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The Global Journal of Prints and Ideas May – June 2017 Volume 7, Number 1

On Collecting (Part One) • Prints and Posters in the Fin de Siècle • An Collects • eBay as Archive Norman Ackroyd • Collecting for the Common Good • Hercules Segers • Prix de Print • Directory 2017 • News

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May – June 2017 In This Issue Volume 7, Number 1

Editor-in-Chief Susan Tallman 2 Susan Tallman On Collecting (Part One)

Associate Publisher Fleur Roos Rosa de Carvalho 3 Julie Bernatz Interviewed by Catherine Bindman Small Apartments and Big Dreams: Managing Editor Print Collecting in the Fin de Siècle Isabella Kendrick Jillian Kruse 7 Associate Editor Postermania: Advertising, Domesticated Julie Warchol Brian D. Cohen 11 An Artist Collects Manuscript Editor Prudence Crowther Jennifer S. Pride 14 Secrets of the Real Thing: Building a Editor-at-Large Collection as a Graduate Student Catherine Bindman Kay Wilson and Lesley Wright 18 Design Director Speak with Sarah Kirk Hanley Skip Langer To Serve the Common Good: The Grinnell College Art Collection Roslyn Bakst Goldman and 24 John L. Goldman A Socially Acceptable Form of Addiction Kit Smyth Basquin 26 Collecting a Life Patricia Emison 28 Norman Ackroyd’s Collectors Stephen Snoddy Speaks 32 with Harry Laughland Collecting in the Midlands: the New Prix de Print, No. 23 36 Juried by Paul Coldwell Recent Antiquities by Cooper Holoweski Exhibition Reviews Robert Fucci 38 Hercules Segers Jason Urban 41 Gfeller + Hellsgård in Austin On the Cover: Fernand Louis Gottlob, detail of Peintres Lithographes (1899), color litho- International Directory 2017 43 graph, Musée Carnavalet, Paris. News of the Print World 50 This Page: Hercules Segers, detail of The Contributors 64 Mossy Tree (ca. 1615–1630). Rijksmuseum, loan from the city of Amsterdam.

Art in Print This issue was funded in part with 3500 N. Lake Shore Drive support from the IFPDA Foundation Suite 10A and the Malka Fund. , IL 60657-1927 www.artinprint.org [email protected] 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published without the written consent of the publisher. On Collecting (Part One) By Susan Tallman

socially acceptable form of addic- scene of the 1960s, through the careful “ A tion” is how print collectors Roslyn construction of a definitive body of Ger- and John Goldman describe the repeated man Expressionist prints, to a renewed consideration, evaluation and acquisition emphasis on . Per- of works of art. The phrase neatly cap- haps most unusual is Jennifer S. Pride’s tures the activity’s pleasures and ten- account of using eBay to acquire the sub- sions, as well as a broader ambivalence ject matter of her doctoral dissertation about the role of the collector in contem- on 19th-century pictorial commentary porary culture. Collecting is an activity on Baron Hausmann’s transformation of both celebrated and maligned—seen as Paris. emblematic of thoughtful depth and By luck, the winner of this issue’s Prix assiduous care of culture, but also as evi- de Print, selected by Paul Coldwell, is a dence of unseemly materialist obsessions collection in itself—Cooper Holoweski’s and highbrow one-upsmanship. The psy- Recent Antiquities (2016) adapts eight choanalyst Werner Muensterberger (who, plates from Giovanni Battista Piranesi’s like Freud, was a passionate collector 18th-century Antiquities of Rome (also a himself) made the case for collecting as Norbert Goeneutte, Henri Guérard consulting a kind of collection) and recasts them with pathology, a futile attempt to compensate portfolio with prints (1876), etching in black on more recent abandoned artifacts, from for traumas of early childhood.1 In Finn laid paper, 29.3 x 19.5 cm. Van Gogh Museum, shattered CDs to shuttered Circuit Cities. Amsterdam. Family Moomintroll, Tove Janssen took a Neither of the exhibitions covered in more sympathetic view: when the Hemu- current groundbreaking exhibition, this issue—a Texas screenprint installa- len expresses dismay at having completed “Prints in Paris: From Elite to the Street,” tion by the Berlin duo Resurgo (reviewed his stamp collection, Moomintroll under- while Jillian Kruse concentrates specifi- by Jason Urban) and the majestic Hercules stands: “You aren’t a collector anymore, cally on the transformation of the poster Segers show at the Rijksmuseum and the you’re only an owner, and that isn’t nearly from ephemeral advertisement to prized Metropolitan Museum of Art (reviewed so much fun.”2 collectible. by Robert Fucci)—are overtly about the No art form lends itself as enthusi- Sarah Kirk Hanley’s interview with impulse to collect, yet both have things astically to collecting as does the print. Kay Wilson and Lesley Wright about to say about the human urge to preserve, It combines numismatic profusion with Grinnell College’s art collection, and our persistent habit of using objects as a cultural complexity, a relatively low price Harry Laughland’s conversation with bank against the flood of time. point and frequent beauty. Its multipli- British Stephen Snoddy, address “Every passion borders on the chaotic,” city creates communities (“Oh, you also the responsibilities of collecting on Walter Benjamin wrote, “but the collec- own a …”) and reflects shared events behalf of the public, and the specific tor’s passion borders on the chaos of mem- and values, even while the singularity roles that prints can play in providing ories.”3 Each item in a collection is of individual impressions rewards con- historical context and aesthetic breadth. wrapped in personal recollections and also noisseurship and differentiation. Prints Patricia Emison links public and private, tied to the other things on the shelf, on the may be democratic in their distribution, surveying the community of those who wall, in the drawers. Think of it like epi- but unlike monumental , they own work by one particular artist—the genetics—a changeable code written over ask for an intimacy of acquaintance that British etcher Norman Ackroyd. a permanent one, with an accumulation of aligns with ownership. Several writers offer personal histo- knock-on effects. Writing in 1931, Benja- When Art in Print sent out a call for ries of their own collections, which took min suspected that serious, personal col- essays on print collecting—private or shape from a variety of motivations and lecting was becoming a thing of the past. public, current or historical, personal or resulted in very different outcomes. Kit About this, he was very wrong. encyclopedic—the response was so boun- Basquin examines how specific acquisi- tiful and wide-ranging, we are devoting tions correspond to specific chapters in Susan Tallman is the Editor-in-Chief of two issues to the theme. In July we will her life, marking each through shifts in Art in Print. focus on collecting in North America, style, subject matter and . Brian while this issue concentrates largely Cohen writes about collecting from the Notes: (though not exclusively) on European art. vantage point of an artist who admires, 1. Werner Muensterberger, Collecting: An Unruly What Camille Pissarro described as analyzes and also cribs: “This is what Passion: Psychological Perspectives (Princeton: the print collecting “mania” that took we do: we share, we speak to each other Princeton University Press, 1994). hold in the fin de siècle is the subject of across time and place. We appreciate each 2. Tove Janssen, Finn Family Moomintroll (New two articles here: Catherine Bindman other and we desire the best of what each York: Farrar, Straus and Giroux, 1958), 28. 3. Walter Benjamin, “On Unpacking My Library,” interviews curator Fleur Roos Rosa de other has done.” The Goldmans chart Illuminations: Essays and Reflections (: Carvalho about the Van Gogh Museum’s their voyage from the burgeoning print Schocken , 1969), 60.

2 Art in Print May – June 2017 Small Apartments and Big Dreams: Print Collecting in the Fin de Siècle Fleur Roos Rosa de Carvalho interviewed by Catherine Bindman

he Van Gogh Museum in Amster- T dam, which opened in 1973, has been collecting French fin-de-siècle prints since 2000, when it purchased around 800 prints and artists’ books from Richard Feldhaus, a German pri- vate collector. The print department now holds some 1,800 works from this period. In 2012 the museum’s current curator of prints and , Fleur Roos Rosa de Carvalho, organized the exhibition “Beauty in Abundance: Highlights of the Print Collection” (with an associ- ated publication, in Paris: The Rage for Prints at the Fin de Siècle; see Art in Print May–June 2014). She has now curated the museum’s ambitious show “Prints in Paris 1900: From Elite to the Street,” which spills over two floors of the museum’s exhibition wing; the lower floor is dedicated to the realm of the pri- vate collector and incorporates four rec- reated domestic interiors in which prints would have been viewed, and the upper floor focuses on the role of the print in Théophile Alexandre Steinlen, The Street, poster for the printer Charles Verneau (1896), color lithograph the street life of modern Paris. The exhi- on wove paper, image 234.5 x 296 cm, sheet 242 x 299 cm. Van Gogh Museum, Amsterdam, purchased bition is on view until 11 June 2017 and is with support from the BankGiro Loterij. accompanied by an expansive 192-page catalogue. in the museum. A few other prints came FRRdC When I started working as asso- to us in various ways. In the 1980s and ciate curator at the museum in 2007, Catherine Bindman: I am curious about 1990s we concentrated on Montmartre the print collection was sleeping in the how the Van Gogh Museum came to have cityscapes and artists’ portraits. The strongroom waiting to be kissed awake. a print collection. Van Gogh himself is opportunity to purchase the Feldhaus We hardly knew what was in it since the not primarily known as a printmaker and prints gave us something very specific department had been focused on cata- he died in 1890 when the fin-de-siècle to build on. Since then, the French fin loguing the van Gogh drawings. In 2010 print revolution was in its infancy. Was de siècle has become our focal point and I wrote a research plan to catalogue and there an existing print collection in the we’ve been actively collecting in that document the whole collection. The museum before the 2000 acquisition of field. Though van Gogh died before the Van Gogh Foundation belonging to the the Feldhaus material? whole print revolution of the 1890s, his artist’s heirs financed the 2000 acquisi- friends Gauguin and Toulouse-Lautrec tion as well as my research. In the 2012 Fleur Roos Rosa de Carvalho: The graphic were players in it, and I am sure he would exhibition and catalogue I summarized collection began with the prints of van have participated as well. He believed in the existing literature and presented the Gogh himself, as well as prints from his printmaking as art for the people. highlights. A lot of that research found its collection and that of his brother Theo. way to the website (http://www.vangogh- Vincent collected prints from British CB The current exhibition and catalogue museum.nl/en/prints). All the details are illustrated magazines like The Graphic examine two very different worlds that there and it gave me the opportunity to and The Illustrated London News when he seem to have coexisted at the turn of the tell a bigger story in the current exhibi- was in London between 1873 and 1875, century—the rough-and-tumble one of tion. When you work with actual prints as well as roughly 600 ukiyo-e prints posters and , and another more and can compare things side by side, and about 120 works by contemporary refined one of somewhat rarified limited- you can easily see when they come from French printmakers, acquired during his edition works. What prompted you to different worlds. I was surprised at how stay in Paris in 1886 and 1887 and now investigate this? different works by the same artist could

Art in Print May – June 2017 3 Left: Pierre Bonnard, poster for France-Champagne (1891), color lithograph on wove paper, image 79.5 x 59.7 cm, sheet 107 x 84 cm. Van Gogh Museum, Amsterdam ( Foundation). Center: Georges Bottini, The Shop Window of Sagot (1898), color lithograph on wove paper, image 28.7 x 18.5 cm, sheet 37.9 x 27.9 cm. Van Gogh Museum, Amsterdam. Right: Fernand Louis Gottlob, Peintres Lithographes (1899), color lithograph, 115.6 x 76.7 cm., Musée Carnavalet, Paris. be in terms of size, technique, visual FRRdC I wanted to address the nuances as a type I think of Edmond de Goncourt language and delicacy. The underbelly of and to suggest that there was a hierarchy [portrayed in Felix Bracquemond’s etch- Parisian printmaking was so much more within the print world. Not every print by ing of 1882]. He was of the ideal collec- fully represented in the literature than every artist was meant for a large audi- tor at the time and he wrote a whole , the more intellectual and poetic “fine” ence. How democratic was any of Bon- La maison d’un artiste (1880), in which he prints—there was not really a complete nard’s “democratic” work, for example? takes his admirers on a very detailed tour picture. But the idea of looking more His poster for the snobby journal La of all his beloved objects. People like him closely at the worlds in which these prints Revue blanche (1895) shows an inventive not only bought prints but also collected were intended to function and the kinds play of word and image, but it is a visual , drawings, bibliophile editions of people who were collecting them was language that would be lost on a public and decorative objects. not unique. In everyone is now hoarding—why would that be a street But there was also a group of hard- obsessed with reception theory—it is in poster? The size is quite modest com- core print collectors, nerdy and fetish- the air! pared to a street poster too. It seems that istic connoisseurs like Eugène Rodrigues it was more likely meant for bookshops and Gustave Bourcard, who wrote cata- CB You describe in the catalogue how or places visited by the more cultivated logues raisonnés of the prints of Félicien collecting became “something of a fetish” public that was being targeted. Bonnard’s Rops and Félix Buhot respectively. They in 1890s Paris as collectors began to champagne poster France-Champagne tended to be educated and knowledge- acquire both fine, limited-edition prints (1891) was supposedly a commercial able people with a sharp eye. I tried to and popular prints in great quantities. advertisement and was always said to note the contemporary prices of every have created instant fame for him. But print and poster throughout the cata- FRRdC You have the crumbling of artistic Bonnard confessed to Thadée Natanson, logue—a single print was not that ex- hierarchies at the same time as the rise of the chief of La Revue blanche, pensive but a true collector would never a bourgeoisie with small apartments and that he himself had struggled to find one have just one print. big dreams. They wanted to buy art that actually hanging in the streets. The suc- Serious collectors tended to be law- reflected a certain kind of lifestyle. The cess of this poster probably had more to yers, notaries, literary people and art idea of the interior also changed from do with the way it was received by crit- critics, part of a really small, closed, male that of a mainly female domain to a male ics and collectors, and the fact that it was circle. If you published an edition of 100 retreat from the hectic life of the city. shown in exhibitions, than to its promi- prints you only needed a circle of, let us nence on public streets. say, 150 people to be self-sufficient—dur- CB The standard view has been that ing this period new prints seem to have printmaking in France during this period CB You dedicate a whole chapter in the been distributed to only about that many was essentially democratic—character- catalogue to the role of the collector, the collectors worldwide. And print collec- ized by multiples and posters intended amateur d’estampe. tors and bibliophiles were generally the to reach a wide audience—but you argue same people—the same names crop up all that the real picture was more complex. FRRdC When I think about the amateur the time.

4 Art in Print May – June 2017 CB In the catalogue you also mention FRRdC This is something that has been female print collectors. completely overlooked. These pieces are often still in use by museums and seen FRRdC There is this standard bias that as functional objects, not as art objects— women decorate and men collect. But maybe with the exception of the out- there are countless images in the collec- rageous bookcase by Francois-Rupert tion of women looking at prints in Paris Carabin with all the nude figures (1890). during the 1890s and the question came Sometimes they were designed by major up: were they actually collectors? The artists and designers. Collectors wanted print dealer Edmond Sagot wrote down everything in their interiors to be beau- in his account book everyone who came tiful and artistic. They knew the artists into his shop, and because the French and asked them to “dress” the books with language distinguishes between a male special bindings and then to design the and female customer you can see how to house them. The furniture many women there were, as well as their for holding large portfolios and display- nationalities and the sorts of things they ing posters is really interesting too. If bought. [Georges Bottini’s color litho- people know of other examples, please let graph of 1898, The Shop Window of Sagot, me know! shows a group of elegantly attired women looking at prints though the glass.] It CB In the catalogue you vividly describe turned out that women mainly bought François-Rupert Carabin, Bookcase (1890), the contrasting experiences of the print walnut, iron, glass, joinery, wrought ironwork framed posters and decorative prints by through the idea of a bourgeois Parisian (Albert Servat), metal, hardwood, 290 x 215 x artists like Eugène Grasset and Alphonse 83 cm. Musée d’Orsay, Paris. collector, moving from the gloom of his Mucha. Men would spend more money cabinet de travail where he might leaf and buy large numbers of prints for their through portfolios and albums of fine portfolios. he was targeting and partly because of prints, out into the world of the street, Interestingly, most of the women were the differences in the ways paintings and with its brilliantly colored, often high- American rather than French. American prints were kept and looked at. And it is quality posters on the walls, and sheet women went to Europe for cultural tours also to do with the monochrome nature music and illustrated periodicals on the and on shopping sprees to buy couture— of certain print techniques. Everyone stalls. But what, if anything, do we know and indeed the women shown looking talks about the color revolution at the of the impact of these popular images on at prints seem to be very fashionable. fin de siècle—it was only when we were the general public? Prints were obviously not just purchased tagging these prints for the website that by the nerdy elite but by the fashionable I found that about 240 prints were tagged FRRdC The whole of the 19th century is elite too. But I have no idea why French “darkness.” It forced me to look differ- full of these polarities. But of course it was women do not seem to have been buying ently at the collection. the cultural elites who wrote about it all. much. More research clearly needs to be But, yes, the intimate nature of prints People in the street did not have a voice— done on this. also had an effect on subject matter, mak- the masses remain mute. Who was the ing it better suited to dark, subversive passerby anyway? Everyone and nobody CB The intimate scale of most of the and erotic imagery. And I like the idea at the same time and therefore impossible fine prints suited them to private con- of the print as a portal to mystery and to fathom. The public print section was templation in the domestic interior. You meditation, which demands a slow way harder to study. The people who wrote talk about the cabinet de travail or private of looking that we hardly know how to about posters only wrote about the artis- study where collectors typically housed do anymore. Rops’s pupil Louis Legrand, tic ones, and elevated certain people who their books and prints. Do you think the who made popular , created ended up with the Legion of Honor and fact that they were sized for private rather an allegory of prostitution for Le Courrier getting into museums like this one. We than public consumption had an impact français in 1888 and was sent to prison only have art with a capital A. For a more on the kinds of images that appeared on grounds of obscenity. The same year, trustworthy account of graphic art on the in these prints—Rops’s femmes fatales Rops, who had made much more explicit streets of Paris, one can turn to photogra- and prostitutes, for example, or Redon’s prints on this subject, received the Legion phy and other visual sources of the time, explorations of the darker regions of the of Honor. But Rops kept out of the lime- so that is what we did. human psyche? light and his prints were sold to collec- tors by trusted dealers like Gustav Pellet CB It is astonishing how quickly the FRRdC Of course, this was something “under the counter” for private viewing. I worlds of the fine and popular print begin we already read about in Peter Parshall’s hope to write an article soon on this fas- to overlap as private collectors began to wonderful exhibition catalogue The cinating case study. acquire the best posters (even peeling Darker Side of Light: of Privacy, 1850– them off the walls before canny dealers 1900.1 But I can add a few things. With CB I notice that you included furniture managed to acquire first runs of them for Redon it makes such a difference when pieces in the exhibition—unusual objects sale) as well as petites estampes, the small you compare his paintings and his prints, for the storage and display of fine books posters designed for private portfolios or partly because of the different viewers and prints. albums. At the same time, you describe

Art in Print May – June 2017 5 Intimitiés (1897–98). To me, this set of eleven black showing an emo- tional drama between a bourgeois couple is one of the finest of the period, demon- strating masterful technique and intrigu- ingly dark subject matter. And I have more big things on my wish list. You don’t get the exhibition wing for prints very often, but of course I will do small pre- sentations in the print room and I hope to do another big exhibition at some point. I want to do more work on the Nabis—I am fascinated by the idea of the peintre- graveur and the connection between prints and paintings during this time. But yes, we are still very active in the field and we are quite an exception—I am the only curator specializing in 19th-century prints in all of Holland!

Catherine Bindman is a New York-based editor and art critic who has written extensively on both old master and contemporary prints. Félix Vallotton, The Beautiful Pin from series Intimités (1897–98), on wove paper, image 17.7 x 22.2 cm, sheet 25.4 x 32.3 cm. Van Gogh Museum, Amsterdam, purchased with support from Fleur Roos Rosa de Carvalho is the Curator of the BankGiro Loterij and the members of The Yellow House. Prints and Drawings at the Van Gogh Museum in Amsterdam. how critics and collectors began to con- You note in the catalogue that the critic struct a canon of French artistic post- Arsène Alexandre wrote that almost Notes: ers with Chéret at the top and younger every painter and sculptor living in Paris 1. Peter Parshall, et al., The Darker Side of Light: artists like Bonnard, Grasset, Toulouse- around 1900 had a Chéret poster as deco- Arts of Privacy, 1850–1900 (Washington, D.C.: , 2009). Lautrec, and Théophile Steinlen imme- ration. diately after him. Why did they seek to bring this street art into the domestic FRRdC Even ’s The Blue interior and officially categorize it as art? Room (1901), which is probably set in his Montmartre studio, shows Toulouse- FRRdC Collectors always want to be pio- Lautrec’s May Milton poster hanging on neers. They want to delve into unknown the wall. The idea of appropriation from terrain. And many of these posters truly the streets was very much a bohemian are magnificent. Posters helped artists idea, and part of the anarchist movement to find a new artistic language that was too. They liked the heroics of the fact that explicitly modern. It freed them from the they were a bit ripped or discolored—it academy—they were the place where the gave them even more cachet. real magic happened, and a few visionary collectors saw this. Soon, collecting post- CB What sort of prints is the museum ers grew into a fashionable hobby for the collecting now—and should we expect well-to-do. More and more dealers began another exhibition in the next few years? catering to this larger group and that is when the private print and the popular FRRdC The most frantic period of col- print transformed into new hybrids like lecting in this area is finished but we will the poster meant for the interior and the keep buying very selectively. In 2015 we decorative print. bought four very rare proofs of color lith- ographs by Toulouse-Lautrec through CB I remember a lot of reproductions of private sale—At the : La Toulouse-Lautrec’s poster for the café- Goulue and her Sister (1892); The Female chantant Divan Japonais and Steinlen’s Clown (1897); Dance at Tournée du Chat Noir from my distant the Moulin Rouge (1897) and The Grand student days. It was interesting to dis- Theater Box (1897). Recently, we also cover that such posters were used as bought Steinlen’s poster The Street (1896), decoration by students, artists and other made for the printer Charles Verneau, bohemian types from the very beginning. and Felix Vallotton’s woodcut series

6 Art in Print May – June 2017 Postermania: Advertising, Domesticated By Jillian Kruse

n 1 January 1895, when Alphonse O Mucha’s poster depicting Sarah Bernhardt in the title role of Gismonda appeared for the first time on the hoard- ings of Paris, it caused a sensation. The strange name of this mysterious art- ist was suddenly on everyone’s lips, and eager collectors snatched Gismonda o ff the walls.1 The craze for collecting poster advertisements had started some years earlier with the development of increas- ingly artistic designs by artists such as Jules Chéret, Pierre Bonnard and Henri de Toulouse-Lautrec. Although this pos- termania would only last about a decade (1890–1900), it altered the way color lithographic posters were designed, pro- duced and perceived, with ramifications into the present day. Beginning in the late 1860s, the com- mercial poster went through a number of changes that made it more attractive to the collector. The first was a shift from primarily text-based advertisements printed by letterpress to illustrated ones printed by that emphasized an image, integrating pictorial and ver- bal content into a single cohesive design. Jules Chéret, who effectively invented the illustrated poster in France, pioneered this approach in his 1866 advertisement for Jacques Offenbach’s operetta Orphée aux enfers. The text is sequestered in the upper center and lower center margins, and gives only the essential information: the title of the operetta and the theater where it is being performed. This was a drastic departure from previous printed advertising, which usually consisted of decorative headings, multiple paragraphs of text, and a small monochrome image like that seen in L’Aérienne, a 1866 poster for an exhibition of Camille Dupuy’s new Left: Alphonse Mucha, Gismonda (1894-1895), lithograph in five colors on two sheets, 213 x 75 navigational balloon, printed by Lithog- cm. Los Angeles County Museum of Art. Right: Jules Chéret, Les Coulisses de l’Opéra au Musée raphie Lesurques. The poster had become Grévin (1891), color lithograph, 220 x 85 cm. Rijksmuseum, Amsterdam. a less informational, but more aesthetic object. Charles Hiatt noted that “the audacious a limited palette.3 Pierre Bonnard’s 1891 Chéret also developed a three-color color” of Chéret’s posters “rarely fail[ed] advertisement for France-Champagne is a method that created a bold, eye- to bring the man in the street to a stand- case in point, with its economical use of catching palette. His 1891 design for Les still.”2 flat yellows and sinuous black outline to Coulisses de l’Opéra, for example, used the Exploiting these devices, poster art- portray a tipsy champagne drinker. Such overlay of two primary colors (red and ists began to turn away from naturalistic dynamic designs might be quickly inter- blue) to create a striking contrast with representations of people and things in preted by passersby who saw the poster the third primary (yellow). Writing in favor of flatter, more simplified forms, while on the move or from a distance. 1893, the art critic and poster enthusiast massed color blocks, bold outlines and Public appreciation for posters, not just

Art in Print May – June 2017 7 The popularity of these smaller, avant la lettre prints in turn began to influence the design of commercial posters, making them increasingly ineffective as street- level advertisements.14 As early as 1894 an anonymous correspondent for the journal The Studio referred to illustrated posters as “advertisements that do not advertise.”15 Take, for exam- ple, two poster designs made for Job Ciga- rette Papers: in Chéret’s 1895 design, the company and its product appear in large red letters on a white background mak- ing them easily legible from a distance; in Mucha’s 1897 design, however, the “macaroni hair” of the overtly sexualized “Mucha girl” partially obscures the com- pany name, and the product is reduced to the cigarette in the girl’s hand.16 Although the company name is repeated in the background, Mucha uses a decora- tive monogram that is difficult to deci- pher, especially from a distance. Jules Chéret, Orphée aux enfers (1866), color lithograph, 75 x 96 cm. Bibliothèque nationale de France. Posters were the subject of special- ized exhibitions beginning in 1889, when as advertisements but as ownable objects, content removed. For while collectors Ernest Maindron organized one as part of increased, building on already extant were attracted to the visual dynamism of that year’s Paris Exposition Universelle. In habits of accumulating ephemera such the new poster style, they were not always February 1894, Léon Deschamps, the edi- as postcards, trade cards, greeting cards pleased by the association with adver- tor of La Plume, launched the first Salon and cartes de visite.4 In April 1891 the art tising, and many posters were of such a des Cent exhibition, which showed works critic and poster collector Octave Uzanne cumbersome size, they were difficult for by avant-garde artists and frequently fea- coined the term affichomanie—poster- print connoisseurs to store in their col- tured posters, while also commissioning mania.5 The impulses and tastes of these lections. Printers and publishers began to them as advertisements.17 The Salon des collectors shaped the cultural climate, adapt designs to please both markets. Cent in June 1897 featured Mucha and changing the way posters were designed, Between 1896 and 1900, the print- produced and perceived.6 ing firm Imprimerie Chaix produced a In the early days of postermania, monthly poster publication, Les Maîtres de eager poster aficionados risked fines by l’Affiche, edited by art critic Roger Marx, peeling the objects of their desire off which aimed “to offer a poster reduced to walls, or bribed billposters to get hold of the size of a print, in every respect faith- them before they were pasted up.7 In an ful to the original, easy to handle, suit- attempt to ward off theft or illicit sales, able for frequent and quick examination some printing firms added stamps stat- and concurrent enjoyment.”11 Each issue ing “this poster can neither be given away contained four reproduction posters that nor sold” and warning that “the pos- could be purchased by either annual sessor will be prosecuted.”8 Recognizing or monthly subscription on either low- the existence of this new market, enter- quality commercial paper or high-quality prising dealers, such as Edmond Sagot, Japan paper.12 Many were special, avant la began making arrangements first with lettre editions, deemphasizing their com- the billposters and later with the print- mercial utility and creating a rarer, more ing firms themselves to reserve a number “collectable” object. In addition, monthly of impressions for amateurs.9 Print deal- “bonus decorative prints” were created ers in both Paris and London produced exclusively for Les Maîtres rather than for catalogues of illustrated posters available advertisers.13 The printer F. Champenois for sale.10 also published numerous designs avant As demand for artistic posters in pris- la lettre, issued before their commercial tine condition swelled, print dealers as siblings and with different titles. One of well as printing houses began to commis- the most popular was the design Mucha sion original designs, often at a reduced made for Zodiac (1896), which was also Camille Dupuy, L’Aérienne nouvelle système ballon dirigeable (1866), lithograph. Published size more suited to domestic interiors, and used as an advertisement for the literary by Lithographie Lesurques, Paris. Tissandier sometimes with the original commercial review La Plume in 1897. Collection, Library of Congress.

8 Art in Print May – June 2017 Left: Jules Chéret, Papiers à cigarettes Job (1889), color lithograph, 125 x 88 cm. Bibliothèque nationale de France. Right: Pierre Bonnard, France- Champagne (1891), lithograph in three colors, 77 x 49 cm. Musée des Arts Décoratifs. ©2017 Pierre Bonnard / Artists Rights Society (ARS), New York / ADAGP, Paris. included commercial designs (posters, the artistic poster, such as “L’Estampe exhibition was remounted in Ireland by calendars, theater programs, journal cov- Murale” (The Wall Print) in Art et Décora- the Dublin Arts Club, with the addition of ers, decorative panels and stained glass) tion,23 “French Posters and Book-Covers” Mucha’s newly published, immensely pop- alongside in the form of drawings in Scribner’s Magazine,24 “Another Word ular Gismonda.29 Writing in the Weekly and genre and history paintings.18 on the Poster” in The Studio,25 and “L’Âge Irish Times, “A Lady” was uncommonly Poster exhibitions soon spread de l’affiche” in La Revue des deux mondes,26 forthright regarding the status of the illus- through continental Europe, Britain began to appear and posters were dis- trated poster: and the United States.19 The first poster cussed in more general articles on art and The things advertised are, for the visi- exhibition in London, organized primar- design. Poster exhibitions were reviewed tor to the present exhibition, of but lit- ily by the print dealer Edward Bella with like other art, with certain artists—pri- tle or no value, as it is principally with the help of other amateur poster enthu- marily Chéret, Grasset and Toulouse- the posters as works of art that one is siasts, was held at the Royal Aquarium in Lautrec—singled out for attention. And concerned: the instances in which the 1894–1895 and featured over 200 English new periodicals devoted specifically to figures (which are present in almost and French posters supplied from the the poster were established—Les Maî- every one) correspond with the thing personal collections of the organizers.20 tres de l’affiche(1895–1900) , L’Estampe et advertised are few, though they are The works were not for sale and were l’affiche (Prints and Posters, 1897–1899), strikingly done.30 shown as examples of “artistic original- The Poster (1898–1900) and The Poster ity, beauty and excellence of technique.”21 Collector’s Circular (1899).27 Literary jour- The aesthetic appeal of the poster had Posters also came to occupy a new nals such as La Plume (1889–1914) and La supplanted the product it purportedly position in the press. As the British art Revue blanche (1889–1903) also promoted advertised—like art, its subject now itself. critic Arthur Fish noted in 1895, “much the work of poster artists through spe- In 1866, when Chéret’s Orphée aux enfers has been written and said of late about cial editions devoted to their color litho- was pasted onto Parisian hoardings, the the poster”;22 articles appeared in art graphs.28 All this attention elevated the purpose of posters was well defined: they journals such as The Studio in England cultural position of the illustrated poster were outdoor advertisements meant to and Art et Décoration in France, and in and further divorced it from its commer- attract an expanding bourgeoisie to come popular magazines such as Scribner’s or cial function. to the opera, shop in the new department Harper’s in America. Articles focusing on In April 1895 Edward Bella’s poster stores or attend the many new entertain-

Art in Print May – June 2017 9 Left: Alphonse Mucha, La Plume (1897), color lithograph, 64 x 48 cm. ©Victoria and Albert Museum, London. Center: Alphonse Mucha, Zodiac (1896), lithograph in eleven colors on satin, 63 x 47 cm. Los Angeles County Museum of Art. Right: Alphonse Mucha, Job (1898), color lithograph, 51 x 39 cm. ©Victoria and Albert Museum, London.

ments popping up all over the city. This (Paris: Musée de l’Affiche, 1980), 2. 23. Raymond Bouyer, “L’Estampe Murale,” Art et purpose, however, became increasingly 9. Alexandre, “French Posters and Book-Covers,” Décoration 4 (July–December 1898): 185–191. unclear as the 19th century progressed. 613. 24. Alexandre, “French Posters and Book-Cov- The upsurge in the aesthetic appeal and 10. Charles Hiatt, Picture Posters: A Short History ers,” 603–614. of the Illustrated Placard, with Many Reproduc- 25. Fish, “Another Word on the Poster,” 215–216. popularity of the illustrated poster that tions of the Most Artistic Sxamples in All Countries 26. Maurice Talmeyr. “L’Âge de l’affiche,” La defined postermania led it away from the (London: George Bell and Sons, 1895), 362. Revue des deux mondes (1 September 1895): street and into interior spaces where it 11. Roger Marx, ed., Preface to Les Maîtres de 201–216. would be displayed, not to advertise a prod- l’Affiche, vol. 1 (1896), in Jack Rennert, Roger 27. M. Yendis, “Concerning Ourselves,” The uct, but as something more akin to art. Marx, and Alain Weill, Masters of the Poster Poster 1, no. 1 (June 1898): 4. 1896–1900: Les Maîtres de l’Affiche. Reprinted 28. Léon Deschamps, ed., La Plume, no. 110 and tr. by Jack Rennert and Alain Weill (London: consacré à l’affiche illustrée (15 November 1893): Academy Editions, 1977), 11–12. 475–508. 12. Roger Marx, ed., “Subscription Notice,” Les 29. Gismonda, which was not printed until the Jillian Kruse is a Curatorial Assistant at the Maîtres de l’Affiche, vol. 2 (1897), in Jack Ren- last week of December 1894, did not appear in Hood Museum of Art, Dartmouth College. nert, Roger Marx, and Alain Weill, Masters of the 1894–1895 catalogue of the Royal Aquarium the Poster 1896–1900: Les Maîtres de l’Affiche. exhibition. It is mentioned by name, however, in Reprinted and tr. by Jack Rennert and Alain Weill the Weekly Irish Times as being part of the Dub- Notes: (London: Academy Editions, 1977), 9. lin exhibition. See A Lady, “Talk of Town,” Weekly 1. Jiří Mucha, Alphonse Mucha: His Life and Art 13. Alain Weill, Introduction to Masters of the Irish Times, April 6, 1895, 5. by His Son, translated from the Czech by William Poster 1896–1900: Les Maîtres de l’Affiche. 30. A Lady, ibid. Heinmann (London: Heinmann, 1966), 131. Reprinted and tr. by Jack Rennert and Alain Weill 2. Charles Hiatt, “The Collection of Posters. A new (London: Academy Editions, 1977), 5. field for connoisseurs,” The Studio 1, No. 2 (May 14. Mary Weaver Chapin, Posters of Paris: Tou- 1893): 63. louse Lautrec & His Contemporaries (London: 3. Ruth E. Iskin, The Poster: Art, Advertising, Delmonico Books, 2012), 31. Design and Collecting 1860s–1900s (Hanover, 15. “From Gallery and Studio with Illustrations,” NH: Dartmouth University Press, 2014), 182. The Studio 4, no. 21 (December 1894): 97. 4. Ellen Garvey Gruber, The Adman in the Par- 16. In criticism of the period (both positive and lour: Magazines and the Gendering of Consumer negative), the flowing hair and sensuous women Culture, 1880s to 1910s (Oxford: Oxford Univer- characteristic of Mucha’s designs were regularly sity Press, 1996), 27. referred to by these terms. 5. Octave Uzanne, “Les collectionneurs d’affiches 17. Chapin, Posters of Paris, 25. illustrées,” Le Livre Moderne (10 April 1891): 194. 18. Léon Deschamps, “A. Mucha,” La Plume, no. 6. Ernest Maindron, Les Affiches Illustrées (1886– 197 consacré à Alphonse Mucha (1 July 1897): 1895): Ouvrage orné de 64 en 8–15. couleur et cent deux reproductions en noir et en 19. Weill, L’affichomanie, 30–32. [see query, n. 8] couleur d’après les affiches originales des meil- 20. Edward Bella, ed., A Collection of Posters: leurs artistes (Paris: G. Boudet, 1896), 3. The Illustrated Catalogue of the First Poster 7. Arsène Alexandre, “French Posters and Book- Exhibitions 1894–1895, Royal Aquarium, London Covers,” Scribner’s Magazine 17, No. 101 (May (London: Strangways, 1894), 13. 1895): 612. 21. Joseph Thatcher Clarke, Preface to ibid., 8. 8. Alain Weill. L’Affichomanie: Collectionneurs 22. Arthur Fish, “Another Word on the Poster,” d’affiches—Affiches de collection 1880–1900 The Studio 5, n. 30 (September 1895): 215.

10 Art in Print May – June 2017 An Artist Collects By Brian D. Cohen

attended college in Main Line Phila- I delphia, not far from the former loca- tion of the Barnes Foundation, which I visited frequently. I recognized in the Barnes collection not only the magnifi- cence of its holdings, but also the idio- syncrasies and distinctive personality of the collector, Albert C. Barnes, who came across as remarkably insightful into the greatest achievements of the late-19th and early-20th centuries, as well as will- ful, irritating, prideful and withholding. After his death and subsequent decades of legal challenges, the collection was made available to the public (initially under tight and very inconvenient restrictions) and eventually relocated from suburban Merion to Center City . Even at its new location the collection remains stubbornly his six decades after his death: it still has his genius and all his lapses in judgment and taste, as well as his bizarre penchant for wrought iron hinges, locks, ladles, weathervanes, shoe buckles and door knockers installed with equal prom- inence alongside the Cézannes, Matisses, Renoirs (good and bad), and Picassos. Barnes had a lot of money to play with, an often brilliant eye, an opportunistic streak and an avaricious, aesthetic sen- sibility. I don’t have any of that, except maybe the last: Barnes made all that art not only his own possession but his own expression. I understand that impulse. I collect prints, and I also make them, probably for much the same reasons. I love the language of the medium, its breadth, its textures, its history, its themes, its commentary, contemplation, subversion, faith, observation, humor and irony. I col- lect prints because prints have said things that paintings have often not chosen to speak of, and because prints have spoken to whole groups of people who didn’t even Scheuchzer, Physica Sacra, Genesis, Tab. II, after designs by Johann Melchior Fussli (ca. 1731), engraving, 13 3/4 x 9 inches. Collection of the author. look at paintings. Printmaking is not only a distinct language; it’s a distinct culture, whenever you want. us everything, the scatological amid the a separate country. Prints embrace everything. In The transcendent, because it’s all there. My primary response to prints is tac- Good Samaritan, Rembrandt depicts an I am drawn to early prints that pretend tile, almost visceral. To be that close, that act of selflessness, allegorizing Jesus’s to nothing more than plain statements of intimate, to possess a Goya or Kollwitz redemption of a lost soul. In front of visual fact—“this, I saw”—an orchid, or a or Piranesi is a joy. The artist made that this reverential emblem of mercy and cuckoo, or a raincloud. The visual world mark and you are seeing it exactly as he or grace, Rembrandt shows a dog defecat- is fresh and startling seen through a new she intended, in its final form. It’s a plea- ing. I don’t believe he would have painted medium. Visual information, compre- sure you can indulge in your own home, that. He meant no irreverence; he shows hended by a patient, curious, absorbing

Art in Print May – June 2017 11 we share, we speak to each other across time and place. We appreciate each other and we desire the best of what each other has done. Having a historical bent, I often have to remind myself that prints are still being made. It’s a thrill to discover a fel- low printmaker, often in a far-off place (thank you Facebook), thinking along the same lines. We trade; it’s an honor and it saves us money we don’t have. The collecting impulse is rarely a generous one, except when a collection is posthumously offered to public view (in Barnes’s case, against the collector’s will). Collecting tends toward private accumulation; it’s hoarding for the dis- cerning. But there’s always a passing thought to how this reflects one’s taste: “that Jacques Villon etching will really impress my dinner guests.” I cannot dis- play all I’ve got, and I cache my prints, saving them for later. When the moti- vation to display items is gone, you’ve taken a dark turn. There’s an awful lot of pride at work Gilliam van der Gouwen after Jacob Matham, Gestrande walvis bij Berckhey (ca. 1679–1681), among collectors. Nothing incites the engraving, 10 1/2 x 13 1/2 inches. Collection of the author. competitive spirit like an auction. The pang of defeat left by “the one that got eye, can be disarmingly moving in its undertakings, the result is glorious and away” stings like no other regret. I con- openness and honesty, its innocence, its heroic. I made it my mission to collect all fess to envy, greed, lust, pride and wrath clarity. Other early prints are not afraid of the engravings from the Genesis sec- as a collector. to get really weird. I collect oddities, tion. They are spectacular. No one was Collecting has sometimes substituted, things bizarre or speculative or encom- there to observe God separating the light sadly, at times for not being very produc- passing, like the beginning of the world from the darkness, but science seems to tive in my own studio. Acquisition of from The Creation of the World Accord- bear Scheuchzer out; the accretion disk images replaces and satisfies the urge for ing to Moses by Wilhelm and Jan Goeree of molecular gas and dust might have creation. When you find something really (1690), or Hell from Adnotationes et Medi- looked something like this. special and you make it yours, it almost tationes in Evangelia by Jerome Nadal (ca. (Now, before you say it—yes, I have feels like you made it. Like karaoke, it sat- 1595), or the Tower of Babel from Calmet’s acquired prints that once belonged to isfies through self-deception. Dictionary of the Bible (ca. 1725), or any bound books from which at some point a imaginative flight, vision or prophecy scofflaw bookbreaker removed the plates. depicted with the vividness of absolute I didn’t cause this to happen in the first conviction of observed fact. And if the place, nor have I done it myself, and at closely observed and the passing strange this point the intact books are worth far align, as when a whale washed up on the more than the sum of the plates. It is in beaches of Holland in 1598 (Gouwen, the back of my mind.) after Jacob Matham, after a by I collect to see the technical language Hendrick Goltzius), a print can have the of printmaking spoken eloquently. No intensity and immediacy of documentary one speaks the language of soft ground reportage, even a century after the fact. better than Kollwitz or aquatint than One of my recent collecting quests has Goya or hard-ground line work than been for engravings from Physica Sacra Piranesi. I can see how it’s done up close, by Johann Jakob Scheuchzer (1672–1733). and though I don’t think for a moment I Scheuchzer, who hired Johann Melchior could do it as well, it doesn’t stop me from Füssli and a squad of engravers to create trying. I mimic the technical approaches the 762 plates for his book, believed that of the best of them; from the average or the Old Testament was a factual repre- anonymous I take much more—shapes, sentation of natural history. This was a whole compositions, assuming I won’t get fool’s errand, as science was more than caught. When you do this enough, you Charles Amand-Durand after Albrecht Dürer, ready to soon part from the Bible and go see how much many other printmakers Melencolia (1879), heliogravure and engraving, its own way, but like so many grandiose have done the same. This is what we do: 9 3/8 x 7 1/4 inches. Collection of the author.

12 Art in Print May – June 2017 made from a canceled plate. Occasionally of cultural artifacts that reflects my inter- I’ll see a print and I get the strong feeling ests and sensibility, with an integrity that it is not what the artist intended. I once I am, yes, proud of. At that point, I hope it bought a print from the Goya Caprichos at will be shared with anyone who cares to a reasonable price, but it was so wan and look. exhausted (it must have been the 5,000th impression taken from that plate) that I Brian D. Cohen is a printmaker, painter, writer couldn’t live with it and returned it. I will and educator. sometimes buy a print in compromised condition and pay for its restoration. Prints don’t take up much space, but they do require a modicum of care. Noth- ing keeps me up at night more than the thought that my collection is moldering away while I sleep. I’ve enjoyed modest epiphanies in my collecting habit. In an antique shop I fell in love with three delightful small etch- ings by Robertson K. Mygatt (1861–1919). The shop proprietor snootily expressed Giovanni Benedetto Castiglione, Young Man with surprise that I hadn’t heard of the artist, His Head Lowered,Wearing a Turban, Facing but he was playacting to justify his price; Left from the series Small Studies of Heads in not many people know Mygatt. The art- Oriental Headdress (ca. 1635–1640), etching, ist felt like my own discovery. It scares 4 1/2 × 3 1/8 inches. Collection of the author. me that you can be that good and that obscure. I knew I’d never be able to compete Mr. Barnes left explicit instructions for the best impressions by noted artists. not to mess with anything when he was Not having much money to work with gone. I think he died happy, his collection calls for a willingness to take greater intact and hidden, and (he believed) risks, to look at work not validated by required to stay that way. When I’m gone, experts or bolstered by . I will my heirs may be burdened by all they sometimes take chances with condition, have to go through in my flat files, and sometimes with originality. I’ve got- Solander boxes, and on my shelves. I do ten lucky a few times, and been pitifully believe I have created something, a cache wrong many more. I am prey to the “too good to be true” and to wishful thinking that leaves rationality, experience and my own better judgment way behind. I own an example of Albrecht Dürer’s Melen- colia, which I adore. Only in my wildest dreams did I consider that it might be a 16th-century impression. My Dürer was printed on wove paper, not available until the 19th century. I admire it on its own terms (it is probably a heliogravure with engraving by Charles Amand-Durand, ca. 1879). Prints, most of them, have always been affordable. And though I am more of a rummager of the past than a consumer of the present, I benefit from that financial accessibility, and I do so on a teacher’s salary. At some point I gave up on sav- ing money, and whenever I earned any at all from selling my work, it went into prints. It seemed like a magical equation: my work for the work of my betters. I’ve never bought a print as an investment or because I expected it to increase in value. I have a few rules. I won’t buy a print Robertson Kirtland Mygatt, Untitled (1905), etching, 2 3/4 x 3 5/8 inches. Collection of the author.

Art in Print May – June 2017 13 Secrets of the Real Thing: Building a Collection as a Graduate Student By Jennifer S. Pride

Fig. 1. Embellissements de Paris. – Percement de la butte des Moulins avec l’ouverture de l’avenue Napoléon, perpendiculaire à la façade du nouvel Opéra et aboutissant au Théâtre-Français. Vue prise de la Toiture du foyer du nouvel Opéra [Embellishments of Paris. – Piercing of the Butte des Moulins with the opening of the Napoleon Avenue, perpendicular to the façade of the new Opera and to the French theater. View taken from the foyer roof of the new Opera], reproduced from Le Monde Illustré, 27 March 1869.

never intended to be a collector. As a This period of Daumier’s activity had and alleyways of the medieval city and I doctoral candidate in art history been largely overlooked by scholars, due replaced the congested neighborhoods working on Honoré Daumier and Hauss- to long-held beliefs that the strict cen- with large public squares, sidewalks and mannization, I thought I would be able sorship laws of the period prevented the broad boulevards for which the city is to do most of my image research with artists from satirizing and caricatur- known today (Fig. 1). From these digital online databases. Daumier’s ing political and social issues.2 Sifting reproductions, it was clear that Daumier have been meticulously catalogued by through the databases, however, revealed was responding to the confusion and the Brandeis Repository and the Daumier that throughout this time Daumier had anxiety inherent in the erasure and Register (which claims to have accounted actively used satire and irony to dodge the remaking of the city’s physiognomy and, for every print created by Daumier whether censors and provide social critique, espe- consequently, culture and society. In the published or not—more than 5,000 litho- cially regarding the “Haussmannization” face of press censorship, I believed, these graphs and wood engravings).1 These of Paris—the massive urban renewal proj- caricatures generated a discourse about a enabled me to search through thousands of ect headed by Napoleon III and the Pre- shared cultural trauma (Fig. 2). caricatures and quickly zero in on the ones fect of the Seine, Baron George-Eugène At this point in my research, I real- of particular interest to me: those from the Haussmann. The Prefect demolished ized, however, that Daumier’s caricatures French Second Empire (1852–1870). most of the twisted and narrow streets alone were insufficient to support such a

14 Art in Print May – June 2017 was informed there were none. I searched the web for databases or websites that might have copies of old newspapers. I noticed that some antiquarian bookshops had digital copies of the newspapers they were selling, so I turned to French eBay. There I found a treasure trove—hundreds of vendors from all over France selling whole issues of Le Charivari, Le Journal Amusant, Le Journal Illustré and Le Monde Illustré. I decided to purchase every intact newspaper that I could find from the Second Empire. Some of the vendors were specialist print dealers who helpfully suggested other newspapers that might be of inter- est, and priced their wares based on the scholarly importance of the Daumier included (generally $50–$100). Others seemed to be individuals who had inherited grandma’s attic with troves of Fig. 2. Honoré Daumier, Une promenade d’agrément aux Champs-Elysées [A pleasant stroll along periodicals from the 19th and early 20th the Champs-Elysées], reproduced from Le Charivari, 5 October 1855. centuries. These sellers seemed unaware of the significance of the Daumier carica- thesis—I needed to know what else was in realized that the amount of visible detail tures contained in the papers they han- those publications alongside the Daumi- far surpassed that of the digitized copies dled, often selling valuable editions of Le ers. Databases detach things from their I had been using. Even more importantly, Charivari for less than five dollars. One of original contexts. I needed the newspa- with the real issues I could determine my most useful purchases was a lot of 30 pers themselves—the articles and illus- whether the subject of the caricature was prints for which I paid $15 plus $4 ship- trations that made up the daily news as connected to news articles and illustra- ping from France. well as the caricatures. So with funding tions that made up the object as a whole. Over the course of a year, I collected from my department and university, I I contacted the BNF, which had digitized around 300 newspapers, hundreds of went to Paris. two years of Le Charivari (1832–33), to ask stereocards, and numerous 19th-cen- At the Bibliothèque nationale de about plans for further digitization and tury books and other ephemera—all the France (BNF) I was able to view these newspapers, but only on microfilms that had been processed in the 1970s, using barely functional, aged microfilm machines. At Parisian flea markets and antique book and print shops, however, I was able to find several actual newspapers with Daumier caricatures from the 1850s and 1860s. I began buying. It wasn’t cheap—a single newspaper page with a Daumier caricature typically cost €75–100, more if the newspaper were intact. My first foray into collecting took place at Les Puces de Saint-Ouen, the flea market at Porte de Clignancourt, where I purchased three intact issues of Le Charivari from a single vendor for the negotiated price of €200. Most often, however, the pages were for sale piecemeal. Many of my initial pur- chases were single pages that contained a caricature and a portion of an article, as if either the original reader or the current vendor had torn it out and thrown the rest away. Back in the U.S., as I continued my Fig. 3. Honoré Daumier, Vue prise dans un quartier en démolition [View of a quarter under research with the prints I had acquired, I demolition], reproduced from Le Charivari, 7 March 1854.

Art in Print May – June 2017 15 Left: Fig. 4. Félix Thorigny, Embellissements de Paris. Démolitions dans l’île de la Cité [Embellishment of Paris. Demolitions on the l’île de la Cité], reproduced from Le Monde Illustré, 29 March 1862. Right: Fig. 5. Félix Thorigny, Démolition des théâtres du boulevard du Temple pour le percement du boulevard du Prince-Eugène [Demolition of the theaters on the Boulevard du Temple to make way for the piercing of the Boulevard du Prince-Eugène], reproduced from Le Monde Illustré, 9 August 1862. artwork on which my dissertation Having these primary documents on presented this urban destruction in the focused, plus a plethora of newsprint hand made it clear that there was, indeed, form of the worker with a pickax and illustrations and articles. a network of journalists, writers, illus- the bourgeois spectator—motifs that I discovered that Daumier’s carica- trators and caricaturists who worked to were printed daily in word and image. tures were accompanied by illustrations document and satirize the overwhelm- Writing in Le Monde Illustré, Le Charivari documenting the construction going on ing chaos of life in Paris. They frequently and L’, authors Jules Ferry and around Paris, and by articles, both satiri- Pierre Véron used irony, metaphor and cal and documentary, about the diffi- allegory in the same way as Daumier, culties of living in a small city in which to naturalize the unnatural evolution broad-scale destruction and rebuilding of this once organic city. In these news- went on for nearly two decades. Previ- papers, articles and images use ironic ous scholarship about Haussmanniza- captions, such as “Embellissements de tion had often relied on government data Paris,” beneath images of buildings and and images such as the photographs of neighborhoods being returned to the Charles Marville and Nadar. While these earth, crumbling walls, fallen stones materials do document Paris before-and- and vast holes in the ground. Labeled after, they lack a human presence. My “embellishment,” purposeful destruction collection of popular press, by contrast, is portrayed in a picturesque manner, conveyed the voice of people losing their emphasizing its unnatural nature (Fig. 4). neighborhoods, and navigating the dan- Newspaper illustrations by Maxime gerous terrain of major construction sites Lalanne and M. Felix Thorigny present all over the city for nearly 20 years, as detailed views of people standing around seen in Daumier’s caricature for 7 March demolition sites watching the work- 1854, captioned “View of a quarter about ers (Fig. 5). In images such as Daumier’s to be demolished” (Fig. 3). Here we see a 13 December 1853 caricature of a couple family in the foreground leaving what is gazing upon the demolished city, artists presumably their home; the father car- made their point with melancholic body rying the birdcage looks sadly at the old language and elegiac captions. Daumier’s dwellings set for demolition. The mother Fig. 6. Honoré Daumier, –Voilà pourtant notre reads: “Just look at that, Adelaide, that holds onto her husband and child, looks chambre nuptiale, Adélaïde.... ces limousins used to be our bedroom … these masons with dismay at the adjacent street that ne respectent rien, ils n’ont pas le culte des have no respect for anything, they will likely be gone the next day. Other fig- souvenirs!... [“Just look at that, Adelaide, that don’t honor memories!” The mason is ures walk around in apparent confusion. used to be our bedroom.... these masons have faceless, an impersonal implement of no respect for anything, they don’t honor memo- Daumier is careful to show the human ries!...”], reproduced from Le Charivari, destruction who decimates their history. aspect of urban renovation. 13 December 1853. The crumbling walls of their old home

16 Art in Print May – June 2017 suggest the trauma of forced disloca- tion.3 This sense of loss recurs often in Daumier’s prints. Without physically handling these newspapers, I would never have discov- ered the repeated figure of the lowly Parisian with a pickax, or the ever-pres- ent bourgeois figures watching over the workers and construction sites—figures that emerge as symbols of the contradic- tory pairing of nostalgia and renewal that marked the transformation of the city (Fig. 6). Daumier’s caricature in Le Charivari on 7 December 1852 illustrates this opposition: three workers are busy tearing down old buildings with pick- axes; one pauses to look thoughtfully at the last vestige of the 16th-century church of Saint-Jacques-de-la-Bouch- erie, known today as the Saint-Jacques Tower. We read the worker’s thoughts in the caption: “They are right to leave this tower untouched ... you would need a balloon to demolish it” (Fig. 7). The dif- ficulty of dismantling the 171-foot Flam- Fig. 7. Honoré Daumier, – On a raison d’laisser c’te tour là debout... faudrait monter en ballon boyant Gothic tower leaves it looming pour la démolir !... [“They are right to leave this tower untouched... you would need a balloon to over the workmen—a reminder of the demolish it!...”], reproduced from Le Charivari, 7 December 1852. historical city they are working to tear down and reconstruct. In 2016, I had the opportunity to organize an exhibition and catalog of Jennifer S. Pride teaches art history at Florida my collection for the Kingsborough State University. , City University of New York, “Daumier’s Paris: Caricature and Notes: Cultural Trauma in the Age of Hauss- 1. Honoré Daumier’s Digitized Lithographs mann.” Daumier’s caricatures were set at Brandeis University: bir.brandeis.edu/han- beside documentary illustrations; while dle/10192/5 and the Daumier Register Digital the latter serve to record the city under Work Catalogue: www.daumier-register.org/. deconstruction and reconstruction, the 2. For more information regarding Second Empire press censorship, see among others: Elizabeth former both expressed and mitigated Childs, “The Body Impolitic: Censorship and the the dismay through humor. Watch- Caricature of Honoré Daumier,” in Suspended ing museum visitors engage with these License: Censorship and the (Seattle: 160-year-old prints has been one of the University of Washington Press, 1997), 151–189; highlights of my academic experience. Robert Goldstein, Censorship of Political Carica- Currently, my collection resides in ture in Nineteenth-Century France (Kent, Ohio: Kent State University Press, 1989); Michele Han- the closet of my study and I use the noosh, Baudelaire and Caricature (University newspapers regularly for research and Park, PA: Pennsylvania State University Press, instruction. Last year I taught an under- 1992); and Judith Wechsler, A Human Comedy: graduate seminar on Daumier and Physiognomy and Caricature in 19th Century caricature in which my students and I Paris (London: Thames and Hudson, 1982). 3. A law enacted by Napoleon III in 1852 allowed worked with Digital Library Center at the expropriation of private property as needed for Florida State University to digitize my the creation of new streets through the existing collection and create an online exhibi- urban fabric. For further information about Hauss- tion. This project is still underway and I mannization see among others: David Jordan, hope to have my entire collection online Transforming Paris: The Life and Labors of Baron Haussmann (New York: Free Press, 1995); Chris- within the coming year. I continue to topher Prendergast, Paris and the Nineteenth- purchase newspapers whenever I find Century (Cambridge, MA: Blackwell, 1992); and them in Parisian flea markets and from David Harvey, Capital of Modernity (New York: online vendors. I get a kick out of telling Routledge, 2003). people that most of my dissertation research took place on eBay.

Art in Print May – June 2017 17 To Serve the Common Good: The Grinnell College Art Collection Kay Wilson and Lesley Wright speak with Sarah Kirk Hanley

Installation view: “Crossing the Line: Selections from the Grinnell College Art Collection,” Faulconer Gallery, Bucksbaum Center for , Grinnell College, Grinnell, IA, 2017.

rinnell College, a highly ranked navigate difficult times. The exhibition founded and Kay came on as curator. In G private institution in central Iowa, was curated by Daniel Strong, associate 1999, the Faulconer Gallery was estab- was founded by abolitionists in 1846. director and curator of exhibitions, and lished and at that time we reconfigured This foundation in civil rights continues Kay Wilson, curator of the collection. the mission statement to highlight our to inform its mission: the college aims to Wilson and Lesley Wright, director of the commitment to sociopolitical art. Kay prepare its students to “serve the common Faulconer Gallery, spoke with Sarah Kirk had laid the groundwork, but we formal- good” and work toward social justice.1 Hanley about Grinnell’s commitment to ized it and brought it to the fore. These principles extend to its collec- political art, and how the collection is tion of art, which is, as the collection serving the students and public at this Kay Wilson I consider Ralph Shikes’s website explains, “distinguished by its remarkable moment in our national his- book The Indignant Eye: The Artist as social and political commentary by art- tory.3 Social Critic in Prints and Drawings from ists who have taken up pen and stylus as the Fifteenth Century to Picasso an impor- weapons against oppression, exploitation Sarah Kirk Hanley When did the college tant guide to my work as a curator.4 We and human folly.”2 A recent exhibition at formulate its commitment to collecting have included many of the artists he dis- the college’s Faulconer Gallery, “Cross- sociopolitical art? cusses in the Grinnell College collection: ing the Line: Selections from the Grin- Pieter Bruegel the Elder,5 Jacques Callot, nell College Art Collection,” included Lesley Wright The collection has existed , William Hogarth, James approximately 50 antiquities, maps and since the turn of the 20th century and Gillray, Honoré Daumier, Ben Shahn and works on paper from the 17th century to grew in the 1960s, but blossomed into so on. We have two complete sets of the the present, and provided timely insight a true resource for students in the early fifth and sixth editions of Goya’s Disas- into how cultural artifacts help people ’80s when the print study room was ters of War, as well as several individual

18 Art in Print May – June 2017 Left: Honoré Daumier, Attendez donc au moins que j’aie eu le temps de prendre mon aplomb [Wait until I have time to get my balance] (1869), lithograph, 13 3/4 x 11 inches. Pre-publication proof signed and dated by the printer, Walter Frères and with the approval inscription of the censor in red pencil. Published in Le Charivari, 23 November 1869. Marie-Louise and Samuel R. Rosenthal Fund. Right: Frans Masereel, Businessman (1920), woodcut, 8 3/16 x 6 5/16 inches. The Goldman Collection of German Expressionist Prints. © 2017 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.

plates from the first edition. We also SKH So the approach was more tradi- Acceptable Form of Addiction” in this have many individual plates from vary- tional before you came. issue]. This is a wonderful group of ing editions of the Caprichos. Some of our German Expressionist works that has Daumier impressions are rare examples LW Yes, but the Ford Foundation acqui- proven essential to the collection: we with hand-written captions—one also sitions set a basis in printmaking history use it for teaching purposes quite fre- has the censor’s stamp. We have a full run that we have been able to maintain and quently. of Hogarth’s etchings and engravings, build upon. In addition to the sociopo- but they are from the posthumous 1837 litical collection, we have been adding SKH Tell me about an acquisition that edition and we are trying to replace those selected Old Master prints to make sure was particularly sweet or hard-won. with lifetime impressions to reflect more those areas are as strong as they need to accurately the artist’s intent. be for purposes of teaching. LW Shortly after we acquired the Gold- man collection, we independently located SKH What was the collection like before KW We just acquired a beautiful Ghisi an important watercolor by you joined the staff, Kay? print, The Judgment of Paris.6 that fit perfectly. The purchase was a financial stretch for us, and there was KW The first objects that came into SKH Are there other gifts, grants or pri- some opposition at the administrative the collection were a group of about 28 vate collections that have been funda- level for that reason, so when we finally Turner engravings donated by Maude mental to the collection? received approval it felt like a real win. Little Macy around 1908. It grew very lit- We keep finding new gems to flesh out tle until the ’60s, when Grinnell received LW In the ’70s, Marie-Louise and Samuel our representation of that period. For a Ford Foundation grant and used those R. Rosenthal endowed the college with instance, we have been actively acquiring funds to purchase works by major print- a significant fund solely for the pur- issues of Der Sturm and we recently pur- makers such as Dürer, Rembrandt and and care of art, and this remains chased a Nolde etching.7 Picasso; they also acquired a few draw- an important source of funds. Then in ings. We later received significant gifts 2001, Roz and John Goldman offered KW The Nolde was important because of Piranesi etchings and Edward Curtis us their German Expressionist print it helps explain the complexities of the photogravures in the ’60s and ’70s. collection [see sidebar and “A Socially Expressionist movement.

Art in Print May – June 2017 19 and small—in the daily news of her coun- try. We also have her complete Birth of a Nation portfolio (2009–10).11

LW We also recently acquired a number of works by contemporary artists from Africa, the Middle East and Asia who now work in the U.S.: we just added a box set by the Egyptian artist Ganzeer and several prints by Marcia Kure, who is from Nige- ria, and Hung Liu, from China. We have been working with our advisory commit- tee to address other gaps in the collec- tion, and we recently dedicated most of our annual funds to acquiring a work by Adrian Piper.12 It is also on view in “Cross- ing the Line.”

KW For me, the Piper was the piece that was most satisfying to add to the col- Lalo Alcaraz, Liberty on the Run (2010), screenprint, 12 x 18 inches. From Migration Now! portfolio lection. We spoke with the artist several (2012) published by Culture Strike and JustSeeds Artists’ Cooperative. Marie-Louise and Samuel R. times, explaining how we intended to use Rosenthal Fund. ©2017 Lalo Alcaraz. Distributed by Andrews McMeel Syndication. Cartoon appears it and how it would fit into the collection courtesy of the artist. and our mission as a college. She helped us to locate a work that would fit our needs.

LW We also have a long-term loan of KW We have a few antiquities but they KW We have also been actively acquiring late Soviet-era prints created by state- are difficult to date with certainty. In the political poster box sets by artists’ collec- endorsed or “official” artists that gives works on paper category, the earliest piece tives such as JustSeeds, Culture Strike students insight into what it means for is from 1240—a leaf from a pocket bible on and Mission Comics. an artist to have to literally “toe the party vellum. line” in order to have a career.8 LW Artists’ books are another category SKH How about the most recent? we collect. They present challenges in KW These are artists who were in the terms of exhibition and student use, but Artists’ Union of the USSR—you had to be LW John Buck’s woodcut Cat (2016), on a member in order to get supplies, receive view in “Crossing the Line.” a stipend and have exhibitions. The sub- ject matter and style of their work was dic- SKH That brings us to contemporary art. tated by the government and intended for I know you have a lot of work by Enrique use in the schools. Chagoya, but which other politically inclined artists are strongly represented in LW It is such a different function for art the collection? than what we are accustomed to in this country, and these works are very useful LW We have several prints by William for our Russian and Eastern European Kentridge. studies faculty. KW Yes, in 2004 the Faulconer Gallery was KW We also have a group of about 25 the first U.S. institution to mount a retro- works by an artist who worked outside spective of Kentridge’s prints and the col- of the system, Aleksandr Kalugin.9 He lege published the first catalogue raisonné spent a great deal of time in confinement; of his graphic work with that exhibition.10 many of the drawings we have were done One of the reasons he agreed to show here while he was incarcerated or undergoing was because he was impressed with the questionable psychiatric treatment and collection we had built, our mission and use poor-quality paper with frayed spiral- the way we used our collection. bound edges. His work provides a marked contrast to the Socialist Realism produced KW We have also organized a major exhi- by the state-endorsed artists. bition of another South African contem- George Grosz, Männer vor einer Stad- porary artist, Diane Victor, and acquired landschaft [Men in Cityscape] (1920-1922), watercolor on paper, 22 x 14 5/8 inches. Estate of SKH What is the earliest-dated work in her Disasters of Peace portfolio (2001–03), Clinton A. Rehling `39, by exchange. Art ©Estate the collection? which is a response to atrocities—large of George Grosz/Licensed by VAGA, New York.

20 Art in Print May – June 2017 Left: Aleksandr Kalugin, Patient in Psychiatric Hospital #5 (ca. 1983), ink on paper, 12 1/2 x 8 13/16 inches. Anonymous gift. Right: Adrian Piper, Vanilla Nightmares #14 (1986), charcoal on printed newspaper: New York Times front page, 23 July, 59.8 x 35 cm. Marie-Louise and Samuel R. Rosenthal Fund. ©APRA Foundation Berlin. we experimented in “Crossing the Line” LW Yes, we also have a committee but we LW Yes, in fact, we have only recently with allowing visitors to handle them, in only use it selectively: when we have been begun to build the photography collection. keeping with the artists’ intentions. offered a large or problematic gift, or want We only had a few photographs when the to create a strategy for acquiring some- Faulconer gallery was founded, but Dan SKH How do you secure ongoing support thing special. Generally we have license to [Strong] has really pursued acquisitions in for the collection? work independently but keep the commit- that area, including, most recently, a num- tee informed. ber of works by Gordon Parks. LW In addition to the Rosenthal endow- ment we just mentioned, there are five SKH The website states you have about LW Printmaking is offered as a major in other smaller endowment funds. The sum 5,000 works in all—do you have a more the art department, but photography is is not princely but it allows us to make accurate number to share? not even taught on campus; at one point important purchases of works on paper, we had an art historian here who covered KW Yes, we counted them this week: 4,522 and approximately a third of our annual the history of photography, but we’re not works of art on paper. acquisitions come in the form of gifts. sure whether that will resume. We have to Finally, we are fostering a new leadership LW There is also a small but note- tread carefully with collecting in this area council who advise on and contribute worthy collection of African objects, as because we aren’t sure how often it will be to acquisitions, facilities and strategic well as several Pueblo ceramics, a few used. initiatives; we used some of those funds paintings, and antiquities, but recently to renovate the Print and Draw- 85–90% of the collection are works on SKH Tell me some of the ways that the col- ing Study Room. paper. lection is utilized by students and faculty.

SKH Are all three of you involved in SKH And is that group heavily dominated LW We get a lot of professors using the acquisitions decisions? by prints? collection for various reasons: this fall

Art in Print May – June 2017 21 the Hogarth collection was used by pro- fessors in history and French to supple- ment their coursework on the opera and the Enlightenment, respectively. We are always happy to see interdisciplinary learning applications for the collection.

KW Lessons are held here in the Print and Drawing Study Room and then the stu- dents are given an object-based assign- ment. They come back to study a chosen work and write a response or essay.

LW On an average year, I’d say we cycle between 1,000–2,000 visitors through the study room. Most of those are in classes, so it’s pretty actively used.

SKH Do you have student interns and work study programs?

KW We have student employees who work here. We are in the process of pho- tographing and digitizing the collection and they have done all of that work.

SKH Yes, you have an impressive number of images on your online database.13

LW We have made great progress but there are some obstacles, such as oversized items and copyright issues we have to negotiate. We also involve our students in curating quite frequently. Sometimes we have the right intern who is interested in works on paper and we give them an opportunity to organize an exhibition. They often become very excited about works that have fallen Virginia A. Myers, A Time of Malfeasance #5 (1974), engraving, 23 3/4 x 20 1/2 inches. Gift of Mid off our radar, and this helps us to see the America Publishing. Courtesy of the University of Iowa Foundation. collection afresh. Also, every three years or so the art history department teaches an LW Late last spring we learned the Center Gallery and stood there for 10 minutes exhibition seminar around a specific topic for the Humanities, an academic center with my mouth open.” I think they are and the class curates an exhibition from of the college, was organizing a year-long really astonished that we own all of these the collection and publishes a catalogue. series of events on the topic of “Rethink- things. It is one of the main reasons we Those undergraduates come out of here ing Global Cultures,” and we thought do exhibitions like this—to remind the with a published piece of writing. that many works from the collection students, faculty and public that there are would speak to this theme. This is the resources here at their disposal. SKH Is there a piece that you find particu- first time we have organized an exhibition The Grinnell College print collection is larly relevant to issues in the news today? in response to an academic program on housed in the Print and Drawing Study campus. Room in Burling Library and is open to LW Aside from the contemporary politi- visitors by appointment; see www.grinnell. cal poster box sets mentioned before, per- SKH How has reception been from the edu/about/visit/spaces/print-and-drawing- haps the most pertinent is a large cycle of students, faculty and community? study-room. 21 engravings titled A Time of Malfeasance by Virginia Myers from 1974, in response LW Just this week we have had classes 14 to the Watergate scandal. It spans a from anthropology, French and art, as Sarah Kirk Hanley is an independent print large wall—the works vary in size and fit well as a group of visitors from Waterloo, specialist and critic based in greater New York. together in an explosive flow. Her work Iowa; they were very taken with the exhi- was not generally political but she was bition and spent a lot of time looking. But Kay Wilson is Curator of the Collection at the reacting viscerally to the scandal. I think the most rewarding feedback was Faulconer Gallery, Grinnell College. SKH What was the impetus behind orga- posted on the Grinnell art student group Lesley Wright is the founding and current director nizing “Crossing the Line”? Facebook page: “I walked into Faulconer of the Faulconer Gallery at Grinnell College.

22 Art in Print May – June 2017 The Goldman Collection of German Expressionist Prints

ohn L. and Roslyn (Roz) Bakst J Goldman began collecting art on their honeymoon in 1959, and got “hooked” on prints. They built a library, took classes in printmak- ing and art history, and amassed an important collection of German Expressionist prints at a time when the movement was undervalued. Roz eventually earned a Master’s degree in art history and became a certified appraiser and art adviser. When the Goldmans eventually decided to focus on contemporary Franz Marc, Tiger (1912), Woodcut, 7 7/8 x 9 7/16 inches. The Goldman Collection of German work, they wanted their German Expressionist Prints. Expressionist collection to go to an “educational institution where it would inspire looking, teaching tridge Prints (Grinnell: Grinnell College: 2004), and research.”15 Roz’s former em- Notes: revised and reprinted in 2006 (Johannesburg and ployee Daniel Strong approached 1. Official mission statement: www.grinnell.edu/ New York: David Krut Publisher, 2006). The exhibi- about/mission. tion traveled for several years: Faulconer Gallery, them about Grinnell’s interest, and 2. As described on the art collection’s webpage: Bucksbaum Center for the Arts, Grinnell College, they recognized the right fit. When www.grinnell.edu/about/offices-services/faulconer- Grinnell, Iowa 1 Oct–12 Dec 2004; the College of the collection arrived in 2001, it gallery/exhibitions/art-collection. Wooster Art Museum, Ebert Art Center, Wooster, numbered 69 prints of various 3. Interview conducted by online teleconference, 10 Ohio, 18 Jan–6 Mar 2005; Jane Voorhees Zimmerli media by major artists of the Feb 2017. Art Museum, Rutgers University, New Brunswick, 4. Boston: Beacon Press, 1969. NJ, 9 Apr–16 Jul 2006; the Corcoran Gallery of Brücke and Neue Sachlichkeit 5. An engraving by Pieter van der Heyden after Art, Washington, DC, 9 Sep–17 Dec 2006; Smith movements in Germany, as well as Pieter Bruegel I, Nemo Non/Everyman Looks for College Museum of Art, Northampton, MA, 29 Sep affiliated artists in other countries. His Own Profit (ca. 1558), Holstein 152 i/ii; see: 2007–6 Jan 2008. Among the artists are Erich Heckel, digital.grinnell.edu/islandora/object/faulconer- 11. The exhibition was “Of Fables and Folly: Diane Franz Marc, Ernst Barlach, Lionel art%3A2270. Victor, Recent Work,” 28 Jan–17 Apr 2011. A PDF 6. Engraving (1555), Boorsch/Lewis 16iii/iii; see: exhibition catalogue is available at http://retro.grin- Feininger, Oskar Kokoschka, Karl digital.grinnell.edu/islandora/object/faulconer- nell.edu/files/downloads/VictorCatalog.pdf. Schmidt-Rottluff, George Grosz, art%3A6260. 12. Adrian Piper, Vanilla Nightmares #14 (1986), and Käthe Koll- 7. Grinnell now holds 96 issues of Der Sturm (Berlin: charcoal on printed newspaper, 14 x 23-1/2 inches. witz. At Grinnell, the Goldman Herwarth Walden, 1910–1932); the Nolde etching 13. See: digital.grinnell.edu/islandora/object/ Collection is used regularly for is Heimat (1905), Schiefler/Mosel vii/ix, tonal etch- grinnell:faulconer. ing in blue-green ink, a unique impression of this 14. Virginia Myers (1927–2015) was a professor of instruction and has been shown at state from the Schiefler collection; see: digital.grin- printmaking for 50 years at the University of Iowa the Faulconer Gallery in 2002 and nell.edu/islandora/object/faulconer-art%3A6250. and worked primarily in engraving. 2015.16 In the latter exhibition, 8. The Brenda Horrigan ’88 and Eric Johnson ’88 15. Daniel Strong, Playing it Forward: German German Expressionist works were Collection of Soviet Graphic Art is on long-term Expressionism to Expressionism Today (Grinnell: juxtaposed with the Goldman’s loan to the Grinnell College Art Collection. It com- Grinnell College, 2015), 11. The catalogue presents prises approximately 500 prints in various media a full account of the Goldman’s collecting activity, newer acquisitions by contempo- produced between 1966 and 1976; see: digital.grin- past and present. rary artists, including William nell.edu/islandora/object/grinnell:soviet-graphic-art. 16. Exhibition catalogues were produced in con- Kentridge, who mentioned that 9. Aleksandr Kalugin (Estonian/Russian, b. 1949) is junction with both exhibitions: see Strong above; their collection had been a factor a self-trained artist who worked outside the Soviet and Jenny Anger, et al., Walking a Tightrope: in his decision to show his work at system and was confined to Butyrka Prison as German Expressionist Printmaking, 1904-1928: well as psychiatric hospitals on several occasions The Goldman Collection of German Expressionist the Faulconer. “That was definitely before the dissolution of the USSR; see: Aleksandr Prints, Grinnell College Art Collection, Faulconer a ‘full circle’ moment for us,” Roz Kalugin and Tamara Kalugina, Aleksandr Kalugin, Gallery, Grinnell College, 1 April-21 April 2002 Goldman recalls.17 khudozhnik (Moscow: [publisher not identified], (Grinnell: Grinnell College: 2002). 2006). 17. Roslyn Bakst Goldman, “The Evolution of our 10. Susan Stewart and Kay Wilson, William Ken- Print Collection,” in Strong, 21.

Art in Print May – June 2017 23 A Socially Acceptable Form of Addiction By Roslyn Bakst Goldman and John L. Goldman

rint collecting is a socially acceptable P form of addiction. It can come to dominate one’s life, demanding time, travel and money. So it has been with us, since shortly after we married in 1959. As newlyweds we lived in northern New Jersey while John was in the Army, and we spent time in explor- ing the art scene. We were initially drawn to prints because of their availability and affordability. The American print renais- sance of the 1960s was beginning and increasingly artists became interested in working in traditional print media. The Juster, Graphis, FAR and Weyhe Galler- ies were among those that focused on prints. We were fascinated by the techni- cal interplay between the artist and the intermediary used to create the print— the woodblock, copper plate or litho- graphic stone—building, strengthening or enhancing the image. We soon learned how to identify and appreciate the differ- ent types of printmaking techniques. Our library expanded to include books on prints and their history. We developed a print research library focusing on tech- nique, printmakers, print workshops, catalogues raisonnés and exhibition catalogues. John took an evening course at our local art museum to get hands-on experience making prints (despite his lack of any artistic talent). Roz went to graduate school to study 20th-century German art, and then ran an art gal- lery—Artworks at Sibley’s in Rochester, an affiliate of Abrams Art Books that offered a selection of reasonably priced prints. When the gallery closed in 1985, she became a full-time appraiser of fine art, specializing in prints of all centuries. We started with prints by artists who were primarily printmakers. In the late 1970s and ’80s, print societies and Tom Huck, Dollar Dance (2001), woodcut, 52 x 38 inches. Courtesy of the artist. publishers rounded up those artists to produce large quantities of prints, and artists, as was the Ferdinand Roten Gal- in black and white to focus attention on some talented artists achieved a mea- lery in Baltimore, Davidson Gallery in social issues such as hunger, child abuse, sure of fame: Leonard Baskin, Antonio Seattle and Berggruen Gallery in Paris war and woman’s rights. As we became Frasconi, Johnny Friedlander, Jacob among many others. more familiar with the history of prints, Landau, Mauricio Lasansky, Gabor The visual qualities of prints and their we were drawn to the expressionist prints Peterdi, Friedrich Meckseper and Paul mass production have made them well made by German artists a half-century Wunderlich, to mention a few. Associ- suited to expressive commentary on the earlier—Max Beckmann, Käthe Kollwitz ated American Artists was still actively pressing issues of the day. In the ’60s, ’70s and Erich Heckel. promoting prints by new and emerging and ’80s, graphic work was being done We concentrated increasingly on

24 Art in Print May – June 2017 German Expressionism. We traveled the United States and to Germany and England to see collections, visit dealers, and search for prints. At that time the still had strong feelings about Germany’s role in World War II and the Holocaust, and few dealers had any sig- nificant inventory of German prints. Much of what was available was either very expensive or of mediocre quality, as many works had been destroyed or lost during the war. We carefully—and occa- sionally wistfully—built our collection, ultimately acquiring 69 prints represent- ing most of the critical artists and issues of the period 1905–1925, though three of the greatest masters of that period— Ernst Ludwig Kirchner, Edvard Munch and Emil Nolde—eluded us. At the same time we were collecting German works, we continued our focus on contemporary prints. With the spread of collaborative print workshops and mas- ter printers across the country, printmak- ing became of interest to artists primarily Walton Ford, Dying Words (2005), six copper plates, hardground etching, aquatint, spit bite aquatint, known as painters or sculptors. Over the drypoint, scraping and burnishing, 16 x 21 1/2 inches. Printed by Wingate Studio, Hinsdale, NH. past half-century, workshops such as Published by Paul Kasmin Gallery, New York. Image courtesy of the artist and Paul Kasmin Gallery. Gemini G.E.L., ULAE, Crown Point Press, Tyler Graphics, Shark’s Ink, Tamarind Lithography Workshop and Graphic- of modern art history; museums, librar- studio have developed new techniques, ies and universities had been collecting Roslyn Bakst Goldman and her husband John L. Goldman collect graphic art. She has often used in combination with historical seriously, and finding new material for appraised fine art for 38 years with a specialty methods of , relief and lithogra- our collection had become increasingly in original prints. She also lectures, judges art phy. Most recently, computers and digital difficult and expensive. We decided to competitions and advocates for . printing systems have joined these extant close the German Expressionist aspect tools. It has been an exciting time for print of our collection and in 2001 it passed to collectors. As we expanded our contempo- Grinnell College as a result of some fortu- rary holdings, we parted with many of the nate circumstances and relationships [see purchases we made in the 1960s and ’70s, article in this issue]. which no longer seemed representative of We have since turned our atten- the contemporary print world. tion entirely to contemporary art. Seri- During the more than 50 years we have ous print collectors today have much to been collecting we have developed crite- choose from. Even in this new millen- ria for determining whether to acquire nium, we continue to focus on expres- a new print. There are seven elements: sionism—works with strong images and first, obviously, do we both like the piece? emotional content—but now these works That is the initial “screen” and it is rarely often take advantage of new technical disregarded; we trust each other’s judg- developments: many are large and col- ment and if one of us doesn’t like a work orful, and involve electronic media and we will rarely purchase it. The next ques- photography. William Kentridge, Enrique tions are: did the artist use printmaking Chagoya, Peter Howson, Richard Hamil- as an integral aspect of the work? Is there ton and Walton Ford are among these art- an expressionist aspect? Is it representa- ists. tive of the artist’s body of work? Will it A 2015 exhibition of our collection at add to the scope or depth of the collec- Grinnell College, “Playing It Forward: tion? What is its condition? Finally, can German Expressionism to Expressionism we afford it (and if not, can we rationalize Today,” showcased the evolution of 100 “stretching” for it)? years of strong and creative expressionist In 1999 John retired from his legal printmaking by artists such as Luis career. By then, German Expressionism Jimenez, Kiki Smith, Chuck Close, Tom had become accepted as an integral part Huck, Kara Walker and Alison Saar.

Art in Print May – June 2017 25 Collecting a Life By Kit Smyth Basquin

View of the author’s collection installed in the entrance gallery of her New York apartment. From left to right: Robert Rauschenberg, Silkscreen #3 from The Seat of Authority (1979), screenprint, 30 5/8 x 23 1/8 inches; Jasper Johns, Untitled (Coca Cola) (1971), lithograph, 39 x 29 1/2 inches; , Pauillac #3 (1973), lithograph and screenprint, 35 5/8 x 18 1/4 inches; Robert Motherwell, Pauillac #4 (1973), lithograph, screenprint and collage, 35 3/8 x 18 1/4 inches. Below, in acrylic display case: Lynne Allen, Ita ta Win Bag (2003), photolithograph on 19th-century goatskin land document, linen thread, horsehair tassel, collaged square, leather hanger, approximately 6 x 4 x 3 inches. Photo: Elliott Mickleburgh.

ollectors always remember their I could afford them, and as I learned to I collected abstract lithographs such as C first purchase. When I was a college identify the different techniques, their Robert Motherwell’s Pauillac no. 4 (1973) senior, I bought a small oil , Boat surfaces became increasingly intriguing. and Frank Stella’s Black Adder (1968). in Harbor, by a sophomore named Bar- Furthermore, through their develop- After my divorce, as a single parent, I bara Gerson for $30. She needed spending mental states one could follow the work- turned my attention to figurative prints, money and I wanted to help her. I remem- ing process of the artist, much as one can especially by women, as well as works ber (to my current horror) asking her to follow the rewriting stages of an author. with words in them, reflecting my devel- repaint an impressionistic area of the As the wife of a Peace Corps volunteer opment as a writer. Käthe Kollwitz’s 1893 composition. Fortunately, she said no. in Addis Ababa, Ethiopia, I purchased a self-portrait etching, An der Kirchenmauer From that early, inexperienced begin- gouache painting on parchment—actu- (By the Church Wall), and her 1897 etching ning, I went on to study and teach art his- ally painted on an Ethiopian Bible page— Marching Weavers inspired me. Pat Steir’s tory; I looked at collections in museums by Skunder Boghossian. The image drypoint series Burial Mound (1976), which and galleries; I took printmaking classes revealed traces of Amharic script under includes one of her poems, employed in woodcut, etching, engraving, lithogra- the figures and suggested the work of words as both form and content. Lesley phy and screenprint; I ran an art gallery Paul Klee, whose paintings Boghossian Dill wrapped words around sculptures and worked in museums. My collec- had seen while studying in Paris. such as Hand (2003) and around images, as tion evolved to reflect all these stages of During my early married life in the in her lithograph A Word Made Flesh (1994). reinvention. I focused on prints because Midwest, trying to please my husband, When I moved back to New York, my

26 Art in Print May – June 2017 hometown, I bought Yvonne Jacquette’s Midtown Composite (1997), a large woodcut that echoes the view from my window. Recently, as I have been spending more time singing in choruses, musical themes have become prominent in my acquisi- tions. When I retired from Drawings and Prints at the Metropolitan Museum of Art, the department gave me a letterpress print by Jane Kent, Practice #21 (2012), fea- turing the score of a Baroque flute sonata. I also now own Linda Plotkin’s Conver- gence 4 (2000), a monotype with collage, with a fragment of music written by her husband. Having reached the grandmother stage, I realize that my collection is only on loan while I can enjoy it. It will be passed down to the next generation or sold. Prints that I have given my son and daughter-in-law hang throughout their house in Chicago, exposing my grand- Above: View of the author’s collection installed in the bedroom of her New York apartment. From left to right: Warrington Colescott, My German Trip: I March with Käthe Kollwitz and the Weavers; Käthe children to good art. I hope these works Predicts Their Movement Will End Badly (1992), softground etching with à la poupée inking, litho- will train their eyes, even if the colors graphic crayon and brown letterpress, with hand lettering in plate, 14 7/16 × 20 3/16 inches; Käthe Koll- fade from too much light. They will have witz, Marching Weavers (1897), etching on beige wove paper, 12 5/16 x 17 5/8 inches; Käthe Kollwitz, served their purpose. At the Church Wall (An der Kirchenmaver) (1893), etching, 15 15/16 × 10 1/8 inches; Käthe Kollwitz, Self-portrait at Table (Selbsbildnis Am Tisch) (ca. 1893), etching and aquatint, 16 x 12 5/16 inches. Below: View of the author’s collection installed in the living room of her New York apartment. From left to right: Julie Mehretu, Refuge (2007), etching and aquatint, 23 1/4 x 27 15/16 inches; Ann Hamilton, poche (2014), abaca paper, raw sheep wool, silk, linen thread, 24 x 18 inches; Skunder (Alex Boghos- Kit Smyth Basquin worked for 13 years in the sian), Ethiopian Bible Page (1968), ink and gouache on parchment from Ethiopian Bible, mounted Department of Drawings and Prints at the on wood by the artist, 14 1/2 x 18 1/2 inches; Skunder (Alex Boghossian), Untitled (Sands of Time) Metropolitan Museum of Art, New York. (1968), oil on board, 30 x 25 inches. Photos: Elliott Mickleburgh.

Art in Print May – June 2017 27 Norman Ackroyd’s Collectors By Patricia Emison

Norman Ackroyd, Inishbofin Sound (2005), etching, 18 x 26.5 cm.

ike Jacques Callot and Hercules mous etchings (not in books or sets) alone (the home of novelist Laurence Sterne), in L Segers, Norman Ackroyd’s primary is approaching 700.2 His collectors range which artists and writers create work in identity is as an etcher. Copper and acid from the wealthy and socially presti- response to a specific passage from Tris- are his native media. He works in oil gious to persons of ordinary means, and tam Shandy that is then auctioned anony- sometimes, in watercolor often; he has include many who hesitate to call them- mously, with bids beginning at £50; and produced steel and bronze etched reliefs selves “collectors” as such—people who he has contributed regularly to Secret, for buildings, recycling the beauties of might never have collected art, or not as the scholarship fundraiser for the Royal the copper plate on a monumental scale. passionately, if they had not seen Ack- College of Art, at which postcard-sized Occasionally he has made lithographs, royd’s work. He has consistently resolved works by artists ranging from celebrities color screenprints, monoprints or hand- that his smaller prints should be widely to students are displayed anonymously colored etchings, though since about affordable.3 and sold for a set price with a limit of 1980 most of his work has taken the form His work may be encountered in four pieces per person (in 2016 the price of black and white landscape etchings.1 numerous and various public venues: was £55). Long queues of eager art buyers, Yorkshire born, Ackroyd attended the his architectural metal reliefs can be wide-ranging in age, have been known to in the early 1960s and found in prominent locations in London wait for days in chilly wet weather for the has since achieved eminence in the UK: and Cambridge, as well as in the British chance to pick what they want before the he was elected to the Royal Academy in Embassy in Moscow; the British Council supply is exhausted. In 2015 RCA reported 1988 and was made a Commander of the owns 38 Ackroyd works and has toured that his work was among the first 20 British Empire in 2007. Working steadily them worldwide. The artist participates chosen, out of thousands of cards. for the past 60 years, his output has been in numerous charity auctions: he has Like many British artists, Ackroyd has prodigious—the number of his autono- contributed to benefits for Shandy Hall higher media visibility than is common in

28 Art in Print May – June 2017 the States: he has appeared on BBC radio and television periodically, including the exquisite initial episode of the series “What Do Artists Do All Day?” (2013).4 Years ago, when Ackroyd was an active cricket player, farm workers on opposing teams would sometimes recognize him from such television appearances.5 After a broadcast this past February, one viewer tweeted, “Must buy one of his prints,” and another, “he paints like an adventure.” Others might come to know Ack- royd’s work through literature. His inter- est in poetry is longstanding and he has collaborated with numerous poets— William McIlvanney, Jeremy Hooker, Kevin Crossley-Holland, Douglas Dunn, Seamus Heaney—on fine trade books or in combinations of intaglio and letter- press, even going so far as to superimpose words on his image.6 In a 1983 detective , William McIlvanney described the Albany Hotel in as a place frequented by the Jason Bacon in his Vermont house, with Skellig on the wall to the left of the door and Gunamul from well-off—“a huge glass and concrete for- the 2016 box set on the right, above the bookcase. tress to the good life”—and singled out the Ackroyd etchings that decorated the water towers, and the World Trade Cen- rainbow, confrontationally abstract and bar as “black holes in which whispers of ter in Manhattan. Travelling through yet mimetic, a work that barely hints at light and shape were conspiring to sur- the vast and sometimes bleak American memories of Turner and Constable, not vive.”7 The policeman recognizes them West may have catalyzed his abstract and only in the rainbow but in the emphasis as art; his very Glaswegian tout is less minimal approach to landscape, which on sky. In 1979 Ackroyd was commis- appreciative. The etchings for the Albany reached an apogee in the intriguingly sioned to create the first “Patron’s Print” Hotel (since demolished) were made in titled Classical Landscape (1969; he used for the Richmond Printmaking workshop 1973. In the intervening years Ackroyd’s the same title for another, more painterly in Virginia.9 reputation has progressed from provid- work in 1970). By the 1980s, Ackroyd was established ing local color to a cultural mainstay. In Ackroyd began building a base with in London, where he would remain, but 1998, when the Independent newspaper American collections, both private and he began visiting regularly the outermost asked several culturally prominent peo- public, and dealers in the 1970s. Print reaches of the rocky western coasts of ple what they wanted for Christmas, nov- dealer Margo Dolan recalls Ackroyd Britain and Ireland, the edges of Europe elist Sebastian Faulks named Ackroyd’s arriving at the Print Club in Philadelphia facing America across the vast ocean, par- Thimbleby in Winter (1996), expecting that late one afternoon in 1971 and opening ticularly the islands with their vestiges of the paper’s readers would be able to visu- his portfolio to show work unlike “any- ancient and even prehistoric habitations. alize an Ackroyd without befuddlement. thing we had seen before.”8 Later, Dolan He worked to capture the mists, dark In 1969, five years out of gradu- would bring Ackroyd prints to the Origi- clouds and fog of British weather—it is an ate school, Ackroyd went to the United nal Print Fair in London, sometimes sell- etcher’s climate, one of limited light and States on the first of several prolonged ing as many as 82 in a single fair, often to limitless grays. He also ventured inland: visits, teaching first at Virginia Com- people who had never bought contempo- Turner territory in the South Downs and monwealth University, then at Indiana rary prints. Karen Klein, of the Arnold the Lake Country of Wordsworth and University, Massachusetts College of Art, Klein Gallery, has sold Ackroyd prints to Ruskin; Gilbert White’s Selbourne in Maryland Institute College of Art and the -area residents since the ’70s. Hampshire and the Bloomsbury group’s San Francisco Art Institute. The art world Print curator Louise Richards invited garden at Charleston in East Sussex, and then was under the thrall of Pop Art and Ackroyd to Cleveland as a visiting art- not least the Yorkshire Dales near which Minimalism, and Ackroyd experimented ist; he made Loch (1975) as a he grew up. Few British artists have per- with the pictorial field and various visual for the Cleveland Print Club and several sistently pursued snow subjects (includ- vocabularies, using imagery from news- members of the Club acquired additional ing falling snow, a correlate to aquatint papers, maps, stencils and occasionally prints, some of which have been given to dust), but for Ackroyd, the starkness of advertising: the etching American Sky the Cleveland Museum of Art. Richards winter tree silhouettes and white fields (1969) is an abstracted Citgo sign, per- purchased for herself—and later gave to with lowering skies can be worth a quick haps the one that still dominates the sky- the museum—Perimeter Rainbow (1970), trip north after a storm with brushes and line of Boston. He also made land- and a stark square of organic blackness glow- sketchbook. cityscapes of California hills, Michigan ing at the edge with the colors of the Sheila Pehrson is an Ackroyd collector

Art in Print May – June 2017 29 who, like many, chanced upon his work almost by accident. She bought her first etching for eight pounds from the art- ist, who was selling work from a trailer at an outdoor art fair in the early 1980s.10 She found herself “spellbound” by his description of taking the plate out into the landscape. This small etching, depict- ing St. Catherine’s Hill near Winchester, now hangs in her sitting room near four other Ackroyd prints: an interior, Study of Sunlight, County Galway (2002), that she prizes for its “quiet intimacy,” and three landscapes that remind her of growing up by the sea—“the sound and wildness of it, the dampness in the air that made my hair curl, the way the weather loomed over the Conwy mountains and the wind off the Irish Sea blew right through me.” Meeting him again years later, Pehrson “recognized again his flare for camara- derie and theatre, the grit of his com- mitment to his work and his rooted and unshakeable certainty about who he is in the world.”11 Some collectors no doubt acquire his prints for the places they portray; Ack- royd knows well each location and when the light is likely to be interesting (often very early, though he also has done night skyscapes). And there is undoubtedly a certain traditionalism to his working methods: he likes to say that Rembrandt would be at home in his studio, and he takes enormous care over such refine- ments as grinding his own resin for aqua- tint.12 But while it is true that collectors of conservative taste can find in him a fine craftsman who portrays the beau- ties of nature, to take him merely as a topographical artist would be like mis- Norman Ackroyd, Perimeter Rainbow (1970), color aquatint, image 45.4 x 45.2 cm, sheet 79.7 x taking Jane Austen for an author primar- 59.5 cm. The Cleveland Museum of Art, Gift of Louise S. Richards 2005.259. ily invested in who marries whom. She did, one supposes, care about the society she monitored and recorded, as Ackroyd shire. But as a printmaker, he remains a Each year in late November he opens his loves his Atlantic-facing islands and their purist—never sentimental or sententious. studio to launch these sets (though they stone architecture, whether ruined or The backbone of his relationship to are often sold out pre-publication), and merely dissolved in light and mist. But his collectors has been an annual boxed the place fills with poets, artists and the Austen was writing about the pageant of set—each an elegant book-like object, general public. A family member may be human sensibilities, a pageant over which about 10 by 15 inches, storing 10 to 12 there to welcome visitors and to offer she discretely sprinkled her wry sense of etchings.13 The format was conceived as a cup of tea. The artist never tires of humor; Ackroyd, analogously, is a for- an alternative to the prevailing fashion explaining the etching process to listen- malist who happens to prefer the forms for large, colorful prints, and also as a ers of whatever degree of expertise, nor of he sees, forms that have significance for means to harvest the small studies made giving the history of his very fine press, him and that are alive with the chang- in preparation for larger prints (ranging built for Frank Brangwyn (1867–1956) at ing weather, but which remain primarily up to three feet in length) exhibited at the the beginning of the 20th century. forms in light and shade. He is a landscape Royal Academy’s annual summer exhibi- Ackroyd met one of his long-standing artist in part because he sees history in tion. When Ackroyd first began producing collectors at his daughter’s Montessori landscape; he sympathizes, wryly, with these sets in the early 1980s, his original school, when he went to ask permission the Roman legionnaires who must have mailing list of 150 was largely comprised to hang a poster for an exhibition. The hated the cold and dark of winter York- of soccer, cricket and golf associates.14 teacher, Nina Bacon, felt that her husband,

30 Art in Print May – June 2017 Jason, should meet the artist. Bacon had minimalist post-cubist abstract has Notes: begun collecting Whistler etchings on been exposed to the weather, left out 1. My deep thanks to the many people who have the advice of his brother Bruce, a painter in the wind and rain to acquire a generously helped me with this essay: Jason and sculptor who also made lithographs. patina from a somewhat chiaroscuro and Nina Bacon, John Bell, Margo Dolan, Jane He bought one of Ackroyd’s first books, Nature. Glaubinger, Penny Hughes-Stanton, Karen Klein, A Cumberland Journey (1981), and began a Siobhan McIlvanney, Andrew McNeillie, Richard Murphy, Sheila Pehrson and Ron Rumford. I have habit of acquiring the box sets regularly; John Bell of the Zillah Bell Gallery known Norman Ackroyd for 35 years; I was given since 2005 he has also given one each year in Thirsk, Yorkshire, observes that the his work by my aunt, Martha Baur, and have pur- to the Yale Center for British Art. A large particular configuration of any given chased more myself. In 2006 I organized an exhi- monoprint of Skellig (1987) that was once location may be adjusted as the work pro- bition, “Painting with Acid: the Prints of Norman a feature of Bacon’s London office now gresses.16 Bell, a friend of the artist for Ackroyd, R.A.,” at the University of New Hamp- shire. hangs in the Vermont house to which he decades, wakes every morning to a wall of 2. Ackroyd’s edition sizes range from 20 to 150, retired; in the same room is a watercolor Ackroyds. He notes that some owners like with 90 as the standard. The archive of his sets of of the view from the house, made by Ack- to keep the work unframed, to feel the prints kept at Central St. Martin’s comprises some royd on a visit, and also, in irregular rota- paper and see without intermediary the 500 objects: collections.arts.ac.uk/view/objects/ tion, a print selected from the box sets. delicate deployment of the inks, which asimages/People$004019. A wine connoisseur, Bacon also owns an is compatible with the experience of the 3. “Norman has always wanted his small etchings to be affordable,” Penny Hughes-Stanton, email etching from an Ackroyd series on French early books and the box sets. to author, 31 Jan 2017. vineyards (1986–88). Though Bacon does Yet another category of Ackroyd owner 4. https://www.youtube.com/watch?v=_u94DxOP51M not consider himself a collector, works of are those who have received them as gifts. 5. Hughes-Stanton, email. art are as important to the experience of These can be difficult to trace, but in one 6. Ackroyd has worked with several small presses, the house as books, the fireplace and the happy instance an impression of Loch including Clutag Press, Little Toller Books and Enitharmon Editions. His collaboration with view of rolling fields and forest. Broom (1993), formerly in the possession Douglas Dunn, A Line in the Water, 2009, was Another Ackroyd collector who scru- of architect and collector Sir Richard published by the Royal Academy, as were two ples at the label (“I buy in my small way”) MacCormac (1938–2014), was given by watercolor sketchbooks: A Hebridean Notebook is the poet Andrew McNeillie, who, as the his son to architect Richard Murphy, who (2016) and A Shetland Notebook (2015). editor of the literary journal Archipelago, had worked for his father and become a 7. William McIlvanney, The Papers of Tony Veitch (New York: Pantheon, 1983), 120–22. regularly writes about the coasts that lifelong friend. Displayed on a rare exam- 8. Margo Dolan, telephone conversation, 8 Febru- Ackroyd portrays. He owns four Ackroyd ple of an easel made for architect Carlo ary 2017. prints and wants more: “I live with and, Scarpa, the work has pride of place in the 9. The print is Strathmore Sunrise (1979). Rich- I might say, in and next his work, vari- principal room of Murphy’s Edinburgh mond Printmaking Workshop lasted until 1991 ously, year by year.”15 McNeillie describes house, which won the Royal Institute of and its collection is now at the University of Rich- how one of these prints, Inishbofin Sound British Architects House of the Year in mond. 10. This etching was also one of ten that were laid (2005), fits into his house: 2016. Murphy says of his Ackroyd, “I never in the book Itchen Water, with poems by Jeremy imagined I’d be owning one.”17 Hooker (Winchester: Winchester School of Art The light from a stairway window, It is one of the delights of prints that Press, 1982). falling at a glance, suits its shadowy they can be owned by people of quite dif- 11. Sheila Pehrson, email to author, 22 Feb 2017. energy, its eruptive turbulence, its ferent circumstances and outlooks. Ack- 12. John Bell, email to author, 28 Jan 2017. 13. The boxes are made in Yorkshire, the intaglio storm-gloom, its boisterous sea-tur- royd himself praises the medium as moil, its fineness of spray and air or printing is done by Neil Woodall, and letterpress inherently democratic. As with film and printing by Niamh Clancy (both artists in their sky, its powdery-seeming and quite books, we are made conscious of the dif- own rights). The prints are produced in editions impossible texture—its paradoxical ference between value and cost (cost of 90, with 50 sold as sets. A list of the 35 pub- air of evanescence, its no less paradox- being merely a measure of passing taste, lished sets, beginning in 1973, is provided in ical solidity and groundedness. Norman Ackroyd: Just Be a Poet (London: Fine rarity and—not least the practical needs Art Society, 2016). http://thefineartsociety.com/ The passage between two islands off of the pipeline that leads from ideation to usr/documents/exhibitions/list_of_works_url/125/ the west coast of Ireland is a place that delivery). On his own wall, Ackroyd has norman-ackroyd-just-be-a-poet.pdf. both artist and collector know well, but an Aubrey Beardsley print fetched out of a 14. Hughes-Stanton, email. 15. This and subsequent quotations: Andrew for McNeillie the image is more than the rubbish bin; he understands the vagaries of taste, and for his own part collects McNeillie, email to author, 11 Feb 2017. location: 16. Bell, email. unsystematically, according to opportu- 17. Richard Murphy, email to author, 25 Jan 2017. Inishbofin Sound is really and most nity and inclination.18 Those who buy his 18. “The Artist as Collector: Norman Ackroyd RA,” significantly about forms, peaked or work often do so in depth, continuing Royal Academy Shop, https://shop.royalacademy. pyramidal forms and masses (wave long after their own walls are full, and org.uk/artsales/artist-collector-norman-ackroyd/. and shore and elevated land), and how count themselves lucky as they watch his these essentially triangular elements, images shift as deftly as the modulated on the right of the picture, relate to a light on a landscape. tilted, more-or-less oval landmass to the left. The two areas are held apart, Patricia Emison is Professor of Art History at the and conjoined, by a third, in the form University of New Hampshire and the author of of a softened, slanting V-shape of several books on the Italian Renaissance. spume, cloud and light. It is as if a

Art in Print May – June 2017 31 Collecting in the Midlands: the New Art Gallery Walsall Stephen Snoddy Speaks with Harry Laughland

tephen Snoddy is director of the S New Art Gallery Walsall in the Eng- lish West Midlands near . He previously held directorial posts at BALTIC Centre for Contemporary Art in Gateshead, Milton Keyes Gallery and Southampton City Art Gallery. He has consistently led regional art galleries in the acquisition of contemporary art. Harry Laughland spoke with him in Feb- ruary 2017.

Harry Laughland Could you tell us about the collection in general at Walsall and then about the print collection in par- ticular?

Stephen Snoddy The gallery’s collec- tion is divided up into a number of dif- ferent groups. First there is the Garman Ryan collection, which is made up of 365 works and is a closed collection. It is kept together because it was originally dis- played in this way in the home of Kath- leen Garman, the second wife of . The works are all domestic scale, and are displayed in a series of small rooms to echo its original setting. Sec- ond, we have collecting policies which are guided by the various streams of funding that the gallery can tap into. So to give you two examples: there is the Contem- porary Art Society Special Collection Scheme, which is more about architec- ture and sculptural works, and there is the Art Fund International, which is shared with Birmingham Museum and Art Gallery. With regards to prints, there is the Contemporary Art Society Special Collections Scheme. This was a five-year Chris Ofili, For the Unknown Runner (2011), lithograph, 76 x 60 cm. From the London 2012 Olympic program whereby 15 galleries around the and Paralympic portfolio. Image courtesy of Counter Editions, London. UK were each given £22,500 from the Contemporary Art Society, which was themselves as a way to grow their col- well-known artists at a much lower price then made up into £30,000 from within lections. So one of the first things I did point. the institutions themselves. when I came was to make some opera- HL Was that annually? tional cuts in order to continue the work HL So it wasn’t necessarily a pot of money that had been done prior to my arrival. put aside to collect prints as such, but it SS Yes, annually. When I arrived at Wal- The staff who were already at the gallery was a decision taken by your predeces- sall in 2005, the five years was coming told me that there had been a history sors and yourself to do so because it rep- to an end, but it was always assumed of buying prints over the years, and the resented, shall we say, “value for money”? that the institutions themselves would reason was very simple: they were much continue the idea by finding £30,000 cheaper. You were able to buy works by SS Precisely.

32 Art in Print May – June 2017 HL What were some of the works that really in the last five years that her trajec- you purchased? tory has gone quickly upwards. So those, to me, were all indications that, if we had SS Around the time I joined there seemed waited another year or two, something to have been a real push to buy portfolios. that might have been within our budget would become something we simply can- HL Why were portfolios appealing? not afford. Apart from that, I knew that with those 21 prints we could produce a SS Firstly a portfolio gives you around 20 Cornelia Parker exhibition in one of our prints, which in turn gives you the abil- smaller galleries. So what I am trying to ity to do different things with a single think of is value for money, where the acquisition. For instance, with the 2012 artist is in that particular point of their Olympics portfolio published by Counter career, and how does it fit into our exhibi- Editions1 there were a number of factors tion program or how can it be integrated that made perfect sense for us: some of into our permanent collection. Which the artists within the portfolio had his- reminds me of another acquisition we tory with the gallery—Bob and Roberta made, of a Glenn Brown portfolio3 where Smith, for instance, had been an artist- he had made works copying or in homage in-residence. There is also scope to place to Lucian Freud; we have several Freuds works throughout the gallery’s existing in the Garman Ryan collection, so it Bob and Roberta Smith, Love (2011), six-color screenprint, 76 x 60 cm. From the London 2012 collections, so some were placed within made sense to buy the portfolio. It was Olympic and Paralympic portfolio. Image cour- the Garman Ryan collection. Then at within our collection policy because it tesy of Counter Editions, London. the same time, a portfolio enables you related to a work already in our holdings, to do a whole show, so we exhibited the and enabled us to do a themed collection Olympics portfolio in the summer of display. HL And is it an active looking or are you 2012, alongside an exhibition about sport, approached? which played on the excitement around HL So when you mentioned earlier London’s hosting of the Games. We that collecting prints had been a policy SS It is a mixture. We are approached by, also bought it prepublication, and with because the works were less expensive, or subscribe to a number of mailing lists the usual institutional discount, which this isn’t to suggest that they are of any run by, various publishers. As well as the meant that the price was at the lowest it less artistic merit? more traditional methods of seeing works was ever going to be. in exhibitions or galleries. SS Not at all. HL It would seem that you are thinking HL So to continue the trail of events: you about making a canny acquisition before are made aware of a print, however that HL And to continue using Cornelia the market takes a work out of your may be. What then happens in order to Parker as an example, she is a true print- financial reach, alongside its use within add them to the collection? maker. By which I mean, she is invested the collection. in using print to further her artistic prac- SS The steps are very easy at Walsall, as tice. I know, for example, with the set you SS First you are thinking about how a we don’t have an acquisitions committee, mentioned, that she basically invented a work looks and how it is going to fit into so effectively I make the decisions. There new way of printing.4 the collection. For example, with the Cor- are also occasions when my curatorial nelia Parker portfolio2 that we purchased staff and the collections curator will see a couple of years ago—I initially saw that SS The other reality is that there is no things they like, which will spark a dis- at the Alan Cristea Gallery and thought it way we could buy one of her sculptures cussion and then we will decide whether looked great; I liked the way it had been or installations. So buying her printed to go ahead and purchase something. exhibited and it had a book accompany- works is absolutely a way of getting her HL Are there artists whose prints you ing it, so it was, if you like, a “complete” work into our collection, and that is the missed out on? Whom you look back on work. The pricing structure made it sen- case with a number of other artists. and think, I wish we had added them to sible to buy the whole suite, and you can the collection at that particular time? obviously negotiate a good price with the HL I wonder if you could talk a bit about dealer. I also knew at the time that Cor- how you find these works. Are you buying SS That’s a good question! It would have nelia had her major show coming up at just from dealers, or do you deal with the been good to have some Sarah Lucas the Whitworth, and that she was work- publishers and artists themselves? prints, or maybe some Chris Ofili works. ing on her commission for the roof of the Metropolitan Museum in New York. She SS It is all three. The Parker set was HL You are a printmaker yourself—do has a geographical tie to the Walsall, hav- bought from her print gallery, the Olym- you think that makes a difference in ing studied at the University of Wolver- pic portfolio was bought from the pub- choosing works to add to the collection? hampton and being from Crewe, fairly lisher, and we bought a group portfolio close by. I’ve also known her work for put together by Galerie Simpson in Swan- SS I did printmaking at art college as part a number of years, and I think it is only sea.5. of my fine art degree. So I can tell the dif-

Art in Print May – June 2017 33 this to continue. But I don’t think any of the other museums did that.

HL Why was that?

SS Probably, if we are being honest, the difficulty lies with the directors. I think the directors of a lot of regional muse- ums—obviously they are under a lot of pressure with resources—aren’t priori- tizing the updating of their contempo- rary collections. I have written articles about why I believe collecting contempo- rary art is so important, and I don’t just mean prints, I mean works of art gener- ally. With clever negotiating and top-ups from various other grants or loans, the £30,000 which the Special Collection Scheme made available to regional muse- ums could actually result in acquisitions worth around £50,000, and this is just something that has stopped. It seems misguided and short-term to me.

HL Do you think another means of obtaining works have taken over?

SS One area that we are moving into is legacies and people donating works. I’m not even sure many regional art galler- ies have acquisition budgets, so they are really reliant on this. At Walsall we con- tinue to buy, though.

HL What do you think about the way prints are managed in major public insti- tutions like the Tate, who don’t have a stand-alone prints and drawings curator?

SS I didn’t know that! The way to answer use Glenn Brown, Layered Portrait (after Lucian Freud) 4 (2008), etching, image 78 x 59.8 cm, that question is to ask, does the Tate sheet 94 x 75 cm. Image courtesy of the artist. their print collection? Because I would imagine, if they had a specialist print curator then that person would be say- ference between drypoint etching and HL Do you think that this prior knowl- ing, “Can I do a display of …,” whatever it lithography and screenprinting. There edge in prints is common in institutions might be. are maybe certain techniques where I am with print collections throughout the not aware of the specifics, but I am able UK? Are there other institutions that you HL Indeed, but that is another question to say that I have actually done litho, or look to as good examples of print collect- for another day. I was wondering if we screenprinting, or etching, and that defi- ing done right? could finish by talking about the future nitely helps. Also, there are other things of prints. Do you think they will play an that you might be aware of only through SS I’m unsure, really. My problem with important a role in museums like Walsall an experience in working with prints. My institutions throughout the UK is exem- in years to come? gut instinct is not to buy anything that plified by the Contemporary Art Society is from an edition more than a certain Special Collection Scheme that I men- SS I think so. One thing that is becoming number. Someone in a collections depart- tioned earlier. There were, I think, 15 increasingly common is for the gallery or ment who didn’t have a print background museums that took part in that scheme. museum to produce a limited edition might not know that when you are work- We produced a book and a large scale print themselves. With an artist like Idris ing with a drypoint, you can only make exhibition, “New Art on View,” that high- Khan, whom we currently have a show of a number of impressions from that plate lighted the works bought through the at the gallery, it would have made sense before the plate starts to degrade. scheme, and we made savings in order for for us to make a limited edition print, but

34 Art in Print May – June 2017 Installation view: Cornelia Parker, Thirty Pieces of Silver (Exposed) (2015) in “Cornelia Parker: One Day This Glass Will Break,” Alan Cristea Gallery, London, 2015. Courtesy the artist and Alan Cristea Gallery.

he was too busy with a major commission vure etchings, 66.3 x 54.3 cm each (some ver- in the UAE. But this is a chance for muse- tical, some horizontal). Edition of 20. Printed by ums to first, generate income, and sec- Thumbprint Editions, London. Published by Alan ond, increase their holdings by artists Cristea Gallery, London. 3. Glen Brown, Layered Portrait (after Lucian they could otherwise not afford. Freud) 1–6 (2008). Six etchings, 94.0 x 75.0 cm each. Edition of 20. Published by the artist. 4. Parker used tequila on some of the plates, which reacted when exposed and burned through Harry Laughland is currently an associate at the UV sensitive gel, leaving a much darker etch. Alan Cristea Gallery, London, and at the end of 5. Fiona Banner, Sir Peter Blake, Angela de la May 2017 will become an Associate Director at Cruz, Abigail Fallis, Tom Gidley, Georgie Hop- Cahiers d’Art, Paris. ton, Rachel Howard, Des Hughes, Gary Hume, Catrin Saran James, Michael Landy, Simon Peri- Stephen Snoddy is the current Director of ton, Jamie Reid, Jane Simpson, Sarah Staton, The New Art Gallery Walsall. Gavin Turk, Rachel Whiteread and Clare Woods, Selection Box (2015). Eighteen prints in various techniques and dimensions (box: 21 x 29.7 cm). Notes: Edition of 50. Published by Galerie Simpson, 1. Fiona Banner, Michael Craig-Martin, Martin Swansea. Creed, Tracey Emin, Anthea Hamilton, Howard Hodgkin, Gary Hume, Sarah Morris, Chris Ofili, Bridget Riley, Bob and Roberta Smith, and Rachel Whiteread, 12 Official Prints from the London Olympic and Paralympic Games 2012 (2011–12). Three lithographs and nine screenprints; various dimensions (box: 91.0 x 74.0 cm). Edition of 150. Published by Counter Editions. http://counte- reditions.com/uk/portfolios/london-olympics-and- paralympics-portfolio.html 2. Cornelia Parker, Thirty Pieces of Silver (Exposed) (2015). Twenty-one polymer photogra-

Art in Print May – June 2017 35 Prix de Print N0. 23 PRIX de Recent Antiquities PRINT by Cooper Holoweski Juried by Paul Coldwell

This iteration of the Art in Print Prix de Print has been judged by Paul Coldwell. The Prix de Print is a bimonthly competition, open to all subscribers, in which a single work is selected by an outside juror to be the sub- ject of a brief essay. For further informa- tion on entering the Prix de Print, please go to our website: https://artinprint.org/ about-art-in-print/.

Cooper Holoweski, Recent Antiquities (2016) Series of eight etchings with inkjet chine- collé, image 6 x 8 inches each, sheet 17 1/2 x 18 inches each. Edition of 10. Printed and published by the artist at the Lower East Side Printshop, New York (Keyholder Residency). $500 each.

n the series Recent Antiquities (2016), I Cooper Holoweski follows the tradi- tion of artists who have taken earlier artworks as starting points for new ones. One immediately thinks of Roy Lich- tenstein’s Cathedral lithographs made in 1969, based on Monet’s paintings of the façade of Rouen Cathedral from the Cooper Holoweski, Fragments of a Broken CD-R—After Piranesi’s Fragments of the Marble Plan of Ancient Rome from Recent Antiquities (2016). 1890s, or David Hockney’s free interpre- tation of A Rake’s Progress, in which Hog- topographical souvenirs for travellers on with evidence of a recent world slipping arth’s engravings were transposed from the Grand Tour, in contrast to his dra- into premature obsolescence—shuttered 18th-century London to America in the matic etchings of imaginary prisons, the “big box” stores, disintegrating McMan- 1960s. Carceri (1745–1761), where staircases seem sions and discarded electronics. He Holoweski takes as his muse Giovanni to lead ever onwards and the unpopulated ignores the human elements that Pira- Battista Piranesi—specifically eight plates caverns appear as backdrops for tragic nesi included to animate and provide from Piranesi’s Antichità Romane (Antiq- opera. Holoweski, however, is drawn to scale; his is an uninhabited world, possi- uities of Rome, 1756), a set of volumes in these more descriptive, more literal works. bly a post-nuclear-apocalypse, with long which the artist combined maps, archeo- While Piranesi’s etchings detail a shadows to add to the sense of desolation. logical close-ups and the kind of Roman world of slow change, where monuments In one striking image, Holoweski views for which Piranesi became famous. erode over centuries into ruins of their presents rainbow-hued shards of a CD- His Views have often been dismissed as former glory, Holoweski’s confront us ROM arrayed like fragments of a once

36 Art in Print May – June 2017 precious bowl waiting to be glued back together. All the pieces are there but we know that, while a bowl can be restored to functionality, the disc has forever lost its raison d’être—the transformation of digital data into action or information. The drive is incapable of bridging seams, and the disc will remain mute. In another print, he transposes Pira- nesi’s Plan of the Mausoleum of Constan- tina into the floor plan of a shopping mall. Piranesi presented the image of what appears to be a piece of spolia with the diagram on the surface of a stone fragment cracked diagonally in half, sug- gesting that even a monument to death itself is subject to decay and eventual ruin. In contrast, Holoweski’s mall—the kind that exists on the edges of towns all over America—has a similar cruciform structure, with department stores tak- ing the place of the ancient mausolea. A monument to the promise of happiness through shopping, isolated by the car Cooper Holoweski, detail of Two Fragments of Broken Computers—After Piranesi’s Two park that serves it, the building is marked Fragments of Brick Stamps from Recent Antiquities (2016). with the brand names of its subjects and sponsors: Macy’s, JC Penney, Target. Like printed in black on top of the digital print ware for inspection. We see the familiar Piranesi’s, Holweski’s image bears a diag- and adhered to the support. The resulting components: the CRT monitor, the open onal fracture, a reminder that all empires quality is reminiscent of hand coloring, computer housing, the external hard eventually fall, even those listed on the but the plate tone takes the edge of the drives, speakers, keyboard, mouse. It’s a NYSE. synthetic color and dulls it, again evoking still life reminiscent of Wayne Thiebaud The prints are produced through a a sense of lost luster. with echoes of Giorgio Morandi. All the digital / intaglio / chine collé process: In Two Fragments of Broken Comput- elements are impassively recorded with the color is printed by archival inkjet on ers—After Piranesi’s Two Fragments of Brick precise and careful detachment. thin Japanese paper, and the etching is Stamps, the artist lays out digital hard- Holoweski’s series suggests a compres- sion of time—a mere two decades as com- pared to Piranesi’s millennium-long look back. The digital remains he offers us seem dead, inert, useless. Their utopian promise has been reduced to obsolesce. These prints quietly invite the viewer to reflect on our rapidly changing material world and the traces we leave behind.

Paul Coldwell is an artist and Professor in Fine Art at the University of the Arts London who writes frequently on art.

Cooper Holoweski, detail of Plan of the Mall—After Piranesi’s Plan of the Mausoleum of Constantina from Recent Antiquities (2016).

Art in Print May – June 2017 37 EXHIBITION REVIEW Hercules Segers By Robert Fucci

Hercules Segers, Mountain Valley with Fenced Fields (ca. 1615–1630), etching, 22.5 x 28.9 cm. Rijksmuseum, Amsterdam.

“Hercules Segers” Segers’s reputation for bizarre and widespread recognition only posthu- Rijksmuseum, Amsterdam enigmatic mountain landscapes, which mously, a fact that reflects the intense 7 October 2016 – 8 January 2017 constitute the majority of his surviving collecting culture in Amsterdam at the “The Mysterious Landscapes of oeuvre, is compounded by his position time, in which the death of an obviously Hercules Segers” as one of the most restlessly experimen- brilliant but poorly-selling artist trig- The Metropolitan Museum of Art, tal printmakers in the history of the gered a scramble among the cognoscenti New York medium. He is credited with the inven- to obtain what they could. Only then did 13 February– 21 May 2017 tion of the lift-ground technique 150 years his reputation grow, along with the prices before its next practitioner, Paul Sandby his works fetched, and it happened very Hercules Segers: Painter, Etcher (1731–1809), rediscovered it. He also pio- quickly. Edited by Huigen Leeflang and neered a number of methods of applying The exhibition recently organized Pieter Roelofs and printing color, many of which have by the Rijksmuseum in Amsterdam and Two volumes, 368 pages, 250 color resisted precise technical description for the Metropolitan Museum of Art in New illustrations centuries. Cementing his quasi-mytho- York marks the first substantial airing Published by Rijksmuseum, Amsterdam, logical status is the extreme rarity of his of Segers’s work in many decades, the 2016 surviving works, and Samuel van Hoog- first ever in the United States, and the $120 straten’s lurid tale (published in 1678) of a first unveiling of several pieces newly starving and unappreciated innovator of attributed to the artist. Well over 100 ew printmakers are as legendary “printed paintings” whose works failed to works appeared in each venue, compris- F as the Dutch artist Hercules Segers sell, and who died by falling down stairs ing the majority of his surviving oeu- (1589/90–after 1633). His rare and mys- after drinking away his sorrows.1 vre of 184 impressions from 53 different terious etchings seem caught out of In an intriguing twist, at least by 17th- plates, and 18 paintings (including two time—works of an eccentric genius who century standards, his reputation soared oil sketches). The massive two-volume operated outside the normal bounds shortly after his death, with no less a per- catalogue that accompanies the exhibi- of place and era. The delicately colored sonage than Rembrandt owning eight of tion laudably illustrates the entire oeuvre Mossy Tree (ca. 1625–30), or surreal Moun- Segers’s paintings, at least one of his cop- rather than just the exhibition contents. tain Valley with Fenced Fields (ca. 1625–30), perplates, and probably quite a number In effect, it serves as a new catalogue rai- might easily be mistaken for products of of impressions of his prints. Segers was sonné, and thus an updated version of the 19th or 20th centuries. one of the first Western artists to achieve Egbert Haverkamp-Begemann’s seminal

38 Art in Print May – June 2017 of Landscape with a Plateau, a River in the Distance (ca. 1622–25). Segers’s use of a second plate, overlooked until recently, to add delicate, abundant and precisely ren- dered gold-color highlights is a testament to his effort and ingenuity for nuanced effects. The result is simply magical. At the same time, he appears to have been an iconographic innovator as well. The Large Tree (ca. 1628–29) is an arboreal por- trait of unprecedented sensitivity, using etching to imbue foliage with a vivacity rarely found before or after in the history of print. Along with close analyses of the objects Segers made, the exhibition organizers combed through the docu- mentary evidence related to his life, resulting in the fullest and most com- plete biography to date. Born to a mer- chant family, he fathered a daughter out of wedlock while still a young man, Left: Hercules Segers, The Mossy Tree (ca. 1615–1630), 16.8 cm x 9.8 cm. Rijksmuseum, loan from and eventually married a well-heeled the city of Amsterdam. Right: Hercules Segers, Landscape with a Plateau, a River in the Distance and slightly older woman with whom (ca. 1615–1630), etching, 14.4 x 10.6 cm. Rijksmuseum, loan from the city of Amsterdam. he appears to have enjoyed a certain degree of prosperity until a bankruptcy 1973 study, long out-of-print and nearly nese) into European printmaking around in 1631. All trace of him is lost after 1633 unobtainable. The authors of the present 1647, Segers appears to have done so a and we have no clear idea when he died catalogue quite sensibly decided to retain decade or two earlier. or how, regardless of van Hoogstraten’s his cataloguing (“HB” numbers) for the In addition to his continuously creative eyebrow-raising tale. The most remark- prints since so little has changed: two technical experiments, Segers reveals able recent find is that Segers almost cer- new impressions have been discovered, himself to be a virtuosic handler of the tainly owned a painting by Rembrandt at while only one of his accepted plates has etching needle, indeed one of the finest in some point before 1631.2 As has long been now been rejected. The paintings were his day. A good example of how these two known, Rembrandt acquired the copper- given “P” numbers to distinguish them. sides of the artist come together is the plate for Segers’s Tobias and the Angel (ca. What the exhibition and catalogue second-state impression on blue paper 1630–33) and dramatically reworked it, do freshly is present several years of focused research that has led to a wealth of discoveries and clarifications related to Segers’s endlessly fascinating and exceptionally challenging work. No two impressions from the same plate are alike—or even close, for the most part— varying in terms of substrates, inkings, subsequently applied color, and rework- ings. The authors devoted considerable effort to providing the most accurate descriptions to date for each impression. Furthermore, a systematic chronology was attempted for the first time (since nothing by Segers is dated) based on a combination of new watermark data and stylistic analysis. Though by necessity this must remain educated guesswork, a reasonable case can be made for at least separating earlier from later works. One notable discovery is his previously over- looked use of Asian paper. While Rem- brandt has long received credit for being the first to introduce the use of Asian Hercules Segers, after Adam Elsheimer, after Hendrick Goudt, Tobias and the Angel (ca. 1615–1630), papers (which are probably entirely Japa- etching, 20.1 x 27.6 cm. Rijksmuseum, Amsterdam.

Art in Print May – June 2017 39 eradicating the original large figures and transforming the subject into a Flight Into Egypt—an unprecedented type of alteration or artistic dialogue that has been the subject of much discussion.3 That Segers and Rembrandt may have known each other personally, a thought rarely ventured, now seems more likely. Coinciding with the Rijksmuseum’s iteration of the show, the Museum het Rembrandthuis in Amsterdam presented “Under the Spell of Hercules Segers: Rem- brandt and the Moderns,” which exam- ined the rich afterlife of Segers’s influence on later artists.4 In addition to the works of Rembrandt himself—including the Tobias / Flight Into Egypt—the exhibition incorporated rare color prints by 17th- century artists Jan Ruyscher (nicknamed “Little Hercules”) and Philips Koninck, and 20th-century prints by artists who found in Segers’s work a precursor of their own Surrealism, Expressionism and experimentalism. Among the many merits of both the Hercules Segers, The Large Tree (ca. 1615–1630), etching, 21.8 x 27.7 cm. Rijksmuseum, Amsterdam. Rijksmuseum and Metropolitan installa- tions is simply the opportunity to see a great number of Segers’s works in person. Robert Fucci is the Samuel H. Kress Fellow at His etchings reproduce notoriously the Drawing Institute of the Morgan Library & poorly, especially those in color—his sub- Museum, New York. tle combinations of yellows, blues and greens often appear muddy or garish, and his white-line etchings on dark grounds Notes: easily lose their shimmering beauty. His 1. Samuel van Hoogstraten, Inleyding tot de hooge schoole der schilderkonst, Anders de zicht- many nuances are best appreciated baere werelt, p. 196 (for printed paintings), and p. through close viewing, such as the per- 312 (for the story of his death). A complete tran- spectival effects of low, distant horizons, scription and translation of various passages by and his extraordinary range of geologi- Van Hoogstraten relating to Segers can be found cally-inspired graphic creations; his novel in the present exhibition catalogue, vol. 1, Appen- dix A, pp. 328–29. etching techiques and handling of the 2. See the essay in the exhibition catalogue by needle created porous mineral and gran- Jaap van der Veen, “Hercules Segers, Disre- ite formations in an unprecedented man- garded and Yet a Great Artist: A Sketch of His ner. His colors, furthermore, are just as Life,” vol. 1, p. 28. likely to perplex as to beautify, with com- 3. For a summary of this discussion along with some new ideas, see the essay in the exhibi- binations of blues, browns, greens and tion catalogue by Nadine Orenstein, “Segers and oranges that might not seem so unnatu- Rembrandt: Experiment and Influence,” vol. 1, pp. ral in our modern Technicolor lives, but 99–109. inspire questions as to what a 17th-cen- 4. 7 Oct 2016 – 8 Jan 2017. It was accompa- tury viewer might have thought of them. nied by a catalogue: Under the Spell of Hercules The six newly ascribed paintings (now a Segers: Rembrandt and the Moderns (Zwolle: WBooks, 2016). total of 18) are a revelation as well, and are 5. Summarized in the essay by Arie Wallert, the subject of much technical research.5 “Forms that Lay Hidden in a Chaos of Paints: At the end of the day, however, Segers was Style and Technique in Hercules Segers’s Paint- not so much a painter-etcher, but the ings,” vol. 1, pp. 141–150. opposite. The prints are the stars of this show, which is a fitting tribute to an artist of “printed paintings.”

40 Art in Print May – June 2017 EXHIBITION REVIEW Barrier Riff: Gfeller + Hellsgård in Austin By Jason Urban

Christian Gfeller & Anna Hellsgard, Die Wand/Die Mauer (2016), screenprint on plywood, each approximately 8 x 12 x 3 feet. Unique objects. Printed by the artists. Published by UT Guest Artist in Print Program, Austin.

“Christian Gfeller and Anna Hellsgård: ing the view of the space. The front sides the course of two manic weeks as part Die Wand / Die Mauer” were screenprinted with gradients of of the university’s Guest Artist in Print Fieldwork, Visual Art Center at the fluorescent pinks and oranges, fading Program. University of Texas at Austin, Austin, TX into neutral whites and blacks, while on Wand and Mauer are both German 19 – 28 October 2016 the backsides the artists layered stencils words for “wall,” but they connote very haphazardly using crisscrossed masking different things. The former refers to n “Die Wand / Die Mauer,” Chris- tape to produce a noisy mishmash of pat- an interior building wall—the wall of I tian Gfeller and Anna Hellsgård used tern and color. a room; the latter specifies something freestanding, screenprinted billboards Gfeller and Hellsgård, a Franco-Swed- heavier and fortified—most famously, the to slice up the Fieldwork project space ish duo, are the owners of Re:Surgo!, a Berliner Mauer that divided West Berlin inside the University of Texas at Austin screenprint atelier and shop in Berlin, from East Germany. The two nouns sug- Visual Arts Center. Three eight-foot-tall, and longtime exhibitors at the New York gest the distinctly different purposes that twelve-foot-wide walls were arranged in Art Book Fair. “Die Wand / Die Mauer” can be served by the same simple struc- parallel, cutting diagonally through the was their first large-scale, temporary ture. Walls define spaces and communi- room, towering over visitors and obscur- installation and was executed on site over ties; that which protects and insulates

Art in Print May – June 2017 41 Christian Gfeller & Anna Hellsgard, reverse side detail of Die Wand / Die Mauer (2016), screenprint on plywood, approximately 8 x 12 x 3 feet. Unique objects. Printed by artists. Published by UT Guest Artist in Print Program, Austin. can also divide and alienate. to the vacuum-sealed aesthetics of Color all these issues without descending into Gfeller and Hellsgård’s structures were Field painting, but as rough-and-tumble polemic. built of thick plywood and propped up freestanding barriers, in Texas, in the fall Gfeller and Hellsgård’s slapdash bar- with simple lumber and concrete pavers. of 2016, they carried a wealth of other riers were purposefully ephemeral. At the Reminiscent of makeshift fences found allusions. More than 25 years after the close of the exhibition, the walls were at urban construction sites, they might fall of the Berlin Wall, an American presi- defaced and discarded; one, however, was provide shelter, but like Richard Serra’s dent is agitating for a wall to seal the U.S. cut into square-foot panels and given to controversial 1981 public sculpture Tilted border with Mexico. Gfeller and Hells- production assistants. The gesture re- Arc, they also hindered the flow of traffic gård’s residency took place just before minded us that the Berlin Wall was also and restricted passage. Walking into the the election, and the subject came up chipped apart, albeit more gleefully, and space, the viewer was confronted with regularly among the artists and their vol- its fragments (at least the colorful ones) behemoth structures, but as one squeezed unteer assistants. Coming from Berlin, preserved as relics of the past. Perhaps past them, their physical authority a city ruptured by a wall, to Texas, a bor- the artists’ point was that—whether became more dubious, the shoddiness of der state in the midst of national debate Wand or Mauer, decorative substrate or their materials more visible. The perfec- about wall-building, Gfeller and Hells- barricade against the forces of history— tion of the white cube gallery served to gård were drawn to the subject in all its every wall is a double-edged sword. emphasize the gritty imperfections of the ambiguity. In Germany too elections are rough wood; there was none of screen- looming and city streets are lined with print’s habitual slickness; the passage of a political billboards—signage that was Jason Urban is an Austin-based artist, writer, squeegee only accentuated the substrate’s a further inspiration to the artists. To teacher and curator. flaws. Up-close viewing revealed endless pedestrians, these freestanding walls accidental beauty and surprises. with rear support anchoring them to the In their abstraction, formalism and ground are both obstacles and advertise- chromatic interest, the walls made a nod ments. “Die Wand / Die Mauer” raised

42 Art in Print May – June 2017 Baron/Boisanté Editions – Om from India Van Pelt, Estate of Walter Addison, Estate International 300 East 33 Street #1P of Donnamaria Bruton, Estate of Thomas New York, NY 10016 Sgouros. Works available by: Willliam Directory 2017 By appointment only Anastasi, Stella Ebner, Kelly Goff, Julia Jac- http://www.baronboisante.com/ quette, Michael Krueger, Rohini Sen, Aaron Siskin The International Directory is a listing of http://www.omfromindia.com/ Artists represented: Curtis Anderson, Don- Cade Tompkins Projects specializes in Professional Members of the Art in Print contemporary prints with far-reaching community. ald Baechler, Brian Belott, Jennifer Bolande, , Michael Byron, Sandrine viewpoints and techniques, as well as con- Guérin, Dan McCarthy, Sigmar Polke, Salva- temporary painting, sculpture, installation tore Scarpitta, Rosemarie Trockel, Not Vital and video. Established in 2009, the gallery Arion Press Baron/Boisanté Editions has been a pub- has presented 37 exhibitions to date as well 1802 Hays St., The Presidio lisher of prints and multiples since 1985. Om as showing at SPRING/BREAK Art Show, San Francisco, CA 94129 from India deals in 19th- and early 20th- NYC (2016 and 2017) and the Editions/Artists’ (415) 351-8172 century Hindu Mythological lithographs Book Fair, NYC (2006-2013). Cade Tompkins http://arionpress.com/ with one of the world’s most important and Projects is a member of IFPDA, International Artists: John Baldessari, Enrique Chagoya, comprehensive collections of early Hindu Fine Print Dealers Association. William Kentridge, Julie Mehretu, John God and Goddess prints. Newman, Raymond Pettibon, Kiki Smith, Center Street Studio Kara Walker Bleu Acier PO Box 870171 Arion Press aims to match the finest con- 109 West Columbus Drive Milton Village, MA 02187 temporary art with the finest literature past Tampa, FL 33602 http://www.centerstreetstudio.com/ and present in books that are beautifully http://www.bleuacier.com/ Artists represented: Gerry Bergstein, Mat- designed and produced. Many of our artist Artists represented: Marie Yoho Dorsey, thew Carter, Mark Cooper, Aaron Fink, books are accompanied by larger individual Sylvie Eyberg, Joe Fyfe, Brookhart Jonquil, Andy Freeberg, Raul Gonzalez III, Teo Gon- prints or suites of prints in portfolio. Dominique Labauvie, Pierre Mabille, Steve zalez, James Hansen, Anne Harris, Lester McClure, Harry Pearce, Jaume Plensa, Stefan Johnson, Markus Linnenbrink, Judy Kensley Aspinwall Editions Sagmeister, Paula Scher, Bernar Venet McKie, Todd McKie, Carrie Moyer, James 315 W. 39th St. #600 As a publisher, Bleu Acier collaborates with Ovid Mustin III, Robert ParkeHarrison, Jeff New York, NY 10018 artists and designers on limited editions and Perrott, Charles Ritchie, Richard Ryan, Kelly http://www.aspinwalleditions.com/ multiples that possess the strength and drive Sherman, Laurel Sparks, James Stroud, Bill Artists represented: Ann Aspinwall, Karl of their work in other media. These often Thompson, Roger Tibbetts, John Walker, Bohrmann, Victoria Burge, Susan Goethel very rare editions integrate the overall vision Rachel Perry Welty, George Whitman, John Campbell, Claas Gutsche, Bill Hall, Jane of the artist’s oeuvre. As a collaborative and Wilson, Janine Wong, Bill Wheelock Kent, Michael Kukla, Morgan O’Hara, Yasu contract atelier, Bleu Acier supports the fol- Center Street Studio was established in 1984 Shibata lowing techniques in printmaking: intaglio, by artist and master printer James Stroud Aspinwall Editions is a fine art print pub- photogravure, stone lithography relief and who publishes print projects in etching, lisher, dealer and studio with facilities monotype. The studio also offers tailored woodcut and monotype with established and in New York City and Rheine, Germany. workshops in all techniques. emerging artists. Prints from the Studio are Founded in 2012 by Ann Aspinwall and Knut represented in numerous public collections Willich, Aspinwall Editions specializes in C.G. Boerner across the United States and abroad. silkscreen, intaglio and relief techniques, USA: 526 West 26th Street, #304 and offers contract printing services in addi- New York, NY 10001 Constellation Studios tion to collaborations with artists. Willich is Germany: Kasernenstrasse 13 2055 ‘O’ Street also the founder and chairman of the Print Düsseldorf 40213 Lincoln, NE 68510 Association Bentlage in Rheine, where he http://www.cgboerner.com http://www.constellation-studios.net organizes a triennial international print- Artists represented: Martin Schongauer, Artists exhibited: Alicia Bailey, Shawn Bal- making symposium. Albrecht Dürer, Lucas Cranach The Elder, larin, Diana Behl, Denise Bookwalter, Inge Hans Sebald Beham, Rembrandt Harmensz Bruggeman, Anne Burton, Sage Dawson, Atelier Michael Woolworth Van Rijn, Adriaen van Ostade, Robert Nan- Tallmadge Doyle, Timothy Ely, Nancy Fri- 2 Rue de la Roquette teuil, Giovanni Battista Piranesi, Francisco edemann, Christopher Fritton, Jill Jepsen, Paris, France 75011 José de Goya y Lucientes, , James Karen Kunc, Kim Reid Kuhn, Roberta Lava- http://www.michaelwoolworth.com McNeill Whistler, Mary Cassatt, Anton dour, Nichole Maury, Bea Nettles, Emma Artists represented: Stéphane Bordarier, Würth Nishimura, Carrie Ann Plank, Kathy Puzey, José Manuel Broto, Miguel-Angel Campano, C.G. Boerner was founded in Leipzig, Ger- Harry Reece, Lee Running, Sara Tabbert, Vincent Corpet, Gunter Damisch, Mélanie many, in 1826 and trades exclusively in works Michael Schneider, Richard Shillitoe, Bar- Delattre-Vogt, Marc Desgrandchamps, Jim on paper, prints and drawings from the 16th bara Strigel, Nikki Thompson, Members Dine, Blaise Drummond, Gilgian Gelzer, to the early 20th centuries. C.G. Boerner has from the Internazionale della Grafica, Venice Richard Gorman, Marie-Ange Guilleminot, offices in Düsseldorf and New York. Constellation Studios is a creative destina- Bertrand Lavier, Christopher Le Brun, Loic tion for artists, a professional studio, with Le Groumellec, Frédérique Loutz, William Cade Tompkins Projects mentoring and education, to explore and MacKendree, Jean-François Maurige, Miquel 198 Hope Street celebrate the interconnections between Mont, Stéphane Pencréac’h, Jaume Plensa, Providence, RI 02906 traditional and innovative print, paper and David Shrigley, José Maria Sicilia, Djamel (401) 751-4888 bookmaking. Collaborative publishing by Tatah, Barthélémy Toguo, Otto Zitko http://www.cadetompkins.com/ invitation, with a focus on woodcut and American-born printer and publisher Artists represented: Allison Bianco, Vic- etching. Opportunities include workshops, Michael Woolworth established his work- toria Crayhon, Nancy Friese, Ana Guerra, residencies, internships, exhibitions. shop in Paris in 1985. Specializing in Melinda Hackett, Susan Hardy, Daniel Hey- lithography printed on manual presses, the man, Nick Hollibaugh, Sophiya Khwaja, workshop also produces woodcuts, mono- Beth Lipman, Andrew Nixon, Serena Per- types, linocuts and etchings. rone, Aaron Pexa, Dean Snyder, Daniel Stupar, Dan Talbot, John Udvardy, Maxwell

Art in Print May – June 2017 43 Crown Point Press Davidson Galleries Michael Heizer, Beatriz Milhazes, James 20 Hawthorne St. 313 Occidental Ave. S. Nares, Tom Slaughter, Lisa Stefanelli, Alison San Francisco, CA 94105 Seattle, WA 98104 Elizabeth Taylor, Mickalene Thomas, Leslie http://www.crownpoint.com (206) 624-7684 Wayne, Stephen Westfall, Ray Charles White Artists represented: Tomma Abts, Darren http://www.davidsongalleries.com Durham Press is a fine art publisher and Almond, Mamma Andersson, Robert Bech- Artists exhibited: Michael Barnes, Leonard workshop that specializes in large-scale tle, Chris Burden, John Cage, John Chiara, Baskin, Sean Caulfield, Tony Fitzpatrick, multi-media prints with emphasis on wood- Francesco Clemente, Chuck Close, Robert Karen Kunc, Robert E. Marx, Frederick Mer- block and screenprint. Artists work at the Colescott, Richard Diebenkorn, Peter Doig, shimer, Peter Milton, Gordon Mortensen, Press by invitation in collaboration with Leonardo Drew, Pia Fries, Mary Heilmann, Barry Moser, Tomiyuki Sakuta, Jenny owner Jean-Paul Russell and a group of Jacqueline Humphries, Sol LeWitt, Brice Schmid, Carol Summers, Seiko Tachibana, highly skilled printmakers and woodwork- Marden, Tom Marioni, Julie Mehretu, Joc- Akiko Taniguchi, Mikio Watanabe, Carol ers. Durham Press has been a member of the kum Nordström, Chris Ofili, Laura Owens, Wax, Art Werger and more than 150 others International Fine Print Dealer’s Association Ed Ruscha, Shahzia Sikander, Amy Sillman, Davidson Galleries, founded in 1973, offers for 16 years. Kiki Smith, Pat Steir, Wayne Thiebaud, Rich- the largest inventory of original antique, ard Tuttle, Charline von Heyl, William T. modern and contemporary works on paper Eminence Grise Editions/ Wiley, John Zurier in the Pacific Northwest region. The gallery Michael Steinberg Fine Art Publisher of fine art limited edition etchings is a member of the Seattle ’s Asso- 136 Baxter Street and woodcuts by major contemporary art- ciation (SADA) and a charter member of The New York, NY 10013 ists. International Fine Print Dealers Association (212) 203-2051 (IFPDA) in New York. http://michaelsteinbergfineart.com/ Crow’s Shadow Institute of the Arts Recent artists published include Derrick 48004 Saint Andrew’s Road, Diane Villani Editions Adams, Lauren Comito, Sandrine Guerin Pendleton, OR 97801 285 Lafayette Street and Yevgeniy Fiks. Earlier publications have http://crowsshadow.org/ New York, NY 10012 featured such distinguished contemporary Published Artists-in-Residence include: Rick http://www.villanieditions.com artists as Ghada Amer, Chuck Close, Carroll Bartow, Jim Denomie, Joe Feddersen, John Artists represented: Ida Applebroog, Mel Dunham, Lyle Ashton Harris, Sean Mellyn, Feodorov, Jeffrey Gibson, Damien Gilley, Bochner, , Matthew Day Jack- Kehinde Wiley and others Edgar Heap of Birds, Arnold Kemp, Wuon son, Rashid Johnson, Alison Saar, Paul Publishers of contemporary editions in all Gean Ho, Frank LaPena, James Lavadour, Henry Ramirez, Dieter Roth, Fred Sandback, media. James Luna, Victor Maldonado, Brenda Mal- Fatimah Tuggar, Julia Jacquette, Suzanne lory, Jenene Nagy, Wendy Red Star, Blair McClelland, Jiha Moon, Nicola Tyson, Amy Flatbed Press Saxon-Hill, Adam Sorensen, Storm Tharp, Wilson, Michele Zalopany 2830 East M. L. King Jr. Blvd. Kay WalkingStick, Samantha Wall, Marie Diane Villani is a contemporary publisher Austin, TX 78702 Watt, among others and private dealer in prints and editions. (512) 477-9328 Crow’s Shadow is a rural non-profit artist Diane Villani Editions has been a member of http://www.flatbedpress.com/ residency program which specializes in fine the IFPDA since 1990, she served as president Artists Represented: John Alexander, Terry art lithography print publishing, with an of the IFPDA from 2007 to 2009. She now Allen, Miguel Aragón, Alice Leora Briggs, emphasis on working with contemporary serves as a director on the Board of the IFPDA Michael Ray Charles. Ann Conner, John Native American artists. Crow’s Shadow Foundation, which was created to expand Robert Craft, Suzi Davidoff, Spencer Fidler, Institute of the Arts (CSIA) typically invites the Association’s grants and educational John Greer, Trenton Doyle Hancock, Luis 3-4 artist per year to our residency program, programs. She also serves on the Board of Jimenez, Jules Buck Jones, Sharon Kopriva, where they are able to work with our full- Directors for the Fred Sandback Foundation Mary Fielding McCleary, Denny McCoy, time Master Printer in developing a set of and is a member of ArtTable, a professional Melissa Miller, Samson Mnisi, John Obuck, limited-edition prints. CSIA was founded organization for women in the arts. Liliana Porter, Linda Ridgway, Dan Rizzie, in 1992 by painter James Lavadour and is Peter Saul, Julie Speed, Frank X. Tolbert 2, celebrating its 25 Anniversary in 2017. The Dolan/Maxwell Randy Twaddle, Liz Ward, Burce Lee Webb, gallery and studio are located in the historic 2046 Rittenhouse Square Joan Winter, Judy Youngblood St. Andrew’s mission schoolhouse, in the Philadelphia, PA 19103 Founded in 1989, Flatbed Press has twenty- foothills of Oregon’s Blue Mountains on the http://www.DolanMaxwell.com seven years experience publishing and exhib- Umatilla Indian Reservation. Artists represented: Fred Becker, Morris iting fine art prints. Flatbed specializes in Blackburn, Robert Blackburn, Michael Can- the collaborative development and edition- David Krut Projects ning, Elizabeth Catlett, Lynne Clibanoff, ing of intaglio, lithographic, monotype and 526 W. 26th St, Suite 816 Amze Emmons, Perle Fine, Steven Ford, relief prints. Flatbed’s professional studio New York, NY 10001 Dorothy Dehner, Alice Trumbull Mason, has three master printers who collaborate http://www.davidkrut.com/ Stanley William Hayter, Nona Hershey, Paul with artists to create and produce limited Artists represented: Deborah Bell, Chakaia Keene, David Kelso, Norman Lewis, Thomas editions. Flatbed also does contract col- Booker, Christopher Cozier, Endale Desalegn, Lias, Helen Phillips, Martin Puryear, Har- laborative print development and edition- Faith47, Joe Hart, Stephen Hobbs, Locust vey Quaytman, Judith Rothschild, David ing for other publishers, dealers, artists and Jones, William Kentridge, Vusi Khumalo, Kate Shapiro, Benton Spruance, Raymond Steth, institutions. Open to the public are Flatbed’s McCrickard, Aida Muluneh, Senzo Shabangu, Donald Teskey, Shelley Thorstensen, Dox showroom and three exhibition galleries. Séan Slemon, Diane Victor, Chuck Webster Thrash, Charles White, Louise Bourgeois, The galleries feature rotating exhibitions of David Krut Projects is an alternative arts Cheryl Warrick Flatbed’s published prints and works by rep- institution dedicated to encouraging an Dealers in distinguished Modern and Con- resented and other invited artists. awareness of and careers in the arts and temporary prints and works on paper. related literature and media, and to promot- Frances B. Ashforth ing contemporary culture in a dynamic, col- Durham Press Ridgefield, CT laborative environment. In addition to the 892 Durham Road, PO Box 159 http://francesbashforth.com/ New York exhibition and project space, we Durham, PA 18039 http://www.waterandwords.net/ have arts bookstores and print workshops http://www.durhampress.com/ Visual artist. located in South Africa at Parkwood and Arts Artists represented: Hurvin Anderson, Polly on Main, the major new arts hub adjacent to Apfelbaum, Roland Fischer, Chitra Ganesh, downtown Johannesburg. John Giorno, Jacob Hashimoto, Emil Lukas,

44 Art in Print May – June 2017 Gemini G.E.L. at Joni Moisant Weyl Amorales, Julie Buffalohead, Andrea Carl- Island Press 535 West 24th Street, 3rd Floor son, Carter, Willie Cole, Sarah Crowner, Sam Fox School of Design and Visual Art New York, NY 10011 Santiago Cucullu, Mary Esch, Rob Fischer, Washington University, St. Louis, MO http://www.joniweyl.com Jay Heikes, Adam Helms, Jim Hodges, Alexa http://islandpress.samfoxschool.wustl.edu/ Artists represented: John Baldessari, Vija Horochowski, Joel Janowitz, Cameron Mar- Artists represented: Radcliffe Bailey, Chakaia Celmins, Tacita Dean, Frank Gehry, Robert tin, Julie Mehretu, Clarence Morgan, Lisa Booker, Squeak Carnwath, Willie Cole, Hen- Gober, Philip Guston, Ann Hamilton, David Nankivil, Todd Norsten, Chloe Piene, Jessica rik Drescher, Chris Duncan, Tom Friedman, Hockney, Ellsworth Kelly, Roy Lichten- Rankin, David Rathman, Linda Schwarz, Orly Genger, Ann Hamilton, Trenton Doyle stein, Julie Mehretu, Bruce Nauman, Robert Aaron Spangler, Do Ho Suh, Carolyn Hancock, Nina Katchadourian, Hung Liu, Rauschenberg, Ed Ruscha, Analia Saban, Swiszcz, Mungo Thomson Greely Myatt, Shaun O’Dell, Juan Sanchez, Richard Serra, Joel Shapiro, Frank Stella, Founded in 2001, Highpoint has emerged Lisa Sanditz, Beverly Semmes, James Siena, Richard Tuttle, Terry Winters and others as a creative force in the world of collabora- Juane Quick-to-see-Smith Gemini G.E.L. at Joni Moisant Weyl, estab- tive printmaking. Highpoint is dedicated to Island Press, at Washington University in St. lished in 1984, is the New York gallery exhib- advancing the art form through a variety of Louis, is a collaborative print workshop com- iting and representing the publications of the programs including Education, Community mitted to creating innovative multiples and Los Angeles-based artists’ workshop, Gemini Programs, an Artists’ Cooperative and High- advancing the printmaking field through the G.E.L. point Editions, the publishing arm of the integration of research and education. The non-profit organization. Follow Highpoint press is project driven, tapping into the place Graphicstudio, University of Editions on Twitter (@HPEditionsMPLS) where an artist’s creative research intersects South Florida and Instagram (@HighpointEditions) to with the language of printmaking, setting 3702 Spectrum Blvd., Suite 100 learn more about Highpoint Editions artists, up unique opportunities for experimenta- Tampa, FL 33612 projects and goings on in our collaborative tion with technology, scale and scope. Island (813) 974-5871 publishing program. Press invites two established artists each (813) 974-2579 (fax) year to work in residence for one week with http://www.graphicstudio.usf.edu Hoehn Print Study Room and the master printer and students in the Sam Artists represented: Jia Aili, Hernan Bas, Hoehn Family Galleries at the Fox School of Design & Visual Arts at Wash- Jim Campbell, Sandra Cinto, Chuck Close, University of San Diego ington University. There is an annual fellow- Jim Dine, Mark Dion, Keith Edmier, Tere- Founders Hall 102, 5998 Alcalá Park ship residency for an emerging artist as well sita Fernandez, Iva Gueorguieva, Tren- San Diego, CA 92110 as a robust internship program for assistant ton Doyle Hancock, Alex Katz, Guillermo (619) 260-7516 printers. Kuitca, Robert Mapplethorpe, Christian http://www.sandiego.edu/galleries/ Marclay, Allan McCollum, Josiah McElheny, The University of San Diego’s Print Collec- Jordan Schnitzer Family Foundation Vik Muniz, Roxy Paine, Philip Pearlstein, tion includes works from the 15th century 1121 SW Salmon St. Ste. 500 Robert Rauschenberg, Duke Riley, James to the present. Located in the Hoehn Print Portland, OR 97205 Rosenquist, Ed Ruscha, Kenny Scharf, Kiki Study Room, the collection strives to repre- (503) 242-2900 Smith, Janaina Tschäpe, Richard Tuttle, Ber- sent the history of printmaking as well as its http://www.jordanschnitzer.org/ nar Venet, John Waters, William Wegman presence in contemporary artistic practice The Jordan Schnitzer Family Foundation among others for our university and regional audiences. is a non-profit 501(c)3 whose mission it is to Graphicstudio, at the University of South Exhibition programming in the Hoehn Fam- make the contemporary prints and multiples Florida in Tampa, is a university-based work- ily Galleries also focuses exclusively on print, from the collections of Jordan D. Schnitzer shop engaged in a unique experiment in art its processes and its history. and the Jordan Schnitzer Family Foundation and education producing fine art print edi- accessible to qualified museums in diverse tions and sculpture multiples in collabora- International Fine Print Dealers communities. Examination of the artists in tion with leading contemporary artists. Association (IFPDA) the collections and the collaborative process 250 West 26th Street, Suite 405 of printmaking is of particular importance Harlan & Weaver New York, NY 10001 and supported by educational and outreach 83 Canal Street http://www.ifpda.org grants. The Foundation also contributes to New York, NY 10002 The International Fine Print Dealers Asso- the field of artistic scholarship through the http://www.harlanandweaver.com ciation (IFPDA) is a non-profit organization publication of exhibition brochures, texts Artists represented: Richard Artschwager, of leading art dealers, galleries, and publish- and print catalogue raisonnés. Since the pro- William Bailey, Christiane Baumgartner, ers with expertise in the field of fine prints. gram’s inception, the Foundation has orga- Louise Bourgeois, Robert Cottingham, Steve Members are committed to the highest stan- nized over 100 exhibitions that have been DiBenedetto, Carroll Dunham, Nicole Eisen- dards of quality, ethics, and connoisseurship, held at over 80 museums. man, Joanne Greenbaum, Joey Kötting, Chris and to promoting a greater appreciation of Martin, Thomas Nozkowski, Michelle Segre, fine prints among collectors and the general Jennifer Melby James Siena, Kiki Smith, Mark Strand, José public. 110 Wyckoff Street Antonio Suárez Londoño, Stanley Whitney , NY 11201 Harlan & Weaver, Inc. is a workshop and International Print Center New York http://www.jennifermelby.com/ publisher specializing in etching and other 508 West 26th St., 5th Fl. [email protected] forms of intaglio printmaking. In their New York, NY 10001 Artists represented: Tom Burckhardt, Joanne Lower Manhattan studio, Felix Harlan and http://www.ipcny.org Greenbaum, Red Grooms, , Carol Weaver provide the facilities and tech- International Print Center New York was Paul Mogensen, Robert Moskowitz, Andrew nical assistance for artists to complete a suc- established in Chelsea in September 2000 Spence, Craig Taylor, Nicola Tyson. Artists’ cessful project. Artists working with Harlan as the first and only non-profit institution edition collaborations include: Eric Fis- & Weaver have created some of the most devoted solely to the exhibition and under- chl, Brice Marden, Ida Applebroog, Donald notable etchings of the past two decades. standing of fine art prints. IPCNY fosters a Baechler, Suzanne McClelland, Sean Scully, climate for enjoyment, examination and Janet Fish, Rashid Johnson, Isca Greenfield- Highpoint Center for Printmaking serious study of artists’ prints from the old Sanders, among others 912 West Lake Street master to the contemporary. IPCNY nur- Jennifer Melby’s studio, founded in the early Minneapolis, MN 55408 tures the growth of new audiences for the 1980’s on the Bowery, now located in Brook- (612) 871-1326 visual arts while serving the print commu- lyn, specializes in etching and offers artists a http://highpointprintmaking.org nity through exhibitions, publications and full range of intaglio platemaking, proofing Artists represented: Kinji Akagawa, Carlos educational programs. and editioning services.

Art in Print May – June 2017 45 Jungle Press Editions LeRoy Neiman Center for Print Studies, Manneken Press 232 Third Street, Suite #B302 1106 E Bell Street Brooklyn, NY 11215 2960 Broadway, 310 Dodge Hall Bloomington, IL [email protected] New York, NY 10027 (309) 829-7443 http://www.junglepress.com/ (212) 854-7641 http://www.mannekenpress.com/ Selected artists represented: Diana Cooper, [email protected] Artists represented: Carlos Andrade, Mel Mark di Suvero, Nicole Eisenman, Gabriele http://arts.columbia.edu/neiman Cook, Brian Cypher, Jack Davidson, Rupert Evertz, Jane Freilicher, Julie Heffernan, Jac- New editions by: Ernesto Caivano, Mark Deese, LJ Douglas, Peter Feldstein, Betty queline Humphries, Robert Kushner, Jen- Dion, Michael Joo, Valerie Hammond, Friedman, Jonathan Higgins, Richard nifer Marshall, Melissa Meyer, Elena Sisto, Thomas Roma, Kiki Smith, and John Walker. Hull, Mary Judge, Gary Justis, Ted Kincaid, Joan Snyder, Hugh Steers, Billy Sullivan, Other available editions by David Altmejd, Claire Lieberman, Judy Ledgerwood, Jane Stephen Westfall, Brian Wood Cecily Brown, Ann Craven, Rochelle Fein- McNichol, Tom Orr, Kate Petley, Justin Jungle Press Editions is a publisher of fine stein, Trenton Doyle Hancock, Jasper Johns, Quinn, Jay Shinn, Sarah Smelser, Philip Van art prints and multiples by internationally Leigh Ledare, Jonas Mekas, LeRoy Neiman, Keuren, Joan Winter, Brenda Zappitell renowned contemporary artists. Collabo- Sarah Sze, Rirkrit Tiravanija, Tomas Vu, Kara Manneken Press publishes limited-edition rating with master printer Andrew Mock- Walker and unique prints, artist’s books and port- ler, each artist develops an experimental The LeRoy Neiman Center for Print Studies is folios by contemporary artists. Founded in approach to lithography, etching, relief a non-profit fine art printshop within Colum- 2000, we publish projects by several invited printing or monoprint. bia University School of the Arts. Founded by artists each year, working primarily in inta- a generous endowment from LeRoy and Janet glio, photogravure, relief and monotype. Kala Art Institute Neiman in 1996, the Center’s core mission is Manneken Press regularly exhibits at major 2990 San Pablo Avenue to promote printmaking through education, art fairs and has been the subject of three Berkeley, CA 94702 production, and exhibition of prints. survey exhibitions. http://www.kala.org/ Artists associated (partial selection): Kathy Lower East Side Printshop Mixografia Aoki, Squeak Carnwath, Enrique Chagoya, 306 West 37th St., 6th Fl. 1419 East Adams Boulevard Roy de Forest, Jessica Dunne, Lawrence Fer- New York, NY 10018 Los Angeles, CA 90011 linghetti, Ellen Heck, Nif Hodgson, Archana http://www.printshop.org (323) 232-1158 Horsting, Max Kellenberger, Amanda Knowles, The Printshop has recently collaborated http://www.mixografia.com/ Jimin Lee, Mary Marsh, Yuzo Nakano, Gary with artists Derrick Adams, Sebastiaan Artists represented: John Baldessari, Lou- Nakamoto, Kouseki Ono, Kelly Ording, Nora Bremer, Thomas Dozol, Jennie C. Jones, ise Bourgeois, , Joe Pauwels, Emily Payne, Endi Poskovic, Jenny Ryan McGinness, Philip Taaffe, Alison Eliza- Goode, Peter Halley, K’cho, Kwang Young Robinson, Unai San Martin, Sylvia Solochek beth Taylor, Hank Willis Thomas, Janaina Chun, Dario Escobar, Jacob Hashi- Walters, Seiko Tachibana, Peter Voulkos, Tschäpe and many others moto, Jason Martin, Mimmo Paladino, Jorge Richard Wagener, Donna Westerman, Kazuko Lower East Side Printshop, founded in 1968, Pardo, Ed Paschke, Ed Ruscha, Ana- Watanabe, Noah Wilson, Lena Wolff is a premier New York City non-profit print- lia Saban, Julião Sarmento, Donald Sul- Founded in 1974 by Archana Horsting and making studio supporting contemporary tan, Manolo Valdés, Lawrence Weiner, Tom Yuzo Nakano as an international workshop artists of all career and artistic backgrounds Wesselmann, Rachel Whiteread, Terry Win- and forum for ideas, Kala Art Institute pro- in creation of new work. Support includes ters, Peter Wüthrich vides exceptional facilities to professional studio space, 24-hour access, financial and Mixografia specializes in printing and pub- artists working in all forms of printmaking, technical assistance, and peer-to-peer sup- lishing three-dimensional prints on hand- digital media, photography and book arts. port. With its free Editions/Artists’ Books made paper in close collaboration with Located in the former Heinz ketchup factory Fair, exhibitions, artists’ talks, and other artists. The unique Mixografia® printing in West Berkeley since 1979, Kala’s 15,200 public programs, the Printshop serves as a technique allows artists to create prints square foot facility houses an extensive array junction for artists, collectors, museums, in high relief and with extremely fine sur- of art-making equipment, as well as a gallery, galleries, and educational institutions to face detail. By employing a non-traditional and a vast collection of prints for sale. access and engage in contemporary art. approach, the workshop expands the creative possibilities of printmaking. Kayrock Screenprinting Inc. Ludion Prints 1205 Manhattan Ave #141 Leguit 23, 2000 Niels Borch Jensen Gallery and Editions Brooklyn, NY Antwerp, Belgium Printshop: Prags Boulevard 49, 2300 http://kayrock.org/ http://www.ludion.be/en/prints Copenhagen S, Denmark Kayrock Screenprinting was started in Artists represented: Barbara Bloom, Raoul Gallery: Lindenstrasse 34, 10969 1998 by Karl LaRocca, a.k.a. Kayrock, and De Keyser, Stan Douglas, Wayne Gonzales, Berlin, Germany is currently located in Greenpoint, Brook- Kerry James Marshall, Panamarenko, Roger BORCHs Butik: Bredgade 22, 1260 lyn, in a 100-year-old former rope factory. Raveel, Luc Tuymans, Hellen Van Meene Copenhagen, Denmark We specialize in hand-printed fine art edi- Ludion is an independent publisher of art http://www.nielsborchjensen.com/ tions, posters, cards, books, shirts, tote bags, books and artists’ prints. We were founded Artists represented: Lewis Baltz, Georg graphic design, custom projects, micro regis- twenty-five years ago by historian Peter Baselitz, Huma Bhabha, Inaki Bollinas, tration and the metric system. Ruyffelaere and went on to become a bench- Tacita Dean, Thomas Demand, Olafur Eli- mark in the field of high-quality art publica- asson, Michael Elmgreen & Ingar Dragset, Legion Paper tions. In addition to printing and publishing Kirsten Everberg, Douglas Gordon, Carsten 38 East 32nd Street limited editions, Ludion increases the art- Höller, Clay Ketter, Martin Kippenberger, New York, NY 10016 ists’ visibility through exhibitions in collabo- Per Kirkeby, Robert McNally, Julie Mehretu, (212) 683-6990 ration with galleries and print departments Boris Mikhailov, Albert Oehlen, Tal R, Robin https://legionpaper.com/ in museums, while also publishing mono- Rhode, Matt Saunders, Thomas Scheibitz, Making paper is an art. Since our 1994 incep- graphs and catalogue raisonnés of their Superflex, Al Taylor, Rosemarie Trockel, Alan tion, we have played a pioneering role in the graphic work. Uglow, Danh Vo, Stanley Whitney, Thomas world of fine art paper. We travel the globe on Zipp, John Zurier a never-ending search for the finest papers. Niels Borch Jensens Editions has been We listen to the needs of our clients and making original prints in limited editions, seek out new ways for them to enhance their signed and numbered by the artist, since the work. We put vision into paper. We are paper. print shop was founded in 1979. Among the

46 Art in Print May – June 2017 professional print shops in Europe, Niels Open Studio supports local, national and and prints his large color woodcuts in the Borch Jensen has over the years established international artists, providing: subsidized Portsmouth, NH and at the R.E. Townsend a position as one of the most competent in studio facilities, professional development, Studios in Georgetown, MA. In addition to classical graphic techniques. income, emerging artists’ opportunities and Don Gorvett’s work, both galleries exhibit critical dialogue. Community engagement the work of artists and printmakers such Oehme Graphics includes education, exhibitions, talks and as Sidney Hurwitz, Micheal Mazur, Peter 2655 Copper Ridge Circle, Unit 1 events. Milton, and other regional and nationally Steamboat Springs, CO 80487 known printmakers. (970) 870-6609 Paulson Fontaine Press http://www.oehmegraphics.com/ 2390C 4th Street Planthouse Artists represented: Richard Bosman, Kath- Berkeley, CA 94710 55 W. 28th Street erine Bowling, Katherine Bradford, Farrell http://paulsonfontainepress.com/ New York, NY 10001 Brickhouse, Eva Bovenzi, Ken Buhler, Diane Artists represented: Edgar Arceneaux, Tauba http://www.planthouse.net/ Cionni, Taiko Chandler, Diana Cooper, Julia Auerbach, Donald Baechler, Radcliffe Bailey, Works available by Anders Bergstrom, Kath- Fernandez-Pol, Louise Fishman, Deborah Chris Ballantyne, Louisiana Bendolph, Mary erine Bradford, Daniel Clarke, Grayson Freedman, Nancy Friese, Elizabeth Gilfilen, Lee Bendolph, McArthur Binion, Ross Bleck- Cox, Louise Eastman, Greg Foley, Nadja Susan Hambleton, Monroe Hodder, Holly ner, Christopher Brown, Squeak Carnwath, Frank, Glenn Goldberg, Wayne Gonzales, Hughes, Homare Ikeda, Jeffery Keith, Patsy Kota Ezawa, Spencer Finch, Caio Fonseca, Victoria Haven, Erik Hougen, Juliet Jacob- Krebs, Jason Karolak, Melissa Meyer, Paul Isca Greenfield-Sanders, Salomon Huerta, son, Michael Krueger, Martha Lewis, Ruth Mutimear, Kayla Mohammadi, Jenene Nagy, David Huffman, Chris Johanson, Maira Lingen, Nicolas Maloof, Martin Mazorra, Gloria Pereyra, Jason Rohlf, David Row, Kalman, Amy Kaufman, Margaret Kilgal- Jamisen Ogg, Robert Olsen, Adam Raymont, Catherine Shuman Miller, Susan Thomp- len, Hung Liu, Kerry James Marshall, Alicia Kathleen Rugh, Katia Santibañez, Sutton- son, Dorothea Van Camp, Laura Wait, John McCarthy, Keegan McHargue, Shaun O’Dell, BeresCuller, Charles Stein, Philip Taaffe, Walker, Mia Westerlund Roosen Martin Puryear, Clare Rojas, Gary Simmons Naho Taruishi, Heather Watkins, Chuck Nestled in the Rocky Mountains in Steam- Paulson Fontaine Press publishes, produces, Webster, Sally Webster, Anton Würth. boat Springs, Colorado, Oehme Graphics markets and sells fine art editions. Located Founded in 2013 by Katie Michel and Brad has established itself as one of the country’s in Berkeley, California, we create limited Ewing, Planthouse Gallery is a project space leading fine print publishers, as it contin- edition prints in a professional, modern located on 28th street in New York City. ues to bustle with monthly artist projects, printmaking studio. Inviting well known Planthouse derived its namesake from its printmaking exhibits, national art fairs and contemporary artists to work with our team original home in the flower district and workshops. Each year the print studio pub- of printers directly onto copper plates allows recently relocated to the parlor floor of a lishes six to ten fine print projects with inter- us to create exquisite hand-crafted works on brownstone in the city’s historic Tin Pan nationally known artists, many of whom paper. Alley. Planthouse is dedicated to exhibiting have previously worked with the director and publishing the contemporary work of and Master Printer, Susan Hover Oehme. Pele Prints emerging and established artists. In addition, there will be several juried art- 9400 Watson Rd. ist residencies as well as ongoing exhibitions, St. Louis, MO 63126 P.R.I.N.T Press internships and apprenticeships. (314) 750-7799 University of North Texas http://www.peleprints.com College of Visual Arts & Design Open Gate Press Artists represented: Gina Alvarez, Brandon 1155 Union Circle 305100 719 Farwell Drive Anschultz, Laura Berman, Carmon Colan- Denton, TX 76203 Madison, WI 53704 gelo, Lora Fosberg, Benjamin Guffee, Sarah http://print.unt.edu/ http://www.opengatepress.com Hinckley, Carly Kurka, Alicia LaChance, Artists who have created works with Artists represented: Paula Schuette Kraemer Grant Miller, Mary O’Malley, Benjamin P.R.I.N.T Press include Terry Allen, Helen Open Gate Press is a fine art press owned Pierce, Xochi Solis, Jessie Van der Laan, Altman, , Anitra Blayton, and operated by Paula Schuette Kraemer. Amanda Verbeck, Ken Wood Paul Booker, Enrique Chagoya, Jeffrey Dell, This artist, who is noted for her strong and Pele Prints is a collaborative fine art print- Jeff Elrod, Sally French, Brian Fridge, Susan expressionistic drypoint line, creates and making studio dedicated to creating limited Goethel Campbell, Kathy Grove, Nicole prints all of her own works here. edition prints and original works of art on Hand, Edgar Heap of Birds, Sedrick Huck- paper. At Pele Prints, we take a non-traditional aby, Scott Ingram, Sarojini Jha Johnson, Jane Open Studio approach to each project and encourage exper- Kent, Annette Lawrence, Sharon Louden, 401 Richmond Street West imentation. The goal is to create a unique Michael Miller, Jiha Moon, Gladys Nilsson, Toronto, ON M5V 3A8 body of work that displays the curiosity, learn- Robyn O’Neil, Linda Ridgway, John Ris- (416) 504-8238 ing, and constant discovery exemplified in the seeuw, Michelle Samour, Jaune Quick-to-See http://www.openstudio.on.ca/ collaborative process at its best. Smith, Kiki Smith, Jack Pierson, Dan Rizzie, http://store.openstudio.on.ca/ Jim Shaw, James Surls, William T. Wiley Representing original fine art prints by over Piscataqua Fine Art Printmaking Print Research Institute of North Texas, 150 artists, including: Yael Brotman, Sean Studio + Gallery and P.R.I.N.T Press, is a fine art press affiliated Caulfield,Tara Cooper, Pamela Dodds, Josce- Perkins Cove Fine Art Gallery with the University of North Texas College lyn Gardner, Doug Guildford, Jean Gumpper, Piscataqua Fine Art Printmaking of Visual Arts and Design. P.R.I.N.T sustains, Kevin Haas, Libby Hague, Isabelle Hémard, Studio + Gallery expands and promotes the art of collabora- Brian Hoxha, Brian Kelley, Judith Kluger- 123 Market Street, Portsmouth, NH 03801 tive printmaking through creative research, man, Christine Koch, Jenn Law, Lorna Livey, (603) 436-7278 publishing projects, sales, and exhibitions Ann McCall, Liz Menard, Emma Nishimura, Perkins Cove Fine Art Gallery of artists’ work while providing professional Loree Ovens, Liz Parkinson, Endi Poskovic, 100B Perkins Cove, Ogunquit, ME 03907 training for students and cultural events for Meghan Price, Walter Procska, Sandi Ralph, (603) 436-7278 the public community. Penelope Stewart, Otis Tamasauskas, Daryl http://www.dongorvettgallery.com/ Vocat, Leszek Wyczolkowski, Cybèle Young Don Gorvett, artist and master printmaker, Open Studio, Canada’s leading printmaking established Piscataqua Fine Arts in Ports- centre, is a charitable, non-profit, artist-run mouth New Hampshire as a gallery + studio centre dedicated to the creation, preserva- in 2003. Mr. Gorvett has had a presents in tion, exhibition and sales of contemporary Gloucester, MA, Ogunquit, ME, and Ports- original fine art prints. For over 46 years, mouth, NH. since 1968. He composes, cuts

Art in Print May – June 2017 47 Scholten Japanese Art Jonathan Santlofer, Phyllis Seltzer, Hunt Scully, David Shapiro, Swoon, Mickalene 145 W. 58th St., Suite 6D Slonem, Steven Sorman, Paul Stewart Thomas New York, NY 10019 2017 marks Stewart & Stewart’s 37th anni- Tandem Press, a publisher of contemporary (212) 585-0474 versary of printing and publishing fine prints fine art prints, is a self-supporting unit of the http://www.scholten-japanese-art.com/ in collaboration with accomplished artists Art Department at the University of Wiscon- Scholten is a private gallery specializing in from across the United States. Stewart & sin-Madison. Founded in 1987, Tandem Press Japanese woodblock prints and paintings. Stewart is one of the first printer/publishers was designed to foster research, collabora- We offerukiyo-e from the 18th to 20th centu- inducted into the International Fine Print tion, experimentation and innovation in the ries, including shin hanga, sosaku hanga and Dealers Association (IFPDA) in New York, field of printmaking. Japanese-style woodblock prints produced by and is among the longest running indepen- Western artists, including Paul Binnie. dent printer/publishers in North America. University of the Arts Book Arts + Among other museum exhibitions, The Printmaking MFA Program Segura Arts Studio Detroit Institute of Arts mounted two major 320 S. Broad Street PO Box 773 exhibitions of Stewart & Stewart’s fine print Philadelphia, PA 19102 Notre Dame, IN 46556 publications in 1990 (10th anniversary that (215) 717-6299 http://segura.com/ traveled to nine other museums across the http://bookprintmfa.uarts.edu/ Artists represented: Luis Cruz Azaceta, United States) and 2005 (25th anniversary). Editions published with artists through the Claudia Bernardi, Elizabeth Catlett, Enrique Borowsky Center for Publication Arts and Chagoya, Sue Coe, Roy DeForest, Tony SUArt Galleries, Syracuse University the MFA Book Arts + Printmaking Program: Delap, Claudio Dicochea, Terry Evans, Syracuse University, Shaffer Art Building Lesley Dill, Wardell Milan, Jennifer Angus, Graciela Iturbide, Luis Jimenez, Hung Liu, Syracuse, NY 13244 John Salvest and Nicola Lopez among others Mark Klett, Jacob Meders, Vik Muniz, Luis http://suart.syr.edu/ The two year, 60-credit program is one of Gonzalez Palma, Philip Pearlstein, Steve The SUArt Galleries, accessible through the most established and prominent profes- Prince, Faith Ringgold, Dan Rizzie, Ramiro the Shaffer Art Building on the SU campus, sional programs in the country. Dedicated to Rodriguez, Andres Serrano, Jaune Quick-to- enhances the cultural environment of SU educating students in the fields of book arts see Smith, Maria Tomasula, James Turrell, and the Syracuse area through meaning- and printmaking, it is currently one of few Vincent Valdez, Carrie Mae Weems, William ful educational experiences and encounters programs providing a dual Master’s degree Wegman, Emmi Whitehorse, Matika Wilbur with the University’s permanent collection in both disciplines. We offer substantial The Segura Arts Studio’s mission is to pro- and traveling exhibitions. It is the main cam- scholarships as well as assistantships and duce limited-edition fine art prints with art- pus venue for the visual arts and home of the workstudy positions and a highly competi- ists from underrepresented groups whose University’s extensive permanent collection. tive Presidential Fellowship which provides a work tends to address issues of social justice. The facility hosts a variety of temporary and full tuition scholarship for the full two-year permanent exhibitions throughout the year. program. Shark’s Ink 550 Blue Mountain Road Tamarind Institute Wildwood Press Lyons, CO 80540 2500 Central Avenue SE 701 N 15th Street http://www.sharksink.com Albuquerque, NM 87106 St. Louis, MO 63103 Artists represented: Laurie Anderson, Brad http://tamarind.unm.edu http://wildwoodpress.us Brown, John Buck, Tom Burckhardt, Kathy Artists represented: Polly Apfelbaum, Artists represented: Anne Appleby, Michael Butterly, Rodney Carswell, Enrique Chagoya, Charles Arnoldi, Amy Cutler, Tony DeLap, Berkhemer, Josely Carvalho, Christine Cor- Roy De Forest, Rafael Ferrer, Dianna Frid, Red Lesley Dill, Jim Dine, Tara Donovan, Fred- day, Damon Davis, Yizhak Elyashiv, Jane Grooms, Susan Hall, Jane Hammond, Don Ed erick Hammersley, Hung Liu, Nicola López, Hammond, Valerie Hammond, Tom Huck, Hardy, Ana Maria Hernando, Mildred How- Matt Magee, Toyin Ojih Odutola, Lili- Jerald Ieans, Mary Judge, Eva Lundsager, Erin ard, Yvonne Jacquette, Roberto Juarez, Robert ana Porter, Hayal Pozanti, David Row, Ed McKenny, Michele Oka Doner, Gary Paller, Kushner, Hung Liu, Hiroki Morinoue, Rex Ruscha, Matt Shlian, James Siena, Jaune Casey Rae, David Scanavino, Juan Sanchez, Ray, Peter Saul, Italo Scanga, Hollis Sigler, Quick-to-See Smith, Kiki Smith, José Linda Schwarz, David Shapiro, Xiaoze Xie Stacey Steers, James Surls, Barbara Takenaga, Suarez-Londoño, Donald Sultan. A selec- Wildwood Press, founded in 1996 by mas- William T. Wiley, Betty Woodman tion of early prints by Billy Al Bengston, ter printer and publisher Maryanne Ellison Since 1976, when we began printing as , Matsumi Kanemitsu, Simmons, is dedicated to experimentation Shark’s Lithography Ltd, through the last 40 , Ken Price, Michelle Stu- and the unexpected. Each year a small num- years of publishing prints as Shark’s Ink, we art, and others are available ber of artists are invited to collaborate at have collaborated with a distinguished group Tamarind Institute is a dynamic center for Wildwood Press, known for both its custom of more than 160 artists from the United lithography that, since its founding in 1960, papermaking and as a destination for artists States and Europe. Shark’s Ink. has produced has made significant contributions to the art who may choose to meet the challenge of an an eclectic body of work often challenging of the print in the United States and abroad. etching press that is capable of printing five- the assumptions and limitations of print- Tamarind offers highly focused educational foot by ten-foot images. Wildwood Press making. and research programs, printer training, and specializes in unique images, small editions a residency program for visiting artists. and multiples. Stewart & Stewart 5571 Wing Lake Road Tandem Press Wingate Studio Bloomfield Hills, MI 48301-1250 1743 Commercial Avenue 941 Northfield Road (248) 626-5248 Madison, WI 53704 Hinsdale, NH 03451 http://www.StewartStewart.com http://www.tandempress.wisc.edu Studio visits by appointment. Artists represented: Jack Beal, Randy Selection of artists represented: Jennifer http://wingatestudio.com Bolton, Richard Bosman, Nancy Camp- Angus, Richard Bosman, Andrew Burgess, Artists represented: Laylah Ali, Ahmed bell, Susan Crile, Martha Diamond, Con- Suzanne Caporael, Squeak Carnwath, Robert Alsoudani, Dennis Ashbaugh, Sebastian nor Everts, Janet Fish, Sondra Freckelton, Cottingham, Lesley Dill, Jim Dine, Valentina Black, Gideon Bok, Louise Bourgeois, Jane E. Goldman, John Himmelfarb, Sidney DuBasky, Benjamin Edwards, Sam Gilliam, Meghan Brady, Sascha Braunig, Ambreen Hurwitz, Yvonne Jacquette, Hugh Kepets, Michelle Grabner, Richard Haas, Al Held, Butt, John Cage, Robin Cameron, Walton Catherine Kernan, Clinton Kuopus, Daniel José Lerma, Nicola López, David Lynch, Ford, Dana Frankfort, Karen Gelardi, John Lang, , Jim Nawara, Lucille Ikeda Manabu, Cameron Martin, Maser, Gibson, Sara Greenberger Rafferty, Xylor Procter Nawara, Don Nice, Katja Oxman, David Nash, Judy Pfaff, Sandra Ramos, Sam Jane, Robert Kushner, Sol LeWitt, Orion Endi Poskovic, Mary Prince, Mel Rosas, Richardson, Dan Rizzie, Alison Saar, Sean Martin, Jiha Moon, Jill Moser, Aaron Noble,

48 Art in Print May – June 2017 Matt Phillips, Richard Ryan, Cary Smith, Barbara Takenaga, Chuck Webster, Neil Welliver, Roger White Wingate Studio produces and publishes printed editions, books and special projects in collaboration with contemporary art- ists. We specialize in intaglio etching with an openness to exploration and innovation Become a Professional Member within and beyond the traditional process— artists direct the projects and our master printers facilitate them through the process. of Art in Print now. Peter Pettengill founded Wingate Studio in 1985, joined in 2012 by co-directors James Pettengill and Alyssa Robb, and our work is in the collections of the Davison Art Center, Hammer Museum, Hood Museum of Art, Library of Congress, MoMA, Smith College Museum of Art, Yale University Art Gallery, Whitney Museum of American Art, and pri- The Benefits of vate collections internationally. Professional Membership World House Editions include: The Carriage House 26 Wheeler Road Middlebury, CT 06762 (203) 758-2662 • 6 printed issues of the journal published bimonthly http://www.worldhouseeditions.com/ Artists represented: Rita Ackermann, Brian Alfred, Caetano de Almeida, Darren Almond, • Instant online access to all journal content John Armleder, Mike Bidlo, Lizzi Bougatsos, Robert Cottingham, Jane Dickson, Sylvie Fleury, Mark Francis, Antony Gormley, Gary Hill, Nicky Hoberman, Marie-Jo Lafontaine, • News of the Print World, delivered biweekly Alix Lambert, Julian Lethbridge, Liza Lou, to your email inbox and viewable any time online Ryan McGinness, Ugo Rondinone, Graciela Sacco, Beverly Semmes, Josh Smith, Mitch- ell Squire, John Tremblay, Bernar Venet, Not Vital, Marijke van Warmerdam, Aaron Young • 12 months of online ads World House Editions is an active publisher of limited edition prints, portfolios, multiple objects, photographs and video works by an • 1 small print ad in the journal eclectic group of international artists. We collaborate closely with the artists we pub- lish and work with a select group of contract print workshops and fabricators in the U.S. • Option to purchase additional discounted advertising and Europe. Based in a two-story converted carriage house in the small town of Middle- bury, Connecticut, we are open by appoint- • Listing in the Print Directory, available online and ment only. published in the journal annually

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Art in Print May – June 2017 49 Charles Beneke, X (2017) Steven Ford, Untitled (SF160727H) (2016) News of the Archival inkjet and chine collé, 20 x 15 inches. Linocut and monoprint on chine colle, 44 x 60 Edition of 21. Printed and published by the artist, inches. Unique image. Printed and published by Print World Akron, OH. $400. the artist, Philadelphia. Available through Dolan/ Maxwell, Philadelphia. $13,000.

Selected New Editions

J.L. Abraham, Power/Poetry (2016) Woodcut (6 plates), 38 x 25 inches. Edition of 4. Printed and published by the artist, New York. $500.

Steven Ford, Untitled (SF160727H) (2016). Charles Beneke, X (2017). Christina Graham, Afterimage and Fade (2016) Lesley Dill, LIGHT THRILL SWOON TRUTH Set of two aquatint etchings, image 5 5/8 x 8 3/8 FLAME (2016) inches each, sheet 9 x 12 inches each. Edition of Woodcut printed on muslin with synthetic stuff- 15 each. Printed by Sarah Carpenter, New York. ing and hand dyed, hand stitched horsehair, 15 Co-published by the artist and printer, New York. x 6 x 3 inches. Variable edition of 12Printed and $475 each ($850 for the set). published by Tandem Press, Madison, WI. $4,500.

J.L. Abraham, Power/Poetry (2016).

Ann Aspinwall, Spumante (2017) Linocut and collagraph with hand coloring, 34 x 55 inches. Edition of 5. Printed and published by Aspinwall Editions, New York. $2,400.

Christina Graham, Afterimage (2016).

Lois Harada, 9066 (2016) Letterpress print, 8 1/2 x 11 inches. Edition of 25. Lesley Dill, LIGHT THRILL SWOON TRUTH Printed and published by the artist, Providence, FLAME (2016). RI. $150.

LJ Douglas, Searching and Finding (2016) Monotype with chine collé, 14 1/2 x 20 1/4 Ann Aspinwall, Spumante (2017). inches. Unique image. Printed and published by Manneken Press, Bloomington, IL. $1,100. John Baldessari, Eight Colorful Inside Jobs (2017) Mixografía® prints on handmade paper, 22 x 17 1/2 inches each. Edition of 50 each. Printed and published by Mixografia®, Los Angeles. Price on request. Lois Harada, 9066 (2016).

Daniel Heidkamp, Spire One, Paper Blossoms LJ Douglas, Searching and Finding (2016). and Autumn Assemblage (2017) Pigmented, dyed, and printed paper collages, 47 1/2 × 32 1/2 inches each. Unique images. Leonardo Drew, 58P (2017) Printed by Justin Israels, New York. Published by Pigmented, printed and cast handmade paper, Pace Editions, New York. Sold out.. 77 × 39 1/2 inches. Edition of 3. Printed by Ruth Lingen, New York. Published by Pace Editions, New York. Price on request.

John Baldessari, Eight Colorful Inside Jobs: Blue (2017).

Daniel Heidkamp, Autumn Assemblage (2017).

Leonardo Drew, 58P (2017).

50 Art in Print May – June 2017 Catherine Kernan, Tracking #8 (2017) Yoonmi Nam, Take Out (Thank You for Your Woodcut monoprint, 59 1/2 x 55 1/2 inches. ) (2016) Unique image. Printed and published by the art- Lithograph on Gampi paper and cast glazed por- ist, Somerville, MA. Available from Stewart & celain, 16 x 12 x 12 inches. Unique work. Produced Stewart, Bloomfield Hills, MI. $7,000. and published by the artist, Lawrence, KS. (Litho- graph printed by NIU Printmaking Students.) $2,000.

Gregory Santos, Subway Showtime 18 (2016).

Beverly Semmes, Golden G: Flowers (2016) Intaglio on polar fleece chine collé with archi- Catherine Kernan, Tracking #8 (2017). val inkjet and collagraph collage insert, 34 1/2 x 26 1/4 inches. Edition of 12. Printed and Carly Kurka, Fall and Divide E5 (2016) Yoonmi Nam, Take Out (Thank You for published by Island Press, St. Louis, MO. $1,500. Relief print, collage, 52 x 40 inches. Unique Your Patronage) (2016). images. Printed and published by Amanda Verbeck, Pele Prints, St. Louis, MO. $1,200. Frank Ozereko, Red and Gold Vessel (2016) Monoprint, stencils, gold leaf, trace print, glitter, 30 x 22 inches. Uniqe image. Printed and pub- lished by the artist, Pelham, MA. $750.

Beverly Semmes, Golden G: Flowers (2016).

Carly Kurka, Fall and Divide E5 (2016). Yasu Shibata, Walla Walla Series (Wind, Sky and Field) (2017) Emil Lukas, Dome 3 (2015) Set of six Japanese woodcuts, 11 x 11 inches each. Screenprint, 28 1/4 x 28 inches. Edition of 35. Edition of 10. Printed and published by the artist, Printed and published by Durham Press, Frank Ozereko, Red and Gold Vessel (2016). New York. Available through Aspinwall Editions, Durham, PA. Price on request. New York. $1,600 for the set. Maurice Sanchez, Stop Violence Against Women (2017) Lithography, collage and pochoir, 44 x 29 3/4 inches. Unique image. Printed and published by Derri- ere L’Etoile Studios, City, NY. $999.

Emil Lukas, Dome 3 (2015). Yasu Shibata, Walla Walla Series (Wind, Sky Beatriz Milhazes, Mother’s day (2016) and Field) (2017). Woodblock, screenprint and gold leaf, 51 7/8 x 17 inches. Edition of 40. Printed and published Tyler Starr, Redress Papers: Descry (2016) by Durham Press, Durham, PA. Price on request. Photogravure, 15 x 22 inches. Edition of 15. Printed and published by the artist, Davidson, NC. $600.

Maurice Sanchez, Stop Violence Against Women (2017).

Gregory Santos, Subway Showtime 18 (2016) Five-color monoprint lithograph from photo plates, 22 x 15 inches. Unique image. Printed and published by the artist, Denver, CO. $275.

Tyler Starr, Redress Papers: Descry (2016).

Beatriz Milhazes, Mother’s day (2016).

Art in Print May – June 2017 51 Louise Eastman, Jess Frost, Tara Geer, Exhibitions of Note Katie Michel, Wendy Small and Janis Stemmermann, Miss 2017 (2017) AARAU, SWITzERLAND Boxed portfolio of 11 embroidered sashes and “Swiss Pop Art. Forms and Tendencies letterpress poster printed by Leslie Miller, poster 1962–1972” 20 1/2 x 16 1/2 inches, boxed portfolio 2 3/4 x 4 1/2 7 May – 1 October 2017 x 15 1/4. Edition of 15. Fabricated and published by Aargauer Kunsthaus Planthouse, New York. $1,250. http://aargauerkunsthaus.ch

ALBUQUERQUE, NM “66 Mile Radius: Three New Mexico Artists at Tamarind” 17 June – 8 September 2017 Tamarind Institute http://tamarind.unm.edu

AMSTERDAM “Good Hope? South Africa & The Netherlands from 1600” Louise Eastman, Jess Frost, Tara Geer, Katie 17 February – 21 May 2017 Michel, Wendy Small and Janis Stemmermann, Rijksmuseum http://rijksmuseum.nl Miss 2017 (2017).

Jacob van Schalkwyk, A Single Gestural Event ANDOvER, MA In Boston, through 18 June: “Terry Winters: (2016) “Frank Stella Prints: A Retrospective” The Structure of Things.” Terry Winters, Morula Open bite with aquatint, 54 x 40 cm. Edition of 22 April – 30 July 2017 III (1983-84), color lithograph, 42 1/2 x 32 1/2 12. Printed and published by David Krut Work- Addison Gallery of American Art inches. Gift of Lois B. Torf in honor of Sue Welsh shop, Johannesburg, South Africa. Available http://www.andover.edu/museums/addison/ Reed. ©Terry Winters. Photograph ©Museum of through David Krut Projects, New York. $600. Fine Arts, Boston. ASPEN, CO “Adam McEwan: I Think I’m In Love” “Stanley Whitney” 13 January – 28 May 2017 29 April – 29 July 2017 Aspen Art Museum Niels Borch Jensen Gallery and Editions http://aspenartmuseum.org http://www.nielsborchjensen.com/ ATLANTA BOSTON “Andy Warhol: Prints from the “Terry Winters: The Structure of Things” Collections of Jordan D. Schnitzer and 3 September 2016 – 18 June 2017 His Family Foundation” Museum of Fine Arts, Boston 3 June – 3 September 2017 http://mfa.org High Museum of Art http://high.org BOWMANvILLE, ONTARIO Jacob van Schalkwyk, A Single Gestural “Come Closer: Stories in Woodcut and Event (2016). AUSTIN, TX Linocut Print. Pamela Dodds” “Heather Parrish: Constructed Atopia” 23 April – 21 May 2017 Brenda zappitell, Bloom 1 (2017) 21 April – 3 June 2017 Visual of Clarington Monotype, 32 x 32 inches. Unique image. Printed And: http://vac.ca and published by Manneken Press, Bloomington, “Ann Conner: Structured Utopia” IL. $3,200. 21 April – 3 June 2017 BROOKLYN Flatbed Press & Gallery “We Wanted a Revolution: http://flatbedpress.com Black Radical Women, 1965–85” 21 April – 17 September 2017 BALTIMORE “Shifting views: People & Politics in http://brooklynmuseum.org Contemporary African Art” 18 December 2016 – 18 June 2017 CAPE TOWN, SOUTH AFRICA And: “RELIEF: An exhibition of “Off the Shelf: Modern & Contemporary large-scale relief prints” Artists’ Books” 24 April – 26 May 2017 12 March – 25 June 2017 Warren Editions And: http://brooklynmuseum.org Brenda Zappitell, Bloom 1 (2017). “Front Room: Adam Pendleton” 26 March – 13 August 2017 CHARLOTTE, NC Baltimore Museum of Art “Alison Saar: The Nature of Us” http://artbma.org 28 January – 8 July 2017 Harvey B. Gantt Center for African-American BERLIN Arts & Culture “Sigmar Polke—Die Editionen” http://ganttcenter.org 28 April – 27 August 2017 me Collectors Room Berlin / Stiftung Olbricht CHICAGO http://me-berlin.com “Classicisms” 16 February – 11 June 2017 Smart Museum of Art http://smartmuseum.uchicago.edu/

52 Art in Print May – June 2017 LINCOLN, NE “Unfolding the Map” 3 March – 20 May 2017 Constellation Studios http://constellation-studios.net

LIvERPOOL “Portraying a Nation: Germany 1919–1933” 23 June – 15 October 2017 Tate Liverpool http://tate.org.uk

LONDON “Langlands & Bell: Infinite Loop” 27 April – 3 June 2017 Alan Cristea Gallery http://alancristea.com

“Sam Francis” 21 April – 27 May 2017 Bernard Jacobson Gallery http://www.jacobsongallery.com/ “The American Dream: Pop to the Present” In Fort Worth, TX, through 10 September: “Fluid Expressions: The Prints of Helen Frankenthaler.” 9 March – 18 June 2017 Helen Frankenthaler, Grey Fireworks (2000), screenprint. ©2016 Helen Frankenthaler Foundation, And: Inc. / Artists Rights Society (ARS), New York / Lincoln Center for the Performing Arts Inc., List Posters “Hokusai: Beyond the Great Wave” and Prints. 25 May – 13 August 2017 CLEvELAND HUDSON, NY http://britishmuseum.org “Cutting Edge: Modern Prints from ” “Terry James Conrad: Collage Chambers” 9 April – 13 August 2017 6 May – 25 June 2017 “Small Print International” Cleveland Museum of Art Inky Editions 23 April – 21 May 2017 https://www.clevelandart.org/ http://www.inkyeditions.com/ London Print Studio http://www.londonprintstudio.org.uk/ COLOGNE, GERMANY INDIANAPOLIS “Carlos Cruz-Diez” “Audubon: Drawn to Nature” “Wolfgang Tillmans” 27 April – 3 June 2017 1 April – 30 July 2017 15 February – 11 June 2017 Galerie Boisserée Indianapolis Museum of Art Tate Modern http://www.boisseree.com/ http://imamuseum.org http://tate.org.uk

DALLAS, TX ITHACA, NY “Another Russia: Post-Soviet Printmaking” “visions of America: Three Centuries of “Escaping the Ordinary: Artistic 8 December 2016 – 15 August 2017 Prints from the National Gallery of Art” Imagination in Early Modern Prints” And: 28 May – 4 September 2017 21 January – 28 May 2017 “The Ephemera Effect: Hokusai’s Dallas Museum of Art And: Great Wave” https://www.dma.org/ “The War to End All Wars: 25 May – 1 October 2017 Artists and World War I” Victoria & Albert Museum EASTON, MD 21 JANUARY – 11 JUNE 2017 http://vam.ac.uk “Parts and Labor: A Survey Exhibition of And: Print and Collage Works by Steven Ford” “Empathy Academy: Social Practice LOS ANGELES 22 April – 9 July 2017 and the Problem of Objects” “The Prints of Albrecht Dürer: Master- Academy Art Museum 21 January – 6 August 2017 works from the Collection” http://academyartmuseum.org/ Johnson Museum of Art, 17 December 2016 – 11 June 2017 http://museum.cornell.edu And: FORT WORTH, TX “Abdulnasser Gharem: Pause” “Between the Lines: Gego as Printmaker” KETTERING, UK 16 April – 2 July 2017 11 February – 6 August 2017 “Small Print International” Los Angeles County Museum of Art And: 31 May – 31 July 2017 http://lacma.org “Homer and Remington in Black and Alfred East Gallery White” http://www.leicesterprintworkshop.com/smallprint MADRID 4 March – 2 July 2017 “Bruce Conner: It’s All True” And: LE LOCLE, SWITzERLAND 21 February – 22 May 2017 “Fluid Expressions: The Prints of “Anni Albers: The Printed Work” Museo Nacional Centro de Arte Reina Sofia Helen Frankenthaler” 19 February – 28 May 2017 www.museoreinasofia.es/en 18 March – 10 September 2017 And: Amon Carter Museum of American Art “Wolfgang zät: Noir Absolu” MILWAUKEE http://cartermuseum.org 19 February – 28 May 2017 “How Posters Work” And: 31 March – 25 June 2017 HOUSTON “Claudia Comte: Annual Edition 2017” Milwaukee Art Museum “Adiós Utopia: Dreams and Deceptions in 19 February – 28 May 2017 https://mam.org/ Cuban Art Since 1950” Musée des Beaux-Arts 5 March – 21 May 2017 http://mbal.ch The Museum of Fine Arts, Houston http://mfah.org

Art in Print May – June 2017 53 MONTREAL PARKES ACT, AUSTRALIA SANTA FE, NM “Chagall: Colour and Music” “Frank Stella: The Kenneth Tyler “New Impressions: Experiments in Contem- 28 January – 11 June 2017 Print Collection” porary Native American Printmaking” Montreal Museum of Fine Arts 19 November 2016 – 31 July 2017 20 January – 15 June 2017 http://mbamtl.org National Gallery of Australia Museum of Contemporary Native Arts http://nga.gov.au https://iaia.edu/iaia-museum-of-contemporary- MUNICH native-arts/ “In Focus: The Fantastic Alphabet of PHILADELPHIA Master E. S.” “Witness: Reality and Imagination in the SINGAPORE CITY, SINGAPORE 21 October 2016 – 11 June 2017 Prints of Francisco Goya” “Modern Print Masters— Pinakothek der Moderne 22 April – 6 September 2017 Works From The National Collection” http://pinakothek.de Philadelphia Museum of Art 1 July – 2 September 2017 http://www.philamuseum.org/ STPI – Creative Workshop & Gallery, Singapore NEW BRUNSWICK, NJ http://stpi.com.sg “Innovation and Abstraction: SALEM, MA and Atelier 17” “Ocean Liners: Glamour, Speed, and Style” ST. LOUIS 17 January – 31 May 2017 20 May – 9 October 2017 “Learning to See: Renaissance and And: Peabody Essex Museum Baroque Masterworks from the Phoebe “Guerrilla (and Other) Girls: http://pem.org Dent Weil and Mark S. Weil Collection” Art/Activism/Attitude” 3 March – 30 July 2017 4 February – 30 July 2017 SAN DIEGO, CA Saint Louis Art Museum Jane Voorhees Zimmerli Art Museum “British Modern—Prints from the http://slam.org http://zimmerlimuseum.rutgers.edu British Museum: From the Great War to the Grosvenor School” WASHINGTON, DC NEW YORK 10 February – 19 May 2017 “The Urban Scene: 1920–1950” “NEW PRINTS 2017/SUMMER” Hoehn Family Galleries, University of San Diego 26 February – 6 August 2017 22 June – 16 September 2017 http://sandiego.edu/galleries National Gallery of Art And: http://nga.gov “Other Hats: Icelandic Printmaking” SAN FRANCISCO 13 April – 10 June 2017 “John Chiara: New Cityscapes” WICHITA, KS International Print Center New York 7 April – 3 June 2017 “William J. Dickerson: Block Prints, http://ipcny.org And: Etchings, and Lithographs” “Summer Group Show” 4 March – 18 June 2017 “A Third Gender: Beautiful Youths in 8 June – 2 September 2017 Wichita Art Museum Japanese Prints” Crown Point Press http://wichitaartmuseum.org 10 March – 11 June 2017 https://crownpoint.com/ Japan Society zURICH http://japansociety.org “The Summer of Love Experience: “Reaper. Richard Hamilton and Art, Fashion, and Rock & Roll” Sigfried Giedion” “Dieter Roth: Order / Disorder” 8 April – 20 August 2017 3 May – 25 June 2017 29 April – 30 June 2017 De Young Museum Graphische Sammlung ETH Zürich Carolina Nitsch Project Room http://deyoung.famsf.org http://gs.ethz.ch hhttp://www.carolinanitsch.com/

“Love in venice” 10 February – 26 August 2017 Stephen A. Schwarzman Building, New York Public Library https://www.nypl.org/

“Lygia Pape” 21 March – 23 July 2017 The Met Breuer http://metmuseum.org

“The Mysterious Landscapes of Hercules Segers” 13 February – 21 May 2017 The Metropolitan Museum of Art http://metmuseum.org

“Whitney Biennial” 17 March – 11 June 2017 Whitney Museum of American Art http://whitney.org

OSLO, NORWAY “The Great Graphic Boom. American Prints 1960–1990” 3 March – 28 May 2017 Nasjonalmuseet - Norway http://nasjonalmuseet.no/en/ In Oslo, through 28 May: “The Great Graphic Boom. American Prints 1960–1990.” Roy Lichtenstein, Crying Girl (1963), offset lithograph, 17 1/4 × 23 inches. Foto: Staatsgalerie Stuttgart

54 Art in Print May – June 2017 Auctions The American Dream: Pop to the Present A Century of Prints in Britain Stephen Coppel, Catherine Daunt and Julia Beaumont-Jones LONDON Susan Tallman 302 pages, 250 color illustrations “Evening & Day Editions” 332 pages, 388 illustrations Published by Hayward Publishing 7 June 2017 Published byThames & Hudson London, 2016 Phillips London and New York, 2017 $30. http://phillips.com $60.

Events

NEW YORK “IPCNY Annual Spring Benefit” 23 May 2017 – 23 May 2017 International Print Center New York http://ipcny.org/springbemefit2017

New Books

Atelier Michael Woolworth, Paris Catherine de Braekeleer, editor 111 pages, fully illustrated in color Abstract Traditions: Postwar Japanese Published by Centre de la Gravure et Prints from the DePauw University de l’image imprimée Permanent Art Collection Other News La Louvière, France, 2017 Edited by Craig Hadley €16. 88 pages, fully illustrated in color Launch of New Artist-in-Residence Published by DePauw University Program in Norway Greencastle, IN, 2016 Artica Svalbard has announced a new artist- PDF available for download: in-residence program in Longyearbyen on the http://www.depauw.edu/files/resources/abstract- Arctic island Spitsbergen, the world’s northern- traditions_-postwar-japanses-prints-.pdf most town. The first invited artists and writers will arrive in March and April 2017 and stay for three to nine months. The project is a collabo- ration between the Office of Contemporary Art Norway, Norwegian PEN and Queen Sonja Print Award; each organization selects recipients in their particular domain. The first artists nomi- nated by the Queen Sonja Print Award are Tiina Kivinen, Carroll Dunham and Tauba Auerbach. For further information, see Queen Sonja Print Award (http://www.queensonjaprintaward.no/).

Another World: Nineteenth-Century Illustrated Patricia Mainardi 304 pages, 166 color and 46 b/w illustrations Published by Yale University Press New Haven, 2017 $65. Bestechend gestochen: das Unternehmen Hendrick Goltzius Ariane Mensger 120 pages, 103 color illustrations Published by Hirmer Verlag and Kunstmuseum Basel, 2016 €40.

Parkett Ends Publication Parkett magazine will cease publication this sum- mer after the appearance of a final double issue, #100/101, its publishers have announced. Bice Curiger, Jacqueline Burckhardt and Dieter von Graffenried explain the decision as a response to the change in reading habits in the digital age. Since its founding in 1984, the Zürich-based publication has played a vital role in the conver- sation about—and access to—international con- temporary art. It is singular both for its heft (each issue is, in fact, a book) and for the editions that have accompanied each issue. In contrast to the standard hodgepodge format of art publications since the 19th century, Parkett invited contribu- tors to write about one artist from multiple van-

Art in Print May – June 2017 55 tage points (initially just one artist per issue; later Call for Applications: Residency two or three). The honored artist would then Non-Toxic Electro-Etching Workshop, design a limited edition artwork to accompany Canary Islands the issue, with the only proviso being that it must Led by Alfonso Crujera since 2002, this resi- be possible to send through the post. The result is dency-workshop is located in the vicinity of what the publishers describe as “a small museum the UNESCO Gran Canaria Biosphere Reserve Purchase and a large library of contemporary art.” An assid- (Canary Islands, Spain). The workshop intro- uous collector will, over the course of 100 issues, ducing printmakers to the process of nontoxic have acquired a domestically-scaled museum of electrolytic etching. Applications are due 31 Back Issues contemporary art, ranging from Meret Oppen- August 2017 for two-week to one-month residen- heim (veined gloves, issue #4) to Gerhard Richter cies from September to December 2017. For more of Art in Print. (a series of small paintings, issue #35) to Lynette information, visit http://www.en.crujera.com/resi- Yiadom-Boakye (etching, issue #99). No other dency/about-the-residency-2.html. periodical has so perfectly blended the need for thoughtful, multivalent consideration of art objects, with access to the objects themselves. The issues and editions will remain fully doc- umented and available at www.parkettart.com. The back catalogue is currently being fully digi- tized and will soon be accessible online. Mean- while, plans for exhibitions are in the works with various museums,

Call for Applications: Ratamo Printmaking and Photography Centre, Finland RATAMO Printmaking and Photography Cen- tre in Jyväskylä, Finland, welcomes printmakers to apply for a one month residency in October 2017. The residency includes accommodation and printshop access in addition to a €400 grant for living and material costs. Applications are due by 31 May 2017. For more information, please visit http://www.jyvaskyla.fi/ratamo/en/facilities/ Did you know you can recidencies. purchase any issue of Art in Print?

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56 Art in Print May – June 2017 CROWN POINT PRESS 20 HAWTHORNE STREET SAN FRANCISCO CA 94105 CROWNPOINT.COM 415-974-6273

SUMMER GROUP SHOW June 8 – September 2, 2017

Anne Appleby, Cottonwood, 2012. Color aquatint with burnishing, 24½ x 24¼", edition 20.

Art in Print May – June 2017 57 iNTERNATIONAL PRINT CENTER NEW YORK Spring Benefit Dinner wednesday, May 24, 2017 honoring Jim Dine Artist

David Kiehl Whitney Museum of American Art Barbara Krakow Barbara Krakow Gallery Jim Dine, Painters and Poets in the French, 2016, Color woodcut. Paper: 51 3/8 x 83 1/2 inches. Image: 45 7/8 x 79 1/8 inches. Edition of 14. Printed by Christoph Chavanne and Gabi Pechmann at Steindruck Studio, Apetlon, Austria.

www.ipcny.org/springbenefit2017

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58 Art in Print May – June 2017 Art in Print May – June 2017 59 uw Art Department/Tandem Press !

August 6 - 13, 2017 Join us in Madison, Wisconsin this summer for a one week studio-intensive printmaking workshop!

Participants will use relief and methods to create their own print and collaborate on an oversize exquisite-corpse print!

Registration fee: $1,000

More information: tinyurl.com/printmakingworkshop

To register: go.wisc.edu/KXD789

WWW.TANDEMPRESS.WISC.EDU [email protected] 608.263.3437

60 Art in Print May – June 2017 STACEY STEERS NEW LITHOGRAPH

Detail of “Vital Signs” (2017) color lithograph/digital collage 22 x 30 inches edition of 25

SHARk’S INk. sharksink.com

Cutting Edge: Modern Prints from Atelier 17 April 9 – August 13, 2017 | Cleveland Museum of Art | Cleveland, Ohio Steven Ford Parts and Labor April – July 2017 | Academy Art Museum | Easton, Maryland Dolan/Maxwell New and Recent Works by 2046 Rittenhouse Square Philadelphia, Pennsylvania 19103 Amze Emmons and Lynne Clibanoff 215.732.7787 April 27 – August 27 2017 |Brodsky Galleries of the Gershman Y www.DolanMaxwell.com Philadelphia, Pennsylvania [email protected] Left: Stanley William Hayter, Unstable Woman 1947, engraving, softground etching, screenprint & gauffrage, by appointment please image 14 7/8 x 19 1/2”; sheet 19 3/4 x 24 3/4” Center: Steven Ford, Flow 2008, linocut with watercolor, image 8 x 10”; sheet 9 1/2 x 11” Right: Amze Emmons, Distribution Context 2016, graphite, gouache & watercolor, image/sheet 22 1/4 x 29 3/4”

Art in Print May – June 2017 61 Contributors to this Issue

Catherine Bindman is an editor and art critic who has written extensively on both old master and contemporary prints. She was Deputy Editor at Art on Paper magazine and lives in New York.

Kit Smyth Basquin retired after 13 years in the Department of Drawings and Prints at the Metropoli- tan Museum. She wrote her PhD dissertation on the use of words as form and content in the prints of 20 New Prints Pat Steir, Jaune Quick-to-See Smith, Lynne Allen and Lesley Dill. Previously she was curator of educa- Richard Bosman tion at the Haggerty Museum of Art, Marquette University, Milwaukee. Jane E. Goldman Paul Coldwell is an artist and Professor in Fine Art at the University of the Arts London who writes frequently on art. His work includes prints, sculpture and installation. His exhibition “Temporarily Hunt Slonem Accessioned: Freud’s Coat Revisited” is on view at the Freud Museum London through 7 May 2017.

Fleur Roos Rosa de Carvalho is Curator of Prints and Drawings at the Van Gogh Museum, Printer/Publisher & Dealer of Fine Prints Since 1980 Amsterdam, where she has worked since 2010. She is the organizer of the museum’s current exhibition www.StewartStewart.com and catalogue, Prints in Paris 1900: From Elite to the Street (2017), and of an experimental, interactive website that presents the museum’s print collection in its full glory: www.vangoghmuseum.com/prints.

is a printmaker, painter, writer and educator. He founded Bridge Press, a publisher Member Brian D. Cohen of limited edition artist’s books and etchings, in 1989. His works are held by major private and public collections throughout the country and his writing has appeared in numerous journals and magazines.

Patricia Emison is a professor at the University of New Hampshire and the author of several books on the Italian Renaissance, most recently The Italian Renaissance and Cultural Memory (Cambridge Uni- versity Press, 2012). She holds a PhD from Columbia University and a BA in art history and philosophy Subscribe to from Bryn Mawr College.

Robert Fucci is currently the Samuel H. Kress fellow at the Drawing Institute of the Morgan Library Art in Print & Museum, New York. He is completing his PhD dissertation for Columbia University on the 17th- for as little as century Dutch printmaker Jan van de Velde II. Roslyn Bakst Goldman and John L. Goldman have been collectors of graphic art since the 1960s. A graduate of Cornell University and the University of Rochester, Roslyn has been an appraiser of fine $38 per year. art for 38 years, specializing in prints, and served as president of the Appraiser’s Association of America.

Sarah Kirk Hanley is an independent print specialist and critic based in greater New York. She at- tended Grinnell College as an Iowa Scholar, then transferred to the University of Iowa to complete a BFA in printmaking. She has held positions at the Milwaukee Art Museum, the Lower East Side Print- shop and Christie’s.

Jillian Kruse is a Curatorial Assistant at the Hood Museum of Art, Dartmouth College, where she www.artinprint.org researches and writes on the museum’s print collection. She specializes in print culture and 19th- century French art with specific interests in popular culture, identity and the history of collecting. She received an MPhil degree in Public History and Cultural Heritage from Trinity College, Dublin.

Harry Laughland received his MA in 2014 from the Courtauld Institute of Art, where he wrote his thesis on Richard Hamilton and Gerhard Richter’s approaches to depicting terrorism. He is currently an associate at Alan Cristea Gallery, London, and at the end of May 2017 will become an Associate Director at Cahiers d’Art, Paris.

Jennifer S. Pride develops online art history courses for universities, and she teaches art history and women’s studies at Florida State University. She continues to collect 19th-century newspapers and prints and is working toward establishing an online database for scholars worldwide.

Stephen Snoddy is Director of The New Art Gallery Walsall. He has organized the UK’s first solo exhibitions of Juan Munoz, John Baldessari, Annette Messager and Georg Dokoupil, and has worked with Chris Ofili on his 1998 Turner Prize winning exhibition. Also an exhibiting artist, Snoddy trained at Belfast School of Art. He is a trustee of the Campaign for Drawing.

Jason Urban is an artist, writer, teacher and curator, whose work has been exhibited internation- ally. He earned a BFA from Kutztown University and an MA and MFA from the University of Iowa. Co-founder of Printeresting.org—“the thinking person’s favorite resource for interesting print miscel- lany”—he currently teaches Printmaking at the University of Texas at Austin.

Kay Wilson is Curator of the Collection at the Faulconer Gallery, Grinnell College.

Lesley Wright is founding director of the Faulconer Gallery, Grinnell College, where she has curated exhibitions featuring art from Brazil, Portugal, China and the American Midwest. She holds a BA from Swarthmore College, and an MA and PhD in American Art History from Stanford University.

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

62 Art in Print May – June 2017 Back Issues of Art in Print

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Art in Print May – June 2017 63 ATOMIC MYSTIC PORTRAIT 13, 2016, Woodblock Monoprint, 25 3/8 x 17 inches (64.5 x 43.2 cm) POLLY APFELBAUM

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