the middle-class sitting room of “Sunday Evening,” on the other hand, the boredom is palpable. Two women resign themselves to reading while the man smokes his pipe by the hearth. Sporting prints and taxidermy trophies suggest an active life, but the clock reads 5:40 and it looks like it will be a long evening. All these depict actual people. In his book on Bawden, Malcolm Yorke identifies most of them by name.8 The vicar was Mr. Cartwright and the study was the space where he worked. The woman peeling potatoes is Bawden’s charwoman, Mrs. Cuttle, and the Sunday sitting room is that of Mr. and Mrs. Ives and Mrs. Ives’ Top to bottom: Edward Bawden, The Vicar; St. Mary the Virgin; The Methodist Chapel (all 1949); color sister. Bawden had sometimes included lithographs from six hand-drawn zinc plates, each 9.8 cm x 15.5 cm. ©The Estate of Edward Bawden. people he knew in earlier projects. The

10 Art in Print September – October 2014 Edward Bawden, Sunday Evening (1949), color lithograph from six hand-drawn zinc plates, 9.8 cm x 15.5 cm. ©The Estate of Edward Bawden.

“May” headpiece in Good Food on the Aga shows Thomas Hennell, Ravilious, Bawden and Ravilious’ wife, Tirzah, at a picnic, but a light narrative tone is established by the outsize plants and the reductive quality of the characterizations. The social critique implied in Life in an English Village— and the sense of people who are more than decorative devices—was new. The remaining nine lithographs deal with commerce and trade. Friendly shops seem well-stocked despite rationing, the pub hosts a range of characters including a policeman, the one-eyed maker of corn dollies—one hangs from the ceiling—and Bawden’s friend and fellow artist John Aldridge, who looks on in a wry observant manner. This congeniality is noticeably absent in places of manufacture, whether the workers are shown in groups (“The Agricultural Machinery Repair Shop,” “The Baker”) or in solitary pursuits (the tailor cross-legged on his table, the harness maker turned cobbler in “The Saddler’s Edward Bawden, May, chapter heading from Good Food on the Aga, by Ambrose Heath (1933), Shop”). Bawden respected the workers’ photomechanical relief print from line drawing, 8.5 cm x 5.2 cm. Published by Faber and Faber Limited, earnest concentration, but he was no social London. ©The Estate of Edward Bawden. realist celebrating the triumphant heroism

Art in Print September – October 2014 11 Edward Bawden, The Baker (1949), color lithograph from six hand-drawn zinc plates, 9.8 cm x 15.5 cm. ©The Estate of Edward Bawden. of labor. They seem to struggle against from there and his professional work was dren’s book about shop windows with text present privations and future obsoles- centered in London. He and the artists by J. M. Richards and color lithographs by cence. No victory will come of their work, who joined him always stood somewhat Eric Ravilious.10 This difference in popu- however worthy or well done. outside the village community. I know lar approval comes as no surprise. High In the final lithograph, “The Market the feeling: as a transplant to New Eng- Street embodies a pure and unadulterated Gardener,” a man sweeps the floor of a land, I know that I will never really be English charm that was perhaps possible greenhouse filled with blooming chrysan- “from here” in the eyes of the natives. to believe in that last moment before the themums, but the image strikes a differ- Bawden’s willingness to expose himself war. Life in an English Village tears charm ent note from the previous scenes of labor. to the charge of satirizing his neighbors to shreds, replacing it with a sober view of Looking out at us from the triangular end implies personal risk. Or perhaps his a world that was about to change forever. of the low peaked room, the gardener representations were so accurate that Bawden remained highly visible in forms a bookend to the vicar who, in the his subjects would not have noticed the British art until his death in 1989. Com- first image, looks away from us, out the social commentary. missioned works included murals, illus- square window of his study. Raising flow- The complex content of Bawden’s trated classics for the Folio Society and ers may not seem as practical as baking lithographs subverts the simple nostal- his many delightful catalogs for Fortnum or repairing tractors, but this is 1949, and gic delights promised by the cover. This and Mason. But he also exhibited water- one wonders how many wartime funer- book’s ultimate refusal to charm, its colors and prints at the Royal Academy als presided over by the vicar were graced subtle ambiguity, has prevented it from every year from 1948, and continued to with the products of this greenhouse. The becoming the best loved of Bawden’s be involved with the Royal College of Art poignant quality of Bawden’s gardener is works despite being apparently the most until he was 75 (he was a great admirer brought out by a comparison with Labou- deeply felt. Even Yorke, Bawden’s great of David Hockney), and his influence reur’s more blithe scene of a chrysanthe- supporter, had reservations, preferring remains stealthily pervasive. It is hard to mum greenhouse from 1929 in Pages à the line illustrations to the lithographs, imagine prints such as Grayson Perry’s Mon Goût by Gilbert de Voisins.9 which he describes as “sixteen autolithos Map of an Englishman (2004) or Map of Throughout the book, the narrative in four rather unattractive colours over Nowhere (2008) without the influence of tone is detached, with a tinge of irony. sharply literal pen drawings done on the Bawden’s particular touch with image Though Bawden lived for decades among spot.” Life in an English Village is unfavor- and text, not to mention the relation- the people of Great Bardfield he was not ably compared to High Street, a 1938 chil- ship between his Bunyan’s Dream tap-

12 Art in Print September – October 2014 Left: Jean-Emile Laboureur, Chrysantheme D’Exposition, illustration from Pages à Mon Goût by Gilbert de Voisins (1929), engraving, 12.5 cm x 11 cm. Published by L’Artisan du Livre, Paris. Right: Edward Bawden, The Market Gardener (1949), color lithograph from six hand-drawn zinc plates, 9.8 cm x 15.5 cm. ©The Estate of Edward Bawden.

estry of 1977 and Perry’s recent work in into Blanche’s hands he would have rec- 7. Bawden’s lithographic color separations that medium. The strength of this legacy ognized the world of his time, presented employ many techniques used in 19th-century came home to me when the artist Bob with integrity and rigor. chromolithography, including warm and cool and Roberta Smith visited Providence for neutral-tint stones and a limited range of colors to create multiple tints. Presses such as Curwen still a lecture. At lunch we discovered we were had access to the expertise developed by early both Bawden fans, which made perfect Andrew Raftery is an engraver and print scholar. chromolithographers as discussed by Twyman, sense given the dry wit and inventive play He is Professor of Printmaking at Rhode Island A History of Chromolithograpy, 294–300. with lettering they share. School of Design. 8. Edward Bawden and His Circle, 156. For my part, I have found that Life in 9. Paris: L’Artisan du Livre, 1929, engraving after p. 124. an English Village embodies much of what Notes: 10. London: Country Life Books, 1938, ed. Noel I aspire to in my own work. Bawden’s per- 1. Brideshead Revisited: The Sacred and Profane Carrington. fect calibration of gesture and expression Memories of Captain Charles Ryder (Boston: Lit- imbues his figures with subtle qualities of tle Brown, 1945), 272–273. concentration, resignation and patience, 2. Most recently Geoffrey Wheatcroft discussed Rex Whistler as a possible prototype for Ryder, represented without theatricality or evi- but in the end rejected the idea. Wheatcroft, “The dent self-consciousness. Every object Charms of Rex Whistler,” The New York Review of and space is selected and presented in a Books, 9 Jan 2014, 30–31. way that highlights its significance in the 3. Malcolm Yorke, Edward Bawden and His scene. Through 23 modest prints in several Circle: The Inward Laugh (Antique Collector’s Club, 2007). media, visual languages and points of view, 4. Michael Twyman has pointed out Carrington’s Bawden orchestrated a deeply considered important role in publishing books illustrated with meditation on the past and present. original color lithographs. As production editor at Anthony Blanche rebuked charm Country Life Books he worked with Ravilious on because he saw it as diffidence that High Street in 1938. During the war he oversaw the Puffin imprint of Penguin Books, which pub- masked honest response to experience, lished lithographically printed children’s books, substituting something that is intended many them illustrated by artists who drew directly to please, but that ultimately disappoints on stones and zinc plates (as opposed to the and irritates because it is shallow and photolitho processes then commonly used). patronizing. We will never know whether Michael Twyman, A History of Chromolithograpy: the fictional Blanche ever returned to the Printed Colour for All (London: The British Library; New Castle: Oak Knoll Press, 2013), 301–306. real postwar England of Clement Atlee, 5. Bawden made wallpapers from his linocuts because Waugh declined to write a sequel between 1926 and 1933, some of which were to Brideshead Revisited. It remains a sin- produced lithographically by Curwen Press. In gular achievement among his novels, as 1938–39 he collaborated with John Aldridge on Life in an English Village does in Bawden’s wallpaper designs that were printed from linoleum blocks and marketed by Coles. oeuvre. But I like to imagine that if some- 6. Ambrose Heath (London: Faber and Faber). one had pressed a copy of this small book Reprint London: Persephone Books, 2003.

Art in Print September – October 2014 13 ‘Fragile,’ ‘Souper’ and POP! The Atopos Paper Fashion Collection By Stamos Fafalios and Vassilis Zidianakis

aper Dresses Soon’’ announced the “Pheadline of a New York Times report from Paris in 1907.1 It was not until 60 years later, however, that printed paper garments became a mass-produced reality. “Paper fashion” took the United States market by storm between 1966 and 1968. Canadian and European markets soon followed. Thousands of dresses were produced; they could be purchased at drug- stores, supermarkets, department stores and by mail order in exchange for clipped coupons and box tops. Though initially an advertising gimmick, the form was quickly appropriated by fashion designers, painters and graphic designers. Pop artists like Andy Warhol were enlisted to create and promote them and in turn saw their work appropriated and imitated on the dresses’ surfaces. It was all over in two years; the fad faded and consumers moved on, but its merger of paper, visual art, wearable form and consumer delight summarizes a culturally dynamic moment, and remains an inspiration to contemporary artists and designers working at the thresholds of their disciplines. Since 2004, Atopos Contemporary Visual Culture has been collecting paper garments.2 Founded in Athens in 2003 by the authors (recently joined by Angelos Tsourapas), Atopos cvc is an interdisciplinary platform that accommodates their backgrounds in art, architecture, anthropology and mathematics. Atopos cvc is particularly interested in the human figure and costume. The name comes from the ancient Greek άτοπος, meaning the strange, the unwonted, the eccentric and the unclassifiable. Paper fashion isάτοπος . Paper has been used in the manufacture of garments and accessories since its invention in China about 2000 years ago. Paper and clothing have a long- The Big Ones for ’68 (1968), promotional paper dress for Universal Studios, with “pop” portraits of standing recycling relationship: old rags the Studio’s popular stars. Photo: Panos Davios. ©Atopos cvc collection, Athens. have been used to make paper since the 12th century, when the knowledge of clothing extends back a thousand years. softened and starched with vegetable producing paper was first imported into According to legend, in 988 a Buddhist juice to produce a durable material. Paper Europe. The opposite practice—using monk first made himself a provisional weaving, or shifu, was developed in 16th- paper to make clothing—came much choir shirt from the pages of old sutras, century Japan; in this technique, strips of later in Europe, arising about 150 years initiating kamiko—clothing made from paper are twisted into threads and woven ago, but in Japan the tradition of paper strong sheets of paper that have been together. Samurai used the shifu tech-

14 Art in Print September – October 2014 Knitted paper vest from late Edo period (18-19th century) Japan. Photo: Panos Davios. ©Atopos cvc collection, Athens. nique to make ceremonial clothing. An 18th–19th century vest in their collection is knitted from paper yarns. Though the 1907 Times article described a new French paper thread that was “stout, unshrinkable, impervi- ous to damp, non-inflammable and costs two-thirds less than cotton,” it was the American Scott Paper Company that first brought paper dresses to the market in March 1966 as a promotional ploy for the company’s new line of toilet paper, paper napkins and towels. Within a few months the company had received more than 500,000 orders. Scott’s idea was quickly imitated by others; some manufacturers began to specialize in paper clothing.3 The term “paper” was a bit of a mis- nomer: these materials were non-woven and gave the impression of paper, but their components included cotton, rayon, polyester and new-technology synthetic fibers in addition to cellulose. Destined to be worn once and thrown The Souper Dress (after Warhol) (1968), launched by Campbell’s Soup Company for the promotion away, these were the first expressly dis- of its “Vegetable Soup,” cellulose-cotton mixture dress. Photo: Panos Davios. ©Atopos cvc posable garments in the history of West- collection, Athens. ern fashion, and were addressed to a younger consumer public accustomed products blazoned on dresses. (Camp- look of the artist’s screenprints. Dynamic to disposable commodities such as cups, bell’s Souper Dress (1968), which could be Op Art motifs; psychedelic, neo-Art plates, tablecloths and diapers. Paper acquired for $1 and two Campbell’s veg- Nouveau designs; trademark logos and fashion reflected the desire of a postwar etable soup labels, was a witty play on the faces of politicians also adorned the generation for affordable, fashionable Warhol’s multiplied appropriation of its dresses. The then-popular idea of a future and futuristic design; at the same time soup-can label.) life in space was represented in “foil” its inexpensive production made it a The companies that produced the paper dresses, made of a nonwoven mate- good moneymaking venture. Like throw- dresses and the designers who styled them rial with a metallic surface. away paper hats, paper dresses were used often borrowed from the visual language While some dresses bore repeating to promote commercial products. The of Pop Art (which of course revamped the floral or paisley patterns that might just wearer was transformed into a walking visual language of advertising). The Souper as easily have appeared on traditional billboard for motion pictures, kitchen- Dress was not the only one to play on War- fabrics, the most distinctive ones treated ware, food and drink: Butterfinger and hol’s fame; Universal Studios released a the surface of the dress as a unified field Baby Ruth candies, Seagram’s whisky dress featuring portraits of movie stars for a single large composition. The mul- and Campbell’s Soup were among the with the high-contrast, stenciled-color ticolored designs and pop-cultural or

Art in Print September – October 2014 15 Left: Richard Nixon’s electoral campaign paper dress with logo (1968). Manufactured by Mars Manufacturing Company, Waste Basket Boutique line. Photo: Panos Davios. ©Atopos cvc collection, Athens. Right: Hussein Chalayan, Airmail Dress (1999). Photo: Panos Davios. ©Atopos cvc collection, Athens.

topical imagery printed on them was core applied to the dresses, the actual garment a product; it celebrated an allegiance. As to their popularity. Paper dresses adver- structures were strikingly simple. Almost paper has done since its earliest origins, it tised newspapers4 and the commercial all were A-line, short and sleeveless—a was used as a bearer of messages. Gordon phone book Yellow Pages.5 They featured convenient canvas for artists or for the created five more Poster Dresses in 1968, collages of press cuttings or headlines women who would wear them. One of the each bearing a different black-and-white of notable events such as the launch of defining features of paper fashion was the photographic motif: a rocket, a cat, an Apollo 10. During the 1968 American creative freedom it offered consumers. eye, a rose and a hand held in the gesture presidential race, paper dresses were The packaging often urged buyers to cut of Buddhist peace overprinted with Allen produced in support of Richard Nixon, the dresses according to their body shape Ginsberg’s poem Uptown N.Y. Nelson Rockefeller, George Romney, a n d t a s t e , o r t o a d d d e c o r a t i o n . Soon after this, paper fashion went Eugene McCarthy and Robert Kennedy. In 1966, Mars Manufacturing Com- into decline, perhaps because of over- The Canadian liberal candidate Pierre pany6 produced its “Paint-your-own- exposure or because its much touted dis- Trudeau issued a paper dress bearing his dress”: a white dress, sold with a box of posability did not sit well with new public portrait as part of his successful election watercolors and a paintbrush. Warhol concerns about the environment. Of the campaign. was enlisted to promote the product by many nonwoven material experiments of In 1967, at the height of paper fashion, painting a dress for Velvet Underground the 1960s, only Tyvek is still widely used. the airlines BOAC and TWA introduced collaborator Nico: he screenprinted In addition to its primary use as house paper uniforms for their stewardesses. the word “FRAGILE” on it and signed wrap, it can be found in medical packag- The latter were styled by the designer the work “Dali.” In 1967, the American ing, envelopes, car covers and—the less Elisa Daggs, who also created a promo- graphic designer Harry Gordon put a fun descendent of paper dresses—work- tional paper sari for Air India. large black-and-white photograph of ers’ uniforms and lab coats. Though In contrast to the audacious colors, Bob Dylan on a dress. Like a dorm room Tyvek looks very much like paper it can be bold geometries and adventurous imagery poster, Gordon’s design did not promote washed and is more durable; lightweight

16 Art in Print September – October 2014 the Atopos Paper Fashion Collection. Jan- mark Cards, James Sterling Paper Fashions, nis Varelas, Irini Miga, Yannis Kyriakides, Poster Dresses / Nodina Products, Promo Dress, Zoe Keramea, Hormazd Narielwalla, Bas and Kimberly Clark were among the companies Kosters, Angelo Plessas and Maurizio that produced paper dresses. 4. For example, the Milwaukee Sentinel (Atopos Galante have also produced new pieces 2005.02.084) and the Chicago Sun-Times (Ato- or transformed original items from the pos 2006.02.260). collection. 5. Yellow Pages Dress by Mars Manufacturing Fun, modern and liberating, the paper (c. 968) (Atopos 2005.02.018a). dresses of the 1960s are emblematic of 6. A Cincinnati-based manufacturer of printing equipment, not to be confused with the candy their times, both in terms of their experi- company. mental use of industrial materials and in their integration of contemporary art, Bibliography: commerce and ephemera. Though styles Koroxenidis, Alexandra. Exhibition review of have changed, the goal of bringing art “RRRIPP!! Paper Fashion.” Fashion Theory 13, and life closer together remains entirely no. 3 (2009): 387-392. contemporary. Leitner, Christina. Paper Textiles. London: Bloomsbury Publishing, 2005. Leonard, Polly, ed. Selvedge Magazine 22 (The Paper Issue), 2008. Stamos Fafalios and Vassilis Zidianakis are the Loh, Adeline. Perfect Paper: Papering the Body. Packaging for Harry Gordon’s Poster Dresses founders and directors of Athens-based Atopos Singapore: Page One Publishing, 2009. (1968). Photo: Panos Davios. ©Atopos cvc Contemporary Visual Culture (Atopos cvc). Milford-Cottam, Daniel. 2009. Review of collection, Athens. RRRIPP!! Paper Fashion. Fashion Theory 13, no. 3 (2009): 393-396. Notes: Palmer, Alexandra. Dress and Popular Culture. 1. Special Cablegram, “Paper Dresses Soon: Ohio: Bowling Green State University Popular and inexpensive, it has been used since Possibilities of the New Durable Thread,” New Press, 1991. the late 1980s for jackets promoting com- York Times, 19 May 1907: 17. Schmidt, Petra, and Nicola Stattmann. Unfolded: mercial products. 2. Providing a comprehensive representation of Paper in Design, Art, Architecture and Industry. paper clothing in the history of dress and design Berlin: Birkhäuser Verlag, 2009. Meanwhile fashion designers and art- and numbering today more than 500 items, the Ato- Trauth, Nina. “Clothing the World: The World as ists continue to be inspired by the pos- pos cvd collection forms the basis of the exhibition a Fragile Paper Dress.” Querformat 6 (2014): sibilities of paper garments. Hussein “RRRIPP!! Paper Fashion” first seen at the Benaki 103–107. Chalayan’s 1999 Airmail Dress is designed Museum, Athens, in 2007. Subsequent versions Zidianakis, Vassilis, ed. RRRIPP!! Paper Fashion. to be folded, sent through the post and of the exhibition have taken place at the Musée Athens: Atopos cvc Publications, 2007. d’ Art Moderne Grand-Duc Jean, Luxembourg, then worn. Apart from the mass-pro- 2008; Mode Museum–MoMu, Antwerp, 2009; duced paper dresses of the 1960’s, the Fast Fashion Festival, Bologna, 2009; Museum Atopos collection includes recent paper Bellerive, Zurich, 2010; Chadstone, Melbourne, fashion by Issey Miyake, Helmut Lang, 2011; and most recently, Galerie Stihl, Waiblin- Maison Martin Margiela, Walter Van Bei- gen, Germany, 2013. The exhibition is accompa- rendonck, Hugo Boss and A.F. Vandevorst nied by a fully illustrated catalogue that is a work in progress, containing articles on paper and the among others. And through the RIPPING use of it by specialists and historians. At the same Atopos project, contemporary artists and time the catalogue places particular emphasis on fashion designers are commissioned to the ephemeral, fragile, humble and poetic nature create new works of art inspired by spe- of paper garments, juxtaposing modern creations cific pieces or the whole of the collection. with paper garments from different cultures and civilizations. The RRRIPP!! Paper Fashion cata- Commissioned by Atopos cvc to paint logue features essays by experts in the sartorial a dress, Robert Wilson transformed a field: Vassilis Zidianakis (artistic director of Atopos white paper dress made by Mars Manu- cvc), Christina Leitner (lecturer at the Arts Univer- facturing Company; his Lisa (2007) dress sity Linz and the Salzburg University and artist), was named for his friend Lisa de Koon- Marie-Claire Bataille-Benguigui (doctor of anthropology, Paris), Alexandra Palmer (curator of the ing, the daughter of the painter. The Textiles and Costume Department of the Royal American fashion designer Michael Ontario Museum), Christoph Grunenberg (direc- Cepress was asked to create a new gar- tor of Tate Liverpool), Myrsini Pichou (curator of ment from an original duplicate Yellow the Atopos Paper Fashion Collection), Kyriaki Pages dress. He drew inspiration from Lentzi (conservator of antiquities and works of 19th-century detachable collars and art, Athens) and Yorgos Facorellis (Department of Conservation of Antiquities and Works of Art at shirtfronts to create Collars for the Mod- Athens Technological Educational Institute), Lydia ern Gentleman (2007), which rebuilds Kamitsis (fashion historian, sartorial archaeolo- garment architecture with unlikely gist and lecturer at the Sorbonne University–Paris ornamentation and pattern. Yet another IV), Kaat Debo (director of the Mode Museum in Yellow Pages dress was given to Howard Antwerp), Akiko Fukai (chief curator of the Kyoto Costume Institute). Hodgkin: his Gouache on Yellow Pages 3. Campbell’s Soup, Lincoln Mercury (Ford Dress (2010) is the most recent addition to Motors), Mars Μanufacturing, Paper Ware, Hall-

Art in Print September – October 2014 17 EDITION REVIEW Marking Marx: Jim Dine’s History of Communism By Susan Tallman

Jim Dine, A History of Communism (2013) Suite of 45 stone lithographs with etching and hand-coloring on Zerkall 400 gm white paper. Sheet 37 x 28 inches each; image dimensions variable. Edi- tion of 10. Lithography printing by Key- stone Editions, Berlin; etching printed by Julia D’Amario, Kathy Kuehn and Aurélie Pagès, Walla Walla, WA. Published by the artist. Price on request from Alan Cristea Gallery, London.

A History of Communism By Jim Dine, with an essay by Gwen Sasse Published by Steidl Verlag, Göttingen, Germany, 2014 80 pages, fully illustrated, €24

im Dine describes A History of Co- Jmunism as “the culmination of sixty years of my love affair with intaglio.”1 It is also his most ambitious and inventive print project in decades: 45 prints, each more than three-feet high, consisting of an anonymous East German lithograph made sometime between 1946 and 1989, amended by Dine’s freshly etched responses, elaborations and modifica- tions. In contradiction to the title’s suggestion of five-year plans and centralized authority, the prints are testament to what can happen when serendipity joins forces with obsession. The story starts in Monbijou Park in the historic, Hohenzollern heart of Ber- lin—the part of town occupied by the Soviet army at the end of World War II and later rebuilt as the capital of the Ger- man Democratic Republic. The bomb- damaged Rococo palace that once stood in the park was torn down in the 1950s Jim Dine, from A History of Communism (2012). Courtesy Jim Dine and Alan Cristea Gallery, London. to make way for a children’s swimming pool and a studio building for East Ber- pressures being what they are, in 2011 Most litho stones have been in use lin’s main art school, the Weißensee the shabby atelier building was slated for since the 19th century—two-to-three- Kunsthochschule. Among other facili- demolition.2 This much is history. inch-thick slabs of fine-grained lime- ties, the school’s lithography workshop Serendipity enters with a phone call. stone, they can be used again and again was housed there before it relocated In February 2011, Johannes Witt, the litho because the tusche drawings that trans- to the main campus in the 1980s, a few shop manager at Weißensee, rang two form them from a chunk of rock into a years before the fall of the Berlin Wall Tamarind-trained printers, Sarah Dudley printing template occupy only the top- and the collapse of the GDR. In the two- and Ulrich Kühle, to say he had found a most microns of the surface. Once the and-a-half decades since reunification, storage room full of old litho stones in the printing of an image is finished, that top the gritty neighborhood around the park basement of the Monbijou building, and layer can be ground down (“graining”) to has become increasingly chic. Real estate they were up for grabs. prepare a new, clean surface for the next

18 Art in Print September – October 2014 Jim Dine, from A History of Communism (2012). Courtesy Jim Dine and Alan Cristea Gallery, London. artist. Used stones tend to be stored until pave a comfortable patio). Because stones in the second half of the 20th century: a a change of technology or location makes are usually only grained when needed, carefully rendered view of Red Square; them redundant. These stones had been nearly all carried images on their surfaces happy workers on the march; a portrait of superfluous for decades. that had been drawn by students and pro- the East German actor Erwin Geschon- Dudley and Kühle had recently set up fessors at the art school, which had been neck, a rather feral Karl Marx. Some could a new lithography atelier, Keystone Edi- founded in 1946 three years prior to the be dated easily—the hard-hat heroes tions, in Berlin. Litho stones are expen- East German state. The stones had gone with the “XX JAHRE DDR” parade ban- sive—something the size of a sheet of into storage before the Wall came down, ner must have been drawn in 1969 and foolscap can easily cost a hundred dol- so like the comatose mother in the movie the Iranian Students Conference poster lars and poster-sized stones run into the Good Bye, Lenin! they had stayed eerily probably postdated 1979—but most were thousands. So when Witt said they could frozen in a world that no longer existed. difficult to place. This is partly due to the have the stones for free if they removed “I spied the stones in the corner,” Dine stylistic stasis of official East German art them by the end of the week, they hired says, “and I thought: this is the greatest (the tendency toward slab-like formal a van, enlisted a friend and hauled away found object. It was a gift.” simplification that was a staple of Stalin- 89 stones ranging from 10 x 16 inches to The stones had been sitting in a damp ist public monuments in the ’50s can still nearly 2 x 3 feet. basement for decades; they had mold be seen in Ludwig Engelhardt’s 1986 Marx A few days later, Dine arrived at Key- on them and were full of scrapes and and Engels statue), but it also is simply the stone for his first project in the new shop. scratches. “But that is what Jim likes,” nature of art school. The stiff nudes, awk- He and Dudley had worked together when Dudley says. “It shows the history of ward horses and carefully observed, non- she was at Tamarind, and the two had the stone and the ‘life experience’ of the descript faces could have come out of any reconnected at the institute’s 50th anniver- images.” Dine asked if they could bring lithography classroom in the past hundred sary celebration. Berlin was also familiar the images back to printability. years. Some of the drawings are fetching territory: Dine had lived in the city in the He picked two-dozen stones to be (there is a lovely elephant) and some are early 1990s when it was Wall-free (though printed in 20 to 30 impressions that dreadful, but that too is just normal. not yet quite “unified”) and had also known would be shipped to Walla Walla, Wash- In Walla Walla, Dine began creat- it before, when the Wall was up. ington, where for two months every year ing etched responses to the lithographs. At Keystone, the recently acquired Dine works with etcher Julia D’Amario. When he returned to Berlin in Novem- Monbijou stones had been piled wherever Many of the images fulfilled clichéd ber, more stones were recovered, one there was room (89 litho stones could expectations of a communist art school bearing a sharp portrait of the com-

Art in Print September – October 2014 19 Jim Dine, from A History of Communism (2012). Courtesy Jim Dine and Alan Cristea Gallery, London.

point that peter out at the edges like moss. Etching has a density that lithography— thinner, quicker, more pragmatic—lacks, and this distinction plays into the repar- tee Dine develops between the abandoned artifacts of a vanished country and his own hacksaws and hammers. In one print, triumphant black tongue-and-groove pliers rise above a scratched and stained landscape like Godzilla over Tokyo. Most of the etchings work with the vocabulary of tools that Dine has used since the early 1960s. A tent of twin ball peen hammers frames a young East Ger- Jim Dine, from A History of Communism (2012). Courtesy Jim Dine and Alan Cristea Gallery, London. man soldier, binoculars in hand, intro- ducing themes of building and looking, munist martyr Rosa Luxemburg. In the two shaggy paintbrushes and ends with both benign and oppressive. A delicate end, 45 stones from the Monbijou stor- a naked woman gently drawing a curtain, girl gazes out with startled eyes through age room were editioned in Berlin, then but the flow within is governed not by any a finely drawn array of axes, adzes and fitted with etched responses to the indi- overarching narrative but by sequential mallets. A male face is barely recogniz- vidual character and visual properties of visual relationships—how each one looked able beneath a sea of handprints and hand the lithograph: some are light and win- against the next. The opening Marx “just tools; a Dremel rotary tool floats lazily some—delicately drafted tools that fall landed there,” Dine says. across his forehead. Most of the tools like spring rain around the underlying The tension between ideology and his- are arranged to fit the underlying image: forms; others went through as many as tory on the one hand—the meanings we handles offer support or frame the edges 15 states as marks built up and multiple have learned to attach to things—and of a drawing; a cat gazes into the maw of a plates were added. It was a massive under- flat-out visual experience on the other is crescent wrench; pliers are inserted into a taking—the final edition alone consists at the core of this work, collectively and preexisting clenched fist. of 900 prints, each printed at least twice.3 individually. Dine has long acknowledged that his The History of Communism is intended Dine understands etching’s tactile tools and brushes are stand-ins for himself as a single, 45-part composition. Only the seductions and visual depths—its pathos. as a person who makes things, and for his colophon is signed; the individual prints The plates are scarred with broad gestures family history in hardware-store propri- bear just a number on the back to indicate made by power tools, marked with spit- etorship. In a communist iconography, of their order in the sequence. The portfolio bite stains as nebulous as cirrus clouds, course, tools were not the intimate instru- opens with the head of Marx framed by and adorned with furry thickets of dry- ments of identity that they are for Dine:

20 Art in Print September – October 2014 that freight is different for today’s viewer than it was for the unknown East German lithographer. On the morning of Novem- ber 10, 1989, East Berliners were whipped from their world into the West’s, in art as well as in political and economic culture. It is easy to be condescending about the art of the GDR or to assume that all the good artists (Richter, Penck, Baselitz) got out. But Dine is intriguingly respectful of the absent artists’ works. Though he writes in the colophon that he “wanted a black view of the image and a sense of Berlin in the East as I knew it when the horrible wall was still up,” for the most part he doesn’t obliterate, he ornaments; he doesn’t deface, he frames; most impor- tantly, he doesn’t mock. In one print, midway through the portfolio, the tools take a break, and we see the artist’s anxious visage, glowing in the sky like a worried Oz. Below him, lith- ographed masses huddle in shadow. The idea of the artist as architect of all could not be more clearly articulated. And yet uncertainty reigns. Not far from Monbijou Park is the Ber- lin TV Tower, built in the late 1960s as a symbol of the GDR’s technological might. In the sphere at the top is a restaurant that slowly rotates, offering vast views of the city, east and west. There is also a sou- venir shop where in the 1980s you could buy a pamphlet with photographs of the view that had been retouched so that West Berlin appeared an undifferentiated mass of greenery. You could look out the window and see the reality, while being sold a document that unapologetically Jim Dine, from A History of Communism (2012). Courtesy Jim Dine and Alan Cristea Gallery, London. asserted something else entirely. The tongue-in-cheek didactic confi- they were public emblems of a decidedly we acquire to buttress the self begin. dence of Dine’s title is a ruse. History is a impersonal sort. The East German mal- Through found objects—things that exist mess and communism a failure. The vic- let and compass were the equivalent of on their own without him—he captures tory pictured in The History of Commu- the Soviet Union’s hammer and sickle, the ambivalent questioning of identity at nism is not that of democracy or adorning the nation’s flag and currency. In the heart of “trying it on.” People try on capitalism or individual liberty. It is the the Workers’ Paradise, tools were instru- clothes, they try on ideologies (whether triumph of doubt. ments of the state, not of the self, which from free will or external pressure), and raises the stakes for Dine’s hardware-store artists—especially young ones—try on actors. It endows them with a historical styles. These negotiations between inside Susan Tallman is the Editor-in-Chief of complexity that earlier iterations—for all and outside, found and amended, are Art in Print. their quirky grace—rarely had. clearly the subject here. Dine’s best work has always taken “I wasn’t commenting on the art. I the form of conversations with things wasn’t commenting on the grand experi- Notes: 1. All quotes from Jim Dine and Sarah Dudley are plucked from the past—the tools and ment that failed,” Dine says. “I was from conversation and email correspondence. ties, the bedroom wallpaper and the responding to images. Finding ways to fit 2. As of this writing, the building is still standing. bathrobe—objects that, as memories do, around them.” He is aware that the por- 3. Subsequently two of the stones have been acquire meaning out of all proportion to trait of Marx, like the etching of a skull, grained and reused for new projects. Some are their objective worth. His art has often comes with a backstory and emotional not good enough to be reused and one broke during printing (Keystone pulled a print from it on conveyed a poignant bafflement about freight. The meaning of a skull, however, Mylar, which they used to make a photo plate to where the self leaves off and the things doesn’t change much. In the case of Marx, complete the edition).

Art in Print September – October 2014 21 Prix de Print No. 7 PRIX de A Television ‘Tronie’ by Brian Cohen PRINT Juried by Nigel Frank

This iteration of the Art in Print Prix de sions to the Prix de Print, I was delighted man, lost, isolated and ignored”—a type Print has been judged by curator, consul- to discover what appeared to be an exam- whose portrayal can be realized effectively tant and print specialist Nigel Frank. The ple of a tronie—and of a quality that could through etching. As one of the few people Prix de Print is a bimonthly competition, stand comparison with its antecedents. on the planet never to have seen Breaking open to all subscribers, in which a single I was first struck by the power of the Bad, I cannot vouch for the portrait’s accu- work is selected by an outside juror to be portrait: its superb and skillful control racy, only its truthfulness. the subject of a brief essay. For further of light, its chiaroscuro silhouette. The One of the disadvantages of relying on information on entering the Prix de Print, head’s emphatic baldness and closed, digital images for the judging process is please go to our website: www.artinprint.org/ blank eyes reminded me of a sculptural that important qualities of scale and sur- index.php/about#competitions. bust of a Roman senator, compact and face are lost. The inability to examine the powerful, or of portraits of Benito Mus- surface of the print seems a particular loss Brian Cohen, Man with Eyes Closed solini. The face hidden in shadow, save in this case. The etching appears to have (Walter White) (2014) for the strong profile of the nose, a pro- a succulent and velvety texture, both lus- Etching, 5 x 5 inches. Edition of 22. nounced chin and the suggestion of thin, cious and grainy. As a nonpractitioner, I Printed and published by Bridge Press, pursed lips, gives the portrait a brooding can only imagine the pitted etching plate, Westminster Station, Vermont. malevolence and pugnaciousness that deeply bitten with aquatint, being inked $150. signals defiance and aggression. Here is with the utmost care and sensitivity. This a tronie that in the UK might represent level of skill belies the artist’s statement the stock character of the lumpenprole- on his website (consulted after the fact): tariat, as depicted in Martin Amis’ novel I stumble upon less technical and Lionel Asbo. more makeshift approaches to etch- In the entry’s documentation, the sub- ing. I start out broadly, a little uncon- ject is identified as Man with Eyes Closed trolled, but with a clear geometric ecently, while conducting research (Walter White). Of course, there cannot underpinning. I don’t really want to for an exhibition on the portrait be a portrait of Walter White, the fic- R know how the image will look before- in print, I came across the art histori- tional chemistry teacher turned crystal- hand—too many unexpectedly and cal concept of the tronie.1 A subgenre of meth dealer in the American TV series potentially satisfying things may hap- portraiture that developed during the Breaking Bad, only a portrait of the actor pen to exclude the accidental or the 17th-century Dutch Golden Age, tro- Bryan Cranston playing Walter White. momentarily inspired ahead of time. nies described “lifelike images of single, The humanist model of portraiture, the anonymous figures.” Rembrandt was a authentic translation of an individual’s Viewing the print on a computer, one great exponent, and his etchings of these physical or psychological likeness, is per- feels it must be life-sized at least, the unidentified sitters include portraits of turbed. As the celebrity portraitist Eliza- scale of the death mask it resembles. Yet elderly faces, their expressions and physi- beth Peyton has said: “When cab drivers five-by-five inches is all it measures— ognomies explored in loving detail. Sur- ask me what I do, I say, ‘I paint people.’ But more an Elizabethan miniature than an prisingly, the enigmatic Vermeer was also then I always want to qualify it a bit.” If, 18th-century mezzotint “swagger” por- described as a tronie artist when three of as an artist, your subject is the “faction” of trait. At this scale the viewer’s relation- his paintings were auctioned as part of the celebrity and fame—the distance between ship with the image becomes altogether Jacob Dissius collection in 1696. I was com- reality and the made-up—then the more intimate, a talisman meant to be pelled to wonder, where are today’s tronie authenticity of a portrait involves a post- carried around continually as a reminder artists? Is the genre of any interest to print- modern trope, so why not reinstate the of human frailty. The face fills the frame, makers in the age of ready photographic tronie? Here, as depicted by the artist Brian pushes at the boundaries of the plate that imaging? Looking through the submis- Cohen, is “the image of a bald middle-aged barely contain its energy. On his Huffing-

22 Art in Print September – October 2014 Brian Cohen, Man with Eyes Closed (Walter White) (2014). ton Post blog, Cohen quotes favorably, I Nigel Frank is a London-based curator and think, Walter White’s last words: “I did it art consultant. for me. I liked it. I was good at it. And I was really—I was alive.” Cohen’s print gives form to this powerful epitaph, this Notes: humane realization. Man with Eyes Closed 1. “Face to Face: British Portrait Prints from the (Walter White) is not only a tour de force Clifford Chance Art Collection,” Sir John Soane Museum, London 10 Oct 2014 – 24 Jan 2015. of printmaking but a haunting portrait that captures a timeless human personality type—to which I can only imagine Rembrandt would also have responded.

Art in Print September – October 2014 23 EXHIBITION REVIEW The Enigma Machine, Jasper Johns By Allison Rudnick

“Jasper Johns: Regrets” The Museum of Modern Art, New York 15 March – 1 September 2014

“Jasper Johns and John Lund: Masters in the Print Studio” Katonah Museum of Art, Katonah, New York 23 March – 15 June 2014

Jasper Johns and John Lund: Masters in the Print Studio Exhibition catalogue with an essay by Wendy Weitman and an interview with John Lund by Elizabeth DeRose Katonah Museum of Art, Katonah, New York, 2014

ver the past 60 years, Jasper Johns Ohas developed a body of work whose images of flags, maps and tar- gets are instantly recognizable to any seasoned viewer of modern art. Imper- sonal in subject yet tenderly executed in encaustic paint or lithographic tusche, in pencil, ink or lead relief, these sym- bols simultaneously entice and resist the viewer. The Johnsian tease of both letting and not letting the viewer in permeates two recent exhibitions. The 58 prints on view in “Jasper Johns and John Lund: Masters in the Print Studio” at the Kato- nah Museum of Art reveal the experimentation and innovation that have arisen from the longstanding working Jasper Johns, The Seasons (1990), aquatint and etching, image (irreg.): 43 3/8 x 38 5/8 inches, relationship between the artist and his sheet: 50 x 44 9/16 inches. Published by Universal Limited Art Editions. Art © Jasper Johns and master printer. At MoMA, “Jasper Johns: ULAE/Licensed by VAGA, New York, NY. Regrets” features two prints, in conjunc- tion with two paintings and ten draw- tear and creases in the worn photograph. he mirrors the composition like a folded ings, all created in the 18 months prior The opening drawing is a pencil sketch of Rorschach image (though the fold is off- to the exhibition’s March opening and the photograph, below which Johns has center and the symmetry breaks down all derived from a battered photograph of inscribed, “Goya? Dreams? Bats?” The along the edges); the figure is obscured the British painter Lucian Freud. allusion to Goya’s famous etching The and prominence instead given to the Johns came upon the photograph of Sleep of Reason Produces Monsters (1799), rectangular tear in the photograph’s Freud in an auction catalogue. Taken which shows an artist similarly burying lower left corner.1 State proofs included around 1964, it had been commissioned his head in his arms, draws a line between in the exhibition reveal the stages of by Francis Bacon, who preferred to paint Bacon’s and Goya’s tortured subjects and decision-making and the tonal variations from photographs rather than live mod- sets the somber tone of the exhibition. explored, but in the final prints the tear els. Freud sits on a bed with one leg folded As usual, Johns explores his chosen is clearly delineated in a smooth layer under the other, his hand in his hair and motif in an array of media, including of black ink, endowing it with a monu- his face turned away. Johns incorporated charcoal, watercolor, acrylic, pastel, ink mental, elegiac quality. Hovering above into his work the forms of Freud’s con- on plastic and intaglio prints. In many of it is a form, wrought from the mirrored torted body as well as those of the large the works, including the two aquatints, creased lines, that resembles a skull. The

24 Art in Print September – October 2014 Jasper Johns, Regrets (2014), aquatint on chine collé, 26 1/4 x 34 1/8 inches. Published by Universal Limited Art Editions. Art ©Jasper Johns and ULAE/Licensed by VAGA, New York, NY. emergence of a symbol of death from the Johns’ habit of recuperating, repurpos- figure is flecked with snow and a simple marks made by the crumpling of a photo- ing and regenerating particular motifs— snowman drawing has been added to the graph asserts the dichotomous character so clearly on view in “Regrets”—was collection. In Summer, the array of reused of the prints, which are at once abstract equally present in Katonah. The Seasons motifs flanking the central figure include and figurative; analytical and affecting. prints on which Johns and Lund began Johns’ doubled American flags; a taped- This tension is augmented by the inscrip- working in the summer of 1985 started up Mona Lisa that cites Leonardo, Marcel tion of the word “Regrets,” followed by out as four intricate, color intaglio prints Duchamp’s burlesque of Leonardo, and the artist’s signature—an enlargement of related to four paintings of the same John’s 1983 painting Racing Thoughts; the a rubber stamp that Johns had produced name. Each of the compositions bears arm-circle device he has used since Peri- in order to decline social invitations. the large shadow of a figure (Johns’ own). scope (1983); an abstracted rendering of a While MoMA concentrated on a single In Spring, the figure is veiled by diagonal section of Matthias Grünewald’s Isenheim subject, Katonah presented a narrative of lines of streaking rain and placed behind Altarpiece (ca. 1515); and several pots by exploration. Johns and the printer John the silhouette of a young boy. Stacked the 19th-century “mad potter of Biloxi,” Lund first began working together in on either side are several canonic optical George Ohr. The broken ladders that 1982 at Universal Limited Art Editions illusions—the duck/rabbit, young girl/old appear in all four prints are borrowed (ULAE), the eminent Long Island print- woman, vase/double profile—that Johns from Pablo Picasso’s painting Minotaur shop where Johns made his first prints in had used in previous works. Each plays Moving His House (1936), in which the art- 1960. Johns was already a skilled print- with foreground/background or positive/ ist’s bullheaded stand-in hauls a cartful maker in lithography, screenprint and negative space ambiguity: if you focus on of objects, some allegorical, some taken etching, which he appreciates for the the black you see one image, if you focus from his earlier works. “ability of the copper plate to store mul- on white you see another—two divergent As he typically does, Johns saved, tiple layers of information.”2 meanings, both equally real. In Winter the rather than canceled, the 20 plates used in

Art in Print September – October 2014 25 Left: Jasper Johns, Untitled (2000), linoleum cut, 22 1/2 x 16 3/4 inches. Edition of 38. Low Road Studio. Art ©Jasper Johns/Licensed by VAGA, New York, NY. Right: Jasper Johns, The Seasons (Winter) (1987), intaglio, 26 x 19 inches. Edition of 73. Published by Universal Limited Art Editions. Art ©Jasper Johns and ULAE/Licensed by VAGA, New York, NY. the four color etchings for reuse. In Sea- the Regrets prints at MoMA), Johns and Allison Rudnick is a PhD student in art history sons (1989), four are arranged in a frieze- Lund have worked in other media. The at the Graduate Center, City University of New like horizontal row. Lund explained in an linoleum cut Untitled (2000) features a York, and a Research Assistant in the depart- interview that Johns wanted them to be vertically oriented American flag, the ment of Drawings and Prints at the Metropolitan seamlessly integrated, so Lund trimmed white stripes represented by uninked Museum of Art. the bevels from the edges using a mill- paper and a double-profile/vase. Adjacent ing machine that could “cut the plate to the vase is an area composed of diago- Notes: to a ten-thousandth of an inch.”3 In the nal stripes that may be interpreted as the 1. Both are aquatints on chine collé. Johns worked final Seasons print, published in 1990, vase’s shadow or as an additional profile. on the plates at his studio in Sharon, CT; they were later printed at Universal Limited Art Editions the plates are arranged like the blades of The reductive technique of linoleum in Bay Shore, NY, by John Lund, Brian Berry, Ste- a windmill. This time Johns burnished especially complements the graphic qual- ven Fournier, Jason Miller and Bruce Wankel. the plates so that some forms fade away ity of the flag and the vase/profile motif.6 2. Jasper Johns, quoted in Christian Geelhaar, “Inter- while others pop; Lund used a jeweler’s Between them, the exhibitions at view with Jasper Johns,” in Jasper Johns: Working saw to make the small cuts necessary to MoMA and Katonah offer intriguing Proofs (Basel: Kunstmuseum Basel, 1979), reprinted in Kirk Varnedoe, ed., Jasper Johns: Writings, 4 fit the pieces together. Visual elements insights into the technical, formal and Sketchbook Notes, Interviews (New York: Museum float in ambiguous space or are shrouded conceptual evolutions that occur as of Modern Art, 1996), 188, and Wendy Weitman, in shadow, but everything—the ladder, Johns, in some ways the most private of “The Availability of the Plate. Jasper Johns and John the rabbit/duck, the Mona Lisa, the snow- artists, works. The instability of identity Lund: A Unique Collaboration,” in Jasper Johns and man—radiates outward from the boy at that is endemic in prints is Johns’ core, John Lund: Masters in the Print Studio (Katonah, New York: Katonah Museum of Art, 2014), 5. the center, suggesting an ever-expanding, enduring concern. Issues of repetition— 3. John Lund, quoted in Technique and Collabora- rather than cyclical, structure to the sea- doubling, mirroring, remaking, printing, tion in the Prints of Jasper Johns, Susan Brund- sons, and to life. editioning, and replicating—are both age, ed., with interviews by Susan Lorence (New When Johns decided to build a print logistical and potentially profound. York: Leo Castelli Gallery, 1996), 52, reprinted in studio on his property in Connecticut in Johns’ great gift is his ability to draw the Weitman, “The Availability of the Plate,” 9. 1995, he invited Lund to relocate with his latter out of the former, making him—as 4. Brundage, Technique and Collaboration, 54, reprinted in Weitman, “The Availability of the Plate,” 9. family and become his personal printer.5 these two exhibitions confirm—one of 5. Weitman, “The Availability of the Plate,” 13. In addition to etchings (among them, the greatest printmakers of our time. 6. Ibid., 16.

26 Art in Print September – October 2014 EXHIBITION REVIEW Feininger Prints By Catherine Bindman

“Lyonel Feininger: Master Printmaker” Moeller Fine Art, New York 19 March – 27 June 2014

ore than 50 of Lyonel Feininger’s M extraordinary early woodcuts from his personal collection, in pristine condition and rarely seen, were on view at Moeller Fine Art in New York earlier this year after a run at the gallery’s Ber- lin branch, whose permanent closure was announced in June after five years of operation. (Achim Moeller, the gallery’s director, has long represented the Feininger estate and is managing principal of the Lyonel Feininger Project, dedicated to preparing the catalogue raisonné of the artist’s paintings, main- taining the archives of his watercolors and works on paper and consulting on exhibitions of his work.) In 1919, the year after Feininger began working in woodcut, he was appointed by Walter Gropius as first “master of form” in the graphic workshop of the Bauhaus in Weimar; his famous woodcut Kathedrale was made for the cover of the Bauhaus manifesto. When the school was shut down and Feininger’s art declared “degenerate” by Nazi officials, the artist returned to the U.S., leaving some of his work stored with a family friend, Hermann Klumpp, in Quedlinburg, in what became East Ger- Lyonel Feininger, Drei Tannen (Three Fir Trees) (1919), woodcut on Oriental laid paper, 8.9 x 8.3 cm. many. While most of the paintings were Moeller Fine Art, New York. restored to the Feininger family in 1984, the works on view in this exhibition were The whimsical, simplified forms of est woodcuts shown in the exhibition, only returned in 2007. Feininger’s first woodcuts recall his printed on carefully chosen (and often These early prints, made between 1918 childhood pastime of whittling wooden expensive) papers, clearly suggest the and 1928, reflect the modest, sometimes toy locomotives and sailing ships (both self-conscious primitivism and scrappy folkloric idiom Feininger gradually aban- motifs would recur in his art); some of “proofy” quality cultivated by his avant- doned in favor of a bolder engagement with the small wooden figures, animals and garde contemporaries, among them modernism, and embody his wide-ranging houses he made as gifts were included in members of the Blaue Reiter group, with and idiosyncratic investigations of the the exhibition. Much of woodcut’s appeal which he became affiliated in 1913. The medium about which he became almost for Feininger seems to have resided in its prints further embrace some of the tradi- fanatical. Feininger produced 320 wood- directness, requiring basic craftsman- tional motifs associated with the woodcuts in all, 237 of them within a three-year ship and minimal equipment. He often cut revival, which linked modern German period. “I am like a madman, working in a carved smaller woodcuts with a pock- artists to such eminent forbears as Dürer frenzy. I am on my eightieth woodcut,” he etknife on the covers of cigar boxes, and Cranach and also to the medium’s wrote to the Munich doctor and collector sometimes printing proofs with just the populist origins in book illustration, Wilhelm Mayer in September 1918. pressure of his own hand. The earli- devotional images and broadsheets. After

Art in Print September – October 2014 27 broken lines of the border enclose several higgledy-piggledy town structures that are mirrored in the blocky forms and hats of the figures gathered in front of them. Feininger never entirely abandoned such picturesque elements in his woodcuts, but he developed a more robust aesthetic vocabulary, especially after he began at the Bauhaus, for describing seascapes, landscapes, buildings and vil- lages with figures based on nature studies made on trips to the countryside. In Das Tor (Gate) and Villa am Strande, 4 (Villa on

the Shore, 4), both from 1920, vigorous Cubist geometries fill larger sheets, describing bleakness of a scale that defies the mild quirkiness of the earlier scenes. He also began to play with space, sometimes replacing the densely explored forms of those first woodcuts with severe black lines and an almost abstract austerity in such ship prints as Angler und Schiffe (Angler and Ships, 1919), Schiffe Lyonel Feininger, Gebäude mit Fünf Sternen (Buildings with Five Stars) (1928), woodcut on (mit Mann auf einer Mole) (Ships [with Japanese laid paper, 6 x 6.7 cm. Moeller Fine Art, New York. Man at a Pier], 1920) and Mündung (Estu- ary, 1921)—all printed on Japan or other the mechanized devastation of World image. Many of the artist’s early wood- thin papers. War I, the fir trees Tannen( ) of the ancient cuts evoke this Teutonic atmosphere in a Perhaps the most magical of these German forest also seem to have conjured more conventional manner, among them spare works are two woodcuts from 1928, a return to more innocent, rustic times. two prints from 1919 showing simple Kirche mit Stern (Church with Star) and In Feininger’s Tannen (1918), the craggy German houses, and Die Försterei (1918), Gebäude mit Fünf Sternen (Buildings with outlines of the trees are set in a land- which depicts a forester’s house nestled Five Stars). Feininger has reduced the scape described by uneven, blocky forms in dense woodland. structures to the simplest of forms, which and, like several impressions here, by a An immense part of the charm of seem to float, largely or entirely border- blotchiness resulting from excess wood these images is the evident influence less, under the falling stars. left in the negative space on the block of children’s book illustration, another that was not masked in printing. In 1919, modish form of “primitivism” in artistic the year Ernst Ludwig Kirchner made his circles of the period. Feininger’s beloved Catherine Bindman is a New York-based editor celebrated color woodcut, Die Wettertan- toy locomotives barrel through quite a and art critic who has written extensively on both nen, Feininger also produced Drei Tannen. few of these woodcuts; the one rumbling old master and contemporary prints. In contrast to Kirchner’s naturalistic fir across the bridge of Die Eisenbahnbrücke trees, Feininger’s are defined by a crisp (Railroad Viaduct, 1919), with its uneven Notes: geometry and surrounded by diagonal wheels, numerous funnels and great jag- 1. http://www.moellerfineart.com/exhibi- lines that suggest an almost Futuristic ged bank of steam, points to the sensi- tions/2014-03-19_lyonel-feininger-master-print- momentum—we might be looking at just- bility, if not the actual hand, of a child. maker/ launched rocket ships—in the context of Stylized eccentrics in varying scales, with this most mythical German motif. The hats, umbrellas and strange expressions, uneven border, another characteristi- wander the foreground of the scene, cally contrived form of artlessness shared printed on striking yellow Kozo paper. by many of the woodcuts, is completely The delightful Zollhouse (Custom-House, open at the lower-right corner of the 1920) has a similarly off-beam quality: the

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

28 Art in Print September – October 2014 EXHIBITION REVIEW Chiaroscuro Woodcut: Baselitz Divided By Sarah Grant

“Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna” Royal Academy, London 15 March – 8 June 2014

“Germany Divided: Georg Baselitz and his Generation. From the Duerckheim Collection” British Museum, London 6 February – 31 August 2014

Chiaroscuro: Renaissance Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna By Achim Gnann, David Ekserdjian and Michael Foster Royal Academy of Arts, London, 2014 £40 hard cover, £4.95 soft cover

Germany Divided: Baselitz and his Generation: From the Duerckheim Collection By John-Paul Stonard 192 pages, 150 color illustrations The British Museum, London, 2014 £30

nce every decade or so an O exhibition comes along that con- stitutes a landmark in its purpose and scope. Though Renaissance paintings and drawings regularly form the focus of blockbuster museum shows, Renaissance prints are another matter altogether, and woodcuts have been particularly neglected. The Royal Academy’s summer exhibition on the Renaissance chiaroscuro woodcut gives these singularly Hendrick Goltzius, Hercules Killing Cacus (1588), chiaroscuro woodcut printed from three blocks, beautiful objects their due and also their the tone blocks in yellow and green, 41.1 x 33.3 cm. Collection Georg Baselitz. Image courtesy of the Albertina, Vienna. debut: this is the first noncommercial exhibition on the subject to be held in hyperbole when exhibition co-curator school. On its appearance in the open- Britain and one of only a handful in public Arturo Galansino described it as a “once ing decade of the 16th century, it caused a institutions on either side of the Atlantic in a lifetime” exhibition.2 sensation and was one of just a handful of in the last century. (Global museumgoers More than 130 prints documented the printmaking techniques to be mentioned may remember the exhibition of chiar0- development, refinement and spread of in Vasari’s Vite.3 Here, finally, was a sophis- scuro woodcuts from the Frits Lugt Col- this technique in France, Italy and North- ticated color image that could be produced lection at the Tokyo National Museum ern Europe. The story told was, as so often in multiple impressions, yet was capable of of Western Art in 2005 and the Rijks- with early printmaking, one of innovation evoking the tonal subtleties and highlights museum’s 1992 exhibition on Hendrick and experimentation. The chiaroscuro of wash drawings. Goltzius’s chiaroscuro prints.1) The RA woodcut is thought to have been invented The technology hinged on the use of exhibition and its accompanying cata- in Germany before spreading to Italy and multiple blocks: a key block provided the logue resurrect these exquisite images the Netherlands, where it underwent contours of the composition while addi- for a new generation. It was not therefore further developments particular to each tional blocks were used to superimpose

Art in Print September – October 2014 29 layers of color, often different tones of the same shade, creating a harmonious result. Some prints dispensed with the key block altogether, relying solely on layered colors to bring the composition into focus. This was a marked departure from earlier woodcuts in which color was applied by hand, block or stencil, without overprinting, resulting in large, crude areas of color that lay awkwardly side-by-side. The execution of chiar0- scuro woodcuts demanded meticulous precision in the carving and registration of the blocks. These difficulties, and the consequently brief period of production enjoyed by the technique, account for the works’ relative scarcity today.4 The ends, however, justified the means: the prints on view at the RA’s exhibition were all grace and elegance—watery impressions in a subtle, crepuscular palette, encom- passing marble-like grisaille and dappled greens and blues. Ugo da Carpi was the first Italian artist to adopt the chiaroscuro woodcut. His Diogenes (c. 1527), after Parmigianino, was printed from four blocks in transparent blues and greens, giving the philosopher a faded, dreamlike grandeur. The Group of Men and Women (ca. 1545–47) by da Carpi’s compatriot, Domenico Beccafumi, was printed in two shades of blue, lending the languorous duo in the foreground every appearance of mermen resting far below the waves in the shadows of the sea bed. Many of the Italian prints, like da Car- pi’s Diogenes, were reproductive, whereas German and Dutch artists created original compositions using a markedly different visual idiom. Goltzius exploited the technique’s most graphic and dynamic qualities. His Landscape with Trees and a Shepherd Couple (c. 1600) hums with small Georg Baselitz, Hirte (Herdsman) (1966), etching, drypoint and aquatint on zinc plate, printed on wove paper, image 31.9 x 23.5 cm, sheet 43.2 x 32.3 cm. Presented to the British Museum by Count details of bucolic activity. Hercules Kill- Christian Duerckheim. Reproduced by permission of the artist. ©Georg Baselitz. ing Cacus (1588) shows the mythological hero as a hollow-eyed and terrible figure preparing to deliver the fatal blow to the so many famous printmakers chose to toy woodcuts on his return to Berlin, when giant; the chiaroscuro technique height- with this spectacular technique. such works were out of favor. Baselitz not ens the violence and casts sinister pools The prints on view at the RA came only became an avid collector of these of shadow on the bone-strewn lair. By from two collections, each put together prints, he also adapted their chiaroscuro contrast, a similar moment in which an in response to the chiaroscuro woodcut’s technique to his own work. As David opponent is felled, Giovanni Pollo’s Cain siren call: that of Duke Albert of Saxe- Ekserdjian makes clear in the RA exhibi- and Abel (after Marco Pino, c. 1570–80) Teschen (1738–1822), whose holdings now tion catalogue, it was the technical, not becomes in Italian hands a scene of cool reside in the Albertina, and of the con- the formal qualities of 16th-century color restraint and quiet beauty. temporary German artist and honorary woodcuts that inspired him.6 Owing less to line and hatching than Royal Academician, Georg Baselitz, who Concurrent with “Renaissance Impres- to light and shadow, chiaroscuro wood- loaned over three-quarters of the exhibi- sions,” the British Museum’s “Germany cuts are something of a print paradox. The tion’s contents. Divided: Georg Baselitz and His Genera- effect is all the more striking when they Baselitz’s love of old master prints was tion” offered the opportunity to see the are brought together in quantity. Given first awakened on a 1965 visit to Florence,5 use made of these 16th-century works by such visual appeal, it is not surprising that and he began acquiring chiaroscuro an artist of a dramatically different time.

30 Art in Print September – October 2014 The British Museum display also grew (Etchings), published by the Paragon Press. from the passion of a collector: Count Baselitz’s complex relationship with Christian Duerckheim, who has formed history is highlighted by the inclusion an important collection of postwar Ger- of some of the Mannerist prints he has The Art in Print man art (and has given several works collected. A nearby series of his own to the BM’s department of prints and early woodcuts (Untitled, 1966–67) dem- Prix de Print drawings). In addition to Baselitz, the onstrates the adaptation of the elegant exhibition included five other German chiaroscuro technique to his distressed artists who came to prominence in the world view: lone hunters and woodsmen Deadline: 1960s and ’70s: Markus Lüpertz, Blinky flanked by their hounds or beasts of prey, Palermo, A. R. Penck, Sigmar Polke and printed in putrid tones of green and red- 15 September 2014 Gerhard Richter. All began life in eastern dish-brown. Baselitz gives a far greater (soon to be East) Germany but, with the role to the black key block than his 16th- The Prix de Print is a bimonthly, exception of Penck, forged their careers century predecessors, and the results juried competition open to all Art in largely in the West. Their mixed-media are at once jarring and compelling, frag- Print subscribers. drawings, watercolors, prints and pho- mentary scenes with great jagged shards tographs show powerful responses to of black, shot through with diaphanous The winning work of art, selected by an the legacy of World War II: guilt, anger, color. (These compositions have also outside juror, is given a full-page repro- humiliation and despair are mixed with been “remixed” in a neon-colored series, duction and is discussed in a brief essay. anguish stemming from Germany’s par- Remix [woodcuts], published in 2007.) tition. Though the trauma may have been “Few artists,” Florian Simm has The jurors are artists, curators and other collective, the responses are individual— observed of Baselitz, “have, over the span of experts in the field. few stylistic devices unite these artists. their career, so persistently wrestled with Richter is arguably the best-known of the possibilities of printmaking in its many Who can enter? the group, and one wonders whether his forms.”7 The artist’s woodcuts in particu- Anyone with an active subscription to dual training, East and West, accounts for lar can be seen as a conscious championing Art in Print can enter. We can accept his ambiguous approach to these difficult of a great graphic tradition, as can his one submission per subscription per themes. The abstraction of his photo- actions as a collector and his decision to issue. The subscriber can be an artist, graphs, sketches and watercolors on trac- share the very prints that inspired this pas- publisher, printshop, gallery or other ing paper, such as Untitled (2.1.1978), is far sion in the RA’s beautiful show. organization. more cryptic than the patently dystopian figuration of Lüpertz, Penck and Baselitz. How do I submit? The latter’s satirical treatment of the Send a high-resolution digital image to eagle, with its associations of Prussian Sarah Grant is Curator of Prints in the Word & Image Department at the Victoria & Albert Museum. [email protected], along with docu- militarism and the Third Reich, invokes and mocks the German past, while Polke mentation of the work* and the email used the visual language of Pop Art to address associated with the subscription critique the consumerist excesses of Notes: in the body of the email. (Do not send 1. Maria van Berge-Gerbaud, Chiaroscuro: Chiar- the West German present. His gouache oscuro Woodcuts from the Frits Lugt Collection in PDF attachments.) Details can abstractions and austere lithographs are, Paris, exh. cat. (Tokyo: National Museum of West- be found under the “About Us” tab at like Richter’s work, more open to inter- ern Art, 2005); Nancy Ann Bialler, Chiaroscuro www.artinprint.org. pretation, with many being visual records Woodcuts: Hendrick Goltzius (1558–1617) and of earlier installations or paintings. His Time, exh. cat. (Amsterdam: Rijksmuseum; Cleveland: Cleveland Museum of Art, 1992). Deadlines: The tenor of the exhibition, however, 2. Arturo Galansino, “Renaissance Impressions: Deadlines will be the 15th of every was set by Baselitz, whose works occupy An Introduction,” lecture delivered 4 April 2014, odd-numbered month: 15 January, 15 roughly half the exhibition. Scenes of Royal Academy, London. https://www.royalacad- grotesque distortions, barren wastelands emy.org.uk/article/124. March, 15 May, 15 July, 15 September and lone figures convey a mood of “defi- 3. Michael Bury, The Print in Italy 1550–1620 and 15 November. ant nihilism,” as the exhibition text puts (London: British Museum, 2001), 40. 4. W. L. Strauss, Chiaroscuro: The Clair-Obscur *Please submit artist’s name, title of it. Herdsman (1966), a frenzied etching Woodcuts by the German and Netherlandish with spiky drypoint additions, subverts Masters of the XVIth and XVIIth Centuries (Lon- work, year, medium, dimensions, the pastoral ideal of its title. Apocalyptic don: Thames and Hudson, 1973). edition size, printer/publisher scenes with unsettling objects and fig- 5. David Ekserdjian, “Georg Baselitz and the Col- information, ures recall Dali prints of the 1930s, such lecting of Prints,” in Achim Gnann, David Ekserd- jian and Michael Foster, Chiaroscuro: Renaissance price and where Enfant Sauterelle as (1933), in their scratchy Woodcuts from the Collections of Georg Baselitz available. technique and grisly visions. The dishev- and the Albertina, Vienna (London: Royal Academy PRIX elled antihero pictured in Der neue Typ of Arts, 2014), 22. (1965) is the defining figure of these land- 6. Ibid. de scapes and an enduring one—the art- 7. Florian Simm, ed., Contemporary Art in Print: PRINT The Publications of Charles Booth-Clibborn and ist recently reworked the composition His imprint The Paragon Press 2006–2010 (Lon- as part of his 2006 etching series, Remix don: Paragon Press, 2012), 318.

Art in Print September – October 2014 31 EXHIBITION REVIEW Frameless By Susan Tallman

“Wall Works” Hamburger Bahnhof Museum für Gegenwart, Berlin 29 November 2013 – 31 August 2014

Wall Works: Working with the Wall Since the 1960s / Arbeiten mit der Wand seit den 1960er-Jahren By Gabriele Knapstein, Udo Kittelmann and Uta Caspray 172 pages, 108 color and 5 b/w illustrations Text in German and English Published by Kerber Verlag, Bielefeld €34.90

ainting and sculpture—self-con- P tained, unique and transportable— are the forms on which the modern art world was built. The congregating, dis- persing and reconfiguring of discrete objects in and out of collections and exhibitions (with money to be made at each point of transfer) feed both the market and the museum. In the 1960s and ’70s, editions (because they are not unique) and site-specific installations (because they are not portable) were hailed as tools for undermining that system. Both are geared toward public experience and, to the extent that installations, like printing templates, are designed to be executed by people other than the artist, both appear to assault traditional notions of authen- Sarah Morris, 1972 [Rings] (2006 / 2013). Edition Schellmann ©Nationalgalerie im Hamburger ticity, displacing the artist’s hand in favor Bahnhof Berlin / Thomas Bruns ©Sarah Morris. of the artist’s idea. As artists turned away from inner emotional life and toward the Postmodernism (in both American and The formal and conceptual conceits at external world—investigating the physi- German incarnations), as well as a hand- play offered a tidy summary of the con- cal environment and the social, economic ful of newly commissioned installations. cerns of a half-century of art. Perhaps the and institutional workings of art—the Amidst paintings, sculptures and video, most fascinating property of the show, edge of the artwork slid outward and the core of the exhibition consisted of however, was social: wall works exploded became more mutable. site-specific wall paintings, many of them the traditional, commodified art object in The spectacular “Wall Works” exhibi- published as editions. order to replace it with something more tion recently on view at the Hamburger Curated by Gabriele Knapstein, the inclusive, but framed as limited editions Bahnhof in Berlin explored one tactic show was visually exhilarating: room or “unique” drawings, they raised pro- in this campaign: the commandeering after room of crisply executed, physically vocative questions about what exactly we of architecture by art. Occupying the enormous projects—Minimalism at an want from art. former freight-forwarding shed of the amusement-park scale. The arrangement The show’s dramatic opening salvo museum’s main train station building, set up dynamic conversations between was a 600-square-foot blue wall, overlaid the show unfolded in a chain of cavern- the walls, the things on the walls and life with a grid into which aluminum squares ous rooms: historic works of Minimal- beyond the walls (themes further drawn bearing Daniel Buren’s signature stripes ism and Conceptualism, Arte Povera and out in the erudite exhibition catalogue). were placed sporadically. Like all Buren’s

32 Art in Print September – October 2014 work, Unexpected Variable Configurations: cated parts. The purchaser of the Buren, white wall—a restrained Olympian face- A Work in Situ (1998) prompted the viewer for example, acquires 25 screenprinted off in relief. Others are more demanding: to consider not just the artwork but its aluminum panels and a certificate that Donald Judd’s Untitled (1992) requires housing—the stained but polished con- explains how to lay out the grid (17-inch the construction of a false wall to create crete floor, the crossbeam with its hexag- intervals), the rules for placing the 25 two ten-inch-deep recesses into which onal perforations, the larger peculiarity panels (the overall pattern of alternat- matching panels of colored plexiglass or of an industrial structure’s post-utility ing vertical stripes must be maintained) galvanized iron are set. Many are simply glamour. Literally made to measure, Con- and the color of wall paint (each of the scalable designs to be painted directly on figurations is a unique, site-specific instal- 15 members of the edition is a different the wall. Matt Mullican provides stencils lation arising from a nonunique set of color1). Within these guidelines the room for the five simple, circular emblems of instructions and parts. for variation is enormous: the minimum Untitled (1998); the size and arrangement The Buren is one of 46 wall works pub- wall size is 36 squares, but the wall at the (but not the order) is up to the owner. Imi lished by the German print and multiples Hamburger Bahnhof stretched to 273.2 Knoebel’s 1998 drawing, Mennige (Poly- firm Edition Schellmann and recently Some of these editions adapt easily to gon), is meant to be scaled up by projector acquired by the Hamburger Bahnhof. new sites: Giulio Paolini’s Vis-à-vis (Hera) to fit the wall. Günther Förg’s Wall Parti- Most of these editions consist of a set of consists of two halves of a white neoclas- tion (1986–93) is even simpler: the wall instructions and a handful of prefabri- sical head and plinth placed against a is bisected vertically, with the right half

Art in Print September – October 2014 33 Daniel Buren, Unexpected Variable Configurations: A Work in Situ (1998). Edition Schellmann © Nation Bahnhof, Staatliche Museen zu Berlin / Thomas Bruns ©VG Bild-Kunst Bonn, 2013. painted yellow and the left half painted ist in her work) two weeks to complete. printmakers laid claim to the whole sheet white. (Surprisingly, only one artist Acquiring a wall work edition is less like and painters began carving and painting chose to screenprint the wall: Rosemarie buying a statuette than it is like signing frames. The physical edge moved out- Trockel, whose Prisoner of Yourself (1998) a marriage contract. Owners can send a ward, but it remained tangible. creates a continuous dado of knitted line.) photograph of a prospective site to the In the ’60s, however, artists began The process of negotiating the instal- publisher, who will confer with the artist inviting viewers (or at least owners) into lation space and the preexisting design about potential installation solutions and the formerly cordoned-off area of the elements guarantees that each iteration even possible variations. For their part, image, while extending their own territo- of these editions is, in fact, unique. In this owners must furnish the publisher with ries of control deeper and deeper into the sense, wall works extend the ambitions of professional photographic documenta- spaces and behaviors of the outside world. early multiples, described by Karl Gerstner tion of the completed work. The terms of Among the noneditioned pieces in the of Edition MAT as producing “the greatest the edition allow a work to be reinstalled show was an early Sol Lewitt pencil-on- possible originality and the lowest price.” in a new location, but only if the former wall work, Wall Drawing #94 (1971). The What might be simple economic pragma- installation has been dismantled. “Each instructions are simple: “A six-inch (15 cm) tism—making the consumer responsible certificate,” Schellmann advises, “authen- grid covering the wall. Within each square, for labor—becomes a conceptual strategy ticates only one realized work.” not straight lines. All the squares need not that redefines the role of the artist and the This intricate redefinition of responsi- contain lines.” At Hamburger Bahnhof, content of the artwork. bilities is the most radical thing about wall the 476 squares of the grid sported irreg- Though in some sense the Schellmann works. In traditional prints and paintings, ular constellations of lines like cracked editions are kits for making art, they are territories of control were clearly demar- windowpanes. Lewitt’s early wall draw- not DIY projects. The publisher advises cated: within the image proper only the ings are considered textbook examples of that they “require professional installa- artist had rights—beyond the image, the how the move from paper or canvas to wall tion” by contractors, electricians, sign artist had no rights at all; thus the paper deflated the objectness of art. Less a thing painters, screenprinters, etc. One of the margins of prints could be trimmed to the than an event, the wall drawing would most visually splendid of the works at plate mark or canvases could be reframed exist for a time, then not exist, then exist Hamburger Bahnhof, Sarah Morris’s 1972 with impunity. By the turn of the 20th again in a slightly different manifestation (2007), took three people (one a special- century this had started to break down as of its unchanging principles.

34 Art in Print September – October 2014 People do not commonly go out and recreate Lewitt wall drawings or Förg wall paintings, though they enthusiasti- cally attend exhibitions to see them and buy books to study them. This implies that what is valued in the work is not simply its visual properties or even the understanding of process, but also the rules of the game. In the end, wall works may be the form that most perfectly expresses the social and economic structures of the 20th century, or at least the management systems that implemented those structures: thinking and design done by one group, execution punted to another group via a clear set of rules that dictate not only how to put paint on a wall, but how to evaluate its authenticity. The expanded field does not just encom- pass architecture, it encompasses us.

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

Notes: 1. Thirteen plates with three gray stripes and two white; twelve plates with three white and two gray. 2. Buren has been playing with strategies for merging prefabricated parts with instructions on how they should be deployed to fill a particular space as far back as his etching project Framed, Exploded, Defaced (1979).

Matt Mullican, Untitled (1998). Edition Schellmann © Nationalgalerie im Hamburger Bahnhof, Staatliche Thomas Bruns ©Matt Mullican.

The Lewitt is not part of an edition, skills from the equation in order to come but it functions exactly like the Förg or closer to identifying the variable that the Morris. Each iteration is different—a made something “art.” (It was Lewitt, after different wall, a different hand, a different all, who wrote, “execution is a perfunctory eye guiding the particulars. Its nonedi- affair.”) Similarly, almost anyone could tion, “unique” status—like the Förg’s paint half a wall yellow. member-of-an-edition status—inheres But accurate execution of the instruc- not in the image but in the certificate that tions is not enough to turn either activ- accompanies it. ity into a Lewitt or a Förg. That magical This is not, as they say, rocket science. transformation—the x in the equation— While the Buren requires parts that would is accomplished only by the certificate, a be difficult to fabricate and the Morris piece of paper with tangible edges, bear- demands a high level of skill, almost any- ing the artist’s signature, which can be one could take a pencil and draw a six-inch traded, exchanged, bought and sold. The (15 cm) grid and fit it out with “not straight Lewitt drawing is, at one and the same lines.” This was the point of early Lewitts— time, a deconstruction of the art object they removed the notion of special manual and the apotheosis of art as commodity.

Art in Print September – October 2014 35 EXHIBITION REVIEW Beyond Tamarind By Sharon Mizota

June Wayne, Dusty Helix (State I) from the Burning Helix Series (1970), lithograph, 25 1/2 x 39 1/2 inches. ©The June Wayne Collection, courtesy Louis Stern Fine Arts.

“June Wayne: Angeles’ nascent art scene of the 1960s that conveys Wayne’s sympathy—born of Paintings, Prints, and Tapestries” by luring renowned artists such as Lou- the Great Depression—for the poor. Such Pasadena Museum of California Art, ise Nevelson, Philip Guston and Josef early works establish the artist’s social Pasadena Albers to make prints there. While her conscience, and their all-over, agitated 4 May – 31 August 2014 reputation as a grande dame of the litho surfaces foreshadow her later preoccupa- press is firmly established, her achieve- tion with abstract textures and patterns. June Wayne: ments as an artist, which were the focus In the 1940s and ’50s Wayne took what Paintings, Prints, and Tapestries of a recent exhibition at the Pasadena was to be one of many detours, turning By Betty Ann Brown and Jay Belloli Museum of California Art, have received toward Surrealism and a misty Redon- 112 pages, 80 images much less attention. esque figuration. These works are the Pasadena Museum of California Art, Wayne, who passed away in 2011 at the least substantial in the show: the tightly Pasadena, 2014 age of 93, enjoyed a career that spanned executed paintings of odd, surreal figures $35 75 years and a wide range of artistic feel stiff; the prints, inspired by the poetry movements and influences, from Social of John Donne, express little more than s founder and director of Tamarind Realism to Surrealism, and from her own a hackneyed romanticism. The Dreamers A Lithography Workshop, June Wayne family history to astronomy. The exhibi- (1952), however, is fascinating: the paint- has long been recognized as a major fig- tion begins with her earliest extant painting shows two figures lying entwined, ure in American printmaking. Not only ing, Untitled (Mexican Woman Wearing but its surface is broken up into a net- was she essential to the revival of lithog- Rebozo) (1936), a rough-hewn portrait exe- work of triangles, as if the image were raphy in America, she also enriched Los cuted with earthy palette-knife slashes seen through myriad tiny prisms. This

36 Art in Print September – October 2014 Left: June Wayne, At Last a Thousand (1971), tapestry, 87 3/8 x 111 1/4 inches. ©June Wayne, courtesy David Richard Gallery, Santa Fe, NM. Right: June Wayne, Star Leap (1979), color lithograph, image: 4 1/2 x 5 7/8 inches, sheet: 11 x 13 inches. Collection of Elaine Mitchell Attias. combination of sentiment and geometric ditionally thought of as “women’s work.” like surface must have been carefully precision presages her most compelling On the other, the use of tapestry aligns placed by hand. Even more rapturous is works, in which the dispassionate rigor with Wayne’s interest in science and tech- Dor (1984), covered in wrinkled gold leaf of mechanical systems butts up against nology: the familiar pattern of warp and like a shining portal to another world. In highly subjective, dream-like imagery. weft can be seen as a precursor to the pix- a charming touch, its sides are striped in Wayne’s prints of the 1960s and ’70s ilated “texture” of the computer screen. rainbow hues, suggesting hidden layers of depart from figuration altogether to In the same decade Wayne’s work in color beneath the surface. explore scientific imagery. Dusty Helix lithography became less cosmic and more Laid out thematically rather than (1970) echoes the all-over pattern of The overtly personal. The Dorothy Series used chronologically, the exhibition may have Dreamers with a network of interlock- photographic imagery to tell the story created difficulties for those unfamiliar ing polygons inspired by the structure of her mother’s life: her immigration with Wayne’s career, and while the slim of DNA. At Last a Thousand (1965), the from Russia in the early 20th century, catalogue is richly illustrated and fills in 1,000th print made at Tamarind, is a two failed marriages, antiwar activism helpful biographical detail, it offers little halo of irregular dots and striations that and work in a lingerie factory. An ethe- in the way of analysis. Despite these resembles both a galaxy and a thumb- real deathbed portrait completes the arc. shortcomings, “June Wayne: Paintings, print. A recurring motif in her abstract Here Wayne not only paid tribute to her Prints, and Tapestries” makes a strong prints, fingerprints stand in for the sun, mother but asserted the potency of the case for an artist who bridged disparate the universe, and individual identity. personal as a subject of art. Such intimate worlds and defied reductive definitions. If Fingerprints are, after all, the earliest visual storytelling is familiar now, but in the exhibit isn’t quite assertive enough to and most natural form of printmaking. the early ’70s it was an emerging form; ensure her a spot in the pantheon, that The discovery of the visual resemblance Wayne’s series was a precursor of much goal may well be beside the point of between their whorls and ridges and the of the autobiographical “text and image” Wayne’s exploratory, sometimes ecstatic visions of outer space that emerged in work that emerged in the 1980s. approach to art. Wayne’s varied and inno- the 1960s must have felt like a spiritual Though she continued to make vative path was a celebration of life’s rich revelation to Wayne, given her instinct prints, Wayne returned to painting in mysteries, in whatever form they took. for collapsing the macro into the micro later decades, covering wooden pan- and vice-versa. els with bits of styrene—the stuff of Never content to work in a single packing peanuts—to create an overall Sharon Mizota is an art critic for the Los Angeles mode, Wayne extended her practice in texture and then painting over them, Times and other publications. new directions in the 1970s. With Gobe- often using paint with jewel tones and lins Tapestry Manufactory in France, she a metallic sheen. Like tactile versions made a series of large-scale wool weav- of Minimalist works, the paintings take ings. Most reproduce images first created Wayne’s interest in all-over patterning as prints, but the texture of tapestry, its into three dimensions. Where her prints regular pattern of interlocking fibers often found beautiful, complex textures and its social history, alter the charac- within the processes of lithography, these ter of the image. On the one hand, they paintings are more deliberate. Bei (1989) can be seen as a feminist gesture—grand is a shimmering, irregular grid that feels abstractions in an art form (weaving) tra- organic, though each piece in the mosaic-

Art in Print September – October 2014 37 EXHIBITION REVIEW Vector Analysis By Owen Duffy

Installation view of “Louise Lawler: No Drones.” Left wall: Pollock and Tureen (traced) (1984/2013), signed certificate, installation instructions, match print on vinyl adhesive and vector-based Illustrator file, dimensions variable;Right wall: No Drones (2013), 12 embossed glasses (6 white and 6 black), 2 glass shelves and 4 brackets, each glass 15 x 5 cm, over all 16 x 110 x 10 cm (framed). Sprüth Magers London, 2 July–23 August, 2014. Photo ©Stephen White.

“Louise Lawler: No Drones” is more than a digitalized redux of her visceral qualities and presents a carica- Sprüth Magers, London photograph of a Pollock painting hang- ture of the preserved sheep, cut in half 2 July – 23 August 2014 ing over a collector’s soup dish. The skel- but cartoonish and innocuous. etal vector conversion can be fitted to any Complementing the vinyl editions are t the end of Grafton Street in London, space—in this case, to the gallery’s longest several smaller archival prints with gouache A Sprüth Magers’ large, proscenium- wall. The painting is transformed into a on paper, such as Untitled (traced and like window gave passersbys a glimpse linear graphic, flattening Pollock’s splat- painted) (2006/2013/2014), and an installa- of Louise Lawler’s exhibition. Most of ters of paint and reducing them to almost tion of glass shelves with drinking glasses the works inside were black-and-white unrecognizable outlines—a sly doubling inscribed “No Drones.” The focus of the tracings of her photographs of famous of Pollock’s medium-specific work, which show, however, remains the vinyl prints, artworks in domestic spaces, institu- Clement Greenberg argued was about which raise profound questions about tions and storage. With the help of chil- painting and its intrinsic flatness. authenticity, ownership and conservation dren’s book author, illustrator and artist As in the other prints, the off-white in the digital age. How does our relation- Jon Buller, Lawler made vector files— vinyl of Dots and Slices (traced) (2006/2013) ship to art change when images become enlarged without loss of quality—from subtly sets the work apart from the gal- computer files with infinite dimensions? the images, printed them on vinyl and lery wall. Here Lawler revisits her photo- What happens to Walter Benjamin’s “aura” adhered them to the gallery walls, offer- graph of Damien Hirst’s dot painting and in the age of digital reproduction? ing a new way to view her oeuvre and the bisected sheep awaiting auction at Chris- original works that appear in it. tie’s. Through a second layer of media- Owen Duffy is a PhD student at Virginia Com- Pollock and Tureen (traced) (1984/2013) tion, Lawler neutralizes the sculpture’s monwealth University.

38 Art in Print September – October 2014 EXHIBITION REVIEW Line v. Color By Chara Kolokytha

enri Matisse is considered the sented offered essential information about H greatest French colorist of the Matisse as a printmaker and about the evo- first half of the 20th century, but line lution of his style through line. The show was equally essential to his art. This is affirms the idea that his late, color works the point made strongly in Marlborough constitute, not a retreat from line, but the Galleries’ recent exhibition.2 “Matisse: last instance of the artist’s continuous The Essence of Line” presented prints experimentation with line. and illustrations produced between 1900 and 1950. Like the 1983 Matisse print catalogue raisonné, the exhibition was Chara Kolokytha is an art historian active in divided into four sections, three focusing France and the UK. on technique (drypoints and etchings; lithographs; linocuts and aquatints) and Notes: one on “Dance and Poetry.”3 1. Jack Flam, Matisse on Art (University of Califor- Beginning with the artist’s earliest nia Press, 1995): 48. “Souvenez-vous qu’une ligne works as a printmaker (the etching and ne peut pas exister seule; elle amène toujours drypoint Henri Matisse gravant (dated une compagne […] Les lignes ne peuvent jamais 1900–03) as well as four early lithographs être lâchées en liberté; chaque ligne doit avoir sa fonction.” Dominique Fourcade, Matisse, Écrits et from 1910 to 1913, three etchings from Propos sur l’art (Paris: Hermann, 2009): 67. 1914 to 1916, a woodcut from 1906) the 2. The New York show included 81 prints, while “Matisse: The Essence of Line. show quickly moved on to the etchings in Europe the number was considerably reduced. Selected Prints: 1900–1950” and lithographs from the 1920s and ’30s 3. Claude Duthuit, Marguerite Duthuit-Matisse, Marlborough Galleries, New York: on which Matisse’s reputation as a print- Henri Matisse: Catalogue raisonné de l’œuvre gravé (Paris: C. Duthuit Editeur, 1983). The illustra- 12 September – 12 October 2013; maker rests. The section on aquatints tions were published in C. Duthuit, Henri Matisse: London: 4 December 2013 – 11 January and linocuts included just six prints, all Catalogue raisonné des ouvrages illustrés (Paris: 2014; Madrid: 13 February – 22 March executed between 1938 and 1952. Imprimerie Union, 1987). 2014 Matisse’s gift for color appears in 4. Flam, 54. the section on dance and poetry, which Remember a line cannot exist alone; it included the rare color etching La Danse always brings a companion along […] (1935–36), based on the first, unused design No lines can go wild; every line must for the mural commissioned by Albert have its function. Barnes in 1932. The 20 pochoirs from the unfolded edition of Jazz (1947) was also —Henri Matisse, 19081 on view. In the cut-paper works created between 1943 and 1947, and in the color lithographs made for Verve magazine from 1937 onward, line exists as the articulated edge between two color forms. In the exhibition catalogue, Marilyn McCully observes, “By cutting (rather than etching or using lithographic techniques), Matisse explored the possibilities of drawing in color, as it were, with scissors.” The section concludes with Matisse’s etchings for the illustration of Malarmé’s Poésies, published by Albert Skira in 1932. The trajectory of the show follows Matisse as he moves toward increasingly simplified form, or more precisely, to a deft economy of line. As he declared in 1909: “Details lessen the purity of lines and harm the emotional intensity; we reject them.”4 Though limited in number, the works pre-

Art in Print September – October 2014 39 BOOK REVIEW reproductions of many of the prints. (The between representation and abstrac- thumbnail images in the oeuvre cata- tion. Rümelin acknowledges that so- logue section are, in contrast, too small called faults are an important part of her to convey very much.) approach, but it is tempting to go further In his introductory essay, Christian and declare white noise or optical distur- Rümelin, who also acted as the book’s bance to be the highest structure deter- editor, concentrates on multiple levels of mining the final work. the work’s structure. He explains that, The other four essays are significantly through surfaces and lines (and in earlier shorter. Waters offers general remarks on works, dots), Baumgartner has developed Baumgartner’s concern with movement a whole structural system that depends and the depiction of time, and makes a on the viewer to resolve the image into useful point about the generic quality of an representational image. The subjects the pictures the artist chooses to start Christiane Baumgartner: White Noise she chooses to represent—the airplane, with: though photographic, her images By Christian Rümelin with essays by the landscape, the explosion—all carry convey types rather than identities; we Catherine de Braekeleer, Tobias Burg, their own inherent structures, he notes. are not asked to recognize a specific Thomas Oberender and Helen Waters Competing and interacting with these stretch of road or a specific explosion, but 160 pages, fully illustrated in color is the structure of her representational to read them as representations of move- Published by Verlag Schneidegger strategy, the concatenation of horizon- ment in a general sense. & Spiess AG, Zürich, 2014 tal lines. The interference that erupts Braekeleer stresses the distinction €35 between these sets of structures—moiré between Baumgartner’s formal interest in patterns for example—force the viewer borrowed images and the more typologi- By Jasper Kettner to work hard to recognize the image, and cal use of such images by other artists. She working hard makes us think about the remarks that, while movement and speed he German artist Christiane process of image recognition. Finally, have long been a focus for Baumgart- TBaumgartner has become famous having put in the effort to decipher the ner, her subject matter has recently been for woodcuts in which she employs a sys- image, we are more conscious of what it growing increasingly abstract, mov- tem of carefully carved horizontal lines is. We pay more attention to the airplane ing from doubled silhouettes in the late that taper and thicken in such a way that itself than we would if it were easy to rec- 1990s to video stills with their character- images coalesce: newspaper photographs, ognize. istic horizontal scan lines to her recent, screenshots, frames of the artist’s own It is a pity Rümelin does not elabo- more immaterial representations of videos. Three European museums—the rate on the title “White Noise,”2 since the movement in the form of explosions or Centre de la Gravure et de l’Image impri- competition between signal and noise fireworks. (Braekeleer’s interpretation of mée (La Louvière, Belgium), the Museum provides a useful conceptual handle for these last as expressing the catastrophe Kunstpalast (Dusseldorf, Germany) and the way Baumgartner deals with images. of German history and the artist’s uncon- the Musée d’art et d’histoire (Geneva)— She moves from coherent images to the scious attempt to get in contact with this recently joined forces to put together abstract patterns of her lines, to a hybrid tragically destroyed past is open to ques- a traveling retrospective1 and exhibi- visual noise that ends up somewhere tion. Such personal and specific forms of tion catalogue. With multiple essays at the front and an oeuvre catalogue of Baumgartner’s work at the back, it offers the first, much needed overview of this important artist. The inclusion of the oeuvre catalogue performs a vital service, making readers aware of the breadth of Baumgartner’s practice—the drawings, videos and etchings in addition to the well-known woodcuts. In their essays the authors unite this diverse body of work under a single umbrella: the artist’s overarching concern with changing shades of resolution between representation and abstraction. The five short essays (some perhaps too short) offer insight into distinct aspects of Baumgartner’s work: Chris- tian Rümelin on structure, Catherine de Braekeleer on memory, Tobias Burg on lines, Thomas Oberender on abstraction Christiane Baumgartner, With and without Thinking – NYC, 1 and 2 (2013), aquatint on Hahnemühle and Helen Waters on movement. These paper, image 40.3 x 30.3 cm, sheet 62 x 48 cm. Christiane Baumgartner ©2014 Artists Rights Society essays are helpfully accompanied by large (ARS), New York / VG Bild-Kunst, Bonn. Image courtesy Harlan & Weaver, New York.

40 Art in Print September – October 2014 memory would also stand in contrast to the generic quality observed by Waters.) Burg devotes his essay to the artist’s use of lines. They vary in width, he writes, making them suggestive of elec- tronic media. This allusion to electroni- cally generated images rather than their imitation, in Burg’s view, distinguishes Baumgartner’s approach from that of other artists such as Tom Wesselmann or Richard Hamilton. The four aquatints, With and Without Thinking (2013), Burg sees as cloud formations in which the lines are neither part of the subject nor instruments to create the subject but have their own importance. In contrast Christiane Baumgartner, Belfast I (2004), woodcut on Shiohara japanese paper, image 42 x 84 cm, to her woodcuts, the aquatint lines are sheet 62 x 97 cm. Christiane Baumgartner ©2014 Artists Rights Society (ARS), New York / VG Bild- disposed vertically with irregular spac- Kunst, Bonn. Image courtesy Alan Cristea Gallery, London. ing. Burg argues that in this arrangement the lines create the clouds (or the abstract forms, one might add), whereas world. This, he claims, turns Baumgart- exhibitions and publications listed in the in the woodcuts lines are merely a means ner’s prints into subjective images where bibliography. of transmission. But he does not place the the viewer’s participation is required to This substantial study offers highly work in the context of the woodcut Storm resolve the final image into a coherent valuable insights into the work of an at Sea—also 2013. Whether disposed ver- whole (in contrast to high-resolution dig- influential artist, and the oeuvre cata- tically or horizontally, the lines in both ital images, for example). logue is likely to remain the primary ref- representations (clouds? smoke?) are in a The last fifth of the book is devoted to erence for scholars, collectors and similar state of dissolution. Both repre- the oeuvre catalogue compiled by Rüme- curators for many years to come. sent Baumgartner’s increasing tendency lin with the help of the artist. Though the toward abstraction. small size of the images—up to 17 on one In the final essay, Oberender describes page—is not ideal and can make it dif- Jasper Kettner is an art historian and works and her woodcuts and their optical distrac- ficult to follow some of the arguments lives in Berlin. tions particularly well with his phrase in the essays, the information gathered “nervous spaces,” which he uses to indi- is extremely useful. All Baumgartner’s Notes: cate hidden places created by the artist works since 1990 are documented in 1. La Louvière 8 February–11 May 2014; Düs- that must be recreated by a viewer stand- chronological order, with information on seldorf 19 September 2014–4 January 2015; ing at the right distance to the image, title, technique, format, paper, printer, Geneva 30 January–3 May 2015. thus unveiling reality within the visual editor and edition size, and references 2. “White noise” refers to the random presence of all frequencies simultaneously and to the absence of any coherent signal—radio static, for example, in which nothing recognizable can be heard.

Christiane Baumgartner, With and without Thinking – NYC, 3 and 4 (2013), aquatint on Hahnemühle paper, image 40.3 x 30.3 cm, sheet 62 x 48 cm. Christiane Baumgartner © 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Image courtesy Harlan & Weaver, New York.

Art in Print September – October 2014 41 BOOK REVIEW Calamatta (once encouraged by Ingres) tive and modern visual media in the 19th had finally completed his monumental century. This is the fascinating history copperplate engraving of the Mona Lisa that occupies Stephen Bann in his new after more than 30 years of work. Cala- book, Distinguished Images. Like Bann’s matta’s print was hailed as a milestone important 2001 volume, Parallel Lines: of modern engraving—his heroic perfor- Printmakers, Painters and Photographers mance seemed to prove that engraving in Nineteenth-Century France, the current could stand up against the breathtak- book uses reproductive media as a lens ing success of the more rapidly produced through which to view the interaction of lithography. For later critics such as Henri visual culture and social and intellectual Focillon, however, the frozen virtuos- history. The title underscores the book’s ity of the print was just one more nail in essential concern with what happened to the coffin of a stiff and linear art form media such as classical engraving once suffocated in classical dogmas, which artistic quality was no longer predicated had turned its back on the revolutionary on the complexity of technical produc- media upheavals of its time. Blanc, who tion or substantial economic investment. had been a student of Calamatta, took the It highlights the moment when the par- Mona Lisa as an opportunity to evaluate ticular aesthetics of the print—partly the state of French engraving. In a won- in response to photography—began to derful passage, he passes under review all break down the boundaries of its own the great French masters of engraving— classical canon. Distinguished Images. Prints in the Visual Robert Nanteuil to Gérard Audran, Pierre In his examination of this period, Economy of Nineteenth-Century France Drevet to Charles Bervic—and notes the most profound upheaval in visual By Stephen Bann that not one had dared take a stab at this media since Gutenberg, Bann concen- 264 pages, 116 illustrations fabled portrait. Decades after lithography trates explicitly on France. (One searches Yale University Press, had established its dominance in virtu- in vain for mention of the great Munich New Haven/London, 2013 ally every area of printed image produc- lithographer Johann Nepomuk Strixner $65 tion, Blanc came to the conclusion that or the brilliant etcher Adolph Menzel. only 19th-century copper engraving was There is just a single glancing reference mentally and technically mature enough to the masterpiece that was, for German to reproduce the enigmatic aura of Leon- engravers, the equivalent of the Mona Lisa Will Photography Kill ardo’s icon. for the French: Raphael’s Sistine Madonna Blanc and the Gazette, Nadar and in the Dresden Gallery.) Bann uses the Engraving? Calamatta represent just a portion of the example of France to study what was an By Hans Jakob Meier wild turbulence and experimental explo- eminently Europe-wide phenomenon. ration that surrounded both conserva- The reasons for this choice are valid and famous decree by the Académie des clearly laid out: nowhere else was the A Beaux-Arts on 2 November 1816 interplay between painting and print- officially enthroned lithography as a making as traditionally close. Only in medium of overwhelming importance for Paris was there such symbiotic commu- the state, art and business in France. By nication between the masters of graphic the Salon of 1824, lithography was pre- techniques and the most influential sented as its own genre. Not quite 30 years painters—Ingres, Anne-Louis Girodet, later, in his Parisian studio in the boule- Paul Delaroche and others. France had, vard des Capucins, Félix Nadar celebrated since the epoch of Diderot, also boasted the first great achievements in portrait the most educated public in this regard. photography. Within just a few decades, Above all, it was in France that critical the quintessentially modern media of early steps toward practical photography lithography and photography had invaded were taken by Joseph Nicéphore Niépce the universe of traditional print produc- (in Saint-Loup de Varennes) and Louis tion, demanding new understandings Daguerre (in Paris)—both in touch with of representation, reproduction and the copper-plate engravers. role of art. But even as Nadar was mak- Bann is careful not to construct a ing his famous photographs of Charles simple historical model of precipitous Baudelaire, Charles Blanc, editor of the winners (first lithography, then the pho- Gazette des Beaux-Arts, was penning a bril- tograph) and sudden losers (engraving and liant article on France’s principal—and etching). For example, he meticulously increasingly conservative—form of print: reconstructs Nadar’s strong lifelong com- engraving. The focus of Blanc’s essay was Luigi Calamatta, after Leonardo, Mona Lisa mitment to lithography, focusing on the (1857), engraving, 37.5 x 27.5 cm. Paris, Biblio- a recently published magnum opus, long thèque Nationale de France, Département des less well-known part of his autobiogra- awaited by Parisian connoisseurs: Luigi Estampes et Photographies. phy that relates, not to his fame as a pho-

42 Art in Print September – October 2014 Nadar (Gaspard-Félix Tournachon), Princesse de Solme [sic] Soeur du Roi de Hanovre, numbered 0970 (ca. 1867), photograph (glass plate negative). Paris, Bibliothèque Nationale de France, Département des Estampes et Photographies. tographer, but to his student days (Quand j’étais étudiant). Bann’s text analysis shows how vividly the image memory of the old Nadar had been shaped by lithography. The July Revolution of 1830, to take one instance, had been burned into his memory through the lithographs of the political illustrated press of those days. Lithography continued to be a deter- mining factor in the late 19th century. In 1889 Blanc celebrated it as the French visual medium par excellence. Similarly, engraving and etching enjoyed continued relevance and public interest through- Ferdinand Gaillard, Male Model (1856), engraving with pencil studies (print submitted at Ecole des out the 19th century: in 1856 and again in Beaux-Arts for Grand Prix de Rome in engraving), 40.6 x 30.2 cm. London, British Museum, Depart- 1868 the venerable Prix de Rome (as old ment of Prints and Drawings. as the Académie itself) was awarded to artists working in the domain of prints— essential for assessing the quality of processes fully maintained their status Ferdinand Gaillard and Charles Walt- engraving were in Gaillard’s prints no lon- throughout the 19th century. ner, respectively. Just before the turn of ger visible to the naked eye. In a key chapter, Bann moves from the the century, in 1898, Léopold Flameng, Through precise analysis of complex public presence of printed images in the famous for his etching after Ingres’ La material, Bann convincingly demon- context of official Paris Salons to their Source, was appointed to the Académie strates that the pace of change in aes- much wider presence in the major Pari- as the new professor of engraving and thetics was much slower than suggested sian illustrated magazines. He is not con- etching. By then the aesthetic alliance by Walter Benjamin. Bann illustrates in cerned here with the all-too-familiar role between lithography, engraving and detail how Benjamin’s pronounced views of lithography in satirical journals such photography had become so close that on 19th-century reproductive media as Charivari. Instead his focus is on large, the collector and critic Henri Beraldi overestimated the speed with which nonpolitical journals appealing to the reproached Gaillard—a Grandseigneur of photography gained hegemony (accord- wealthier bourgeoisie, such as the Maga- Parisian engraving—for having obliter- ing to Benjamin, within a few decades) sin pittoresque and the Magasin universel. ated the most sacred principle of engrav- and missed the broader historical pic- These were joined slightly later by the ing: the play of lines that Beraldi held ture, which showed that traditional print Gazette des Beaux-Arts, which cultivated

Art in Print September – October 2014 43 a smaller audience and featured high- caliber art-historical connoisseurship. From 1833 onward, these magazines, which sometimes boasted quite large circulation, rapidly became the most important trans- mitters of lithography, wood engraving and etching. One magisterial issue of the Magasin pittoresque, for instance, examined the political and aesthetic transformation of medieval France through its monasteries and cathedrals. This interest in recollection and restoration of the past was for decades the largest domain and undisputed field of experimentation for lithography and wood engraving, support- ing a vast proliferation of prints. Only in 1860 did this lucrative market become sat- urated, giving way to the more archaeolog- ical interest and scientific documentation of medieval national monuments in terms of Viollet-le-Duc. The French government recognized early on the possibilities of photography in this context and in 1858 established the Missions Héliographiques to record historical structures in need of restoration. The survey was soon joined by Gustave le Gray and Henri Le Secq, the great pioneers of early panoramic photography who had trained as painters in the studio of Delaroche. Bann sketches a fascinating crescendo: the heroic romance with medieval cathedrals that begins almost silently around 1820 with inconspicu- ous vignettes of secluded Norman abbeys (including one by Géricault) and eventually bids a grand farewell with Monet’s monumental visions of Rouen Cathedral—mag- nificent, modern and sublime. Barthélemy Roger, after Pierre-Paul Prud’hon, L’Amour séduit l’Innocence (Innocence Seduced Bann’s study is exemplary in its adher- by Love) (Salon of 1812), engraving, 25 x 20 cm. Washington, DC, National Gallery of Art Library, ence to fundamentals. He moves deftly Department of Image Collections. among different types of public audiences who debated and discussed these issues l’Innocence was a challenge for French line concretely how these ambivalent trans- over the course of nearly a century. A few engraving, still under the neoclassical formations continued to reverberate in side notes may be added to Bann’s con- spell of Jacques Louis David. To cope with visual art down to the present. sistently profitable, freshly written study. this painterly effect, Roger tried to adapt This, however, is a relatively minor Some of the aesthetic conflicts he touches elements of stipple work to the aesthetics quibble with a book that offers a corrective on—especially that of engraving as it of classical line engraving. These engrav- to the simplistic narrative about what headed toward the existential crisis from ings are masterful, but inevitably convey happened in art, representation and which it has never really recovered— an aesthetic tension and a lack of homo- reproduction during the 19th century. expose the fundamental difficulties geneity. Here we encounter the essential Bann has provided a splendid analysis, that engraving faced in its attempt to clash of a linearly bound medium faced rich in material, of the aesthetic upheavals convey nonlinear content. There was a with the task of interpreting color. It in a critical period in the graphic arts. forced attempt to break free of the fro- enjoyed its last dramatic breakout in the zen classical tradition of Jean Georges century that gave us lithography and pho- Wille and Charles Clément Bervic and tography, but its roots extended back to Hans Jakob Meier is a research fellow at to implement chromatic values graphi- the early 16th century: the Italian engrav- Humboldt University in Berlin. cally—experiments Bann problematizes ing of Giulio Campagnola and others was through the early example of Barthelemy prominently updated by Rubens and his Roger’s interpretations of the paint- engravers, then newly addressed by mez- ings of Pierre-Paul Prud’hon. The sfu- zotints. In this respect, the author might mato of works such as his L’Amour séduit have gone even deeper, acknowledging

44 Art in Print September – October 2014 Ann Chernow, The Night is Young (2014) News of the Stone lithography, 13 x 22 inches. Edition of 5. Printed and published by Milestone Graphics, Print World Bridgeport, CT. $600.

Selected New Editions

Diane Abt, Enso (4) (2014) Collagraph, oil-based ink, image 20 x 18 inches, sheet 30 x 22 inches. Unique image. Printed and published by the artist, Berkeley, California. Janet Ballweg, Remains to be Seen (2013). $400.

Ann Chernow, The Night is Young (2014). Laura Berman, Umbra RH2 (2014) Monoprint, 37 x 57 inches. Unique image. Printed Clare Curtis, Barbara’s Garden and Spa Gardens and published by Pele Prints, St. Louis, MO. (2014) Available from Long View Gallery, Washington, Lithographs, 49 x 67 cm and 50 x 69 cm. Edition D.C. $2,800. of 75. Printed and published by Curwen Studio, Worton Hall. £230 each.

Diane Abt, Enso (4) (2014).

, Mother’s Day (2013) Mamma Andersson Laura Berman, Umbra RH2 (2014). Color sugar lift, spit bite, and soap ground aquatints, image 29 3/4 x 45 3/4 inches, sheet 38 3/4 x Clare Curtis, Barbara’s Garden (2014). Douglas Bosley, LD:4334.0003 (2014) 53 3/4 inches. Edition of 35. Printed by Emily York, Mezzotint and lithography, image 12 x 20 inches, San Francisco. Published by Crown Point Press, sheet 15 x 22 inches. Edition of 15. Printed by Jeffrey Dell, Trouble In The Sky II (2014) San Francisco. $4,500. Douglas Bosley and Miles Lewis at the Valley Screenprint, 34 x 23 inches. Edition of 3. Printed Print Studio, Los Angeles. Published by Valley and published by the artist, San Marcos, TX. Print Studio. $500. Available from Art Palace Gallery, Houston, TX. $2,400.

Mamma Anderson, Mother’s Day (2013).

Ricky Armendariz, Saturn and His Children (2014) Woodcut, 35 x 47 3/4 inches. Edition of 10. Printed and published by Flatbed Press, Austin, TX. Price starts at $1,700 and is subject to change according Douglas Bosley, LD:4334.0003 (2014). to availability. Jeffrey Dell, Trouble In The Sky II (2014).

Richard Bosman, Porthole 7 (2014) Paul DeRuvo, Ritual (2014) Monoprint, archival pigment print, hand painted Etching, aquatint and drypoint, image 17 x 24 (from a series of 18 monoprints), 18 7/8 x 20 inches, sheet 21 x 29 inches. Edition of 10. Printed inches. Unique image. Printed and published by and published by the artist at Center for Contem- Stewart & Stewart, Bloomfield Hills, MI. $3,000. porary Printmaking, Norwalk, CT. $450.

Ricky Armendariz, Saturn and His Children (2014).

Janet Ballweg, Remains to be Seen (2013) Screenprint, 18 1/2 x 15 inches. Edition of 9. Printed and published by the artist, Bowling Green, OH. $525. Richard Bosman, Porthole 7 (2014). Paul DeRuvo, Ritual (2014).

Art in Print September – October 2014 45 Justin Diggle, Window Watcher (2014) Georgina Gratix, Flâneur (2014) Etching and photo etching, image 39 x 22 inches, 10-color, 5-block woodcut, image 107 x 85 cm, sheet 44 x 22 inches. Edition of 5. Printed and sheet 134 x 99 cm. Edition of 15. Printed and pub- published by the artist, Salt Lake City, UT. $650. lished by Warren Editions, Cape Town. R9,500.

Craig V. Fisher, Tragedy Strikes the Candyland Express (2014). Georgina Gratix, Flâneur (2014). Deborah Freedman, With or Without You Justin Diggle, Window Watcher (2014). (2014) Stephen Hobbs, First 100 Ladies I (2014) Series of watercolor monotypes, eight 26 3/4 x 32 Woodblock, woodcut relief, 32 x 22 inches. inch prints and six 26 1/2 x 56 inch diptychs. Unique Printed and published by David Krut Workshop, Stella Ebner, The Award Ceremony (Plus Still- image. Printed and published by Oehme Graphics, Johannesburg, South Africa. Available at David life with Podium, Banner and Professional Flower Steamboat Springs, CO. $1,700 and $3,100. Krut Workshop, New York. $600. Arrangement) (2014) Screenprint on Japanese paper, 25 x 72 inches. Edition of 5. Printed and published by the artist, New York. $2,800.

Stella Ebner, The Award Ceremony (Plus Still- Deborah Freedman, from With or Without You life with Podium, Banner and Professional (2014). Flower Arrangement) (2014). Stephen Hobbs, First 100 Ladies I (2014). Jane E. Goldman, Audubon August (2014) Archival pigment print, hand painted, 21 3/4 x 29 Anita S. Hunt, Demolition II (2014) Amze Emmons, Negotiation Site (2014) 3/4 inches. Edition of 20. Printed and published by Etching and spit bite aquatint printed from two Lithograph, 18 x 24 inches. Edition of 10. Printed Stewart & Stewart, Bloomfield Hills, MI. $1,000. copper plates, chine collé on handmade gampi and published by Deb Chaney Editions, Brook- with backing sheet, image 6 x 9 inches, sheet 11 x lyn, NY. $600. 14 inches. Edition of 7. Printed and published by the artist, Colrain, MA. $450.

Jane E. Goldman, Audubon August (2014). Anita S. Hunt, Demolition II (2014).

Amze Emmons, Negotiation Site (2014). Teo Gonzalez, Etching 2 (2014) Mark Iwinski, Ghost Spruce; 200 years old (2014) Etching with hand-colored chine collé, image 24 Wood block ink on Indigo Konshi Gampi, image x 18 inches, sheet 30 x 22 1/2 inches. Edition of 35. 57 1/2 x 47 inches, sheet 73 1/2 x 73 inches . Unique Craig V. Fisher, Tragedy Strikes the Printed and published by James Stroud, Center image. Printed and published by the artist, Dur- Candyland Express (2014) Street Studio, Milton Village, MA. $1,200. ham, North Carolina. $3,000. Aquatint intaglio inkjet on kitykata chine collé, 19 x 31 inches. Edition of 4. Printed and published by Ibis Press Studio, Toledo, Ohio. $450.

Teo Gonzalez, Etching 2 (2014). Mark Iwinski, Ghost Spruce; 200 years old (2014).

46 Art in Print September – October 2014 Teresa James, Precious Jewel (2014) Brenda Malkinson, Heaven/Earth (2013) Cyanotype on hand-stained paper, 48 x 32 inches. Woodcut (diptych), image 30 x 15 inches, sheet 42 Edition of 3. Printed and published by White x 21 inches. Edition of 3. Printed and published Wings Press, Chicago, IL. $2,000. by the artist, Edmonton, Alberta, Canada. $1,000.

Deborah Kass, Enough Already (2014).

Jacob Kassay, Untitled (Frankfurter Allgemeine) Brenda Malkinson, Heaven/Earth (2013). (2014) Set of nine lithographs, 65 x 87 cm each. Edition of 2. Printed and published by Polígrafa Obra Ikeda Manabu, Untitled (2014) Gràfica, Barcelona. $6,000. Etching, 24 1/2 x 29 1/2 inches. Edition of 30. Printed and published by Tandem Press, Madi- son, WI. $1,000.

Teresa James, Precious Jewel (2014).

Jules Buck Jones, Orca I Was (2014) Intaglio/ soft ground, lift ground aquatint, aquatint, image 45 x 32 inches, sheet 63 1/2 x 41 inches. Edi- tion of 15. Printed and published by Flatbed Press, Austin, TX. $1,800 for the first three impressions.

Jacob Kassay, from Untitled (Frankfurter Allgemeine) (2014).

Catherine Kernan, Transit #18 (2014) Ikeda Manabu, Untitled (2014). Woodcut monoprint, 29 3/4 x 22 5/8 inches. Unique image. Printed and published by the art- Katherine Marmaras, Fading wall(flower)…(2014) ist, Somerville, MA. Available from Stewart & Water-based woodblock print and mixed media, Stewart, Bloomfield Hills, MI. $2,200. 93.5 x 73 cm. Unique image. Printed and published by the artist, Melbourne, Victoria, Austra- lia. AUD 1,200.

Jules Buck Jones, Orca I Was (2014).

Raeleen Kao, Second Temptation (2014) Four-color etching with aquatint, image 6 inch diameter, sheet 10 x 10 inches. Edition of 5. Printed and published by White Wings Press, Chicago, IL. $400.

Catherine Kernan, Transit #18 (2014). Katherine Marmaras, Fading wall(flower)...(2014).

Paula Schuette Kraemer, Centerpiece #1–10 (2014) Maser, Focus (2014) Series of ten drypoint and watercolor mono- Relief, 24 1/4 x 18 inches. Edition of 45. Printed by prints, 24 1/4 x 24 inches each. Unique image. Jason Ruhl, Madison, WI. Published by Tandem Printed and published by Oehme Graphics, Press, Madison, WI. $750. Steamboat Springs, CO. $600 each.

Raeleen Kao, Second Temptation (2014).

Deborah Kass, Enough Already (2014) Screenprint with fluorescent ink, 22 x 31 inches. Edition of 40. Printed by Brand X Editions, New York. Published by Visual AIDS, New York. Pro- ceeds support the programs of Visual AIDS. Prints begin at $1,800 for the first 20 prints, and increase to $2,000 for the final group. Paula Schuette Kraemer, Centerpiece #9 (2014). Maser, Focus (2014).

Art in Print September – October 2014 47 Timothy McDowell, Viper and Vine (2013) Renée Rockoff, Visage I (2014) Five-color etching, 18 x 24 inches. Edition of 5. Screenprint , image 5 x 4 1/2 inches, sheet 9 x 8 Printed and published by the artist, Stonington, 1/2 inches. Edition of 26. Printed by Michael Kirk, CT. $450. New York. Published by Howard Street Press, New York. $300.

Robyn O’Neil, Bed from I Dismantle Land (2014).

Timothy McDowell, Viper and Vine (2013). Sumi Perera, Think Outside the Glass Box (2014) Etching and aquatint, 19 1/2 X 11 3/4 inches. Edi- tion of 20. Printed and published by SuPerPress Merijean Morrissey, ARGO NAVIS II (2013) Editions, Redhill, Surrey, UK. $550. Renée Rockoff, Visage I (2014). Etching over digital print, 20 x 14 inches. Edition of 10. Printed and published by Graphic Studio Dublin, Ireland. Available from The Printmakers Humberto Saenz, Rastrillo del Dios (2014) Gallery, Dublin, €300 and in Canada at Geral- Lithograph, 18 1/2 x 13 inches. Edition of 13. dine’s Gallery, CAD 500. Printed and published by the artist, Wichita, Kansas. $375.

Sumi Perera, Think Outside the Glass Box (2014).

Denise Presnell-Weidner, River Current Reflection (2014) Ink monotype on paper and polyester, 22 x 29 Humberto Saenz, Rastrillo del Dios (2014). Merijean Morrissey, ARGO NAVIS II (2013). inches. Unique image. Printed and published by the artist, Sheboygan, WI. $1,800. Paula Scher, You Me (2014) Hand cut woodcut, one color printed on Kita- Pieter S. Myers, Life (7/2014) (2014) kata, 37 x 64 inches. Edition of 10. Printed by Copper plate photogravure, image 14 1/2 X 11 3/4 Erika Greenberg-Schneider, assisted by Kristine inches, sheet 23 X 17 1/2 inches. Edition of 15. Printed Richardson, Annelise Sandberg and Brandon and published by the artist, Occidental, CA. $350. Harris-Williams, Tampa, FL. Published by Bleu Acier, Tampa, FL. $2,500.

Denise Presnell-Weidner, River Current Reflection(2014).

Rita Robillard, Cycles (2014) Screenprint, 24 1/2 x 19 inches. Unique image. Paula Scher, You Me (2014). Printed and published by the artist. Available through Bob Kochs at the Augen Gallery, Port- Herlinde Spahr, Perilous Crossing (2014) land, OR. $1,200. Pieter S. Myers, Life (7/2014) (2014). Stone lithograph, 10 x 7 inches. Edition of 40. Printed by the artist, Orinda, CA. Published by Lithium Press, Orinda, CA. $200. Robyn O’Neil, I Dismantle Land (2014) Suite of six two-run two-color direct gravures with waterbite aquatint, 15 x 17 inches each. Edi- tion of 20. Printed and published by USF Graph- icstudio, Tampa, FL. $2,800.

Rita Robillard, Cycles (2014).

Herlinde Spahr, Perilous Crossing (2014).

48 Art in Print September – October 2014 Torgrim Wahl Sund, The Dust Blows Forward Exhibitions of Note This exhibition features over 50 Dürer’s impres- and The Dust Blows Back (2014) sions from the museum’s collection and consid- Series of photogravures, 63.5 x 93.5 cm each. Edi- ers the artist’s multivalent depictions of women ALBUQUERQUE over the course of his career. tion of 15. Printed and published by Trykkeriet– “Collections: Etchings, Monotype and Center for Contemporary Printmaking, Bergen, Gravure by Mary Sundstrom” Norway. $1,300. COOPERSTOWN, NY 5 September – 27 September 2014 “Madame Butterfly’s World: Woodblock Prints of a Changing Japan” “Alchemy of Image: 21 June – 21 September 2014 The Language of Information Space” Fenimore Art Museum 3 – 31 October 2014 http://www.fenimoreartmuseum.org/node/2734 Ren Adams’s multimedia prints investigate emer- Prints in the exhibition show both classic rep- gence in the digital age. resentations of women as well as the changing representation of Japanese women around 1907- New Grounds Print Workshop & Gallery 1910, the period in which Madame Butterfly is set. http://www.newgroundsgallery.com/ DETROIT BALTIMORE “ReCurrent Histories: “On Paper: Alternate Realities” Enrique Chagoya’s Editioned Work” 21 September 2014 – 12 April 2015 1 August 2014 – 3 October 2014 Baltimore Museum of Art Elaine L. Jacob Gallery, Wayne State University https://www.artbma.org/ http://www.art.wayne.edu/MAPC2014/ A showcase of 26 recently acquired prints by This is the first major retrospective of Enrique artists who exaggerate and reimagine the visual Torgrim Wahl Sund, from The Dust Blows For- Chagoya’s original prints and multiples, whose language of popular culture—religious stories, ward and The Dust Blows Back (2014). work offers witty and sophisticated commentary myths, and folk tales—as they consider larger on contemporary social and political conditions. societal issues. Chuck Webster, The Pilgrim, Bargain and Up On the Hill People Never Stare (2014) EDINBURGH BOSTON Color etching and aquatint, 13 9/10 x 16 inches “Nana Shiomi ‘Reverse: Universe’” each. Edition of 20 each. Printed and published “Jasper Johns: Picture Puzzles” 20 September 2014 – 1 November 2014 8 July 2014 – 4 January 2015 by Wingate Studio, Hinsdale, NH. $600 each. Edinburgh Printmakers 22 works by Johns, including prints, drawings and http://www.edinburghprintmakers.co.uk/exhibi- relief sculpture. tions/nana-shiomi Goya: Order and Disorder The artist’s Shiomi’s first solo exhibition in Scotland. 12 October 2014 – 19 January 2015 Museum of Fine Arts FRANKFURT A major exhibition comprising more than 160 “Style and Perfection: Hendrick Goltzius of Goya’s most significant paintings, prints and drawings, ranging from the 1770s to the end of and Dutch Mannerist Printmaking” his life. 4 June 2014 – 14 September 2014 http://www.mfa.org/exhibitions/ Städel Museum http://www.staedelmuseum.de/sm/index. php?StoryID=1926 CAMBRIDGE A selection of Dutch prints from the late 16th and “Fatal Consequences: The Chapman early 17th centuries. Brothers and Goya’s Disasters of War” 15 October 2014 – 8 February 2015 FULLERTON, CA Fitzwilliam Museum Chuck Webster, Up On the Hill People Never “Washi: Printmaking with Paper of Fukui” http://www.fitzmuseum.cam.ac.uk/ Stare (2014). 10 July 2014 – 28 September 2014 This exhibition shows different versions of the Muckenthaler Cultural Center Chapman Bothers’ Disasters of War series along- http://themuck.org/ side a selection from Goya’s original series. Emmi Whitehorse, Golddigger Buttercup I–VIII, This invitational exhibition features prints, Rayless Golden Rod I–IV, Needle and Thread Grass drawings, and paintings made on washi paper CHICAGO I–III, Willow Saplings I–V and Ice Plant I–XIV (2014) from Fukui, Japan. Monotypes with chine collé, image dimen- “Teresa James: Not All Angels Have Wings” 5 September 2014 – 19 October 2014 sions variable, sheet 30 x 22 inches each. Unique JACKSON, WY Packer Schopf Gallery images. Printed and published by Tamarind Insti- “Street Bible 2: Da Return” http://packergallery.com/ tute, Albuquerque, NM. $1,500 each. 29 August – 30 September 2014 The artist merges drawing, photography, com- The Rose/Pink Garter Theatre puter-generated imagery, and 19th-century photo- http://wyoarts.state.wy.us/opening-reception- graphic processes to create large-scale cyanotypes. aaron-wallis-exhibit-aug-29/ New work by Jackson-based printmaker Aaron CLAREMONT, CA Wallis. “Women and Print: A Contemporary View” 30 August 2014 – 19 October 2014 LA LOUVIÈRE, BELGIUM Ruth Chandler Williamson Gallery, Scripps College “From the Stone to the Screen: http://rcwg.scrippscollege.edu/ Featuring 66 works by 26 innovative women A Printed Track” printmakers, many of whom combine traditional 4 October 2014 – 15 January 2015 and digital processes. Centre de la Gravure et de l’Image Imprimée http://www.centredelagravure.be/ This exhibition presents a selection of prints, art- CLEVELAND ist’s books, editions, experiments and collabora- “Dürer’s Women: Images of Devotion & Desire” tions with artists from Studio Franck Bordas in 22 June – 28 September 2014 Emmi Whitehorse, Willow Saplings II (2014). Paris. Cleveland Museum of Art http://www.clevelandart.org/events/exhibitions/ d%C3%BCrers-women

Art in Print September – October 2014 49 http://www.edinburghprintmakers.co.uk/exhibitions/ROSL14 Work by John Heywood, Gillian Murray, Nicola Murray, Leena Nammari, Cat Outram, Catherine Rayner, Cecile Simonis, Bronwen Sleigh and Kelly Stewart. “Jane Hammond: Works on Paper” 16 October – 7 November 2014 Sims Reed Gallery http://gallery.simsreed.com/ The artist’s first solo exhibition in London, will survey works on paper from the past decade. “Bruegel to Freud: Prints from the Courtauld Gallery” 19 June – 21 September 2014 The Courtauld Gallery http://www.courtauld.ac.uk/gallery/exhibitions/2014/prints/index.shtml An introduction to the gallery’s large holding of prints, including works by Mantegna, Brueghel, Canaletto, Picasso, Matisse and Freud.

LOS ANGELES “Robert Heinecken: Object Matter” 5 October 2014 – 17 January 2015 Hammer Museum http://hammer.ucla.edu/exhibitions/2014/robert- heinecken-object-matter/ A traveling exhibition organized by the Museum of Modern Art, on the work of Los Angeles artist Robert Heinecken, who extended photographic processes and materials into lithography, collage, photo-based painting and sculpture.

MINNEAPOLIS “Stand Out Prints” 5 September – 4 October 2014 In Detroit: “ReCurrent Histories: Enrique Chagoya’s Editioned Work,” through 3 October 2014. Highpoint’s second juried print exhibition fea- Enrique Chagoya, Time Can Pass Fast or Slowly (2009), mixed-media digital print on gessoed tures 67 prints (by 64 artists across four coun- amate paper with hand-painted areas in acrylic, 40 1/2 x 40 3/4 inches. Edition of 10. Published by tries and 23 states) selected from more than 800 Magnolia Editions, Oakland, CA. Image courtesy the artist and Magnolia Editions, Oakland, CA. entries by juror Susan Tallman. Photo: Magnolia Editions. ©Enrique Chagoya. “Luddite: New Prints by Aaron Spangler” 10 October 2014 – 15 November 2014 “Howard Hodgkin, Green Thoughts” LISBON, PORTUGAL The exhibition will feature ten hand-printed 11 October– 15 November 2014 “An Infinite Conversation” woodcuts developed in collaboration between Nineteen new editions by one of Britain’s best 10 July 2014 – 1 February 2015 the artist and Highpoint. known artists. Museu Coleção Berardo Highpoint Center for Printmaking Alan Cristea Gallery http://en.museuberardo.pt/exhibitions/infinite-con- http://highpointprintmaking.org/ versation http://www.alancristea.com/schedule.php Designed as a complement to the permanent exhibition of Museu Coleção Berardo, the exhibition pres- “A Game in Hell: The First World War in Russia” NEW YORK ents a selection of artists’ books, posters and other 27 September 2014 – 30 November 2014 “Big Picture Show” ephemera from the Teixeira de Freitas Collection. Gallery for Russian Arts and Design 8 September – 5 December 2014 http://www.grad-london.com/whatson/ Avenue of the Americas Art Gallery LJUBLJANA, SLOVENIA Works include Natalia Goncharova’s woodcut http://www.ipcny.org/node/2556 “Andrej Jemec: Geometry and portfolio Mystical Images of War and handmade This exhibition presents 30 large-scale contemporary prints by artists shown at International Handwriting, 1967–1983” Futurist books, as well as propaganda lubki by Print Center New York. 29 July 2014 – 2 November 2014 Vladimir Mayakovsky and Kazimir Malevich and International Centre of Graphic Arts photographs of the conflict. “Alyson Shotz: Topographic Iterations” http://www.mglc-lj.si/eng/exhibitions_and_events/ 12 September – 15 November 2014 Screenprints, drawings, etchings and aquatints, “Hans Hillmann: Film Posters” Carolina Nitsch Project Room paintings, mobile objects and collages by the artist. 21 August – 27 September 2014 http://www.carolinanitsch.com/ Kemistry Gallery Three recent bodies of work by the artist: Topo- LONDON http://kemistrygallery.co.uk/ graphic Iterations, Recumbent Folds and Imagi- “Jim Dine, A History of Communism” One of the most important Modernist graphic nary Sculptures. A new portfolio by Jim Dine made with found designers, Hans Hillmann created 130 film post- lithographic stones from an East German art ers between 1953 and 1974, including those for “Artist’s Artists: James Siena, Josh Smith, school. [See review in this issue.] landmark films such as Akira Kurosawa’s The and Charline von Heyl Collect Prints” 10 September – 7 October 2014 Seven Samurai and Robert Bresson’s Pickpocket. 21 July – 15 October 2014 International Print Center New York “Jim Dine: A Printmaker” “Edinburgh Printmakers at http://www.ipcny.org/node/2555 A selection of recent editions and classic prints The Royal Over-Seas League” This exhibition consists of 64 prints and books from Dine’s fifty years as a printmaker. 11 July – 28 September 2014 from the personal collections of three contempo- 10 September – 7 October 2014 Royal Over-Seas League rary artists.

50 Art in Print September – October 2014 “Dürer, Rembrandt, Tiepolo: Work by Adam Bridgland, Katy Binks, Fiona The Jansma Print Collection Hepburn, Sophie Smallhorn, Tim Phillips, Katsu from the Grand Rapids Art Museum” Yuasa and Sarah Bridgland. 17 October 2014 – 18 January 2015 Museum of Biblical Art THE HAGUE, NETHERLANDS http://mobia.org/exhibitions/durer-rembrandt-tiepolo “Birds: A Thousand Years in Hundreds of Books” Spanning five centuries of printmaking, the 29 August 2014 – 4 January 2015 Jansma Collection includes work by Albrecht Museum Meermanno Dürer, Rembrandt van Rijn, Giovanni Domenico http://www.meermanno.nl/ Tiepolo, Édouard Manet, and Max Pechstein, as This exhibition gives a broad picture of the bird well as 21 engravings by William Blake. as the subject of books, illustrations and decora- tions from the past millennium. “40° 42’ N / 37° 48’ S” 26 October – 8 November 2014 ZURICH National Arts Club “Annelies Štrba: Madonnas” http://www.nysetchers.org/events_list.php 20 August 2014 – 19 October 2014 A joint exhibition of intaglio prints by artists Collection of Prints and Drawings: ETH Zurich from New York and Melbourne, Australia. http://www.gs.ethz.ch/ausstellung/current_f.html Historic portrayals of the Virgin alongside Annelies In Minneapolis: “Stand Out Prints,” through 4 PARIS October 2014. Elizabeth Ferrill, Nevada #3 (2014), Štrba‘s contemporary take on an almost two thou- “The Novel That Writes Itself” sand year old Christian iconographic tradition. pochoir on paper. and “El Segundo Record Club” 12 September 2014 – 4 October 2014 “Cornucopia: Artists Collaborations “In and Out of Context” mfc-michèle didier gallery from 30 Years in One Room” 30 July – 21 September 2014 http://www.micheledidier.com/ 29 August – 20 December 2014 Lower East Side Printshop This exhibition (in two parts) presents Allen Rup- Parkett Exhibition Space http://www.printshop.org/web/ persberg’s recently completed The Novel That http://www.parkettart.com/zurich-exhibition-space Curated by Hallie Ringle, this exhibition includes Writes Itself and a temporary record store fol- This exhibition presents over 200 editions made work by Golnar Adili, Ivan Forde, Camilo Godoy, lowing the tradition of the 1969 Al’s cafe and the by artists for Parkett since its founding thirty Amir Guberstein,Katherine Tzu-Lan Mann, 1971 Al’s Grand Hotel. years ago. Esperanza Mayobre, Bundith Phunsombatlert, Felix Plaza and Daniel Vasquez. PHILADELPHIA “Let’s Go! G-O! Go!” Fairs “The Paris of Toulouse-Lautrec: 12 September – 22 November 2014 The Print Center Prints and Posters” CHICAGO 26 July 2014 – 1 March 2015 http://www.printcenter.org/ Edition Chicago Museum of Modern Art The exhibition brings together several new works 19 September 2014 – 21 September 2014 http://www.moma.org/visit/calendar/exhibi- by the New York state-based artist Stella Ebner. Chicago Artist’s Coalition tions/1493 http://chicagoartistscoalition.org/programs/edi- The first MoMA exhibition in 30 years dedicated PORTLAND, OR tion-chicago solely to the artist, featuring more than 100 “This is War! Graphic Arts from works created at the apex of his career. the Great War” 30 August – 14 December 2014 “James Turrell: New Prints, Portland Art Museum States and Woodblocks” http://www.portlandartmuseum.org/thisiswar 11 September 2014 – 18 October 2014 This exhibition examines World War I through Pace Prints the graphic arts of the time. http://www.paceprints.com/exhibitions New editions by light and land artist James Turrell. POUGHKEEPSIE “Imperial Augsburg: Renaissance Prints “James Rosenquist: F-111 (South, West, and Drawings, 1475–1540” North, East) and Drawings from the ‘70s” 19 September – 14 December 2014 19 September – 8 November 2014 The Frances Lehman Loeb Art Center, Vassar Senior & Shopmaker Gallery College http://www.seniorandshopmaker.com/exhibi- http://fllac.vassar.edu/exhibitions/2014/imperial- tions/2014_James_Rosenquist.html augsburg.html Rosenquist’s F-111 (South, West, North, East) is a Prints, drawings, illustrated books, medals, and four-part, 290-inch-long lithograph and screen- armor made for Holy Roman Emperor Maximilian I. print that set a new standard of scale for prints in the 1970s. PROVIDENCE, RI “Circus” “Kandinsky Before Abstraction, 1901–1911” 1 August 2014 – 22 February 2015 27 June 2014 – 1 April 2015 RISD Museum Solomon R. Guggenheim Museum http://risdmuseum.org/ http://www.guggenheim.org/new-york/exhibitions/ 40 circus-themed paintings, drawings, prints, on-view/kandinsky-before-abstraction-1901-1911 photographs and posters by artists such as Alex- Early paintings and woodcuts by Kandinsky. ander Calder, Marc Chagall, Henri Matisse, James-Jacques-Joseph Tissot and Henri de Tou- “Drawings and Prints: Selections louse-Lautrec. from the Permanent Collection” 15 July – 29 September 2014 SUFFOLK, UK Metropolitan Museum of Art “To Start a Conversation Across a Crowded http://www.metmuseum.org/exhibitions/list- Room: Contemporary British Printmaking” In Providence, RI: “Circus,” through 22 February ings/2014/drawings-and-prints-july-rotation 20 September 2014 – 1 November 2014 2015. John Steuart Curry, Missed Leap (1934), Drawings and prints from southern Europe and Smiths Row lithograph. RISD Museum: gift of the Fazzano Mexico. http://www.smithsrow.org/ Brothers 84.198.418.

Art in Print September – October 2014 51 NEW YORK Evening & Day Editions C.R.W. Nevinson: The Complete Prints IFPDA Print Fair 28 October 2014 Jonathan Black 5 – 9 November 2014 Phillips 208 pages, 158 color illustrations Park Avenue Armory https://www.phillips.com/ Published by Lund Humphries in association http://www.ifpda.org/content/print-fair with Osborne Samuel, London, 2014 Old Master Through Modern Prints £150 Editions/Artists’ Books Fair 29 October 2014 6 – 9 November 2014 Swann Auction Galleries Eyebeam Building http://www.swanngalleries.com/auctions/schedule/ http://www.printshop.org/web/Collect/Exhibitions/ Prints EAB_Fair.html 30 October 2014 New York Satellite Print Fair Sotheby’s 7 – 9 November 2014 http://www.sothebys.com/ Bohemian National Hall http://www.nysatellite-printfair.com/ PARIS Bibliothèque R. et B.L. Éditions Originales Prints Gone Wild Autographes et Manuscrits du XXe siècle 7 – 9 November 2014 7 October 2014 Littlefield, Brooklyn Sotheby’s http://www.cannonballpress.com/ http://www.sothebys.com/ Jasper Johns: Regrets NORWICH, UK SAN FRANCISCO Text by Ann Temkin and Christophe Cherix Norwich Print Fair Prints & Multiples 72 pages; 63 color illustrations 8 – 20 September 2014 21 October 2014 Published by Published by the Museum of St. Margaret’s Church Gallery Bonhams Modern Art, New York, 2014 http://www.norwichprintfair.co.uk/ https://www.bonhams.com/ $24.95 Now celebrating its 19th year, the fair brings together 30 printmakers from Norfolk and Suf- Conferences folk, displaying a wide variety of hand-made print techniques. DETROIT Mid-America Print Council Conference– Auctions Print City: Detroit 2014 24 September 2014 – 27 September 2014 LONDON Wayne State University Prints & Multiples http://www.art.wayne.edu/MAPC2014/ 16 September 2014 The conference will include workshops, dem- Sotheby’s onstrations, panel discussions, keynote speakers http://www.sothebys.com/ and exhibitions. In addition to activities on the campus of Wayne State University, area galleries, Prints museums, letterpresses, colleges and universities 17 September 2014 and other cultural venues, in and around Detroit, Norma Bassett Hall: Catalogue Raisonné will host conference events. Bonhams of The Block Prints and Serigraphs https://www.bonhams.com/ TOKYO Joby Patterson Second International Mokuhanga Conference 176 pages, 108 color and 42 b&w illustrations Modern Masters & Polígrafa: Published by Published by Pomegranate Com- 10 September 2014 – 14 September 2014 Celebrating 50 Years of Printmaking munications, Inc., Portland, Oregon, 2014 Tokyo University of the Arts 18 September 2014 $50 Christie’s http://www.mokuhanga.jp/2014/ http://www.christies.com/calendar/ Materials fair, exhibitions, lectures and demon- strations related to traditional and contemporary Modern and Contemporary Prints Japanese woodblock. 4 October 2014 Roseberys New Books http://www.roseberys.co.uk/ Beth Van Hoesen: Fauna & Flora Stanley William Hayter: Painter Printmaker Essays by Bob Hicks 29 October 2014 with illustrations by Beth Van Hoesen Dreweatts & Bloomsbury Auctions 144 pages, more than 90 color illustrations http://www.bloomsburyauctions.com/ Published by Published by Pomegranate Com- munications, Inc., Portland, Oregon, 2014 NEW YORK $40 19th & 20th Century Prints & Drawings 23 September 2014 Lyonel Feininger: Woodcuts Swann Auction Galleries Edited with text by Björn Egging http://www.swanngalleries.com/auctions/schedule/ 272 pages, 233 color and 19 b&w illustrations Published by Published by Kerber Verlag, Art, Press & Illustrated Books Bielefeld, Germany, 2014 1 October 2014 €54 Swann Auction Galleries http://www.swanngalleries.com/auctions/schedule/

Old Master, Modern and Contemporary Prints 27 October 2014 Doyle New York http://www.doylenewyork.com/

52 Art in Print September – October 2014 RISD Renovates Rockefeller Asian Print Gallery On 13 June 2014, the RISD Museum opened its renovated Rockefeller Asian Print Gallery. Origi- nally designed by Philip Johnson in 1952, the gallery has been moved to the building’s west side, but mimics Johnson’s original plan. The opening exhibition of woodblock prints echoes a 1934 show commemorating Abby Aldrich Rockefeller’s gift of 700 prints.

Richard Tuttle: Prints Edited by Christina von Rotenhan. Text by Chris Dercon, Joachim Homann, Armin Kunz, Susan Tallman, Richard Tuttle, James Cuno, Christina Clare Romano & John Ross von Rotenhan 70 Years of Printmaking 144 pages, 100 color and 50 b/w illustrations Sept. 14 – Dec. 14, 2014 Published by JRP|Ringier, Zürich, 2014 $80 www.contemprints.org Center for Contemporary Printmaking [email protected] | 203.899.7999 The RISD Museum’s newly renovated Rockefeller Asian Print Gallery. Photo: Erik Gould. Image courtesy of the RISD Museum, Providence, RI. tions for its annual International Artist-in-Res- idence program. The Studio, founded in 2008, California Society of Printmakers specializes in stone and photo-plate lithography Announces Gift to Library of Congress and is located in Auckland, New Zealand. The Following the publication of the book, California residency will run from 8 December 2014–18 Society of Printmakers: One Hundred Years, 1913- January 2015. All international artists are encour- 2013, the Art Libraries Society of North America aged to apply, regardless of printmaking experi- (ARLIS/NA) presented editor Maryly Snow with ence. Applications are due 30 September. For its prestigious 2014 Worldwide Books Award more information, please go to http://www.auck- for Publications at the Library of Congress. CSP landprintstudio.com/air.html. members chose to commemorate the organiza- Other News tion’s centennial by making a gift of prints rep- Call for Applications: Lithography Fellowship resented in the book; LoC curators selected 117 As part of its focus on lithography, Leicester Art Institute of Chicago Announces Major prints to enter the collections. Print Workshop is offering a post-graduate level Gift to Department of Prints and Drawings Lithography Fellowship. The fellowship is funded On 7 July, the Art Institute of Chicago announced by Leicester Print Workshop and will comprise a $3 million gift from Janet and Craig Duchossois one to one teaching and technical support, free to endow a curatorial position in the Department access to the studio for 2 years and a materials of Prints and Drawings and to support acquisi- allowance. The deadline for applications is 26 tions and research in the department. Curator September. For more information, please go to Mark Pascale, a specialist in modern and con- http://www.leicesterprintworkshop.com/about_us/ temporary works on paper, has been named the news/88/. Janet and Craig Duchossois Curator of Prints and Drawings. Pascale, a lithographer, began his career Call for Entries: at the School of the Art Institute in 1979 and International Print Center New York joined the museum’s Prints and Drawings team In keeping with its mission to promote the in 1989. His most recent exhibition is “Saul Stein- greater appreciation and understanding of the berg: Commemorating the 100th Anniversary of fine art print, IPCNY presents a selection of new His Birth,” running through 12 October 2014. Sylvia Solochek Walters, Original Smith (1998), prints several times per year. “New Prints 2014/ reduction woodcut with stencils, 22 x 22 inches. Autumn” will be the 49th New Prints Exhibi- Edition of 15. tion. The show will be selected by Nicola López, an artist and printmaker who lives and works in Brooklyn, NY and teaches at Columbia Univer- Call for Applications: Caxton Club Grants sity. Independent artists, workshops, publishers The Caxton Club, an organization devoted to and dealers are all welcome to submit recently “the literary study and promotion of the arts completed print projects. Please refer to the pertaining to the production of books,” invites Submission Guidelines at http://www.ipcny.org/ applications for grants for book-related projects apply/. Materials must be submitted by 15 Sep- to be completed during academic year 2014-2015. tember 2014 and the exhibition will open 25 Applicants must be enrolled in a Midwestern October 2014. graduate program with a project in one of the following areas: bibliography, book arts, history of the book, library studies or print culture studies. Deadline for entries is 1 October 2014. For more information, please visit http://www.caxtonclub. Please submit announcements of org/grants/CaxtonClubGrants2014-15Call.pdf. exhibitions, publications and other events to Mark Pascale, Janet and Craig Duchossois Call for Applications: [email protected]. Curator of Prints and Drawings. Image courtesy Auckland Print Studio the Art Institute of Chicago. Auckland Print Studio is now accepting applica-

Art in Print September – October 2014 53 TERESA BOOTH BROWN JACKET, BAG, DRESS, WATCH, RING

Jacket, Bag, Dress, Watch, Ring (2014) color lithograph with digital collage and chine collé 30 x 22 inches edition of 25

SHARk’S INk. 550 Blue Mountain Road Lyons, CO 80540 303.823.9190 www.sharksink.com [email protected]

A delighted media sponsor of

54 Art in Print September – October 2014 Untitled Woodcut monoprint, 37 x 36 inches Untitled Woodcut monoprint, 37 x 36 inches JACQUELINE HUMPHRIES

J U N G L E P R E S S E D I T I O N S 232 Third Street, #B302, Brooklyn, NY 11215 phone: 718 222 9122 www.junglepress.com

CROWN POINT PRESS 20 HAWTHORNE ST SAN FRANCISCO, CA 94105 CROWNPOINT.COM 415-974-6273

RICHARD TUTTLE NAKED a series of ten etchings from 2004 in celebration of Richard Tuttle: A Print Retrospective Bowdoin College Museum of Art (accompanying catalog available)

In the Crown Point Gallery through October 31

Naked IX, 2004. Color soft ground etching with hand staining and chine collé, 27 x 21½", edition 10

Art in Print September – October 2014 55 Ron Rumford Origin and Return

Recent prints by Ron Rumford

Messiah College Aughinbaugh Gallery, Climenhaga Building Mechanicsburg, Pennsylvania 17055

September 12–October 8, 2014 messiah.edu/departments/visual_arts/gallery 717-766-2511x 2322 Elizabeth Dubin, director 2013, drypoint, relief & collograph with with & collograph B 2013, drypoint, relief Woodprint Rumford Ron 47 x 35”. image/sheet: collé, chine

Peter Linde Busk new lithographs keystone editions fine art printmaking berlin, germany +49 (0)30 8561 2736 Close The Lights (detail) [email protected] www.keystone-editions.net 4-run lithograph, 25.25” x 20.3”

56 Art in Print September – October 2014 Art in Print September – October 2014 57 58 Art in Print September – October 2014 Richard Ryan

nine blue poppies

woodcut on Kozo paper 52 x 40 inches (image) edition 25 2007–2014

will be featured at

Master printer James Stroud and Richard Ryan completing the artist’s nine blue poppies woodcut edition, begun in 2007.

Center Street Studio www.centerstreetstudio.com

Art in Print September – October 2014 59 PaperView Contributors to this Issue 2014 Nov 5 / 6–9 pm Catherine Bindman is an editor and art critic who has written extensively on both old master and Highline Loft Space contemporary prints. She was Deputy Editor at Art on Paper magazine and lives in New York. New York City Owen Duffy is a PhD student at Virginia Commonwealth University. He has held curatorial internships at the Virginia Museum of Fine Arts and the Baltimore Museum of Art. His master’s thesis examined a print extravaganza the work of Anish Kapoor and its relationship to globalization, and he is conducting dissertation to benefit research in London with the support of the Henry Moore Foundation. Manhattan Graphics Center Stamos Fafalios and Vassilis Zidianakis founded Atopos Contemporary Visual Culture (Atopos for tickets and cvc) in 2003. They were recently joined by Angelos Tsourapas. With backgrounds in architecture, art, anthropology and mathematics, the three have created an interdisciplinary platform for the auction details, arts. The name is inspired by the ancient Greek word ‘ ,’ meaning the strange, the unwonted, go to the eccentric and the unclassifiable. Its aim is to implement innovative projects of contemporary www.manhattangraphicscenter.org visual culture, collaborating with artists and designersάτοπος on exhibitions, publications, performances and events.

Nigel Frank is curator of the international law firm Clifford Chance’s collection of prints. He is a CHUCK WEBSTER partner in Frank/Hindley Art Consultants, London, which has advised corporations on building art collections specializing in prints. For the last 17 years he has curated the annual exhibition “Post- graduate Printmaking in London” in addition to numerous monographic print exhibitions.

Sarah Grant is Curator of Prints in the Word & Image Department at the Victoria & Albert Museum. She has curated numerous displays, including “Modern Masters: prints by Matisse, Picasso, Dali and Warhol” (V&A, 2010), and is co-author of a forthcoming book on the V&A’s collections of fashion plates and fashion satire: Style and Satire: fashion in print 1776-1925 (London: V&A Publishing, 2014).

Jasper Kettner is an art historian who works and lives in Berlin.

Chara Kolokytha is an art historian active in France and the UK. She is currently on the Cahiers d’Art papers at the Kandinsky Library in Paris and completing a research project on the Parisian activity of Tériade and Christian Zervos at Northumbria University. Her research has been published in Visual Resources, Konsthistorik Tidskrift, French Cultural Studies, Arts, the Allgemeines Kunstlerlexikon and the Routledge Encyclopedia of Modernism.

WINGATE Hans Jakob Meier is research fellow at Humboldt University in Berlin. His publications include STUDIO Nov 6 - 9 Die Kunst der Interpretation: Französische Reproduktionsgrafik 1648–1792 (2003) and Die Kunst der wingatestudio.com Interpretation: Italienische Reproduktionsgrafik 1485–1600 (2009), both in collaboration with Norberto Gramaccini. In 2009 he curated the exhibition “The Art of Interpretation. Italian Reproductive Prints from Mantegna to Carracci” at the Berlin Kupferstichkabinett.

Sharon Mizota is an art critic for the Los Angeles Times and other publications. She is a recipient of an Arts Writers’ Grant from the Creative Capital/Warhol Foundation and a coauthor of the award- winning book, Fresh Talk/Daring Gazes: Conversations on Asian American Art (University of California Press, 2003). She lives in South Pasadena, CA.

Allison Rudnick is a Ph.D. student in art history at the Graduate Center, City University of New York, where she focuses on printmaking practices in Europe, post-1945. She is a Research Assistant in the department of Drawings and Prints at the Metropolitan Museum of Art.

WORKS ON PAPER Julia V. Hendrickson is a freelance curator, editor and writer. She completed an MA in the History of Art from the Courtauld Institute of Art (University of London, 2012). She has written extensively on aspects of printmaking and print culture, and most recently she served as the publications director and WWW.GEORGINA registrar at the Chicago gallery Corbett vs. Dempsey. Currently she lives in Austin, TX. KELMAN.COM

212 496 5006 Andrew Raftery is an engraver and print scholar. As Professor of Printmaking at Rhode Island School KELMANART@ of Design, he often collaborates with the RISD Museum on exhibitions and educational programs, AOL.COM recently as consulting curator for “The Brilliant Line: The Journey of the Early Modern Engraver, 1480- 1650” at the RISD Museum and the Block Museum at Northwestern University.

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

60 Art in Print September – October 2014 2014 Membership Subscription Form

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Selected prints will be on show on our stand in New York at the annual IFPDA Print Fair from 5-9 November 2014

Third Avenue, 1921 Drypoint 19.7 x 15.2 cm The Temples of New York, 1919 Drypoint 19.7 x 15.5 cm

A major exhibition of prints, with selected drawings and paintings London - 25 September – 18 October 2014

Marking the centenary of the World War I and the publication of the complete catalogue raisonne, this exhibition of prints by Nevinson include rare and iconic images depicting the horrors of the war alongside the contrasting cityscapes of London, New York and Paris.

A new comprehensive deluxe catalogue raisonné CRW Nevinson: The Complete Prints published by Lund Humphries in association with Osborne Samuel Gallery written by Dr. Jonathan Black, will be launched during the exhibition exclusively 23a Bruton Street, London, W1J 6QG T: 020 7493 7939 priced at £125 +pp (RRP £150 +pp) [email protected] www.osbornesamuel.com WELCOME SERIES: MARGARITAS, 2014, Woodblock and Screenprint, 38 x 58 5/8 inches (96.5 x 148.9 cm), Edition of 30 HURVIN ANDERSON

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