US $25 The Global Journal of Prints and Ideas November – December 2013 Volume 3, Number 4 R.B. Kitaj: Prints About Books and Books About Prints • Matisse, Motherwell, Hamilton and Ulysses • Edition Ex Libris Rules for Printing ca. 1628 • Biblia Pauperum • Luc Tuymans • Printmaking Manuals 1400-2013 • Prix de Print • ≤100 • News DUE NORTH í norður 9–26 JANUARY 2014 HRAFNHILDUR ARNARDÓTTIR KOLBEINN HUGI KATIE BALDWIN KELSEY HALLIDAY JOHNSON MARIANNE BERNSTEIN HEKLA DÖGG JÓNSDÓTTIR HILDIGUNNUR BIRGISDÓTTIR HARALDUR JÓNSSON SHAWN BITTERS DAVID KESSLER DIANE BURKO RAGNAR KJARTANSSON MARIANNE DAGES ERLING T.V. KLINGENBERG CINDI ETTINGER ANNA HRUND MÁSDÓTTIR KATYA GORKER REBECA MÉNDEZ JOHN HERON MUNDI KRISTINN E. HRAFNSSON SERENA PERRONE RÚRÍ SIRRA SIGRÚN SIGURÐARDÓTTIR MAGNÚS SIGURÐARSON PAUL SOULELLIS JULIA STAPLES A collaboration between Icelandic and American artists Curated by Marianne Bernstein Presented by Philagrafika Icebox Project Space 1400 N. American Street Philadelphia DUENORTH2014.COM November – December 2013 In This Issue Volume 3, Number 4 Editor-in-Chief Susan Tallman 2 Susan Tallman On the Unpacking of Libraries Profile: Edition Ex Libris Associate Publisher Julie Bernatz Kit Smyth Basquin 6 Ineluctable Modality of the Visible: Managing Editor Illustrations for Joyce’s Ulysses Annkathrin Murray Anja Grebe and Ad Stijnman 12 Online Columnist A Manual for Printing Copper Plates Sarah Kirk Hanley Predating Abraham Bosse’s Treatise of 1645 Manuscript Editor Prudence Crowther Catherine Bindman 21 Kitaj in our Time: Prints and Obsessions Design Director Skip Langer Prix de Print, No. 2 26 News Editor Mark Pascale Isabella Kendrick Gesa Puell: Punkt zu Linie Editorial Associate Treasures from the Vault 28 Dana Johnson Emily J. Peters Leaf e from the Biblia Pauperum Development Associate Emily Nowell Reviews Elleree Erdos 32 “How you gonna get back to Jersey?” Charles Schultz 35 Luc Tuymans—Graphic Works 1982–2012 Andrew Raftery 36 Engraving and Etching 1400–2000 Karen Kunc 38 The Art and Craft of Woodblock Printmaking Julia Beaumont-Jones 39 Kitaj Prints: A Catalogue Raisonné News of the Print World 43 On the Cover: EX LIBRIS, Rachel Whiteread, detail of bookplate (2008) from M. Sasek, <100 56 Mike and the Modelmakers (originally published 1970), color screenprint as folding box, 17.3 x Guide to Back Issues 64 18.5 cm. Printed and published by Salon Verlag & Edition. ©The artist and Salon Verlag & Contributors 66 Edition. Online: This Page: Anders Bergstrom, detail of Sarah Kirk Hanley / The INK Blog Grease Bag (2013), nine-layer reduction Ephemera on the Mind: Part 1 woodcut, polymer, steel, hand-cut and folded. Printed by Brad Ewing, New York. Published by Grenfell Press, New York. Art in Print Specific articles in this issue were made 3500 N. Lake Shore Drive possible with the generous support of the Suite 10A Samuel H. Kress Foundation and the Chicago, IL 60657-1927 IFPDA Foundation. www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. On the Unpacking of Libraries By Susan Tallman he flirtation between word and heroic reach, echoing and foreshadowing the owner at the center, but only momen- Timage has been a frequent presence of James Joyce’s Ulysses can be seen as a tarily. But libraries are ecosystems; they in these pages: authors have written on cousin to the Biblia Paupurum, but the survive not through stasis but through concept-driven artists’ books, opulent truth it illuminates is not cosmic coher- endless exchange and adaptation: ideas poetry-and-print portfolios, pictures that ence; it is the fractured and incomplete are absorbed, broken down into new are all words and books that are all pic- nature of life lived. Kit Basquin’s survey components, used to build something tures. The current issue returns to this of the Ulysses editions of Henri Matisse, similar but slightly mutated (for better or theme, but moves beyond the tidy integ- Robert Motherwell and Richard Ham- worse). Some bodies decay and others are rity of the book to embrace the crazed ilton further demonstrates that every fossilized. Some offer windows into deep plenitude of the library. reading is in fact a new invention (p. 6). structures of being. Some are simply To its owners, the 15th-century Biblia The same principle undergirds the cur- loved for their shells. Pauperum discussed by Emily Peters on rent publishing project Edition Ex Libris, page 28 would have seemed a library- profiled on page 4, through which artists between-two-covers: interweaving text pick one book to be reprinted with a cover Susan Tallman is the Editor-in-Chief of and image on each page to demonstrate and bookplate of their own design. Art in Print. the links between Old and New Tes- In the 21st century we take it as a given taments (both composed of multiple that perfect knowledge is a vapor. The Notes: “books” themselves) through typological taut melancholy of Luc Tuymans’ graphic 1. Grebe and Stijnman’s article was originally commissioned for Art in Print, Vol. 2, No. 4 resemblance, revealing earlier narratives work (gathered together in book form (November–December 2012), a special issue as foreshadows of the story of Jesus. Pro- and reviewed by Charles Schultz on page on the materiality of early modern printmaking, duced during the infancy of the printed 35) points to the moral hazards of selec- generously supported by the Samuel H. Kress book, it offered a vast, confident, closed tive reading. The Planthouse print salon Foundation. loop of knowledge. Everything fit. Every- reviewed by Elleree Erdos on page 32 one was accounted for. offers a more benign view of abundance, Two centuries later, when a collector and of the complex relationship between named Paulus III Behaim von Schwarz- image, thought and object. bach appended printing instructions For no recent artist, however, was to the inventory of his holdings, people the library—repository of inquiry and still aspired to such complete knowledge, inconclusion—more central than for the but—thanks to printing—the odds had painter, printmaker, bibliophile and liter- shifted. The store of available materials ary exegete R.B. Kitaj, whose career is dis- had exploded; Behaim himself owned cussed here by both Catherine Bindman some 38,000 prints. Such profusion is the (p. 21) and Julia Beaumont-Jones (p. 39). enemy of the tidy typological circuits on Kitaj’s greatest print project (and argu- which projects like the Biblia Pauperum ably his most important work overall) depend; it is a haven of loose threads. was In Our Time: Covers for a Small Library Behaim’s printing manual, translated and After the Life for the Most Part (1969), a analyzed by Anja Grebe and Ad Stijnman set of 50 screenprints that painstakingly on page 12,1 attempted to fix with clarity reproduce the covers of books he owned. some practical aspects of the medium, In Our Time is a self-portrait by gath- but it was itself the tip of an iceberg: Stijn- ered metonym. It was Kitaj’s answer to man’s recent book, Engraving and Etching Walter Benjamin’s tender paean to book 1400-2000 (reviewed by Andrew Raftery collecting, “Unpacking My Library,” an on pages 36) runs to 658 pages, nearly 200 essay in which the line between the text dedicated simply to listing prior intaglio (immaterial, mobile, immortal) and the printing manuals. (Karen Kunc’s review book (an exact set of molecules travel- of the relief printing manual The Art and ling through space and time) is clearly Craft of Woodblock Printmaking (p. 38) cer- and poignantly drawn. For Benjamin, as tifies that even in this pragmatic domain, for Kitaj, the book was a thing of promise there is always more to be said.) rather than of conviction, something val- By the 20th century, the library had ued not only for the information it held, become a metaphor for the certainty of but for the connections it tendered— uncertainty, proof that any system of past, present and future. understanding, no matter how intri- A book collection builds those connec- cate, will always prove incomplete. The tions into a four-dimensional web with 2 Art in Print November – December 2013 TERRY WINTERS AT GEMINI Clocks and Clouds Six New Color Lithographs LLC GEMINI G.E.L. 8365 MELROSE AVENUE LOS ANGELES, CA 90069 TEL: 323.651.0513 EDITIONSGEMINIGEL.COM GEMINIGEL.COM REPRESENTED IN NEW YORK BY: GEMINI G.E.L.AT JONI MOISANT WEYL 535 WEST 24TH STREET3RD FLOOR NEW YORK 10011 212.249.3324 GEMINIJONIWEYL.COM JONIWEYL.COM ∂ Clocks and Clouds / 4, 2013 36 x 46” Ed: 35 ©2013 Terry Winters and Gemini G.E.L. LLC Profile: Edition Ex Libris By Susan Tallman EX LIBRIS, Mark Dion, bookplate (2002) from Die geöffnete Raritäten- und Naturalien-Kammer (The Opened Cabinet of Curiosities and Natural Wonders) (originally published in 1704), offset print, 6.5 x 9.5 cm. Edition of 200. Printed and published by Salon Verlag & Edition. ©The artist and Salon Verlag & Edition. oward the end of “Unpacking My are still corners of the art business that Some have been out of print for centu- T Library,” Walter Benjamin notes that remain rooted in motivations that Benja- ries, some can be picked up on Ama- for his type of passionate and eclectic min would have found familiar. zon. Jack Pierson—seeking “to preserve, book collector, “time is running out.”1 Since 2002, the Cologne publisher come what may, the ephemeral”—chose Writing in the early 20th century, he fore- Gerhard Theewen of Salon Verlag (www. a 1957 pin-up magazine featuring “Hol- saw a world in which the utility of texts, salon-verlag.de) has been running a proj- lywood young males”; Candida Höfer, best served through broad public acces- ect called Edition Ex Libris.