R.B. Kitaj: Prints About Books and Books About Prints • Matisse, Motherwell, Hamilton and Ulysses • Edition Ex Libris Rules for Printing Ca

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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- T image 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

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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. Every year he best known for her photographs of grand sibility, would trump the private quali- invites two artists to select one book each libraries, reprinted a school atlas from ties of intimate engagement and specific to be reprinted with a new cover or dust 1860; Marcel Dzama picked a pamphlet attachment to the book as a specific jacket designed by the artist and a match- co-authored by Marcel Duchamp about a object passing through time. The end- ing signed and numbered bookplate. The specific and obscure type of chess prob- lessly useful and utterly bloodless texts of chosen books are works that the artists lem (pawn endings involving distant Google Books can be seen as the fruition feel have had a profound influence on opposition and the theory of coordinate of that promise. their work, and which they would like to squares.) And yet, the art world stands as a tes- make available to the public in this ever- The artists’ interventions have been tament to the ineradicable human urge so-slightly glossed form. equally varied: Gregor Schneider’s book- to care about individual things—to, in a Their choices have included memoirs, plate replicated his attempt to repli- word, collect. If much of that collecting children’s books, literature, philosophical cate his own childhood drawings (p. 2); is loud, vulgar and seemingly pointless exegeses, scientific texts, gorgeous anti- Thomas Demand’s—for Rudolph Car- (apart from the money exchange), there quarian volumes and cheesy periodicals. nap’s Pseudoproblems in Philosophy—looks

4 Art in Print November – December 2013 like a bookmark pointer; Rachel Whit- eread, who reprinted the 1970s children’s book Mike and the Modelmakers, designed a bookplate in the form of an unfolded Matchbox toy car box (on cover). The purpose of an ex libris is to document ownership and, as Benjamin observed, “ownership is the most intimate relationship that one can have to objects.”2 Many of these books come with intimate histories of acquisition: the collection of folk embroidery patterns reprinted by Gerd and Uwe Tobias had, they note, long been in their family; Thomas Huber picked an architecture book written by his father about the house commissioned by his grandfather; and the 1635 midwifery volume chosen by Louise Bourgeois had been a gift from print publisher Peter Blum, purchased because the 17th-century midwife in question was named Louise Bourgeois. Ownership can also be construed more broadly. The artist Andrew Raftery once wrote in these pages, “my own feeling after copying a print or drawing is that I now own something about it that can be incorporated into my own work.”3 Find- ing one’s future within a text is akin to EX LIBRIS, Gregor Schneider, bookplate (2012) from Mein erster Brockhaus (My First romantic possession. Brockhaus Encyclopaedia) (originally published in 1972), color offset print on the endpaper, Finally, of course, there is a third level 22 x 24 cm. Edition of 150. Printed and published by Salon Verlag & Edition. ©The artist and of ownership—these things are for sale Salon Verlag & Edition. and their acquisition implies an appre- ciation of all these strata: the content or beauty installed on the pages by the around articulating the taxonomic urges original authors; the chances of history of collecting, but the lesson of Edition Ex that brought the book into the orbit of Libris is that we all work with a private an artist ready to love it; the ricochet of library—the things we love, which ideas and forms between past and pres- become the things we own, which become ent, inspiration and revaluation, borrow- the things we make. ing and making now given new life on a new set of shelves. Notes: Thus the project is both a rumination 1. Walter Benjamin, “Unpacking My Library” in Illu- on, and an exercise in, collecting. The minations, New York: Schocken Books (1969), 67. 2. Ibid. basic editions (book, jacket and book- 3. Andrew Raftery in Angela Campbell and plate) hover in the sweet spot between Andrew Raftery, “Remaking Dürer: Investigating exclusivity and accessibility: printed edi- the Master Engravings by Masterful Engraving,” tions of 150 to 300 (with the exception of Art in Print, vol. 2, no. 4 (2012). one 750-strong edition for Lawrence Weiner) available at a cost of €49.80 to €400. There is also a “Collector’s Edition” of each: a box set that includes the book, jacket and bookplate, as well as a signed and numbered artwork. These last may EX LIBRIS, Gert & Uwe Tobias, bookplate (2010) from Herta Wilk, Siebenbürgisch- be prints or photographs, but are often Sächsische Leinenstickereien aus Tartlau drawings. To accompany his reprint of a (Transylvanian-Saxon Linen Embroideries 1704 guide to Wunderkammers, Mark from Tartlau) (originally published in 1976), Dion created both hand-colored prints portfolio with one 10-page booklet, 52 pattern and individual, miniature curiosity cabi- sheets as loose plates and eight black and white illustrations, 34 x 24 cm. Edition of 200. Printed nets containing shells, fossils, coins, and published by Salon Verlag & Edition. ©The shark teeth, etc. Dion has built his career artist and Salon Verlag & Edition.

Art in Print November – December 2013 5 Ineluctable Modality of the Visible: Illustrations for Joyce’s Ulysses By Kit Smyth Basquin

lysses is one of the great books “ U of our time,” wrote William York Tindall in 1959,1 and the opinion con- tinues to be widely shared. Since its publication in 1922 James Joyce’s magnum opus has generated an industry of scholars, books and articles as well as films, plays, paintings and other works of art. Among these are three bodies of prints by three major 20th-century artists— Henri Matisse, Robert Motherwell and Richard Hamilton—each markedly different visually and each revealing a distinct set of ambitions, strategies and relationships to the text. Each tells us more about the artist than about the text and for that very reason confirms the status of Joyce’s book as a kind of universal narrative through which every reader strikes a different path. Taking its title and, loosely, its structure from Homer’s Odyssey, Ulysses has been called a “mock-heroic epic novel.”2 (In the novel, the episodes are simply numbered, but in a diagram Joyce gave each the name of an episode in the Odys- Robert Motherwell, Frontispiece (portrait of James Joyce), from the Arion Press edition of Ulysses sey; these designations are widely used (1985), etching, 4.25 x 6 inches. Printed and published by Arion Press, San Francisco. Image ©Arion Press. Art ©Dedalus Foundation, Inc./Licensed by VAGA, New York, NY. by Joyce scholars though they do not

appear in the text itself.) While Homer recounted Odysseus’ ten-year struggle is a stream of consciousness monologue. Joyce captures the grit of daily life in to return home to Ithaca after the Tro- Though Joyce had abandoned Dublin for Dublin, from love, lust, infidelity and jan War, Joyce traces the wanderings of the European continent, never to return death to urination, masturbation, men- Leopold Bloom, an Irish Jew and a small- permanently, Ulysses has been described struation and bodily gas. The book was time advertising agent, on a single day a “near-encyclopedic representation of banned as pornography until 1933 in the of 16 June 1904. The narrative follows turn-of-the-century Irish culture.”3 United States. three main characters: Bloom, his wife, Joyce’s writing is funny, sacrilegious In 1934, Henri Matisse—who had Molly, and a young intellectual, Stephen and earthy. His parody of the Nicene recently completed his 45-foot-long mural Dedalus. Creed (the testament of faith used widely The Dance II for Albert C. Barnes in Phila- The book is a famously difficult read. by Catholics and Protestants) is typical in delphia—was asked by George Macy to A quarter of a million words long and its dense agglomeration of religion, sex illustrate a volume of Ulysses for The narrated from multiple and changing and slang laced together with puns and Limited Editions Club, New York.5 He points of view, it exploded the traditional savagery: agreed on the advice of his son Pierre,6 novelistic form of escapist narrative who felt the combination of two such into something fractured and prismatic. They believe in rod, the scourger influential modernists would be popular Each episode adopts a different narra- almighty, creator of hell upon earth, in the United States. Looking, however, at tive mode: Episode 7, set in a newspaper and in Jacky Tar, the son of a gun, who the six soft-ground etchings and 20 litho- office, looks like a newspaper broadsheet was conceived of unholy boast, born of graphs that constitute Matisse’s Ulysses, with interior headlines; Episode 15, in the fighting navy, suffered under rump one might well ask, “What do these a brothel, reads like a play; Episode 17 and dozen, was scarified, flayed and images have to do with Joyce?” Matisse’s takes the form of a catechism with ques- curried, yelled like bloody hell, the third fluid, abstracted forms offer no humor, tions and answers; and the final episode day he arose again from the bed….4 no irreverent juxtaposition of high and

6 Art in Print November – December 2013 Above Left: Henri Matisse, Nausicaa, Episode 13, soft-ground etching, plate 27 1/2 x 21 cm; Center: Henri Matisse, Calypso, Episode 4, soft-ground etching, plate 27 1/2 x 21 1/2 cm; Right: Henri Matisse, Eole, Episode 7, soft-ground etching, plate 27 1/2 x 20 1/2 cm, all in Ulysses (1935), written by James Joyce, introduction written by Stuart Gilbert. Designed and published by George Macy for The Limited Editions Club, New York. The Metropolitan Museum of Art, Gift of Charles K. Wilkinson, 1962, (62.644.1). All images ©The Metropolitan Museum of Art, NY. Art ©2013 Succession H. Matisse / Artists Rights Society (ARS), New York. low, no manic energy, and no scenes that and shipped to Macy in New York. Matisse deftly depicts rowers tossed by seem to represent anything that happens Joyce’s Episode 13 is a faint echo of huge waves, an allusion to Aeolus, the in Joyce’s story. The pictures and the text the encounter between Odysseus and wind god whose tempests battered Odys- do share some core Modernist impulses: the princess Nausicaa as told by Homer: seus’ boat and knocked him off course. In Matisse’s distilled linear images, over- Bloom watches from a distance (or fan- Joyce’s punning text, however, the “wind” lapping curved bodies and fractured tasizes) as a young woman exposes her in question is that of the verbose journal- composition suggest Joyce’s stream of legs and underwear, and he mastur- ists who turned out the daily newspaper. consciousness mode, and the preva- bates.10 Matisse offers a composition that Robert Motherwell, like Matisse, lence of nudes can be seen as reflecting reprises to some extent his Dance paint- was invited to create prints for Ulysses the explicit sexuality of Joyce’s text. But ings and that also resembles Picasso’s by a publisher of livres d’artistes; unlike Matisse’s figures are so generalized they Les Desmoiselles d’Avignon (1907): a naked Matisse, however, Motherwell felt a close could be attached to almost any 20th- figure, whose back is to the viewer, is personal affinity with Joyce’s text, which century novel. Matisse—always a Clas- shown looking at three closely positioned had profoundly marked his development. sicist at heart—had in fact chosen to females nudes. In the print, the gender of He had first discovered Ulysses as a teen- illustrate Homer’s Odyssey rather than to the onlooker in the print is ambiguous, ager in Paris in the 1930s when he read it interpret Joyce’s complex book.7 He never though in two of the overlaid lithographs, surreptitiously because he knew his fam- read Ulysses.8 the muscular back is clearly male. ily would disapprove.13 He later observed, Joyce was not pleased, and observed Matisse’s biographer, Hilary Spurling, “There is something very visual about that his daughter Lucia’s letters were “far ties many of Matisse’s Ulysses illustrations Joyce—not in the usual way of writing better than what Matisse had done for to events in the artist’s own life and sug- realistic descriptions—but as though the limited edition of Ulysses.”9 Although gests that the tangle of struggling women he were a modernist painter.… I found 1500 copies were printed, Joyce stopped in the etching for Episode 4, “Calypso,” Ulysses at a time when I was searching for signing them after about 250, perhaps may be a transposition of the domes- the key to a vaguely perceived modernist because his eyesight was failing or tic discord between the artist’s wife and aesthetic that I knew I had to make my because he disliked the illustrations. his mistress/model into mythological own. Joyce served my purpose then and In the book, Matisse’s preliminary realm,11 much as the overlaid sketches in now.”14 drawings for the etchings are reproduced the book reveal a transition from specific When Andrew Hoyem of Arion Press lithographically on thin yellow and blue figures with eyes and hair to heads that are proposed the project in the 1980s Mother- sheets that are attached as overlays to the simply abstract ovals. Joyce’s Episode 4, well was his 60s, but Joyce had remained finished prints. The reader can watch the however, has no fighting women in it: the a touchstone. (He named his foundation development of the images from their reader follows Bloom as he prepares break- the Dedalus Foundation after Joyce’s fic- relatively realistic starting points to the fast while his wife Molly reclines in bed.12 tional character and alter ego, Stephen eloquent reductions that Matisse cop- Even further from the events of Dedalus.) In letters to David Hayman, ied onto paper stuck to soft ground. The Bloom’s day is “Eole,” Matisse’s image Motherwell described both his research etching plates were processed in Paris for Episode 7. With a handful of lines, for the project and its limitations:

Art in Print November – December 2013 7 purposely to avoid the visual quirks of a personal style, working for many years with manipulated, borrowed images so as to avoid the seemingly expressive “artist’s hand.” He wrote in 1984, “One of my interests in print [is] the possibility of fabricating an image without involving the gestural identity we recognize as the stamp of an individual artist.”20 This led Hamilton to a set of visual strategies that were closely attuned to Joyce’s approach to language. Hamilton’s habitual juxtaposition of high and low images, his interlacing of art history and commerce, his sense of humor, his provocative sexuality and delight in allusive meanings were ideally suited to an interpretation of Joyce’s prose. In 1992 Hamilton wrote, “The artist’s job has always been that of selecting and reassembling elements from a changing, chaotic experience.”21 In keeping with the discordant structure of Joyce’s text, Hamilton chose not to compose his images as pages in a book, but as a series Robert Motherwell, Episode IX: Scylla & Charybdis, from Arion Press edition of Ulysses (1985), of large, independent etchings, each in etching, 4.25 x 6 inches. Printed and published by Arion Press, San Francisco. Image ©Arion Press. a different style. He further combined Art ©Dedalus Foundation, Inc./Licensed by VAGA, New York, NY. multiple techniques and motifs within single prints to give a sense of Joyce’s I collected an Irish library, photos colored aquatint block and by an etched nonlinear time; where Joyce called atten- of Ireland of about the period when roman numeral. The two prints at the tion to language, Hamilton focused on Ulysses took place, Bloomsday, 1904, front of the book include a swift and marks on paper. The prints draw from histories of Irish art, color books of Ire- loose portrait of Joyce. many sources, including Joyce’s descrip- land. But on a much deeper level, the Motherwell characterized his images tive prose, films, television, photographs subject matter of Ulysses is not Ire- for Ulysses: “I have always regarded what and the artist’s own drawings and earlier land any more than the subject matter I have done in the book as being modest prints. (An indispensable reference for of the Odyssey is oceanography of the illuminations.… I also wanted to be—as the interpretation of Hamilton’s Ulysses Mediterranean.15 I should be—very modest in proximity to works is Stephen Coppel’s essay: “Hamil- maybe the greatest text in English since ton’s Odyssey into Ulysses,” 2002.)22 For Motherwell, the qualities evoked Shakespeare.”18 To make the etchings, Hamilton by the words were more important than No artist, however, has been more worked with Aldo Crommelynck, who the precise nature of the things described: fascinated by the wanderings of Leopold had been Picasso’s printer for many years, My vocabulary works only with poetry, Bloom than Richard Hamilton, who first and subtle borrowings from Picasso form that is to say with non-narrative writ- studied Ulysses in an army barracks while another underlying thread. Hamilton’s ing to which my visual metaphors performing his mandatory National Ser- pseudo frontispiece portrait of Bloom is can be matched with verbal meta- vice in postwar Britain. In 1948 Hamilton loosely modeled on Picasso’s 1920 draw- phors springing from the same kind made a group of ink, graphite and water- ing of Igor Stravinsky,23 but captures the of source, so to speak, that is, not color drawings illustrating episodes from solid ordinariness of Bloom, seated sug- illustration, but a series of explosions the text. His goal was to make prints of all gestively with his legs spread. Soft-ground or fireworks or oppositely, a kind of 18 episodes, but as a young, unknown art- etching gives the feel of the drawn line. In Hamilton’s second version of Joyce’s restrained silence.16 ist he could not raise the money to publish a new edition and he did not know Episode 5, He foresaw his pale body (1990– Joyce inspired Motherwell to develop any professional printers with whom he 91), we see Bloom stretched out naked his own personal style, and in the Arion could collaborate.19 in the tub, his phallus bobbing on the Press Ulysses17 he employed that style in By the time Hamilton returned to the surface of the water. The foreshortening the form of abstract calligraphic mark- project in 1981, he was an eminent con- recalls Mantegna’s Dead Christ (ca. 1480) ings that allude to words, the heart of temporary artist and famous as the father but in reverse (Christ’s feet are at bot- Joyce’s text, but only rarely offer recog- of British Pop Art. Like Matisse and tom while Bloom’s are at top), suggest- nizable references to Joyce. Each of the Motherwell, he was also acknowledged ing a reference to the Eucharist, Christ’s book’s 18 episodes is introduced by a as one of the century’s great printmakers. body, which was sacrificed. In Joyce’s line etching contained within a densely Yet unlike them, Hamilton had struggled text, Bloom looks at himself and at his

8 Art in Print November – December 2013 Richard Hamilton, Leopold Bloom (1983), soft ground etching, roulette, engraving, and aquatint, image 20 3/4 x 14 1/2 inches, sheet 29 7/8 x 22 3/8 inches. Printed by the artist and Aldo Crommelynck. Published by Waddington Graph- ics, London. The Metropolitan Museum of Art, Purchase, Reba and Dave Williams Gift, 2000 (2000.388). Image ©The Metropolitan Museum of Art. ©Richard Hamilton. All Rights Reserved, DACS and ARS 2013. private parts in a narcissistic moment; his feelings are compromised, knowing of his wife’s pending affair with her concert master, Blazes Boylan. Hamilton captured Bloom’s self-absorption and sexuality. The tour de force of Hamilton’s Ulysses works is HOW A GREAT DAILY ORGAN IS TURNED OUT (1990), which incorporates 20 small images—each produced through a different intaglio technique—locked together in a single rectangle like the heterogeneous segments of the newspa- Richard Hamilton, He foresaw his pale body (1990–91), sugar-lift aquatint, roulette and heliogravure in 23 colors, image 20 3/8 x 14 7/8 inches, sheet 29 3/4 x 22 1/8 inches. Printed by the artist and Kurt per broadsheet Joyce mimics in Episode Zein, Vienna. Published by Waddington Graphics, London. The Metropolitan Museum of Art, Purchase, 7. (Crommelynck had made a composite Reba and Dave Williams Gift, 2000 (2000.394 ). Image ©The Metropolitan Museum of Art. ©Richard print for Picasso in 1970 of La Célestine, Hamilton. All Rights Reserved, DACS and ARS 2013. which may have served as a model.) The interlacing of print technique, source material, treatment, quotation and father, John.24 Scattered between the Bronze by gold (1985–87). As in Édouard complication is extraordinary: Gentle- images are newspaper headlines—“with Manet’s famous A Bar at the Folies-Bergères men of the press (third row on right) uses unfeigned regret,” “house of Keyes,” “A (1882), a mirror behind the figures reflects line etching, engraving and aquatint to Street Cortege”—used by Joyce. (All 20 the scene in front of them. Blazes Boylan, portray a gesturing Stephen Dedalus small plates were also released in inde- Molly’s lover, is seen in the mirror as the with Bloom, his surrogate father, and pendent editions in 1988 and 1989, and man in the yellow straw hat eying the another man in conversation; for Jamie as individual prints in the portfolio IRE- none-too-happy barmaids. Bloom, with (second row, second from right) Hamil- LAND a NATION [1990].) his back to his rival, salutes an acquain- ton worked from a photograph of Joyce The opening words of Episode 11, tance in the bar.26 Hamilton, like Joyce, taken in 1904, the year in which Ulysses “Bronze by gold heard the hoofirons, imbued the scene with sexuality, expec- is set, using a roulette dipped in acid to steelyringing,”25 provide the title for tation and sadness. The bright colors and give the impression of a soft pencil; Simon Hamilton’s depiction of Homer’s sirens space flattened by lettering give the scene Dedalus (center), Hamilton’s only known as Dublin barmaids holding phallic beer a pop-culture look, affecting yet another mezzotint, is based on a portrait of Joyce’s pulls in the bar of the Ormond Hotel, style.

Art in Print November – December 2013 9 Richard Hamilton, Bronze by Gold (1987), soft ground etching, lift ground aquatint, engraving, scraper, and burnisher, image 20 3/4 x 16 7/8 inches, sheet 30 1/4 x 20 7/8 inches. Printed by the artist and Kurt Zein, Vienna; plates with Atelier Crommelynck, Paris. Published by Waddington Graphics, London. The Metropolitan Museum of Art, Purchase, Reba and Dave Will- iams Gift, 2000 (2000.391). Image ©The Metro- politan Museum of Art. Art ©R. Hamilton. All Rights Reserved, DACS and ARS 2013.

Kit Smyth Basquin is an administrator in the Print Study Room at the Metropolitan Museum of Art.

Notes: 1. William York Tindall, A Reader’s Guide to James Joyce 1959 (New York: Farrar, Straus & Giroux, 1981), 123. 2. A. Nichols Fargnoli and Michael P. Gillespie, James Joyce A to Z: The Essential Reference to the Life and Work (Facts on File, 1995), 223. 3. Fargnoli and Gillespie, James Joyce A to Z, Richard Hamilton, HOW A GREAT DAILY ORGAN IS TURNED OUT (1987-90), intaglio, image 197. 53 x 40 cm, sheet 76.2 x 56.2 cm. Printed by the artist and Aldo Crommelynck, Paris. The Metropolitan 4. Joyce, Ulysses, Hans Walter Gabler, ed. (New Museum of Art, Purchase, Reba and Dave Williams Gift, 1997 (1997.387.2). Image ©The Metropolitan York: Random House, 1986), ch. XII, lines 1354– Museum of Art. Art ©R. Hamilton. All Rights Reserved, DACS and ARS 2013. 58, p. 270. 5. Ulysses, 1935, by James Joyce with etchings In the 1990s, Hamilton, who had Of the three artists considered here, and lithographs by Henri Matisse. Printed by The always had a penchant for new technolo- Hamilton best captured the spirit of the Limited Editions Club, designed and published by George Macy for The Limited Editions Club, New gies, embraced digital printing. The Iris text, mirroring Joyce’s range of narrative York. print, The heaventree of stars (1998), was approaches and content and allowing 6. Hilary Spurling, Matisse the Master: A Life of his last Ulysses print, and in it Hamilton Bloom’s narrative to dominate the imag- Henri Matisse, The Conquest of Colour 1909– overlays his own life on that of Joyce’s ery. Motherwell’s Ulysses is a poetic mon- 1954 (New York: Knopf, 2005), 340. fictional hero. Faithful to the text, Ham- ument to the license Joyce provided, but 7. Ibid., 341. 8. Richard Ellmann, James Joyce, 1959 (New ilton depicts Bloom in bed with his wife, one that stands largely independent of York: Oxford University Press, 1983), 675. his thumb on the bridge of his nose,27 but the text. And what of Matisse, who never 9. Ibid., 682. in the print Molly’s face is that of Hamil- read the book? His images may not do 10. Joyce, Ulysses, XIII, 720–40, 300. ton’s wife, Rita Donagh, Bloom is the art- much to enhance our understanding of 11. Spurling, Matisse the Master, 352. ist’s assistant, Nigel McKenaghan, posing Bloom’s day, but his Ulysses is—unwit- 12. James Joyce, Ulysses, XVII, 701, 255. in Hamilton’s house in Oxfordshire tingly—the most radically modern of all 13. Stephanie Terenzio, ed., The Collected Writ- ings of Robert Motherwell (New York: Oxford Uni- beneath a bedcover crocheted by the art- in its engineered collision of two sets of versity Press, 1992), 283. ist’s mother.28 content, each looking the other way. 14. Ibid., 285.

10 Art in Print November – December 2013 2013 Publications

Charline von Heyl Liza Lou David Musgrave Walid Raad Tom Sachs Richard Tuttle Jonas Wood

Richard Hamilton, The heaventree of stars (1998), ink jet (Iris) print, 53 x 37.5 cm, Ithaca, episode seventeen, printed by Ian Cartwright at Circa, London. Published by the artist. The Metropolitan Museum of Art, Purchase, Reba and Dave Williams Gift, 1999 (1999.266.7). Image ©The Metropolitan Museum of Art. Art ©R. Hamilton. All Rights Reserved, DACS and ARS 2013.

15. Ibid., 283. Etienne Lullin (Winterthur, Switzerland: Kunstmu- 16. Ibid. seum Winterthur and New Haven: Yale Center for 17. Ulysses by James Joyce, with 40 etchings British Art, 2003), 271. by Robert Motherwell. Published by Arion Press, 21. Hamilton, “Evolution,” 1992, in Richard Hamil- San Francisco, 1988. Edition of 150. Plates pre- ton: Prints and Multiples, 274. pared by Catherine Mosley, Greenwich, CT. Color 22. Stephen Coppel, “Hamilton’s Odyssey into proofing and intaglio printing was by Katherine Ulysses,” in Richard Hamilton: Prints and Mul- Hanlon and Robert Townsend of R.E. Townsend, tiples, 14–17, and entries on Hamilton’s individual Inc., Georgetown, MA. Book design by Andrew prints for Ulysses as cited by Lullin. Hoyem. 23. Ibid., 184. 18. Terenzio, Robert Motherwell, 289. 24. Ibid., 206–10. 19. Stephen Coppel, Work in Progress: On Illus- 25. Joyce, Ulysses, XI, 1, 210. trations for James Joyce’s “Ulysses,” exh. cat. 26. Coppel, Richard Hamilton: Prints and Mul- (Derry, Ireland: Orchard Gallery, 1985), 10, 12. tiples, 196. Edition Jacob Samuel 20. Richard Hamilton, “Introduction,” in Richard 27. Joyce, Ulysses, XVII, 315–2,316, 606; XVII, Hamilton Prints 1939-83 (Stuttgart and London: 2,328, 607. Edition Hansjörg Mayer, 1984), reprinted in Rich- 28. Coppel, Richard Hamilton: Prints and Mul- www.editionjs.com ard Hamilton: Prints and Multiples 1939–2002, by tiples, 244.

Art in Print November – December 2013 11 A Manual for Printing Copper Plates Predating Abraham Bosse’s Treatise of 1645 By Anja Grebe and Ad Stijnman

Fig. 1a. Regeln, so im Kupferdrucken, so woln in abtruckung der Holzstöck fleisig in obacht zunemen (16 November 1628) in Paulus III Behaim von Schwarzbach, Orndliche verzeichnus vnnd Registratur, aller meiner 1. geschnittenen Kupfer, 2. Holzkunst 3., vnnd gegossenen Bleistück, so viel ich nacheinander deroselben zuhanden gebracht (Nürnberg) (1618–1628), p. 215. ©Bamberg State Library. Photo: Gerald Raab.

n the Stadtbibliothek Bamberg there text accompanies the article online. Behaim, now in Bamberg,5 was also I is a 17th-century manuscript that In 1883 the art historian Josef Eduard begun in 1618 and lists the many printing catalogues the numerous copper print- Wessely published an article about a plates and blocks owned by the collector. ing plates, wooden printing blocks and remarkable manuscript, which Wessely The manuscript came to the library as lead casts collected by Paulus III Behaim had discovered in the collections of the part of the bequest of the Bamberg his- von Schwarzbach (1592–1637) of Nurem- Berlin Kupferstichkabinett2: 194 pages torian Joseph Heller (1798–1849), who had berg.1 Appended at the end of the manu- containing the continuously updated cat- purchased the volume in 1815 from the script are instructions for the printing alogue of Paulus III Behaim’s print collec- patrician Ebner family of Nuremberg.6 of copper plates, dated Nov. 16, 1628 tion—a collection of some 38,000 sheets, Like the Berlin catalogue, the Bamberg (Fig. 1a). Although earlier documents on mostly German but also including works manuscript7 was continuously updated intaglio printing are known [see Appen- by Netherlandish, Italian and French until at least 1628.8 dix online], we believe this text—which masters from the mid-15th century to his Behaim’s Collection of Printing predates Abraham Bosse’s chapter on own time.3 Begun in 1618, the inventory Plates and Blocks intaglio printing by 17 years—is the earli- is one of the earliest-known catalogues of est extant manual encompassing all ele- a print collection.4 The collection itself A table inserted at the beginning of ments of the process. This highly original was dispersed after Behaim’s death, and the volume shows that most of the plates text is published here for the first time in no trace of it remains. and blocks were acquired in groups from English; a German transcription of the The second catalogue compiled by previous owners in Nuremberg. The early

12 Art in Print November – December 2013 purchases seem to have been made with the actual printing; 24–26 the prevention own collection, to use them as book illus- the financial help of Behaim’s father, Pau- and correction of mistakes; 27–28 clean- trations, wall decoration, gifts, or possi- lus II Behaim (died 1621), and his brother- ing up after printing; 29–32 the han- bly even objects to sell. in-law. Behaim’s very first purchase, on dling of printed sheets; and 33 the uses Dec. 29, 1618, was co-financed by Johann of prints. Most of Behaim’s rules are still t around the same time that Paulus Georgen, burgher of Nuremberg, and valid today, though some materials have A III Behaim copied the rules into his included “various good Italian and other changed—it is no longer common to rub inventory, he wrote a heartbreaking let- copperplates weighing 2 pounds,” sold by copper plates with tallow on a coal fire, ter to his family and the Nuremberg city Wolff Jacob Pömer. This acquisition was nor to grease the taps of the rollers of the council asking for financial assistance probably the reason Behaim started com- printing press with pork fat.17 after his 1628 bankruptcy, for which he piling the catalogue. In its detailed descriptions of indi- blamed the devastations of the Thirty Behaim acquired most of his print- vidual steps and practical instructions Years War. The former free-spender ing templates directly from the estates on how to choose materials and avoid described his desperate situation and of local artists. In 1621, he bought a large mistakes, the Rules transmit the kind of submitted a debt plan detailing cost- group of copper plates that had belonged workshop knowledge that comes from cutting measures he had imposed upon to Balthasar Jenisch (died 1599), a well- long experience with materials and himself and his family. He declared him- known goldsmith, engraver and print techniques. This raises the question of self ready to renounce almost everything publisher who had begun his career in the authorship. It is improbable that a patri- except his collection of prints, plates and workshop of Virgil Solis (1514–1562), mar- cian such as Paulus III Behaim would related printing materials.19 To convince ried his master’s widow, and thus inher- have acquired this knowledge himself. his creditors, Behaim argues that a) the ited his workshop materials.9 Behaim’s One might posit that he copied the Rules collection was dear to his heart, b) he had catalogue mentions a large number of from some preexisting printer’s text, but acquired the plates and corresponding copper plates by both artists. the few known earlier works are entirely items either for a very low price or as gifts, Two purchases made in 1623 are of different [see appendix], and in any case c) he had used them for his own pleasure special interest. On March 9 and Aug. 15, there is no evidence that the author of the and no financial resources were neces- he acquired a total of 3,616 woodblocks, Rules knew about them.18 It is also pos- sary for their maintenance, d) the collec- some explicitly described as unfinished,10 sible that Behaim acquired the Rules as tion could become a source of income. as well as a printing press from the wid- part of one of the workshop legacies he Behaim claimed that he had acquired his ows of Georg Lang and Michael Georg.11 had purchased a few years earlier, but the print collection mainly by trades, appar- Both Lang (died 1617)12 and Georg (died formal and precise dating of the Rules— ently for his own, self-produced prints. 1623)13 had worked as illuminators, Actum Anno 1628 16. Novembris—argues It is difficult to judge to what extent woodblock cutters (Formschneider), print- against this hypothesis. Furthermore, the Behaim’s statements are accurate, but in ers and print publishers. Behaim probably detailed descriptions of the nature and view of his financial situation it seems purchased the entire workshop legacy of properties of certain materials and tools likely that he now wished to profession- each artist. The most extraordinary part don’t seem necessary for workshop arti- alize his hobby and so asked a Nuremberg of the purchase is the printing press, as it sans, who would have already been famil- printer to compose the Rules. seems to contradict the purely aesthetic iar with these matters. What makes the Rules so special interest in prints that one might expect It seems more likely that Behaim among early practical manuals on intag- from an upper-class collector,14 and sug- commissioned the Rules from a Nurem- lio printmaking is the completeness of gests that Behaim intended to use his vast berg printer and copied them into his its instructions for printing. Abraham collection of copper plates and wood- inventory. This idea is supported by the Bosse’s famous treatise of 1645, which blocks to produce new impressions.15 detailed instructions given for cleaning includes a chapter on plate printing and and repairing used, worn-out or dam- plans for the construction of a roller The Rules aged copper plates; given the large num- press,20 became the standard for etching, The appearance of the printing man- ber of second-hand plates in Behaim’s engraving and intaglio printing into the ual at the end of Behaim’s inventory collection, such knowledge would have 19th century.21 But Bosse was an engraver would seem to confirm this idea. (Accord- been essential. There is also a linguistic rather than a printer, and did not offer the ing to the title, instructions for the print- clue: while most of the text is written in kind of practical detail included in the ing of woodblocks were to follow those an impersonal form, in rule 27 the author Rules, such as what to do about the plate for intaglio, but these were never added.) uses the first person: “When you have the curving upwards when it is run through The text is specifically concerned with copper [plate] in your hand for the last the press.22 the printing of copper plates, the stand- time, I have found it well to grease one ard metal for engravings and etchings.16 side, as explained before as far as nec- The text does not treat the making of essary [...].” This is the only passage in An annotated listing of instructive, the plates, only the printing of them, which Behaim’s anonymous informant workshop practice texts up to giving 33 steps that even a nonspecial- manifests his existence, though he does 1628 along with a transcription of ist can easily follow. Rules 1–5 cover the not reveal his identity. Very probably, the original German text of the preparation of plates for printing; 6–11 this passage slipped Behaim’s linguistic Regeln can be seen online at the necessary materials and tools; 12–15 standardization. Finally, Rule 33 points to www.artinprint.org. inking and wiping of the plates; 16–17 the the interests of an art lover who wanted preparation of the printing press; 18–23 to have copies of the copper plates in his

Art in Print November – December 2013 13 Fig. 1b. Regeln, so im Kupferdrucken, so woln in abtruckung der Holzstöck fleisig in obacht zunemen (16 November 1628) in Paulus III Behaim von Schwarzbach, Orndliche verzeichnus vnnd Registratur, aller meiner 1. geschnittenen Kupfer, 2. Holzkunst 3., vnnd gegossenen Bleistück, so viel ich nacheinander deroselben zuhanden gebracht (Nürnberg) (1618–1628), p. 224-225. ©Bamberg State Library. Photo: Gerald Raab.

The author of the Rules gives little square brackets to make reading easier. tarnished, dark, raw, and stained, you information about ink recipes or the con- The translation keeps close to the origi- should rub it with warm olive oil a day or struction of the press; nor is dampening nal phrasing in order to transmit the two in advance, wipe after that, and rub the paper, preparing the ink or wiping the atmosphere and style of the Rules, and with charcoal. plate closely described. Apparently these the writing manner of the professional Olive oil would soften any ink residue or dirt, processes were taken for granted, which printer who supplied the text. making it easier to saponify this with the lye. suggests that the work’s intended reader Neither the oil nor the lye or soap would (in casu Behaim) had a basic knowledge affect the copper. Rubbing with charcoal of them, or had at least attended a plate- would polish away any oxidation or rough- ness. Care must be taken not to also polish printing demonstration once. Done on 16 November 1628. away the design. Transcription of the Original Text Rules, to observe diligently Washing the copper plates again after in the printing of copper plates printing and rubbing them with olive oil. The translation to follow offers the as well as woodcuts. content of the original Rules along with 3. Finally, if you want to store and place some clarifying notes of our own. In the Printing copper plates. manuscript (Fig. 1b), headings are written apart [the copper plates] after use and in the margin to the left and the numbers printing, you must again wash them with centered above their respective para- Cleaning the black printing ink warm lye, which goes easier now, after graphs. The texts are written in two man- from the copper plates. which you wipe them dry above the [live] ners in two kinds of ink by the same hand. 1. charcoals and rub them with olive oil. Saponifying residual ink with warm lye is a The main title, the headings and the First you must wash warm those copper quick and effective manner of cleaning that numbers are written in the first manner plates that you want to print with the best leaves the copper bright and shiny without in reddish ink, the paragraphs themselves and strongest lye and by cleaning with a affecting the metal. are written in the second manner in black soft brush. ink. The paragraphs are written without Cleaning the plates is done with a warm corrections, suggesting they were cop- lye or an alkaline soap. The lye will sapon- Or rub with fat. ied from an earlier concept, perhaps an ify and remove the oil or fat with which 4. interview with a printer or the printer’s the plate is protected (see rules 3, 4 and You may also rub the copper plates on notes. In the summary on pages 227–229, 28) and also any remaining old printing the live charcoals with [animal] fat after the headings are again written in the ink. The hairs of the brush can enter the printing, by which they are kept equally margins on the left, but the numbers are grooves during cleaning and they should well, until you want to use them again. written in between the lines. Here also be soft in order not to damage the plate. Coating the plate with oil or fat protects the headings and numbers are written in red- copper against chemical reactions with oxy- dish ink in two manners. To clean washed copper plates gen or sulphur in the air. For further protec- In this English translation, punc- that are dulled. tion against mechanical damage the plate tuation has occasionally been added or 2. could have been wrapped in paper or better changed for legibility. Where needed, If, however, the copper plates, although in one of its discarded prints (“maculature”) words and phrases are entered between without blacking or printing ink, are still sheets for easy recognition.

14 Art in Print November – December 2013 Polishing the cracks and chinks in the copper plate. 5. Before one starts to print the copper, observe above all that the cracks, chinks and rough parts are removed and smoothed with a burnisher23 or stylus.24 Such cracks appear during hammering a copper ingot to a plate, the manner common then. When not well burnished they hold ink and show in the impression, something often seen with early modern prints.

How the black and printing ink for new and old copper plates should be like. 6. The black or printing inks for new and deeply cut copper plates should be somewhat thicker and stronger; for the clean25 or very worn plates, however, thin and tempered [inks] should be used. As a rule of thumb and common to every experienced plate printer, engravings that are not worn and more deeply cut plates need stronger ink, while worn engravings and other plates with shallow grooves and fine structures need thinner ink. Further- more, the author offers little in the way of recipes for printing ink. No information is given about the kind of pigment, its qualities or source, except that the term “soot” is given in rule 14 (ruß). Actual soot would not have been used because it strongly retards the drying of the ink, giving the oil binder more time to bleed into the paper, while leaving plate tone that is difficult to wipe off; soot also contains a high percentage of bituminous matter that would cause bleeding.26 Ruß may have been a generic term for black pigment, the most common types of which were charred lees of wine (so-called Frankfurt black) and bone black.

Old printing ink is more useful than new one. 7. The longer the printing ink is kept and the older it gets, the better and blacker it will be in printing; otherwise, if you use it immediately after grinding, it Fig. 2. Zonca Printshop interior, engraving, 25.5 x 16 cm. V. Zonca, Novo teatro di machine et edifi- will appear a little pale and unsound, cii (etc.). Padoua: Bertelli, 1607: pl. on p. 76; Wolfenbüttel, Herzog August Library, 30.3 Geom. 2° (1). due to the dampness it still contains, which is because the pigment is first should be thoroughly dried before preparing How the printing balls should be. ground with water, [and] only here- the ink.27 Grinding damp pigment with oil- 8. after has to be ground and prepared with varnish creates an emulsion that makes the The printing balls that you want to use, oil and varnish. ink too thin and causes it to be wiped off the especially those for large copper plates, The mention of water left in the pigment plate and out of the grooves too quickly. This must be made of soft [linen] rags, fit- after grinding it to a fine powder is some- may be why the author says old ink is better, ting in your hand, [rolled up] stiffly and what curious. In his 1616 manual, Gerard because enough water has evaporated from tightly bound; after use, however, [the ter Brugghen instructs that the pigment the ink to give it proper consistency. printing ball is] wrapped in damp cloth

Art in Print November – December 2013 15 Fig. 3. Stradanus Jan Collaert II (?) after Johannes Stradanus, Sculptura in aes, engraving, 20.2 x 27.4 cm. Nova Reperta, Antwerp: Galle, ca. 1591: no. 19; Wolfenbüttel, Herzog August Library, 36.17.2 Geom. 2° (1). and put away in order to keep it soft and it conforms to the plate and will readily take Paper which is too much dampened. usable; because without it you can’t fill the ink. References to dampening the paper 10. the grooves and ink the plate completely before printing are common.28 In his 1607 When too damp paper is placed on the if the ink hardens on the balls. manual, Vittorio Zonca depicts and men- copper plate, the print is darker and the tions a pile of paper between boards weighed hatching flows together, but you have to How to dampen the paper and with a stone on the floor and another pile in change the felt and the extra sheets on put a weight on it. use on top of the press (Fig. 2, nos. T and S top, or maculature paper, because of the 9. respectively).29 sizing and dampness, otherwise it will all In order to use the paper, be it for writ- The difference between writing paper stick to the top roller [of the press]. ing or common, it should be prepared at and “common” paper (by which the author least some six hours or even a whole day may mean paper used for printing) is If the paper is not dampened [in advance] by dampening the individual sizing. Writing paper was well sized with enough and dry. sheets with a sponge, or drawing six white a gelatine solution to prevent the aque- 11. sheets [at a time] through clean water and ous writing ink sinking and bleeding If the paper is not dampened enough and letting [the pile] stand in a press, or also into it, but the sizing slows down water dry, most of the ink stays in [the grooves placing stones on [the pile], such that it absorption, and it thus takes more time of] the copper [plate] and the print will be does not lay about, or can be torn or dam- to dampen it;30 in German countries incomplete, black in one place, at other aged when taken off. printing papers were usually not sized places pale and even invisible. You have to Dampening the paper in advance causes it to and therefore would have taken water observe this therefore and keep to it. become homogeneously damp and limp, so readily. Dry paper is hard and stiff; dampening the

16 Art in Print November – December 2013 paper makes the fibers swell and the fibrils, in strong [bleaching] chalk or lye in order placing felt blankets and maculature sheets of which fibers are composed, stand out. to remove its fat and dirtiness, and there- between the bed of the press and the upper This makes the sheet pliable, and also allows fore can be used again. roller; the more felts the higher the pressure. it to take up more ink more evenly. Boiling with bleaching chalk or lye saponifies (With later presses, strips of cardboard are the oil-varnish, which can then be washed placed in spaces made for the purpose just Inking the copper plates above the out. Washing the rags is rarely described in above the upper bearings. These cards are live charcoal. later sources, but fits well in a society that slightly flexible and pressure is regulated 12. recycled everything. by adding or taking out cards. In modern Although it is less work to ink and wipe presses these cards are still commonly used, the copper plates that are warmed above To prepare the press for printing. along with regulating screws or spindles the live charcoal, they have to be wiped 16. for further adjustment.) Though spindles longer and more often, because of the The printing press should be attached in roller presses were used by the early 17th varnish [= ink] that comes off continu- to the floor with big screws to the four century for flattening strips of lead or tin,34 ously, before the plate’s surface is nicely ends [of its feet] in advance; the taps of they were not adapted to plate printing at blank and clean. both rollers31 should be rubbed with pork the time. Special attention is given to a clean and fat; the four taps, however, both above accurate inking and wiping of the copper and below [should be] supported equally How to place the copper [plate] plates. Inking and wiping a plate warm is and then the table of the press should be on the press. easier than a cold one because warm ink is moved in exactly straight. 18. less viscous, but you will also wipe more ink To prevent the press from moving or tum- The prepared copper [plate] is neatly laid out off the grooves. The live charcoal was bling over, its feet must be attached to the down [in the middle of the maculature kept in an iron basin covered with a grid and floor, as is shown in several early illustra- sheet], according to its width or height, the copper plate was warmed on this grid tions of printshops: Zonca, as an engineer, whatever suits best, although take care (Fig. 2 no. E, Fig. 3 front, Fig. 4 on the left). was aware of the problem and proposed fas- not to touch it with the fingers to avoid tening the machine in the ground (Fig. 2, no. any spots and stains. Inking the copper plates cold and R).32 Stradanus’ printshop interior shows without heat. the press in the backroom with a big stone How to lay the damp paper on the 13. on its feet (Fig. 3), something we can also copper [plate] and to cover it with If, on the contrary, these copper plates are observe with the press in Kilian’s printshop maculature and felt. used without charcoal and thus cold, they interior (Fig. 4, note the millstone). The 19. are more difficult to rub in but need much instruction to grease the ends of the rollers, After this place the damp paper evenly less ink; it is also a bit tougher, but easier the taps, with pig’s fat indicates the rollers on the copper, in order that on one side and cleaner to wipe, and the impression are made of wood. Oil would sink into the there is not more margin and space than may come out blacker and the back- wood, while fat stays put on the surface of on another side; next place some three or ground much lighter and brighter. the wood and serves as a lubricant between four sheets of maculature [on top], and taps and (wooden) bearings. depending on the copper, the single or How and how often to wipe an inked The four taps are set in bearings, one double felt and [= or] cloth, the so-called copper [plate]. half of the bearing below and the other half coverage and upper part, which together 14. above each tap. Zonca shows individual roll- with the copper, and thus the complete When you have diligently prepared and ers with their taps, the parts of the bearings plank, is run through the two rollers, and observed what has been explained about and how bearings enclose a tap (Fig. 2, nos. is moved by [turning] the cross. the copper plate itself, the blacking or A and B).33 When bearings and rollers are in printing ink, [printing] balls, damp- position, the bed of the press moves between Running the copper [plate] through ened paper, the charcoal, soot and other them. The construction of Behaim’s press [the press] easy and slowly. things, and you want to print something will be similar to the one depicted in Fig. 4, 20. decently and clean, [then] ink and rub the which is from Augsburg and contemporary. It is especially to be remarked about this, copper plate either cold or warm and, 1: that running through should go easy in wipe and remove the larger part of the ink To make the lower layer and paper base order that the damp paper on the copper with a coarse rag. 2: next wipe the black on the plank. can draw the ink the better to it. and fattyness that is left with your hand 17. [wrapped with the cloth]. 3: also wipe with Next, if all this is done, you first lay some Why the cross should not to be turned fast. your hand [wrapped] in a clean smooth three sheets of maculature [paper] on top 21. cloth as clean as possible. 4: Finally wipe of each other on the bare plank, then on Because on the contrary, when one is in the surface [of the plate] moreover with these a felt or woolen cloth, finally again a hurry and turns the cross fast, either a really soft and clean cloth, before one some three or four clean maculature the piece is not completely printed, or the places it on the press. sheets, depending on how thick or thin paper moves and doubles; or the copper the copper plate is and as far as needed. [plate], especially when there are many How to clean the wiping rags. This is then called the ground or base small plates, is completely moved, also 15. layer. often done in vain, and the same sheet You need many cloths or rags for it, how- With the kind of intaglio printing press that should become a nice piece can be ever, which finally are boiled and washed common in this period, pressure is built up by thrown amongst the maculature.

Art in Print November – December 2013 17 Especially when several small plates are A detail also straight from praxis is that attention to himself (ich), advising that printed together on one sheet in one run the felt takes up moisture from the damp after finishing an edition, the plate should they may move position, and the impres- papers during printing and when too wet, it be rubbed with oil, wiped clean and run sion is spoiled and useless. becomes inflexible. The blanket then needs through twice (double run). This produces a to be replaced by a dry one to guarantee con- very dark impression because the thin mix- Copper [plates] that curve when run sistent printing quality. ture of cleaning oil and ink bleeds into the through. paper easily. 22. To make curved copper [plates] flat again. Take care, when running through [the 25. How the press, together with everything press] large, median, regal or other cop- When the laid-on and run-through copper that belongs to the printing job including per [plates]; they usually bend between [plate] becomes curved and convex even- the copper plates, shall be kept. the rollers and curve upwards; one should tually, it is better, after greasing it, to lay it 28. stop these with one hand and push them upside-down lengthwise or widthwise on If everything in printing is finished down; also pull the sheet of paper a little the press [and run it through once more], according to wish, then immediately 1: toward oneself, in order that it does not to flatten them again, because if you bend take off the felt, upper and lower [macu- double and become damaged. it by hand, or on a table and woodblock, lature] papers from the press. 2: take the Larger plates may curve up when too much you could easily damage or even break it. plank from between the two rollers again maculature or a sheet of felt is underneath This advice is not found in any other source, and let it lean some place. 3: dry the mac- the plate, as the upper roller forces the plate but is indeed the proper manner of cur- ulature. 4: cover the ink and the print- downwards into the soft underlayer. The ing bent plates, as can be confirmed from ing ball and store them. 5: clean the used author advises halting and pushing the practice. copper [plates] immediately and within a raised part down with one hand, but this few days, and rub [them] with olive oil or is difficult to do while turning the cross When the copper has a crack or scratch fat. with the other hand. Boys or apprentices that cannot be polished. When the printing is done, everything is may have been employed to this purpose. 26. put away again. Typically the felt would be Stradanus’ print (Fig. 3) shows two (adult) If the copper has a chink or a complete hung to dry (see rule 24). The removal of the bearded men involved in inking and wiping crack that cannot be polished and wiped, press bed is a rare detail not found in any the plate in the foreground while the two especially in the background, then one other document on plate printing; the bed is men at the press have smooth faces, indicat- should cover it with a little piece of paper always left in the press. No reason for taking ing they are younger. of the same size, and only then lay the it out is given, but it might be because the damp sheet on it; the background of the plank sticks out; it would take up less space if To uncover the printed copper and printed piece thereby stays clean and leaned against a wall. The dried maculature lift [the print]. complete; the stain [prints] on the slip of will be used again. The ink and the print- 23. paper, which should be thrown away and ing rubber (see no. 8) need to be protected When the covered copper is run through you should take a new piece every time. against dust and dirt, which might scratch completely, you have to uncover it at the This is another printer’s trick: covering the next plate on which they are used. The other side of the press, carefully lift the a part of a plate that does not need to be plates must be cleaned within a few days, to printed piece, and observe how the cop- printed is seen as early as the 16th century prevent drying of the ink in the grooves, and per [plate] has laid. (as when a text or other detail is delib- coated with oil or fat, as described in rules After the plate is run through the press, the erately left out of certain impressions). 3 and 4. print is checked to see whether the impres- With raking light, the embossment of sion is in the right position. the strip may still be visible in the print and a Do not let the printed pieces of art lay on slight difference in plate tone may show. top of each other for a long time. To change the covering maculature 29. and felt [during] printing. Running the last impression through You should not let the newly printed 24. [the press] twice. pieces of art lay on top of each other After some eight or ten sheets have been 27. for a long time, because the ink com- printed, one should change the cover- When you have the copper [plate] in your monly offsets and rubs off, and the paper ing maculature and felt—because of the hand for the last time, I have found it becomes drab and dark reddish,35 it is wetness and dampness they have become well to grease one side [i.e., the surface], however best when one can hang and dry damp—if you want to continue and make as explained before as far as necessary, to it immediately. something neat. wipe it and lay it on [the bed of the press], “Drying” means that the water evaporates Felt is a flexible material; after being com- run it through the press twice decently from the paper and the oily binding medium pressed it expands again immediately. This without uncovering it; the impression of in the ink oxydizes, whereby the ink hardens. is the reason for covering the printing sheet which is so black again, that it looks like with a blanket. The felt is compressed when a newly cut copper [plate]; the ink also To hang the printed pieces in the air. it passes underneath the roller and the only completely moves into the paper, and 30. direction it can expand is into the grooves. finally the copper [plate] is cleaned more Although the paper that is hung in the air The paper is in between; it is therefore pressed easily; and after that [it] is kept and stored dries a little slower, it is easier to flatten deeper into the grooves where it touches until further use. and lay together afterwards. the ink and in this way the paper is printed. In this rule the anonymous author calls Drying sheets hung over ropes can be seen

18 Art in Print November – December 2013 in the printshop interiors by Zonca and Stradanus (Figs. 2 and 3). Kilian’s interior (Fig. 4) shows a pile of freshly printed sheets on the table on the right, while single sheets are drying on a long table underneath the windows.

Or dry it in a warm room. 31. Contrariwise, where it is hung in a warm room, it dries quickly, yes even in half an hour, but at the same time it buckles and is inflexible to lay in the press, also often not so nicely white, as the other that is dried in the air.

To flatten the prints in the press, or otherwise to place a weight on them. 32. When finally the paper has dried in the warmth or in the air, you should lay them in the press soon, or else between two planks weighed with stones, so that it will become flat and without many folds and wrinkles, which otherwise is a big dis- figurement for a piece of art and looks bad. When dry the sheets ought to be piled up in a standing press for flattening them or else between boards weighed with stones to get neat prints.

Finally to apply and use everything as you please. 33. Finally, when everything is taken out of and removed from the press as you wish, Fig. 4. everyone can keep the pieces of art as Wolfgang Kilian, Printshop Interior (ca. 1620), engraving, plate 13.7 x 10.3 cm. Kilian used this publisher’s device throughout the 1620s. C. Gewold, Geschlecht Register good as he can, serve others with it, or der durchleuchtigsten hertzogen in Bayren (etc.), Augsburg: Kilian, 1623; Wolfenbüttel, apply and use it for one’s own purpose, as Herzog August Library, 36.12.1 Geom. 2° (3). time, experience and opportunity present itself. The last rule is not related to the actual Orndliche verzeichnus vnnd Registratur, aller Mende believes that Behaim intended to publish meiner 1. geschnittenen Kupfer, 2. Holzkunst 3., his catalogue in print, though there is no proof printing process, but points to printing vnnd gegossenen Bleistück, so viel ich nachein- for this thesis. See A. Grebe, “Albrecht Dürers plates for one’s own pleasure rather than for ander deroselben zuhanden gebracht, (Nürn- ‘Kunstbücher’—Ordnungssysteme frühneuzeitli- commercial activities. After these instruc- berg), 1618–1628, p. 229, 16.5 ´ 22 cm. Regeln: cher Graphiksammlungen und die Anfänge des tions the author once more summarizes the pp. 215–226. Collection: Staatsbibliothek Bam- Catalogue raisonné,” in: Marburger Jahrbuch für various steps taken in the printing process. berg, JH.Msc.art.66. For a digitized reproduc- Kunstwissenschaft, 39, 2012, pp. 27–75. tion of the manuscript: http://bvbm1.bib-bvb.de/ 3. Berlin, Staatliche Museen Preußischer Kultur- webclient/DeliveryManager?pid=2934971&cus besitz, Kupferstichkabinett, Inv. 79 C 32. The tom_att_2=simple_viewer. title page reads: “Orndliche verzeichnus, allerley Anja Grebe is Professor of Art History at 2. J. E. Wessely, “Manuscript von Paul Behaim’s Kunnst, von alten Niderlendtischen, Teütschen, the Universities of Erlangen-Nuremberg and Kupferstichkatalog im Berliner Museum,” in: Italianischen, Französischen, vnnd andern gueten Würzburg, Germany. Repertorium für Kunstwissenschaft, 6, 1883, pp. Meistern, in kupfer vnnd holz an tag gegeben 54–63. J. Janitsch, “Notizen (Nochmals Behaim’s Colligirt vnnd zusammen gebracht durch Paulus Ad Stijnman is a professional printmaker as well Kupferstichkatalog im Berliner Museum)” in: Behaim juniorem. 1618. 9. Decembris.” The ori- as a recognized specialist for historical intaglio Repertorium für Kunstwissenschaft, 7, 1884, gins of Paulus III Behaim’s collection may go back printmaking processes. pp. 128–129. M. Mende, “Sammeln—Ordnen— to his father, Paulus II Behaim. See Nürnberger Beschreiben. Klassifizierungssysteme Dürerscher Künstlerlexikon. Bildende Künstler, Gelehrte, Druckgraphik vor 1800,” in: Albrecht Dürer. Das Sammler, Kulturschaffende und Mäzene vom 12. Notes: druckgraphische Werk, vol. 2: Holzschnitte und bis zur Mitte des 20. Jahrhunderts, ed. Manfred H. 1. “Regeln, so im Kupferdrucken, so woln in Holzschnittfolgen, ed. Rainer Schoch, Matthias Grieb, vol. 1, Munich: Saur, 2007, p. 91. abtruckung der Holzstöck fleisig in obacht zune- Mende, Anna Scherbaum, Munich (etc.) et al.: 4. On Paulus III Behaim’s collection, see Jas-Jas- men,” in: Paulus III Behaim von Schwarzbach, Prestel Verlag, 2002, pp. 9–27, esp. pp. 15–17. per Kettner’s unpublished doctoral thesis, Vom

Art in Print November – December 2013 19 Beginn der Kupferstichkunde. Druckgraphik als was probably a standing press rather than a roller 23. Pallierkolb; it is unknown what this tool may eigenständige Kunst in der Sammlung Paulus press. have looked like. Behaims (Berlin: Freie Universität, 2008). 16. Ad Stijnman, Engraving and Etching 1400– 24. Stefte; this may have been a stylus with one 5. Bamberg, Staatsbibliothek, JH.Msc.art.66. On 2000: Historical Developments of Manual Intaglio end that is tongue-shaped for polishing. Such a Heller see F. Leitschuh, “Joseph Heller und die Printmaking Processes, (London: Houten: Arche- tool lays to the left of the engraver in Wolfgang deutsche Kunstgeschichte,” in: F. Leitschuh, Die type, Hes & De Graaf, 2012): 25–26, 133. Iron Kilian’s printshop interior (Fig. 4). Handschriften der Helleriana (Katalog der Hand- and tin were also occasionally used for intaglio, 25. “Clean” probably means: with few or only schriften der Königlichen Bibliothek zu Bamberg, but were limited to particular subject matters in thinly engraved lines. vol. 2) (Leipzig: Hucke, 1887): 1–54. certain periods. Tin, for example, was used for 26. A. Stijnman, “The case of Frankfurter Schwarz 6. On the Ebner collection, see W. Schwemmer, printing musical scores especially from the 18th / Frankfurt Black / Noir de Francfort / Frankfort “Aus der Geschichte der Kunstsammlungen der into the early 20th century. Zwart / Negro de Frankfurt,” in: Fatto d’archimia: Stadt Nürnberg,” part 1, in: Mitteilungen des Ver- 17. For a historical overview, see ibid. los pigmentos artificiales en las téchnicas pic- eins für Geschichte der Stadt Nürnberg, 40, 1949, 18. For a more extensive list with annotated tóricas, ed. Marián del Egido, Stefanos Kroust- pp. 97–133, esp. p. 130. On the Ebner Library descriptions of 22 technical texts and 42 visual allis (Madrid: Ministerio de Educacion, Cultura y (“Ebneriana”), see R. Jürgensen, Bibliotheca sources on intaglio printmaking up to the publi- Deporte, 2012): 293–306. Norica. Patrizier- und Gelehrtenbibliotheken in cation of Abraham Bosse’s treatise in 1645, see: 27. Gerard ter Brugghen, Verlichtery kunst-boeck: Nürnberg zwischen Mittelalter und Aufklärung, vol. Ad Stijnman, “Kupferstecher bei der Arbeit,” in: inde welke de rechte fondamenten, ende het 1 (Wiesbaden: Herrassowitz, 2002): 1015–1310. Markus A. Castor et al. (eds.), Re-Inventionen. volcomen begruyck der illuminatie met alle hare 7. In the catalogue of the Heller manuscripts in Zur Etablierung der Druckgraphik als kün- eygenschappen klaerlijcken weden voor oogen the Staatsbibliothek the volume is erroneously stlerisches Medium, Passagen / Passages 31 gestelt…. (Amsterdam: Herman Allersz. Koster, described as “Paul Behaim’s catalogue of engrav- (Berlin, Munich: Deutscher Kunstverlag, 2009), 1616), fol. D3v: “dan legtment opt bartjes te droo-droo- ings.” F. Leitschuh, Die Handschriften der Helle- pp. 271–288. For a discussion on the earliest gen inde Sonneschijn, ofte inde wint, aen cleyne riana (Katalog der Handschriften der Königlichen textual and visual sources related to intaglio print- hoopkens” (and then one lays it to dry on small Bibliothek zu Bamberg, vol. 2) (Leipzig: Hucke, ing and printshops see: Ad Stijnman, “Stradanus’ plates in the sun or in the wind in small heaps). 1887): 96–97, no. 301: (“Paul Behaims Kupfer- printshop,” in: Print Quarterly, vol. 27 (2010), no. 28. Anonymous, Ertzney unnd Kunstneri, Ger- stich-Verzeichniss”) Leitschuh’s description of 1 (March), 11–29. many, 1546. Manuscript in : Wolfenbüttel, Herzog the manuscript as the “oldest catalog of engrav- 19. Nuremberg, Germanisches Nationalmuseum, August Library, Cod. Guelf. 38.14 Aug. 2º, fol. ings and woodcuts” suggests that the Bamberg Beheim-Archiv, No. 187: Briefe und Schriften 119r, “das papir das vor genetzt sey” (paper that manuscript forms some kind of counterpart to Paulus III. 1625–1634, 7./17. November 1628, is dampened in advance). Behaim’s Berlin inventory. This error is repeated p. 4–5: “Wie auch nit Weniger, Vor Zeen Jaren 29. Vittorio Zonca, Novo teatro di machine et in M. Mende (see note 1), 27n36. The title is cor- Vngefehrdt, Zu meiner Recreation privatim edificii…. (Padua: Bertelli, 1607), pp. 76 and 78, rectly interpreted by J. Kettner, “Die Aufwertung Zuegebrauchen, ich ein ganzeß Werck von holz- no. T on the floor: “carta bagnata, & calcata tra der Kunstschneider. Druckgraphik als Skulptur kunstucken, Viel Zentner schwer, sambt aller due tauolette, con vna pietra” (dampened paper bei Matthias Quad von Kinckelbach und Paulus Zugehörung, Vmb ein geringes geldt, alß nemb- pressed between two planks with a stone), and Behaim,” in Druckgraphik. Zwischen Reproduk- lichen Zuesammen, Vmb Vnd fur 65 R gekaufft, no. S on top of the press: “tauola doue si tengono tion und Invention, ed. Markus A. Castor et al., so damaln 20. Taler gemacht, welcheß mehr dan la carta bagnata per stampar subito” (plank that Berlin, Munich: Deutscher Kunstverlag, 2010, pp. 200 R ieziger wehrung, werth ist und gelten thuet: keeps the damp paper for immediate printing). 242–248. Deßgleichen meine geschnittene kupferkunst- 30. Ibid., p. 78, distinguishes between thinner 8. Bamberg, Staatsbibliothek, JH.Msc.art.66, en, bei fünff Zentner, seindt Anno 18 vnd 1621, paper for thinner grooves and thicker paper for 215–229. Zum Theil von meinem Lieben Vattern seeligen, more strongly cut work. 9. On Jenisch (Jenichen), see M. H. Grieb (see Vnd auch dem herren Schweher, mir gekaufft 31. Walzen oder Rollen; the English has but the note 2), 2:733. Vnd Verehret worden, welche ich bißhero ohne term “rollers.” 10. E.g., Bamberg, Staatsbibliothek, JH.Msc. Vncosten gebraucht, Vnd für mich als ein raritet 32. Ibid., pp. 76 and 78 no. R: basamento del art.66, 136: “Gerissne Sachen, so noch hetten aufbehalten, auch also ferners dabey zuuerblei- telaio, bene affermato in terra, accioche la sollen geschnitten werden.” ben entschlossen, da ich sonst außer diesen, Machina nó si moui = “base of the frame, well- 11. Bamberg, Staatsbibliothek, JH.Msc.art.66, p. einmaln viel geldtß angewendtet, sondern waß fastened in the ground, in order that the Machine 63: “von Georg Langen, vnd Michael Georgen, ich von gedruckten sachen beyhandten, gegen does not move.” beeden Briefmallerß Seel. Wittiben, nachfolgende den meinigen stucken eingewechslet, bin also der 33. Ibid., pp. 76 and 78 nos. A and B: rotoli, ò Geschnittne Holzstöck, sambt darzu gehöriger gestalt ohne geldt darzuekommen Vnnd solcher bastoni rotondi and scagnelli che chiudon le teste Druck Press.” habhafft worden.” di quelli nel telaio = “rollers, with rounded taps” 12. See M. H. Grieb (see note 2), 2:883. Lang’s 20. Abraham Bosse, Traicté des manieres de and “bearings which enclose the heads (taps) of widow, Elisabeth, managed the workshop until graver en taille dovce svr l’airin (etc.) (Paris: these in the frame.” 1620. Bosse, 1645). 34. Salomon de Caus, Les raisons des forces 13. Ibid., 1:462. 21. It went through twenty editions and transla-transla- mouvantes avec diverses machines tant utiles 14. J. Kettner (see note 6), 245–246: “Bei [...] und tions, a number of reworked versions, generous que plaisantes (Francfort: Iean Norton, 1615), 3 Behaim sind ebenso Zweifel hinsichtlich einer quotes in leading encyclopaedia and integral vols.; the spindles are illustrated and described diesbezüglichen Bewertung der Druckformen als manuscript copies. Stijnman, Engraving and Etch- in vol. 3, fol. 2v. Kunstwerke angebracht, auch wenn nur wenige ing 1400–2000, Appendix 4, nos. 042 (Bosse) and 35. Dunckelrötlicht; not real red, but black with a Indizien für eine Klärung dienstbar gemacht 055, 080, 277, 304, 347, 357 (reworked versions brownish hue. werden können.” by other authors). 15. As the press was sold with woodblocks, it 22. Bosse, 57.

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20 Art in Print November – December 2013 Kitaj in our Time: Prints and Obsessions By Catherine Bindman

he work of R.B. Kitaj (1932–2007) T has received an exceptional amount of attention this past year, much of it in England and much of it favorable— a development that would surely have astonished the artist. Born to a Jewish family in Cleveland, Ohio, Kitaj spent much of his adult life in the U.K. In 1994, however, Kitaj’s long-tetchy relationship with British critics was brought to a rancorous close when his retrospective at the Tate was eviscerated in the British newspapers. This event, followed by the unexpected death of his wife a few weeks later, caused a terminally wounded and, by many accounts, utterly unhinged Kitaj to flee to Los Angeles, where he commit- ted suicide in 2007. “ R.B. Kitaj: Obsessions,” organized by the Jewish Museum in Berlin, was seen in two parts in England this past spring—at the Jewish Museum in London and at the Pallant House Gallery in Chichester— before it returned to Germany for a run at the Hamburger Kunsthalle. Its February opening marked the first major exhibition of the artist’s work in England since the Tate debacle. A few months later, the British Museum mounted “Recent Acqui- sitions: Arcimboldo to Kitaj,”1 a third of which was given over to Kitaj prints, while the Jewish Museum in New York presented “ R.B. Kitaj: Personal Library,” an exhibition built around Kitaj’s great print series, In Our Time: Covers for a Small Library After the Life for the Most Part (1969–70).2 Although “Obsessions” was chiefly dedicated to the artist’s paintings, all three shows presented the opportunity to reexamine Kitaj’s extensive work as a printmaker and his predilection—so evident in the prints—for digressive exe- gesis, the key to both Kitaj’s ambition and the critical rage that greeted it. R.B. Kitaj, detail of Partisan Review from In Our Time: Covers for a Small Library After the Life In the 1970s Kitaj repudiated his early for the Most Part (1969), screenprint on paper, 30 1/4 x 22 7/16 inches. Printed by Kelpra Studio, London, UK. Published by Marlborough AG, Schellenberg, FL. The Jewish Museum, NY, Gift of the graphic work, most of it photomechani- R.B. Kitaj Estate. ©R.B. Kitaj Estate. cal, making a forceful return to drawing and autographic figuration, but his career as a printmaker was largely shaped by his supermarket chain, but at the beginning tool of advertising, was not even taught work with the great screenprinter of Brit- of the ’60s he began making prints with in British art schools at the time and its ish Pop Art, Chris Prater of Kelpra Stu- artists such as Richard Hamilton, Edu- use by painters was revolutionary. Kitaj dios.3 Prater had got his start producing ardo Paolozzi, Bridget Riley and Patrick and Prater joined forces in 1963. promotional material for the Sainsbury’s Caulfield. Screenprinting, considered a Over a period of more than a decade,

Art in Print November – December 2013 21 Rimes No. 3 and the striking geometric binding of W. B. Yeats’ The Tower denote a taste for the aesthetic, as does the exquisite simplicity of Lloyd Goodrich’s 1949 book on Edward Hopper in the Penguin Modern Painters series. Books like The Spirit of the Ghetto (with drawings by Jacob Epstein) are a clear nod to the artist’s exploration of Jewish identity. The enemy position is denoted by such troublesome volumes as The Jewish Question (1920–22), a selection of articles from Henry Ford’s notoriously anti-Semitic newspaper, the Dearborn Independent; and Ezra Pound’s How to Read. Pound, Kitaj acknowledged, was particularly problematic—also famously anti-Semitic and yet “a cultural path- finder of my unschooled youth…. Pound came before Rembrandt, before Giotto, before Cézanne, in my awful mixed-up teenage…. The old bastard.”8 The contents of these books are con- R.B. Kitaj, detail of The Prevention of Destitution from In Our Time: Covers for a Small Library spicuously absent, but the covers evoke After the Life for the Most Part (1969), screenprint on paper, 22 9/16 x 30 13/16 inches. Printed by worlds of knowledge and human experi- Kelpra Studio, London, UK. Published by Marlborough AG, Schellenberg, FL. The Jewish Museum, NY, Gift of the R.B. Kitaj Estate. ©R.B. Kitaj Estate. ence that range from the mundane (the city of Burbank’s annual budget for 1968– 69) to the pioneering (Margaret Mead’s Kitaj made 65 single-sheet prints and four libraries have crowded around my paint- Coming of Age in Samoa of 1928). In the major suites of prints with Prater, most ing easel all my life and the spectres in “Afterwords” he wrote about the prints of them bright Pop-ish collage composi- books have haunted me, some would say in 1994, Kitaj elaborated on the roles tions densely layered with allusions to ruined me, and now and again they even these books had played in his life and art. painting, drawing, literature, music, con- breathe life into some of my dubious art.“6 He had picked up the July–August 1943 temporary and historical art, mysticism In Our Time: Covers for a Small Library issue Partisan Review secondhand in New and philosophy. The Defects of its Qualities After the Life for the Most Part (1969), is York; it featured a remarkable collection (1967–68), for example, conjoins (among Kitaj’s finest and strangest print project, of writings: a poem by Robert Lowell, other things) a photo of a surgeon, a 19th- and it figured prominently in all three a George Orwell report on “The Situa- century registration certificate for a pros- recent exhibitions. It consists of no fewer tion in Britain,” and Rosa Luxemburg’s titute, the signature of Georges Braque, than 50 screenprints, each of which rep- “Letters from Prison.” For Kitaj, Partisan and the 1964 Print Council of America licates the cover of a single book from Review brochure, “What is an Original Print?,” the artist’s own library and marked a lay near the heart of one of New York’s notorious for its explicit and shortsighted significant departure from the visual great ages—a period I could still pass exclusion of photomechanical technolo- complexity of his earlier work. It was through myself, a New York which gies from the category “original.” made by Prater in London on the basis of I believe touched me and my art for- The title of Kitaj’s major screenprint detailed instructions sent to him by Kitaj ever in ways transient and enduring, suite, Mahler Becomes Politics, Beisbol from Los Angeles where he had gone to fantastical and various…. PR was a (1964–67), was built from a punning echo teach after his first wife’s death in 1969.7 cicerone to the great modernist flood- of Eugene O’Neill’s Mourning Becomes He produced few paintings during this tide which I wanted to get to know.… Electra and the Hispanic pronunciation period, dedicating his energies chiefly to Orwell’s London Letter in the issue of “baseball.”4 He described it as “a run this large-scale project. represented by this print was written of prints using the music, the poems, While each book stands alone in each 50 years ago but his odd take on anti- the Mahler literature and times and a print, together they map the artist’s Semitism within a very fortress of the good deal else as a compound crutch pursuit of cultural and artistic identity New York Jew, scares hell out of me as upon which to hang much that cannot be through literature, poetry, history, Jew- if he had written it this morning.9 made to splice easily with Mahler.”5 The ish subjects, politics, film and the human things hung there include found photo- form. Battle-Songs of the International Kitaj described this print as “my soup- graphs, published poems, magazine clip- Brigades, George Gissing’s Workers in the can, my Liz, my electric chair,”10 but his pings, citations from his own paintings Dawn and Sidney and Beatrice Webb’s aims had little to do with those of War- and—significantly—the covers of books. The Prevention of Destitution all reference hol; they differed on everything from the “Books feed into the pictures I make with leftist politics, but the decadent art-nou- erudition of the subject matter to the an untutored passion,” Kitaj said. “Vast veau, red-cloth binding of Bub and Sis: nature of the printed surface. Before he

22 Art in Print November – December 2013 Left: R.B. Kitaj, Fighting the Traffic in Young Girlsfrom In Our Time: Covers for a Small Library After the Life for the Most Part (1969), screenprint and collage on paper, 30 1/2 x 22 11/16 inches. Printed by Kelpra Studio, London, UK. Published by Marlborough AG, Schellenberg, FL. The Jewish Museum, NY, Gift of the R.B. Kitaj Estate. © R.B. Kitaj Estate. Right: R.B. Kitaj, The Tower from In Our Time: Covers for a Small Library After the Life for the Most Part (1969), screenprint on paper, 30 1/2 x 22 3/4 inches. Printed by Kelpra Studio, London, UK. Published by Marlborough AG, Schellenberg, FL. The Jewish Museum, NY, Gift of the R.B. Kitaj Estate. ©R.B. Kitaj Estate. began playing with diamond dust, War- “My bibliomaniacal self is one of the for representatives of such a literary cul- hol seemed to relish the textural bland- selves celebrated in this print cycle,” Kitaj ture—found Kitaj’s bibliophilia to be one ness of screenprint and its implication of wrote in the “Afterword” for China of To- of the most annoying things about him. mechanized facture. At Kelpra every print day: The Yellow Peril.12 Like Walter Benja- Their distaste was consistent from the was pulled by hand, and the surfaces of min, whose famous 1931 essay “Unpacking time of the artist’s first show at Marlbor- In Our Time are anything but charac- My Library” partly inspired In Our Time ough Gallery in 1963, when critic Edward terless, carefully evoking the specific (and whose title the artist later appropri- Lucie-Smith wrote, “The trouble, as with textures of paper and cloth bindings.11 ated for a painting, along with Benjamin’s Pound, is that there is something both Despite their enhanced scale (77 x 57.5 moustache and spectacles), Kitaj bought pompous and a trifle hectoring about cm each), the prints look like book cov- books for their content, their aesthetic Kitaj…. It’s like a man saying, ‘Listen to ers lightly flattened in a primitive flower character, and sometimes just for their me, Listen to me,’ and when we listen we press rather than images squeezed out by sheer oddity. The curiosities department find he has nothing to tell us.”13 In 1994 a machine; the battered corners and torn of In Our Time is headed by the lurid cover James Hall in The Guardian advised Kitaj edges of the paper appear three-dimen- of an Edwardian publication called Fight- to “leave his books behind,”14 while The sional, their fragile materiality intact and ing the Traffic in Young Girls, which shows Independent’s Tim Hilton described the reconfirmed. a woman at a barred window with the artist as “an egotist … imprisoned by his The air of nostalgia that hovers here subtitle, “My god! If only I could get out library.”15 would have been there when Kitaj bought of here!” Kitaj began collecting books as a But for Kitaj, the library was not a these mostly prewar books in the 1950s student at Cooper Union in New York in badge of pretension but a metonym for and ‘60s, but it is surely more potent now. 1950, rummaging in the bookstores along the endless searching and fragmentary Even leaving aside eReaders and other 4th Avenue, and the habit continued answers that are the essence of the mod- such devices, contemporary books are when he moved to England in 1957. The ern experience, and, not least, his own rarely made with the fine materials or surfaces of his homes on both continents sense of himself as a “literary” artist and nuanced designs that Kitaj so lovingly are described as buried in books. a quintessential man of the Jewish Dias- records here. British critics—curiously, perhaps, pora. In response to a critic’s complaint

Art in Print November – December 2013 23 that his 1986 exhibition was “littered character of the world and the theme of particularist energies, which might even with ideas,” Kitaj wrote: the lack of a homeland” as well as the lead me ‘back or forward to a universal Talmudic tradition of interpretation.19 art, beyond good and evil.’”22 Heavens to Betsy, I hope that’s true. Kitaj, indeed, referred to the Tate Artist-as-Yiddish-butterfly was hardly My poor Diasporist mind urges me show’s “Prefaces” as “neo-Talmudic” de- a concept designed to appeal to Kitaj’s to wander among ideas without rest, scriptions.20 According to Jewish tradi- adopted homeland, which liked outsiders always the false-scholar, which is often tion, each paragraph of the Torah has to demonstrate an unfailing attachment how we painters make our mark. The 49 levels of meaning, and the ensuing to its native customs and institutions. pursuit of ideas, both religious and profusion of elucidation is enshrined in Kitaj knew this and he didn’t care. He secular, at any cost, is often attrib- ancient Talmudic manuscripts as nested had, he said, “always been detested by uted to Jews by both well wishers and commentaries: layer upon layer of debate, half of the art people and critics–hated doubters.… The Diasporist pursuit of loops of self-referential dissent that can by some … ‘literary’ has long been a term a homeless logic of ethnie may be the only be followed in full by an exami- of abuse.”23 Like his friend Philip Roth, radical (root) core of a newer art than nation of earlier annotations. In other who lived in London on and off during we can yet imagine.16 words: there is no simple answer. Let me his marriage to the actress Claire Bloom, tell you about it. How long have you got? Kitaj loathed what he called the “low- In his painting Cecil Court, London W. For Kitaj, that was the heart of what it octane, English anti-Semitism.”24 He was C. 2 (The Refugees, 1983–84), Kitaj pictures meant to be Jewish. Never a believer, he also frustrated by the traditional propri- himself lying on a Le Corbusier chaise only began to examine his ethnic heritage ety and muted voice of the British Jew, longue in his favorite haunt of antiquar- after reading Hannah Arendt’s account which as Roth noted in his novel Decep- ian bookstores, surrounded by figures of the Adolf Eichmann trial, published in tion, stands in contrast to the stance of from the Yiddish theater that had been the New Yorker in 1963. “That broke the his counterpart in New York, where one described to him by his grandparents. He Jewish Ice for me,” he wrote in his unpub- sees “Jews with appetite. Jews without described the painting as staging “some lished memoir, Confessions (the title, from shame. Complaining Jews who get under of the syntactical strategies and myster- St. Augustine, was intended to mark the your skin. Brash Jews who eat with their ies and lunacies of Yiddish Theatre in a artist’s path to Jewishness—essential elbows on the table. Unaccommodating London Refuge, Cecil Court, the book Kitaj in all his glory).21 He moved on to Jews full of anger, insult, argument, and alley I’d prowled all my life in England, Primo Levi, Eli Wiesel and other Holo- impudence.”25 Jews like Kitaj. which fed so much into my dubious pic- caust writers: “Inch by inch I would pro- The vitriol of the British response tures from its shops and their refugee ceed, after 1965, a young caterpillar of the to the 1994 Tate show rather mystified booksellers.”17 universalist pretension of art, treading American observers. The artist’s insis- The facsimile properties of In Our and reading and plotting softly to emerge tence on figuration was not entirely fash- Time (and the perverse requirement to around 1970 as a Jewish butterfly of ionable, but Britain had fostered a strong judge a book by its cover) suggest a certain Duchampian sensibility. Questioned about his artistic influences in 1965, Kitaj cited Francis Bacon, “the Ernst of the Semaine de Bonté … Rauschenberg, Johns and Duchamp.”18 It is possible to see a connection to something like The Bride Stripped Bare by her Bachelors, Even (The Green Box, 1934), the boxed collection of collotype reproductions of scrap-paper notes detailing the process of The Bride Stripped Bare by her Bachelors (The Large Glass, 1915–23). Duchamp, however, was a tease who loved puns and wordplays— the illusion of meaning—and the notes contained in the Green Box do not actually shed much light on the Large Glass; rather, they are a verbal extension of it. By contrast, Kitaj’s commentaries (such as the “Afterwords” he wrote for Jane Kinsman’s 1994 catalogue raisonné or the “Prefaces” displayed alongside the work and in the catalogue of the infamous Tate retrospective the same year) documented his sources, reading matter and thought trajectories. At the same time they used R.B. Kitaj, Edward Hopper from In Our Time: Covers for a Small Library After the Life for the Most Part (1969), screenprint on paper, 22 5/8 x 30 3/4 inches. Printed by Kelpra Studio, London, UK. the act of quotation—recontextualized Published by Marlborough AG, Schellenberg, FL. The Jewish Museum, NY, Gift of the R.B. Kitaj Estate. language—to signal “the fractured ©R.B. Kitaj Estate.

24 Art in Print November – December 2013 tradition of figuration throughout the home in New York and, before the war, in R.B. Kitaj gives great interview. But would he be 20th century, much of it critically cele- many European cities. a better painter if he spent less time talking about brated. And while Kitaj’s prolific addenda It is a pity that “Obsessions” will not his work?” The Independent, 19 June 2004. defied modernist notions of the auton- reach New York, so obvious a home for 16. Kitaj, First Diasporist Manifesto (1988). Quoted in Martin Roman Deppner, “Letters to a omy of the work of art, the same might this generous examination of Kitaj’s art. Young German Painter,” Bartley et al, 109. be said of Richard Hamilton or indeed One can only wonder why Kitaj did not 17. Bartley et al, 140. Duchamp. decide, as his Jewish identity began to 18. Interview with Maurice Tuchman in Kitaj, The main target of fury in 1994 was, in emerge in the ‘60s, to abandon the timo- Paintings and Prints (Los Angeles: Lytton Gallery, fact, those “neo-Talmudic” “Prefaces,” in rous English for the Jewish “fortress” of Los Angeles County Museum of Art, 1965), exhibition catalogue no. 54. which the artist situated himself expan- New York. He could surely have done 19. Cilly Kugelman, “ ‘I Accuse!’ Kitaj’s ‘Tate-War’ sively within an artistic and intellectual worse than to spend his evenings with and an interview with Richard Morphet,” in Bartley tradition that included Kafka, T. S. Eliot, Hannah Arendt in her book-crammed et al, 195. Degas, Cézanne, Matisse and Picasso. study on Riverside Drive, shamelessly 20. R.B. Kitaj: A Retrospective (London: Tate Gal- The headline of Tim Hilton’s Independent raging, boasting, intellectualizing and lery), 65. 21. R.B. Kitaj, Confessions, unpublished manu- review ran, “Draw draw is better than dropping names until first light gleamed script in Kitaj Papers, UCLA, box 5, folder 1, p. jaw jaw: R.B. Kitaj gives great interview. over the Hudson. 55, quoted by Eckhart Gillen, “ R.B. Kitaj—Secret But would he be a better painter if he Jew and Avowed Diasporist,” Obsessions, 88. spent less time talking about his work?”26 22. Ibid. Andrew Graham-Dixon, also writing in Catherine Bindman is an art critic and editor 23. Krzysztof Z. Ciezkowski, “Problems in Kitaj, mostly iconographic,” Art Libraries Journal, vol. the Independent, described Kitaj as an specializing in museum catalogues. She is a frequent contributor to Art in Print. 14, no. 2, 1989, 37–39. Quoted in Ramkalawon, “inveterate name-dropper.… The Wan- 26, n56.

dering Jew, the T. S. Eliot of painting? 24. Kitaj portrayed Roth in the drawing A Jew in Love (Philip Roth), 1988–91. Kitaj turns out, instead, to be the Wizard Notes: 25. Philip Roth, Deception (New York: Vintage of Oz: a small man with a megaphone 1. In Our Time and several prints rejected by the International, 1997), 198. held to his lips.”27 It is hard not to con- artist were part of a gift of 293 works donated by 26. Hilton. Kitaj’s estate in 2009 to the museum, where he clude that this venting of spleen reflects 27. Andrew Graham-Dixon, “The Kitaj myth,” had wished them to be housed along with the Old long-established British perceptions of The Independent, 28 June 28 1994. http:// Masters. The core of the gift was the complete set www.independent.co.uk/arts-entertainment/art/ Jews as what the English-Jewish writer A. of artist’s proofs of every one of his prints, impres- art--the-kitaj-myth-the-man-who-would-leap- Alvarez has described as “overwrought, sions that the artist had kept in his studio until his frog-his-way-into-history-on-the-backs-of-giants- grasping, too clever by half.”28 death, suggesting that he had not entirely rejected stands-exposed-andrew-grahamdixon-on-kitaj-at- them. The work shown in this year’s “Obses- the-tate-1425629.html. 2. “Obsessions,” Jewish Museum Berlin, 21 Sept sions” received largely positive reviews in 28. A. Alvarez, Where Did It All Go Right? (New 2012 to 27 Jan 2013; “R.B. Kitaj. Obsessions: the British press.29 “Nearly two decades York: William Morrow, 1999), 158. Analyst for Our Time,” Pallant House Gallery, 29. See, for example, Tim Adams, “RB Kitaj: an after the Tate show,” The Economist Chichester, 23 February–16 June 2013; “R.B. obsession with revenge,” The Observer, 9 Feb opined, “these exhibitions prove just Kitaj. Obsessions: The Art of Identity,” Jewish 2013. Museum, London, 21 Feb–16 June 2013; “Recent how good Kitaj was at marshaling com- 30. “ R.B. Kitaj: Obsessions,” The Economist, 2 Acquisitions: Arcimboldo to Kitaj,” the British plex ideas into a coherent and forceful March 2013. Museum, 30 May to 1 Sept 2013; “ R.B. Kitaj: Per- image.”30 But Aaron Rosen sounded a 31. Aaron Rosen, “ R.B. Kitaj: Obsessions,” Books sonal Library,” Jewish Museum, New York, 5 April in Tow, Apollo, 26 April 2013. more careful note in Apollo: “As fine as to 11 August 2013. 32. “ R.B. Kitaj retrospective comes to London a the current exhibition is, it does not pro- 3. Kitaj’s rejection of his early prints certainly con- decade after he fled Britain over ‘anti-Semitism,’” vide closure to Kitaj’s troubled relation- tributed to their critical neglect until recently [see The Independent, 11 March 2013. ship with England. Instead it feels more Kitaj catalogue raisonné review, p. 39]. like an uneasy truce, a hard-fought settle- 4. Jennifer Ramkalawon, Kitaj Prints, A Catalogue Raisonné (London: The British Museum, 2013), 31 ment after an acrimonious divorce.” The 13–14. Independent’s Adrian Hamilton dismissed 5. R.B. Kitaj (New York: Marlborough-Gerson Gal- the charge of anti-Semitism, conceding lery, February 1965), unpaginated. An exhibition only, “There may be an element of this, catalogue. or at least the English distaste for the 6. Kitaj, ca. 1990, quoted in Tracy Bartley et al, R.B. Kitaj: Obsessions, 1932–2007 (Bielefeld, jumped-up foreigner in their attacks….”32 Germany: Kerber Verlag, Jewish Museum Berlin, That’s very different, of course. 2012), 172. An exhibition catalogue. The position of outsider, a sojourner 7. Ramkalawon, 19. in a foreign culture, was essential to 8. Jane Kinsman, The Prints of R.B. Kitaj (Surrey, Kitaj’s vision of the Diaspora Jew, but it UK: Scolar Press; Canberra, National Gallery of was equally the role of the bohemian Australia, 1994), 67. 9. Ibid., 59. modern artist. And the portrait of the 10. Ibid. artist that emerges from In Our Time is 11. Ramkalawon, 26, 35n. that of an assimilated urban Jew fully 12. Kinsman, 59. immersed in the intellectual and political 13. Edward Lucie-Smith, “A village explainer,” The currents of the 20th century—a worldly, Listener, 21 February 1963, 343. 14. James Hall, “Teflon Ron,” The Guardian, 20 educated, old-school socialist and lover June 20 1994. of poetry; the kind of man very much at 15. Tim Hilton, “Draw draw is better than jaw jaw:

Art in Print November – December 2013 25 Prix de Print No. 2 PRIX de Gesa Puell: Punkt zu Linie PRINT Juried by Mark Pascale

The Art in Print Prix de Print is a bi- than others. Curiously, the work selected painting in finely bound books, even monthly, open, juried competition.1 is one of those whose content is most though the work has nothing to do with Entries are submitted digitally along dependent on three-dimensional mate- antiquarian aesthetics. The fact that it with an optional artist’s statement. They rial properties—a reminder that some is a stack mounted on the wall suggests are reviewed by an outside, invited juror pictures also need a thousand words. a knowing nod toward, and purposeful who examines the work without artists’ Gesa Puell’s Punkt zu Linie (Point to distance from, the stack pieces of Felix names attached. Line) is, on the surface, a lithograph. Gonzalez-Torres. The building of the This iteration of the Prix de Print has Below the surface it is also a lithograph— image from bottom to top and down been judged by Mark Pascale, Curator of or rather many lithographs. A wall-work again further suggests a reconstruct of Prints and Drawings at The Art Insti- made up of lithographs laminated atop what might be hidden in a woven tex- tute of Chicago and Adjunct Professor of one another in a stack, it occupies the tile—some kind of three-dimensional Printmedia, School of the Art Institute. rectangular dimensional block of a paint- weaving, but a weaving that has been As both an artist and a curator, Pascale ing but articulates that space in a very blown up. has great insight into both the making different way: the printed images on Born in Venezuela and educated in and meaning of contemporary prints. We each sheet bleed off the page; the printed Scotland, Puell is now based in Munich are honored to have him as juror. images that we see along the sides of piece where she is part of the three-person are not coherent marks but concatena- workshop and print publisher plan- Punkt zu Linie (Point to Line) (2013) tions of ink on the edge of each of the parallel. In lithographs and site-specific Stack of lithographs, 12 1/2 x 9 1/2 x 3/4 stacked prints. installations she plays with the relation- inches. Printed by the artist and Joe The chosen work is part of a larger ship between flat images and dimen- Holzner. Published by planparallel, Punkt zu Linie series in which the image sional space. Punkt zu Linie wittily links Übersee, Germany. €1200 (both top and sides) changes from one these concerns to printshop logistics. to the next: on is built from tiny circles Printshops are full of stacks of printed packed like sand; another uses big pixel- paper, all kind of the same and each kind lated ovals; another lightweight stretchy of different. It is easy to treat individual r 4836 Times E (2012). circles. In this one, straight lines punctu- prints as if they were artifacts of Flat- he submissions for this round of the ated by black boxes at regular intervals land, genuinely two-dimensional, rather TPrix de Print were remarkable for are used to build patterns that evoke than material things with centers, fronts, their variety. There were books, installa- crosswork puzzles, old computer punch- backs and edges. tions, DIY constructions, sculptures and cards, or medieval music notation. All Puell makes us look around until the animations—each with as strong a claim are black and white, and all use the margin becomes the center of attention. to be considered “a print” as the eloquent same structure: sheets of stacked paper etchings, engravings, woodcuts and printed to the edge, whose perimeters monotypes also submitted. Most entries join together to produce a new image. Or Mark Pascale is a curator in the Department were rich in content and invention, perhaps it is the other way around: the of Prints and Drawings at The Art Institute of visually dynamic and carefully thought publisher [artist?] notes, “the image of the Chicago and Adjunct Professor of Printmedia at the School of the Art Institute. through, which made the job of juror front can be logically inferred by tracing both rewarding and difficult. The dif- the structure of the graphic patterns on ficulty is exacerbated as these works are the objects’ edges.” Notes: being judged on the basis of digital repro- The references suggested by this sim- 1. There is no entry fee, but entries must be asso- ductions and in the absence of any physi- ple device are rich and contradictory. I ciated with an active Art in Print subscription. cal encounter with the artwork itself. love the way the built-up image along Some works required more explanation the side seems to reference the fore-edge

26 Art in Print November – December 2013 Gesa Puell, Punkt zu Linie (point to line) (2013), stack of lithographs, 12 1/2 x 9 1/2 x 3/4 inches. Printed by the artist and Joe Holzner. Published by planparallel, Übersee, Germany.

Art in Print November – December 2013 27 Treasures from the Vault 3 Leaf e from the Biblia Pauperum, ca. 1460 By Emily J. Peters

he Rhode Island School of Design tainly does not accurately describe the within each page and between the facing T Museum recently acquired a single literate individuals, versed in Latin and pages. The consistency of the page design page (leaf e, folio 5v) from a hand-colored typology, who would have owned a copy. throughout the Biblia Pauperum would copy of the Biblia Pauperum, a blockbook The central subject of RISD’s folio have aided readers in their exegetical printed in the 1460s in the Netherlands, is the Flight into Egypt; this is flanked project. RISD’s Flight into Egypt, together possibly in Haarlem or Utrecht (Fig 1).1 by two additional narrative scenes and with its original facing page, Egyptian An experimental printing form that flour- accompanied by four prophets (two below Idols Fall, directed the viewer to consider ished briefly in the second half of the 15th and two above), and no fewer than nine the fall of false power—both human century, blockbooks were made by carv- Latin texts, including lectiones (explana- and divine—and the New Law of Christ ing both images and texts in relief into a tory texts), tituli (captions) and prophe- replacing the Old Law of Moses. single woodblock and printing the block cies. Following the typical format of Biblia RISD’s sheet unfortunately is a frag- by hand. Moveable type, which was devel- Pauperum pages, the New Testament story ment, cut from its conjunct and removed oped at the same time, presented a more of the Flight into Egypt is set between two from its original binding. The practice of flexible way to print texts (i.e., by rear- narratives from the Old Testament: on disassembling codices for sale (particu- ranging individual letter blocks) and fur- the left, we see Rebecca bidding farewell larly hand-colored copies) was rampant thermore mechanized the process with to her son Jacob as he flees from Esau, in the 19th and early 20th centuries, a printing press. The two forms mani- who is shown confronting his father, which is why so many museum collec- fested different approaches to design, Isaac (Genesis 27), and on the right David tions are rich with incunabula fragments. the xylographic blockbook presenting flees Saul (Kings 19) with the help of his By continuing to acquire such fragments, intermingled texts and images much wife, Michal. The woodcut lectione above however, museums can reconstruct in like a manuscript, and the typographi- the scene of Jacob and Esau explains how absentia long-fractured codices, aiding cal book for the most part relegating text the story prefigures the flight of Christ further study. The original binding of and image to distinct parts of the page. By into the land of Egypt (the central scene), RISD’s The Flight into Egypt can be recon- around 1500 the typographical book had when Herod sought Christ in order to kill structed through a combination of docu- supplanted the blockbook almost entirely, him. On the opposite side we see David, mented provenance, the folio’s distinctive probably because of the flexibility it having learned of Saul’s intent to kill hand-coloring style and the presence of offered in contrast to the labor-intensive him, escaping from the palace tower in wormholes dating from the book’s bound and rigid process of making blockbooks. a basket that Michal lowers with a rope. state.2 The published provenance indi- The fleeting period of production and The lectione again drives home the typo- cates it was one of 20 bifolia (a-v) sold relative scarcity of complete blockbook logical connection, identifying King Saul by Karl & Faber in Munich in 1935;3 the codices today means that there are still as a prefiguration of Herod. The archi- documents for that sale give an early many unanswered questions about their tectural framework around the three provenance at the Kloster Wiblingen of origins, production and audience. scenes demarcates the necessary divisions Ulm and thereafter the Abbey of Krems- The Biblia Pauperum presents an idio- between the narratives while uniting münster in Upper Austria.4 This so-called syncratic history of salvation on 40 pages the overall design. Above and below the Wiblingen copy was apparently disassem- of images combined with Latin texts. The prophets are accompanied by banderoles bled after the 1935 Karl & Faber sale. scheme derives from earlier manuscripts, containing their prophesies. Most Wiblingen-copy fragments can and its function was to guide the viewer’s The Biblia Pauperum was printed on be traced through their appearance on devotion, memory, and comprehension wide sheets, each of which held two the secondary market and in published of spiritual matters, primarily by “typol- scenes on facing pages; we know from collections.5 All the sheets are printed ogy”—the presentation of Old Testament other examples that the RISD page was with black or blackish-brown ink and stories and themes as prefigurations of originally paired with a scene depict- hand-colored with a combination of red, the life of Christ. The name “Biblia Paupe- ing The Egyptian Idols Fall. Together, yellow, green and black paints, and pink, rum,” or “Bible of the poor,” was attached the design of these spreads (called bifo- brown and gray washes made from the to the book in the 19th century, and cer- lia) established important comparisons same diluted paints.6 Red paint consis-

28 Art in Print November – December 2013 3

Fig. 1. The Flight into Egypt with Jacob fleeing Esau and David fleeing Saul, leaf e from the blockbook Biblia Pauperum, (ca. 1460, netherlandish), woodcut printed in olive-brown ink and hand-colored in red, green, yellow, black, grey, and pink on laid paper, sheet 27 x 19.7 cm. Helen M. Danforth Acquisition Fund 2012.35. Museum of Art, Rhode Island School of Design, Providence. Photo: Erik Gould, courtesy of the Museum of Art, Rhode Island School of Design, Providence.

Art in Print November – December 2013 29 gable of the palace beyond, and the inte- ers in the locale of the tower below David rior space between the tower and the city are several splattered drops of green gate in the foreground. Throughout the paint. The colorist evidently employed Wiblingen copy, black paint was applied the black paint to cover up an accidental in a way that balances and punctuates spill, and then added more black to imply individual scenes, but in this case, the an intentional shadow on the tower and black is an undeniably intrusive design gate. One other example of the use of element. While some of the paint’s domi- black as an apparent corrective appears nance can be attributed to the stability on folio a,10 where Gideon’s Golden of its carbon-based pigment in contrast Fleece is subjected to a far-from-golden to the more fugitive colors surrounding layer of uniform black. The transparency it, the black disrupts the legibility of the of the paint in this case reveals, even to scene, compromising the narrative clar- the naked eye, an errant drop of green ity necessary to the book’s devotional and paint underneath. didactic function. The role of colorists in enhancing the It is possible that the black represents representational and functional efficacy the colorist’s attempt to create dramatic of blockbooks and other woodblock shadow and spatial recession in the prints needs further study. The colorist of scene. However, this would be at odds the Wiblingen copy of the Biblia Paupe- with the emphasis of the colors on the rum would seem to have been familiar page as a whole and on other Wiblingen with the representational possibilities of folia, where the suggestion of shadow light and shadow, though employed those and space is minimal. Everywhere else, strategies with restraint. The pursuit of the colorist applied flat color over printed questions like these has been greatly lines, allowing the lines to remain visible facilitated by the growth of online data- through the paint and to do the minimal and image-banks that allow us to recon- work of suggesting form and, less vigor- struct these fragmented codices, using Fig. 2. Detail of The Flight into Egypt with ously, space. technologies that threaten the demise of Jacob fleeing Esau and David fleeing Saul, Close examination of the extant pages the printed book to answer questions leaf e from the blockbook Biblia Pauperum reveals that the colorist did, on occasion, about its birth. If the explanation for the (ca. 1460). Helen M. Danforth Acquisition Fund employ black paint to suggest shadow: of Flight into Egypt’s black blotch borders on 2012.35. Museum of Art, Rhode Island School of the several extant folia and bifolia that the mundane, the process of reaching the Design, Providence. Photo: Erik Gould, courtesy of the Museum of Art, Rhode Island School of contain architecture, three (bifolium conclusion has been illuminating. Design, Providence. i/k at Cleveland,8 and bifolia r/s and t/v, in the Otto Schäfer collection)9 feature the use of black paint to indicate dark Emily J. Peters is Associate Curator of Prints, tently defines the robes, and yellow the shadow on the side of a building. In one Drawings, and Photographs at The Museum of underrobes, of most figures of signifi- case (folio t), the black shadow on the Art, Rhode Island School of Design. cance (except for Christ, whose robe is building on the left side of the composi- brown). Black or yellow paint highlights tion acts as a counterpart to a building on the hair or beards of some men, creating the far right side painted in yellow as if Notes: punctuation and rhythm in each compo- bathed in sunlight. On Cleveland’s folio 1. The folio is leaf e, folio 5v, from the Schreiber sition. Green fills the turf of each scene k, black paint on the façade of a building ed. III of the blockbook. Although the dating of the book has been a matter of dispute, watermark evi- to ground it in space. The architectonic is balanced with yellow within the build- dence points to a date in the 1460s. framework of each page is also treated ing’s loggia to represent the presence of 2. This task has also been possible because of consistently with light pink highlighted light, if applied counter to observational the help of generous colleagues who have con- with red on the upper framework and logic. One other example (folio r) con- tributed their ample knowledge of blockbooks and then yellow around the niches that tains shadow on the far left of the com- the current location of extant folia. I would like to thank Richard Field and Nigel Palmer for sharing hold the prophets and lower tituli. The position as if to suggest a light source on their knowledge, ideas, contacts and notes on the emphasis and style with which the color the right cast across all three scenes and a fate of the Wiblingen copy of the Biblia Pauperum. is applied strongly suggest that the folia shared representational space. I would also like to thank Dr. Rachel Baher and share the same origin, and the precisely Nonetheless, the dominant black Dr. Bettina Wagner, both of the Munich blockbook matching wormholes and shared water- paint on the RISD folio remains per- catalogue project (see note 9). 3. Karl & Faber, Munich, 1935, sale XI, nr. 22. An marks are even more convincing.7 plexing. Here the shadow has no spatial incorrect date of 1936 for the sale has been per- On the RISD folio, one’s eyes are or mimetic purpose. Instead, the paint petuated in some literature and is here corrected. immediately drawn to the clumsy appli- confuses both the narrative and repre- 4. An alternate early provenance for the book has cation of black paint in the right scene, sentational logic of the scene. Why, then, been published (see N.G.Stogdon, Woodcuts, where Michal lowers David from the is it there? Microscopic and black light Catalogue VIII, 1991, no. 6) and places the book tower to the pressing threat of Saul’s min- inspection reveal a possible answer: the at the Buxheim Charterhouse, Bavaria; thereafter Count Waldbott von Bassenheim rather than ions (Fig 2). The black paint untidily cov- colorist applied the black paint as a neces- Kremsmünster. The Kremsmünster provenance ers the right side of the tower, the stepped sary corrective. Underneath the paint lay- is, however, based on the evidence of inscriptions

30 Art in Print November – December 2013 Art in Print is the single most comprehensive resource for serious writing on, and timely information about, the most important art form of the past 500 years.

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on the original flyleaf of folio a (Bruce Ferrini/Les 6. Advanced scientific analysis was not possible; Enluminures, Important Illuminated Manuscripts, however, the pigments can be identified with rela- 2000, p. 49). The RISD folio e appeared at auc- tive certainty by combining microscopic and black tion in 1978 with the Galerie Korneld Bern (sale light study with historic sources on pigments. The 167, lot 177). It was thereafter in the collection of pigments most likely consist of madder lake red Ernst Beyeler from whose estate it was sold at (red), verdigris or malachite (green), and possibly Christie’s London, Sept. 21, 2011, lot 1, and then tin yellow or orpiment (yellow), while the black is acquired for the RISD Museum from Susan Schul- carbon-based. I would like to thank Linda Catano man, New York. for sharing her conclusions and knowledge. 5. The Bern auction house Kornfeld and Klipstein 7. When firsthand inspection of fragments was not (later Galerie Kornfeld) handled several folia and possible, my conclusions are based on high-reso- bifolia: in 1974 (bifolia n/o); 1977 and 1979 (folio lution scans, color photography and, in the case of m); 1978 (folio e); 1985 (bifolium i/k, now Cleve- watermarks, published documentation. land); 1987 (folio f) and 2003 (bifolia g/h and p/q). 8. A high-resolution image is available courtesy Others appeared with private dealers in 1995 of the Cleveland Museum of Art: see http://www. (bifolium c/d) and in 2000 (bifolium a/b, includ- clevelandart.org/art/1986.91. ing the flyleaf with inscription). Bifolium c/d was 9. Excellent scans of the bifolia r/s and t/v are with Martin Breslauer, New York, in 1998 and with available online courtesy of the project Block- Nicholas Stogdon, Oxford, UK, 1991; bifolium a/b bücher aus bayerischen Sammlungen at the (including the flyleaf with inscription) was with Les Bayerische Staatsbibliothek: see http://daten. Enluminures, Chicago/Paris, 2000. Two bifolia are digitale-sammlungen.de/bsb00039822/image_9. in Bibliothek Otto Schäfer, Schweinfurt (bifolia r/s 10. Illustrated in Ferrini/Les Enluminures, 2000, and t/v). Folio l remains untraced. 50–51.

Art in Print November – December 2013 31 EXHIBITION “How you gonna get back to Jersey?” By Elleree Erdos

lipped into a clear plastic sleeve and S pinned delicately to the wall for examination, a greasy paper bag reveals its craftsmanship: on close viewing, the grease in Anders Bergstrom’s Grease Bag (2013) is not grease at all, but the result of a nine-layer reduction woodcut deftly printed to look like stains on the brown paper (while also doubling as the knots of a tree). Duro, the largest manufacturer of brown paper lunch bags, prints the name of the employee who produced the bag and the date of its manufacture on the bottom. Bergstrom has repurposed the trademark stamp as his signature, simultaneously calling attention to the reproducibility and the authenticity of the work of art. Grease Bag was a highlight of “How you gonna get back to Jersey?,” the first annual printmaking show at Plant- house, a new gallery space that opened in May on West 28th Street in New York. The exhibition, which ran from 10 July through 28 August, was organized by the Anders Bergstrom, Grease Bag (2013), nine-layer reduction woodcut, polymer, steel, hand cut and folded, 9 x 11.5 inches. Edition of 7. Printed by Brad Ewing, New York. Published by Grenfell Press, gallery’s co-directors, Brad Ewing and New York. Katie Michel, and presented an eclectic selection of work by 61 artists produced over the course of nearly 30 years (the on its head. Bergstrom reconceives the creation. Lingen’s 4.25 x 5 inch recreation earliest dated from the mid-1980s, many unfolded “bag” as a scientific specimen of a 1910 story from the New York Times other works were made this year). when he pins it to the wall, as if he were was painstakingly printed by letterpress The proclaimed theme of “How you an entomologist and the bag a butter- with handset type on paper made by the gonna get back to Jersey?” was metony- fly. The folded version of the bag (not artist herself. “Not one woman in a hun- my—the rhetorical use of an object to displayed in the exhibition) distracts us dred has a true artistic sense, or even a stand in for a concept or other subject (the from its medium and calls attention to genuine liking for the esthetic in any of use of “crown” to mean “king” or “monar- its object-ness. The flattened, pinned ver- tis forms,” (Lingen replicates the origi- chy” is a textbook example). Ewing says he sion, on the other hand, begs to be exam- nal typo), according to the Boston doc- overheard the remark, “How you gonna ined as a sample of the genus print. At a tor quoted in the piece. He goes on to get back to Jersey?,” late one night in the distance, the work might be dismissed opine about women’s lack of discrimi- train station when a group of drunk party- as commercial packaging, a flattened nation, “imbalanced temperament” and goers discovered that the line that runs remnant from a trip to the dollar store. incompetence—claims refuted by the between New York and New Jersey had Yet upon closer examination, it offers very object (Lingen’s print) on which stopped running. Their plaintive con- numerous readings: a comment on repro- they appear. Handmade and elaborately fusion resonated with Ewing, an Ohio ducibility, a critique of commerce or a crafted, the artwork controverts its native who found himself in New York plea for environmental responsibility. If widely distributed, mass-printed origins. eight years ago. The simple question con- ignored, the trompe l’oeil effect is lost— Shanti Grumbine, also concerned veys a host of emotions—bewilderment, we see merely a bag on a wall—but when with news media, weaves newsprint into alienation, fear—and was for him a met- the means and the method of creation visual puzzles. To create Tropical Storm onym for the feeling of displacement, a are acknowledged, the artwork becomes Irene, Little Falls / Prospect Park, Sept. 2, theme that permeated the exhibition. something new. 2011 (2012), Grumbine remade a news- With Grease Bag, Bergstrom creates an The visual content of Ruth Lingen’s paper article as a stencil for a white-on- object that is not what it seems, flipping Women Can’t Be Artists (2013) is simi- black screenprint, transforming the text the concept of Duchamp’s readymade larly inseparable from the manner of its into patterned blocks and the images into

32 Art in Print November – December 2013 the parking lot, as though providing cam- bring some of that work to the public. ouflage for a lurking predator. At the same time they are interested in Extensive print survey exhibitions promoting prints published by emerging are few and far between on today’s gal- artists who have no distribution network. lery scene; IPCNY has been carrying the Many of the artists featured in “How you flag for decades, bringing new artists gonna get back to Jersey?” print at Gren- and lesser-known works to the forefront. fell or at Marginal Editions, the press Planthouse is one of the first galleries in Ewing founded in 2007. many years to establish an annual print At Planthouse, the well-populated survey. Part of the aim is to raise the walls offered a sound representation of status of works that, as Michel laments, this community. Prints hung together at remain the “poor cousins of the art two levels (smaller works hung above the world.” The market has not been kind to larger ones), salon-style, with no didactic printmaking; most galleries that used to attempt at thematic unity. The result- run print exhibitions have been forced to ing dissonance between neighboring shift their focus to higher-ticket items. works generated unexpected dialogues. Prints are still desirable and sold, but they For those momentarily overwhelmed by are often kept in inventory and offered the task of digesting 61 artists’ work in a from the back room, in which case both single go, an oversized Jamisen Ogg pic- the visibility and inter-artwork conversa- nic table in the center of the large gallery tion of a survey exhibition is lost. space offered a resting place and locus for Planthouse directors Michel and discussion. “We want to encourage peo- Michael Neff, Snacky (2013), inside-out snack Ewing have long been involved with ple to linger,” explained Ewing. food bag, crumpled GQ magazine pages, prints. Michel went from sweeping the The Planthouse space, formerly a adhesive, laser printed label, 12.5 x 8 x 3 inches. floors at Grenfell Press in New York to flower shop, has retained remnants of Edition of 3. Printed and published by the artist, becoming the organization’s graphic its former life: a large urn of twisting New York. designer, while Ewing was its master branches and dried flowers holds open printer and studio manager. Founded by the door to the “cold project room,” pre- abstract cutouts. The result can be seen Leslie Miller in 1979, Grenfell has been viously the refrigeration room for flow- as a metonym for journalism—“a struc- producing work with major contempo- ers, now reserved for smaller exhibitions. ture that both reveals and obscures,” rary artists for more than 30 years, and Handrails with cup holders—handy for according to the artist. it is one of Michel and Ewing’s goals to a cup of keg beer during the gallery’s On an adjacent wall Michael Neff’s Snacky (2013) offered three unprinted aluminum snack-food bags labeled with neon yellow “$2” stickers. The nonde- script silver bags appear full, presumably of a cheap convenience store snack. But the materials listed on the gallery check- list reveal that the bags are in fact stuffed with crumpled GQ magazine pages. In Lingen’s work, we are obliged to trust that her reprint of the article is accurate; in Neff’s, we must believe that the invisible GQ pages are actually there. If we do, then what appears to be a cheap snack is in fact a bag of crumpled commercial culture and sex appeal. Wayne Gonzales is known for politi- cized paintings of crowd scenes, often in muted blue-black tones. The inkjet monoprint on view here, Untitled (2013), shows a parking lot from behind the branches of a stylized tree, the cars faded to washed- out hues. Gonzales has expanded his use of color, taking full advantage of digital tools to fade the red taillights. As in the photo-based paintings Gonzales recently showed at Paula Cooper Gallery, the cars Ruth Lingen, Women Can’t Be Artists (Special to the New York Times, Feb. 27, 1910) (2013), become the crowd. The tree and its sparse letterpress from hand set type on handmade paper, 4.25 x 5 inches. Edition of 75. Printed and yet intricate branches obscure much of published by the artist, New York.

Art in Print November – December 2013 33 Left: Shanti Grumbine, Tropical Storm Irene, Little Falls / Prospect Park, Sept. 2, 2011 (2012), screenprint, 25 x 15 inches. Edition of 5. Printed and published by the artist, New York.

Right: Wayne Gonzales, Untitled (2013), inkjet monoprint, image 12 x 12 inches, sheet 17 x 13 inches. Unique image. Printed and published by the artist, New York. ©Wayne Gonzales. Courtesy Paula Cooper Gallery, New York. Photo: Steven Probert.

laid-back, artist-filled openings—lead to of art, “How you gonna get back to Jer- this room. (Over the summer it featured sey?” broadened our expectations of the paintings and drawings of Los Angeles print while looking back to its didactic freeways by California-based artist Rob- history and around at its commercial ert Olsen.) present. Today’s printmakers appropriate old techniques, repurpose dated material Elleree Erdos has worked in the print depart- and redefine their art, borrowing from ments at The Museum of Modern Art and the the history of printmaking and making Sterling and Francine Clark Art Institute. their own. Even the business cards at Planthouse prompt a cool appraisal of artistic appropriation; the gallery kept Exhibition: the name, logo, and business cards of the “How you gonna get back to Jersey?” former flower shop it inhabits—only the Planthouse Gallery, New York contact information has changed. Yet the 10 July – 28 August 2013 space has been given a new raison d’être. With loose boundaries and an abundance

34 Art in Print November – December 2013 BOOK REVIEW Sellink positions Tuymans among for Documenta IX, and that afterwards it an elite group of contemporary artists was repurposed for a giant mosaic in an

Manfred Sellink (Hockney, Warhol, Rauschenberg, Bour- Antwerp public square. Finally, one reads Tommy Simoens geois, Baselitz) who have made “large and that the resulting print—which main-

luc tuymans important bodies of graphic works via dif- tains the proportions of the mosaic—was luc tuymans graphic works 1989–2012 ferent printmaking techniques.” Indeed, produced to commemorate the mosaic. Graphic Works includes reproductions of Readers can compare all of these itera- a photocopied artist book, screenprints, tions since the painting and an aerial shot

lithographs, monotypes and aquatints. of the public square both appear along- graphic works works graphic Experiments with thermo-enameling on side the print. glass plates and etched vinyl records are The shortcomings of this book are also shown, as well as works not typically few—a more historically rigorous analy- associated with printmaking techniques, sis of the work would help justify Sell- such as hand-stitched shirts, silver gelatin inck’s desire to place Tuymans on equal

1989–2012 prints and Polaroids. The reproductions ground with Warhol and Rauschenberg, are exceptional, and roughly a third of and a brief word as to why certain prints them are accompanied by brief texts that were selected over others for accompany- Manfred Sellink isbn: 978-94-6130-051-5 Tommy Simoens situate the work within the artist’s larger ing texts would have been helpful. Most of oeuvre. Tuymans’ monographs have been pub- As Sellink makes clear in his opening lished in conjunction with exhibitions, but essay, the images Tuymans chooses for this one was not. Thus Graphic Work takes Luc Tuymans— his art tend to be loaded with cultural on a somewhat paradoxical identity inso- Graphic Works 1982–2012 Edited by Tommy Simeons significance. The explanatory texts not far as it seems to present an isolated state- Text by Manfred Sellink, Marc Joseph only connect these source images to Tuy- ment even as it shows on page after page Berg and Beau Silvers mans’ work in other media, they often the interconnectedness at the heart of 256 pages, 350 color illustrations give the image’s original setting in popu- Tuymans’ oeuvre. This is a minor draw- Published by Ludion, Antwerp, 2012 lar culture. In this way the history Tuy- back, however, to an important book that $60 mans wishes to engage becomes readily will be invaluable to anyone interested in available to the reader. Dead Skull (2010) the full girth of the artist’s ambitions. is a good example. One learns that the By Charles Schultz source image is based on a plaque outside the Cathedral of Our Lady in Antwerp, Charles Schultz is a frequent contributor to his monograph offers a comprehen- that Tuymans first used it in a painting Art in Print. T sive collection of Luc Tuymans’ work in printed media. Spanning three decades of the Belgian painter’s career and including a thorough list of exhibition and publication histories, it also functions as a catalogue raisonné. The book follows a chronological layout, which allows the reader to trace the arc of Tuymans’ career as it builds momentum and branches out to include collaborations with master printers, poets and fellow artists with sympathetic politics. The introductory essay is by Manfred Sellink, who has written extensively on the prints and drawings of important early Dutch artists including Pieter Brue- gel the Elder, Phillips Galle and Cornelis Cort. Sellink does not attempt to con- textualize Tuymans as a “living master” in this lineage; instead he contributes a loose sketch of the artist’s working process and how it has developed over 30 productive years. His focus is on Tuy- mans’ use of images: how he culls, crops, reuses and reproduces them in what has grown into a dazzlingly complex web of associations among his paintings, photo- Luc Tuymans, detail of Dead Skull (2010), screenprint, image 17 x 17 cm, sheet 40 x 40 cm. graphs and prints. Edition of 60. Printed by Vandaele Editie, Antwerp. Published by Graphic Matter, Antwerp.

Art in Print November – December 2013 35 BOOK REVIEW Thus it is bracing to find a book that Chapters three and four, “Producing the systematically confronts assumptions Matrix” and “Printing the Matrix,” detail about how intaglio prints have been made the development of intaglio techniques. in the past. In Etching and Engraving Elements of platemaking and printing 1400–2000: A History of the Development are broken down into comprehensible of Manual Intaglio Printmaking Processes, segments. For example, discussion of Ad Stijnman presents new research from plate-making is followed by trans- primary sources and astute analysis of fer methods, mechanical procedures visual material. Stijnman is particularly for marking the plate such as engrav- suited to the task he has undertaken. ing and mezzotint, chemical proce- As a practicing printmaker—several of dures such as etching and, finally, his own prints illustrate concepts in the nonmanual methods. Each section book—he has a profound understanding follows the material or technique from its of the fundamentals of platemaking and first appearance to the present. It makes printing that pervades his lucid explana- for absorbing reading as every paragraph tions of how prints are made. Stijnman is packed with fresh information. is also a print connoisseur, his skills at This is by no means a technical man- close and critical looking honed during ual, but it does contain stunningly clear four years at the Herzog August Library descriptions of materials, methods and in Wolfenbüttel, where he worked with equipment. In the chapter about printing, colleagues to compile the invaluable Stijnman explains exactly how an intaglio online print database Virtuelles Kupfer- press works, ensuring our understanding stichkabinett. His highly original and of each innovation that transformed the Engraving and Etching 1400–2000: telling choices for illustrations reveal machine between the 15th century and A History of the Development of many beautiful prints that will be new the present. He goes on to describe this Manual Intaglio Printmaking for most readers, especially in the United transformation, starting with the presses Processes States. Finally, the rigor and passion of depicted c. 1591 in the engraving by Jan By Ad Stijnman his documentary research render this Collaert II after Johannes Stradanus (an 672 pages, 220 color and 83 halftone book, a product of two decades of work, image familiar to the print world as the illustrations both compelling and significant. cover of Print Quarterly). Stijnman calls Published by Archetype Publications Stijnman’s book is best described from this “roller press type 1” and explicates it in association with Hes & de Graaf the back to the front. The depth of his through his own diagram and a written Publishers, 2013 scholarly apparatus provides the founda- description. He also remarks how labo- $250 / £120 tion that makes his arguments so con- rious it must have been to print on early vincing. Two indices, one for names, the roller presses, as indicated by the image of By Andrew Raftery other for subjects, provide ready points of the printer driving the cross wheel with entry to the text. These are preceded by both hands and his foot in Stradanus’ rintshops—private, academic and a survey of literature relating to the his- illustration. “Roller press type 2” is based P professional—embody a range of tra- tory of prints. The survey is exceptionally on the diagrams in Abraham Bosse’s 1645 ditions. Materials, tools, machines and thorough, but it is completely overshad- monograph on intaglio printmaking. the procedures for using them are passed owed by the beating heart of Stijman’s Further developments are gleaned from from generation to generation. While tome, his extraordinary and unique “Bib- illustrations in manuals and surviving there are constant innovations, most of liography of Practical Manuals.” all-wood machines from the 18th and us tend to think that our basic techniques It is an example of the kind of mind- 19th centuries. Innovations such as the have existed since the inception of a par- boggling research that occasionally hap- addition of gears and the incorporation ticular medium. This is especially true of pens in the field of prints (one thinks of metal parts lead to the cast iron presses intaglio printmaking, whose incised and of Bartsch or Hollstein)—research that of the 19th century and prepare the field textured metal plates, oily inks, felt blan- transforms the field and opens new hori- for our contemporary presses made from kets and roller presses were developed as zons for future scholars. Stijnman exam- steel plates, bars and pipes. far back as the 15th century. The instruc- ined hundreds of books, manuscripts and Stijnman builds the same foundation tion passed to us by our teachers and even articles from the past five centuries, many of knowledge in his discussion of paper, the information to be found in contem- in multiple editions. As he mentions in felts and ink. The section on printing porary printmaking manuals suggest the forward, his practice in printmak- procedures contains much that is illu- that the way we make and print plates ing enabled him to distinguish between minating. He convincingly demonstrates today is rooted in the deepest antiquity. instructive texts, which are the basis of that most plates from the 16th century Old prints carry the same message with this study, and the merely descriptive. and 17th centuries were wiped wet, deceptive simplicity. They are so vivid Each item is carefully described and the using solutions of diluted lye, ammonia and appear to be so immediately compre- principal topics are listed along with or stale urine to saponify the oily tone hensible that we believe if we can match public collections where the books can on the plate, making it water-soluble so their effects we have replicated their orig- be found. This exciting resource is filled that it can be wiped off with a rag. This inal conditions of making. with potential. is quite different from the hand-wiping

36 Art in Print November – December 2013 with chalk so widely practiced today, first documented in the 18th century. The platemaking and printing chapters are cleanly structured and logical—they con- vey a sense of discovery on the part of the author that belies his denial of “flowery,” “eloquent” and “gentlemanlike” language presented as a disclaimer in the foreword. Chapters one and two have a different texture. The first, “Antecedents, Early Developments and Dissemination,” discusses the transition of the craft of engraving from the decoration of metal objects to the manufacture of matrices for prints on paper. Stijnman chronicles the origins of engraving and etching in Europe and follows these techniques as they spread through Asia, Australia and the Americas. For this section he did not have recourse to the practical technical manuals that form the basis for his later chapters. He had to rely on surviving metalwork objects, prints on paper and other evidence to inform his conclusions. The second chapter, “The Trade of Intaglio Printmaking,” sets the stage for the rest of the book by presenting what is known of the economics of the print trade, its organization and the education of platemakers and printers. This is followed by interesting sections about print workshops and suppliers of materials and machinery. Much of this overlaps but does not repeat information found in the chapters on platemaking and printing. Stijnman acknowledges the resulting appearance of redundancy, but in truth each section is packed with new facts, making it more than worthwhile to flip back and forth between chapters. Stijnman includes fascinating illustrations that evoke the printshops of the past: Francois Bonvin’s dramatic ca. 1871 etching of August Delâtre working on a plate by lamplight, a 1910 photogravure of the British printer Frederick Gould- ing at the press looking at a newly printed proof, the elegant Kiyoshi Hasegawa J.-B.-A. Guelard, De la graveure (1743), engraving, description abregée des principaux arts et photographed while leaning on the star metiers et des instruments qui leurs sont propres, le tout detaillee par figures. wheel of an antique press amidst the bric- a-brac of his Paris atelier c. 1923–24, and in a dignified manner—a fitting analogy table on breaks from engraving a copper- the touchingly beautiful print made by for Stijnman’s scholarly achievement. plate. Stijnman’s monumental work has C.A. Mispelblom Beyer in 1908, a detail Engraving and Etching will be indis- so much to offer in its text, footnotes and of which is reproduced on the cover. The pensable in museum print study rooms, bibliography that I am sure many readers engraving, which shows printers at work art libraries, for collectors and print deal- from every aspect of the print world will in the printshop of the Rijksacademie in ers for many years to come, but I am happy turn to it again and again. Amsterdam, is unassuming and direct in to have my own copy to peruse in my technique, very correct and perhaps a little home and studio. It never seems to stay on Andrew Raftery is an engraver, print scholar and dry. This matter-of-fact style allows the its shelf. I have it on my breakfast table as Professor of Printmaking at Rhode Island School focus of the image to remain on the sub- I eat my toast, read it in bed at the end of a of Design. ject: the performance of significant work long day’s work and refer to it at my work-

Art in Print November – December 2013 37 BOOK REVIEW corners of the world, and I remain fasci- The best quality wood used in Japan nated by the how-to of all print processes. is wild cherry wood, which is becoming Nonetheless, many of the techniques harder to obtain and involves laborious included here were familiar to me only d r y i ng a nd pl a n i ng s t a ge s . A l so u sed now- as a printmaker. Laitinen et al present adays in Japan is Shina plywood, a type them in fastidious detail. You can learn of basswood grown in tree farms in Japan how to cast your own rollers and how to for high quality use in cabinetmaking, make boiled linseed oil. There is extensive construction, matchsticks, and for wood- advice on tool sharpening with photos and blocks. Special care is taken in growing charts, and an intricate explanation and this Shina wood—extensive bracing with diagram showing how to make an arcane, guy wires of the young trees in the grove ingenious registration frame for hand- so they grow straight!—and makes it printing that may exist only in Finland: an relatively costly. In North America most edition’s worth of paper sheets are locked types of basswood are for model making, in place so that each printed sheet will slip and is small in scale, and larger pieces down a special slot, keeping it out of the of basswood plywood is not as high of way while the next impression is pulled. quality as the Japanese Shina, or readily Particularly useful are the documentation available except by import from Japan and advice on mixing color gradations to one retail source. In Europe the most The Art and Craft of in the oil-base ink methods that use sev- available wood is birch, pine and various Woodblock Printmaking: eral colors on one roller, and in the Japa- grades of lauan mahogany. Basswood— Woodblock Printmaking with nese methods of bokashi. These sections the European Linden, also called Lime Oil-based Inks and the Japanese explore many options and effects, and the wood—is known for sculptural and deco- Watercolour Woodcut clear photos illuminate the special rela- rative carving but has not typically been By Kari Laitinen, Tuula Moilanen tionship of water, wood and ink. used for woodblock printing, and there is and Antti Tanttu As one would expect, the book also no importation of Shina from Japan for a 288 pages, soft cover includes guidance on how to print with retail market. Laitinen knows the nature Published by Aalto ARTS Books, a press, by hand, or even with a brush of wood—intractable, splintery and usu- Helsinki, 2013 for variable pressure, as was done by the ally milled without artists in mind. Originally published in Finland as Finnish artists Vilho Askola and Erkki The book also includes important, Puupiirroksen taito, 1999 Tanttu in the 1960s. The co-authors pres- though small, sections on the history of $57.95 / €45 ent their areas of special expertise, such the woodcut in both Asia and the West, as Antti Tanttu’s large-scale woodblock the context of the print in Japan and the printing and Laitinen’s facility with color influence of Asian prints on Western art, By Karen Kunc and ink layering. The authors use their as well as brief profiles on several histori- own work and teaching exercises exten- cal Finnish woodcut artists who deserve n keeping with its institutional man- sively for the how-to examples, showing to be more widely known, such as the Idate to preserve and disseminate the development of the image step-by- early Modernist Akseli Gallen-Kallela; important research, Aalto University (for- step with color photographs. Ellen Thesleff, a pioneer in creative color merly the University of Art and Design) The extensive section on Japanese woodblock printing; and Erkki Hervo, has reissued The Art and Craft of Wood- watercolor woodblock technique, moku- who brought Asian techniques to his styl- block Printmaking by Finnish artists Kari hanga, is rich with illustrations and pho- ized geometric abstractions. The book Laitinen, Tuula Moilanen and Antti Tan- tographs that capture the mood, skills would benefit from a more extensive gal- ttu. This important studio manual, first and quietude of this method. Moilanen lery of prints by a greater variety of artists, published in 1999, can now be obtained has spent years working and collaborat- but it certainly achieves its stated purpose again in English, and there are hopes for a ing in Japan and has become an impor- to foster “new vistas of expression.” possible future electronic edition. tant liaison between printmakers East Woodblock Printmaking is intended for and West. The expertise captured here is Karen Kunc is a Cather Professor of Art at the virtually anyone who wishes to under- invaluable. University of Nebraska-Lincoln and an award stand the techniques of the woodblock New to the reissue is a brief section winning artist. print. The three authors are among the on Laitinen’s research into heat-treating many printmakers in this arts-rich coun- wood to make a workable substitute for The book is available for purchase try and have accumulated an impressive Japanese wild cherry or Shina wood- from McClain’s Printmaking Supply: body of research and knowledge from blocks, which are difficult to obtain in www.imcclains.com and from the pub- years of experience as artists and teachers. the West. The characteristics of wood lisher, Aalto ARTS Books: www.taik.fi/ The book presents step-by-step technical affect both the ease of carving and the kirjakauppa/product_infophp?cPath= information in a methodical approach transference of ink from block to paper. 17&products_id=73. that considers all facets thoroughly. The transformation of birch—a plenti- As a woodcut artist and professor of ful resource in Finland—into something printmaking, I have seen great printmak- that behaves like Shina is an interesting ing and resourceful approaches from all development.

38 Art in Print November – December 2013 BOOK REVIEW posed an official line for interpreting his to arranging fragments of loose ephem- prints. era in different configurations within The British Museum’s new catalogue the studio. These assemblages were pho- raisonné presents a far more complete tographed and stencils were handcut by picture, making visible for the first time Prater (whose expertise in this area was the full range of Kitaj’s graphic work. considered second to none) to make the Accompanied by an exhibition of around screens, after which Kitaj would make 50 works, curator Jennifer Ramkalawon’s alteration notes to advance the compo- detailed and richly illustrated survey cel- sition. This procedure harnessed the ebrates the artist’s bequest of some 293 spontaneity Kitaj described, while being prints—almost the full complement of sympathetic to his “bulletin-board” style his editions, making it the most com- of combining words and images to con- prehensive collection in Europe. Among struct layered meanings. These experi- these prints, which remained in Kitaj’s ments produced strange juxtapositions, studio until his death, were lesser-known connections peculiar to Kitaj’s world early and late works absent from the that were often opaque to other people— Kinsman catalogue. Particularly reveal- Ramkalawon describes them as “mad- ing are his experimental proofs, tryouts dening visual crossword puzzles.” for the positioning of images, words and The correspondence between Kitaj Kitaj Prints: A Catalogue Raisonnė colors. Reproduced beside the final ver- and Prater when the artist was in Amer- Jennifer Ramkalawon sions, they offer an invaluable insight into ica (1967–71) reveals how reliant the artist 256 pages, 300 color illustrations the artist’s compositional working meth- became on the master printer’s expertise. British Museum Press, 2013 ods and instincts. Kitaj would mail his images and remotely £40 Kitaj was nothing if not paradoxical. guide the composition, colors and papers Though he worked actively to suppress with detailed written instructions and his history as a printmaker, he did not, sketches. Prater would send proofs, and in the end, destroy the prints as he once Kitaj would judge and sometimes aban- By Julia Beaumont-Jones threatened.6 Indeed he made several gifts don the results. (The near-forgotten of them to art museums and was par- rejects for In Our Time form a small but his year has been eventful for the ticularly eager for this final donation to intriguing part of the bequest.) An earlier Tlegacy of R.B. Kitaj. Five years after sit alongside the Old Masters in the Brit- essay by Pat Gilmour goes into consider- his death and almost 20 years after his ish Museum’s distinguished Department able detail about this correspondence, ill-fated Tate retrospective there were of Prints and Drawings. And though he shedding further light on the artist’s no fewer than four monographic exhibi- remarked on the “utter boredom” he felt attitudes to collaborative practice. She tions in England.1 [See Catherine Bind- when art was harnessed to technology, points out that in 1967–8, during a row man article, p. 21.] While reappraisals of he also felt photo-screenprinting was in the British press over the “original- Kitaj the painter were arguably overdue, “as close to SPONTANEITY” as he could ity” of photo-screenprints, Kitaj signed perhaps more overdue still was a reex- get.7 Though in 1967 he told Mark Glaze- several letters to Prater under the guise amination of the artist’s graphic oeuvre, brook, “I can get manifold ulterior prem- of the master-engraver and automatist an aspect of his career that caused him ises visualised, on sheets; premises, false painter Stanley William Hayter.9 Hay- such uncertainty he excluded it entirely starts, supplications, what have you, ter, in his book About Prints, had set out a from the 1994 Tate show against the which would take me many months to rather narrow definition of “Five Degrees curators’ wishes.2 From the mid-1980s commit to oil painting,” nonetheless oils of Originality in Prints,” which was co- onward, Kitaj vetted museum exhibi- on canvas retained primacy for him: “my opted into the wider debate through a tions, gallery sales and scholarly publica- most serious ambitions lie with paint- 1967 Guardian article, “Minting Prints.” tions to ensure that only those prints he ing.”8 While he may later have found its The article, which argued in favor of tra- deemed acceptable would attract public nonautographic nature problematic, ditional hand-drawn matrices, provoked notice.3 Among these abridged endeavors photo-screenprinting was unquestion- famous letters of rebuttal from Eduardo was Jane Kinsman’s 1994 print catalogue ably a critical experimental vehicle for Paolozzi and Allen Jones.10 At the time, raisonné, which, through Kitaj’s inter- Kitaj, expedient for developing his visual the originality question did not greatly vention, illustrated less than half of his syntax. trouble Kitaj, whose print The Defects of printmaking output and amended some Kitaj’s lengthy collaboration with its Qualities (1967–8) incorporated the entries with “afterword” apologias. Of Chris Prater of Kelpra Studio gave rise equally conservative Print Council of his 1967 screenprint Vernissage-Cocktail, to his most ambitious, successful and America leaflet, “What is an Original for example, Kitaj wrote, “I hate myself important print suites: Mahler Becomes Print?” Kitaj had recently discovered for having been so very lost.”4 Writers Politics, Beisbol (1964–7) and In Our Time: the writings of Walter Benjamin, whose like Kinsman considered his graphics to Covers for a Small Library After the Life for “The Work of Art in the Age of Mechani- be masterly visual diaries that effectively the Most Part (1969–70). For the Mahler cal Reproduction” (1936) greatly nur- transmitted his aesthetic, literary, filmic series Kitaj dispensed with his practice of tured his understanding of how the mass and political preoccupations,5 but Kitaj’s printing photomechanically from a pre- media of photography, film and printing self-censorship and admonishments im- conceived, fixed collage; instead he took affected modern aesthetics. (Benjamin’s

Art in Print November – December 2013 39 essay “Unpacking My Library” (1931) Fisher. With this turn to the autographic view of the Place de la Concorde, whose would also spark In Our Time.) mark he forsook the hard edges and only figurative presence is the silhou- In the late 1970s Kitaj gradually with- brightly colored montages of screenprint etted Strasbourg Statue. The soft-ground drew from Kelpra, producing his last for the more intimate nuances of line and method was Kitaj’s main intaglio tech- screenprint in 1980. This was, rather tone offered by lithography and etching. nique; its chalky appearance reduced the poignantly, a portrait of Prater for the The eloquently spare portraits Kitaj distance between the mechanized and Kelpra Studio/Tate Gallery Portfolio. made at Atelier Crommelynck in 1981–2 free-hand image. Kitaj further attempted Ramkalawon observes that Kitaj’s “grow- stand out as particularly fine exam- to emulate the materiality of the unique ing disillusionment” with screenprint ples of his intaglio work, especially drawing through the use of textured was influenced by his return to figure the definitive Kitaj Self-Portrait (After papers, which he tried at Curwen Stu- drawing and his interest in the pastels of Matteo) on rich orange paper. An unusual dio in the early 1990s. The resulting Degas, encouraged by his partner, Sandra find, within this group is an atmospheric lithographs, Biblical Portraits (1991–4), are some of Kitaj’s finest autographic prints, and palpably evoke a range of human emotions—not least the childish wilful- ness of Eve. They indeed have the feel of immediate, original drawings, as if made on the paper nearest to hand. Kitaj insisted he work with thick “porridge paper,” as he did with his pastel drawings, while the immediacy of the line was achieved through his direct inscription onto transfer paper before the zinc plate.11 Ramkalawon provides an illuminating account from master printer Stanley Jones about his search for appro- priately distressed papers, which led him to use a stock he had rescued from a rubbish skip. The distinctive water stains on these sheets, which render each image “unique,” date to World War II, when fire- men doused a nearby incendiary bomb. Ramkalawon gives consideration to Kitaj’s attitudinal twists and turns about the mechanized image over time, surmising that while he was certainly ambivalent, the idea “that he did not care about this huge body of printed works is untrue.” They were not at the forefront of his ambitions and caused him uncertainty, prompting him to edit out those he felt dissatisfied with. On balance, this seems a sensible conclusion to draw, not least because of the wider context of printmaking practice at the time. His reassessment of his earlier works as “hack prints” and “pot boilers” are admissions of personal failure, but they are also consistent with a wider questioning of the industry that occurred during the recession of the 1970s and early eighties, whereby artists and art writers took stock of the practices and aesthetics of the heady “print boom” years (ca. 1961–72).12 (The recession of those two decades, which greatly affected the British print market, also played a part.) The once excitingly radical, arm’s length photomechanical methods were now seen as a mixed R.B. Kitaj, The Defects of its Qualities (1967-8), color screenprint, photoscreenprint, collage, 89.9 x 61 cm. Image ©Tate, London 2013. Art ©The Estate of R.B. Kitaj, courtesy Marlborough blessing, as they yielded both ambitious Gallery, New York. and easily commodified, poor-quality

40 Art in Print November – December 2013 prints.13 Kitaj was not alone in turning to 8. Mark Glazebrook, “Why do Artists Make traditional, handcrafted media. He even- Prints?,” Studio International, Supplement, no. tually came to see his experimental prac- 173 (891), supp 1, June 1967, 1. tice at Kelpra to be at odds with his usual 9. Gilmour, 122–3. 10. S.W. Hayter, About Prints (Oxford University painstaking approach.14 Nonetheless, it Press, 1962), 136; M. McNay, “Minting Prints: is the screenprints that stand out in one’s The Meaning of Originality,” The Guardian, 26 mind as the most incisive and enduring February 1967; Eduardo Paolozzi, “Letter to the works of Kitaj’s printmaking career, the Editor,” The Guardian, 6 March 1967; Allen Jones, images that most successfully thread “Letter to the Editor,” The Guardian, 6 March 1967. together the artist’s disparate range of 11. See David Case account in Kinsman, 128. cultural references and do so with playful 12. In Britain this was said to be c. 1961–72—see exuberance. R. Riley and A. Rose, As is When: a Boom in In her summing up, Ramkalawon British Printmaking, 1961–1972 (London: British exhorts the reader to consider Kitaj’s Council, 2003). 13. Pat Gilmour, British Artists’ Prints, 1972–77 prints alongside his drawings and paint- (London: British Council 1977), 8; E. Underhill, ings. Doing so makes clear how his The Print Collection (paper sent to the Board movement toward figurative art influ- of Trustees, November 1979), Tate Archive: enced the course of his printmaking, but TG/4/7/1/3, July 1979; Judith Goldman, it also reveals just how important print- “Printmaking: The Medium Isn’t the Message Anymore,’” ARTnews, March 1980, 80–5: making was to his wider practice: in his “astounding numbers of artists made good prints earlier career, images on canvas would ... a lot of very good artists made very bad prints.... sometimes originate from the spontane- The look of prints as we enter the ‘80s is quite ous screenprint compositions developed different than it was in 1970. The hard-edged at Kelpra. Ramkalawon neither confirms anonymous geometric prints, of the early ‘70s, nor denies Kitaj’s own opinions, but have been replaced by unambitious, if genial, well-made images”; Garo Antreasian, “Thoughts offers the irrefutable evidence of the About Printmaking and Print Collections,” Art medium’s central role in Kitaj’s career. Journal, 39, no. 3. Printmaking, the Collaborative In its comprehensiveness, thoughtful Art, Spring, 1980, 180–8; Riley and Rose, 13; design, and diligent research, the cata- Allen Jones, “Thoughts and Recollections,” Print logue is an indispensable survey of a fas- Quarterly, 21, no. 1 (March 2004): 46-48. 14. Kinsman, 34. cinating, and vexing, artist.

Julia Beaumont-Jones specializes in 19th-century to contemporary works on paper.

Notes: 1. “R.B. Kitaj. Obsessions: Analyst for Our Time,” Pallant House Gallery, Chichester, 23 February–16 June 2013; “R.B. Kitaj. Obsessions: The Art of Identity,” Jewish Museum, London, 21 Feb–16 June 2013; Paula schuette Kraemer “Recent Acquisitions: Arcimboldo to Kitaj,” The British Museum, London, 30 May–1 Sept 2013; “R.B. Kitaj: Works on Paper,“ Marlborough Fine Art, London, 2 July–27 July 2013. 2. Pat Gilmour, “ R.B. Kitaj and Chris Prater,’” Print Quarterly 11, no. 2 (1994): 147. The Tate’s collection of Kitaj prints, predominantly acquired through the 1975 Institute of Contemporary Prints gift, consists of 162 works: www.tate.org.uk. 3. Ibid., 146. 4. Jane Kinsman, The Prints of R.B. Kitaj (Surrey, UK: Scolar Press; Canberra, National Gallery of Australia, 1994), 35. 5. Kinsman, 26; Miles, Rosemary, Kitaj: A Print Retrospective, exhibition brochure, (London: Victoria and Albert Museum, 1994).

6. Livingstone, Marco, Kitaj (London: Thames & meeting one ii (detaiL) | drypoint monoprint | actuaL Size 48 x 36 incheS Hudson, 2010), 27. - 7. Kinsman, quoted in Ramkalawon, Jennifer, O l s O n l a r s e n Kitaj Prints: A Catalogue Raisonnė (London; The G a l l e r I es British Museum Press, 2013), 9, 20. Also see www.olsonlarsen.com Gilmour, 123.

Art in Print November – December 2013 41 The Art in Print Prix de Print No. 3 Deadline: 15 November 2013.

The Prix de Print is a bimonthly, juried competition open to all Art in Print subscribers.

The winning work of art, selected by an outside juror, is given a full-page reproduction and is discussed in a brief essay. The jurors are artists, curators and other experts in the field.

Who can enter? Anyone with an active subscription to Art in Print can enter. We can accept one submission per subscription per issue. The subscriber can be an artist, publisher, printshop, gallery or other organization.

How do I submit? Send a high-resolution digital image to [email protected], along documentation of the work* and the email address associated with the subscription in the body of the email. (Do not send PDF attach- ments.) Details can be found under the “About Us” tab at www.artinprint.org.

Deadlines: Deadlines will be the 15th of every odd-numbered month: 15 November, 15 January, 15 March, 15 May, 15 July PRIX and 15 September. de

*artist’s name, title of work, year, medium, dimensions, PRINT edition size, printer/publisher information, price and where available.

42 Art in Print November – December 2013 Laura Berman, Umbra: RM1 (2013) Cecily Brown, The Crow and Kitten (2013) News of the Relief print, 30 x 30 inches. Unique image. Printed Offset lithograph, 15 1/2 x 19 inches. Edition of and published by Pele Prints, St. Louis MO. $1800. 38. Printed and published by the LeRoy Neiman Center for Print Studies, Columbia University, Print World New York. $4500.

Selected New Editions

Ann Aspinwall, London (2013) Collagraph, image 22 1/2 x 30 1/2 inches, sheet 29 1/4 x 36 3/4 inches. Edition of 18. Printed and published by the artist, New York, NY. $800.

Laura Berman, Umbra: RM1 (2013), relief print.

Brent Bond, Portrait of Claire Voyant (2013) Linocut and photopolymer relief on archival inkjet, image 11 3/4 x 10 1/4 inches, sheet 16 x 13 Cecily Brown, The Crow and Kitten (2013), inches. Edition of 15. Printed by the artist, Ann Aspinwall, London (2013), collagraph. offset lithograph. Scottsdale, AZ. Published by Santo Press, Scottsdale, AZ. $250. Chris Ballantyne, Spiral Fence, Power Lines, Lawn Chairs and Parking Lot with Palm Trees (2013) Charles Woodruff Coates Four two-color lithographs, 8 1/8 x 11 1/2 inches each. Edition of 20 each. All printed and View of Augmentation 02 (2013) Woodcut on Japanese paper, 40 x 58 inches. published by Tamarind Institute, Albuquerque, NM. $500 each. Unique image. Printed and published by the artist, Tucson, AZ. $900.

Chris Ballantyne, Parking Lot with Palm Trees Brent Bond, Portrait of Claire Voyant Charles Woodruff Coates, View of (2013), two-color lithograph. (2013), laser woodcut and photopolymer Augmentation 02 (2013), woodcut on relief on archival inkjet with letterpress. Japanese paper.

Pedro Barbeito, 33 Kelvin (2013) Yael Brotman, Teardrop VIII (2013) Screenprint, laser engraving and woodcut on Etchings on Japanese and Taiwanese papers, handmade paper with printed 3D model, laser- foamcore, matte medium and adhesive, 14 x 17 Dorothy Cochran, Passing Through (2013) cut and hand-assembled box, 16 x 36 x 1 inch. x 5 1/2 inches. Unique image. Printed by Lorna Encaustic collagraph , 36 x 32 inches. Edition of 2. Edition of 15. Printed and assembled by Pedro Livey, Toronto. Published by the artist, Toronto. Printed and published by the artist, Ridgewood, Barbeito, Elisabeth Haly Meyer and students Available through Open Studio Printshop, NJ. $1000. in conjunction with the Advanced Print Media Toronto. $2200. studio at Cornell University, Ithaca, NY. Published by the Advanced Print Media Studio, Art Department, Cornell University. $2500, available from 101/Exhibit Gallery, Los Angeles.

Yael Brotman, Teardrop VIII (2013), etching on Japanese and Taiwanese papers, foamcore, Pedro Barbeito, 33 Kelvin (2013), screenprint, matte medium and adhesive. laser engraving and woodcut on handmade Dorothy Cochran, Passing Through (2013), paper with printed 3D model, laser-cut and encaustic collagraph. hand-assembled box.

Art in Print November – December 2013 43 Anne Collier, Mary Heilman, Marilyn Minter, Sarah Crowner Stella Ebner, Making Starry Night (2013) Jack Pierson, Cindy Sherman, Laurie Simmons Untitled (Spotlights) A and B (2013) Screenprint on Japanese paper, 36 x 50 inches. The Lily Sarah Grace Portfolio (2013) Lithograph and screenprint (A) and relief and Edition of 5. Printed and published by the artist, Suite of six photographs, each signed and screenprint (B), 38 3/8 x 34 inches each. Edition New York, NY. $2800. numbered in custom made, cloth-covered folio, of 18 each. Printed and published by Highpoint 14 1/2 x 11 1/2 inches. Edition of 100. Published Editions, Minneapolis, MN. $1750 each. by Carolina Nitsch for the Lily Sarah Grace Fund, The Color 3 – 6 Portfolio (2013) New York. $6000. Series of four 3–6 color screenprints, 30.5 x 23 cm. Edition of 25. Printed and published by Printed Matter, Inc., New York. $400.

Stella Ebner, Making Starry Night (2013), screenprint on Japanese paper.

Dario Escobar, Untitled (2013) Mixografía® print on handmade paper, 34 x 24.5 Laurie Simmons, from the The Lily Sarah Grace inches. Edition of 40. Printed and published by Portfolio (2013), photograph. Mixografia®, Los Angeles. $3200.

Sarah Crowner, Untitled (Spotlights) A (2013), Robert Cottingham, HAWK-EYE (2013) lithograph and screenprint Lithograph, 31 1/2 x 23 1/2 inches. Edition of 20. Printed and published by Tandem Press, Jeffrey Dell, Nobody Ordered Wolves (2013) Madison, WI. $2500. Screenprint on translucent Yupo, 34 x 23 inches. Edition of 7. Printed and published by the artist. Available through Art Palace Gallery, Houston,TX. $2200.

Dario Escobar, Untitled (2013), Mixografía®

print on handmade paper.

Robert Cottingham, HAWK-EYE (2013), lithograph. Jeffrey Dell, Nobody Ordered Wolves (2013), Paul Fabozzi, QBB #1 (2013) screenprint on translucent Yupo. Woodcut, spitbite etching and relief print on paper, image 18 x 12 inches, sheet 23 1/2 x 17 inches. Keith Cranmer, Untitled (2013) Edition of 20. Printed by Raphael Griswold, Copperplate engraving, 3 1/8 x 4 3/8 inches. Jim Dine, The Black and Red Heart (2013) Brooklyn, NY. Published by Anne MacDougall Edition of 25. Printed and published by the artist, Woodcut with hand drawing, 64 x 48 inches. Editions, New York. Available through G.W. Berkeley, CA. $200. Edition of 30. Price on request. Einstein Company, Inc., New York. $1800. The New Building (2013) Woodcut, etching with hand drawing, 64 x 48 inches. Edition of 30. Price on request.

Both printed and published by Tandem Press,

Madison, WI.

Keith Cranmer, Untitled (2013), copperplate engraving. Jim Dine, The Black and Red Heart (2013), Paul Fabozzi, QBB #1 (2013), woodcut, spitbite woodcut with hand drawing. etching and relief print on paper.

44 Art in Print November – December 2013 Leslie A. Golomb, Except for the Sound of My Anita S. Hunt, Pyre III (Before and After) (2013) Raeleen Kao, Haunted Chamber (2013) Voice (2013) Etching and spit bite aquatint with chine collé, Four-color etching w/ aquatint, image 8 x 6 Photogravure, image 22 x 30 inches, sheet 30 x 40 image 6 x 9 inches each, sheet 11 x 14 inches inches, sheet 11 3/4 x 8 1/2 inches. Edition of 6. inches. Edition of 10. Printed by the artist and each. Edition of 7 each. Both printed and Printed and published by White Wings Press, Sergey Zlotnikov, Pittsburgh, PA. Published by published by the artist, Colrain, MA. $450 each. Chicago. $400. the artist, Pittsburgh, PA. $750.

Anita S. Hunt, Pyre III (Before and After) (2013), Leslie A. Golomb, Except for the Sound of etching and spit bite aquatint with chine collé. My Voice (2013), photogravure. Raeleen Kao, Haunted Chamber (2013), Gesine Janzen four-color etching with aquatint. Kevin Haas, Inventory (2010-2013) Waterway (2013) Lithograph, 22 x 30 inches (largest sheet). Variable Color reduction woodcut, 30 x 42 inches. Edition edition. Printed and published by the artist, of 4. Printed and published by the artist, Nina Katchadourian, Whisker Prints (2013) Pullman, WA. $250-550. Bozeman, MT. $750. 17 monotypes, image 11 3/4 x 11 3/4 inches each, sheet 15 1/8 x 15 inches each. Unique images. Printed and published by Island Press, St. Louis, MO. $1800 each.

Kevin Haas, Inventory (2010-2013), lithograph. Gesine Janzen, Waterway (2013), color reduction woodcut. Cassandra Hooper Play House from the series Playground (2013) Lithograph on Japanese paper, 25 1/2 x 39 inches. Brian Johnson, Edition of 5. Printed and published by the artist at Aristabulus Bragg (American Stain) (2013) the Center for Editions, Purchase College, SUNY, Screenprint, 13 x 18 inches. Edition of 12. Printed and published by the artist, Austin, TX. $300. Purchase NY. $1800. Nina Katchadourian, Whisker Prints (3B)

(2013), monotype.

Kcho, El Nadador and Sin Titulo (2013) Mixografía® prints on handmade paper, 34 x 50 inches each. Edition of 60 each. Printed and published by Mixografia®, Los Angeles. $3600 each.

Cassandra Hooper, Play House (2013), lithograph on Japanese paper.

Kcho, Sin Titulo (2013), Mixografía® prints on Brian Johnson, Aristabulus Bragg (American handmade paper. Stain (2013), screenprint.

Art in Print November – December 2013 45 Alicia LaChance, New Village III (2013) Janet Marcavage, Warp and Weft VI (2013 Paul Mogensen Relief print with screenprinted elements, 44 x 44 Screenprint, 14 3/4 x 24 3/4 inches. Edition of Untitled (2013) inches. Edition of 10. Printed and published by 25. Printed and published by the artist, Tacoma, Aquatint

Pele Prints, St. Louis, MO. $2500. WA. Available at Lisa Harris Gallery, Seattle. $375. Untitled (2013)

Drypoint

Image 10 x 10 inches each, sheet 11 x 15 inches each. Edition of 20 each. Both printed and published by Jennifer Melby, Brooklyn, NY. $1200 each.

Janet Marcavage, Warp and Weft VI (2013), Alicia LaChance, New Village III (2013), relief screenprint. print with screenprinted elements.

Kate McQuillen, Matches (2013) Miller Levy, Journal intime (2013) Pressure monoprint, 30 x 22 inches. Unique Suite of three lithographs in a blue linen portfolio, image. Printed and published by the artist, image 35 x 25 cm, sheet 49 x 33 cm. Edition of 36. Chicago. $2700. Printed by Bruno Robbe, Frameries, Belgium. Published by Graphic Matter, Antwerp, Belgium. $1200. Paul Mogensen, Untitled (2013), aquatint.

Jill Moser, Cycle X (2013) Series of 27 monoprints, etching, lithographic and silkscreen ink, 42 1/2 x 40 inches. Unique images. Printed by Brand X Editions, New York. Published by the artist, New York. $8000 each.

Miller Levy, Journal intime (2013), lithographs.

Markus Linnenbrink, IHEARDYOULOOKING Kate McQuillen, Matches (2013), pressure (2013) monoprint. Monotype, from a series of 9 pairs of prints and 20 single prints, diptych, 52 x 79 inches, each panel 52 x 39.5 inches. Unique image. Printed and Michael Miller, GRIDHEAD 3 (2013) published by Center Street Studio, Milton, MA. Color drypoint, 24 x 16 inches. Edition of 5. Printed $5200 each, $10,000 for the diptych. and published by the artist, Chicago. $1000.

Jill Moser, Cycle X 2 (2013), monoprint, etching, lithographic and silkscreen ink.

Althea Murphy-Price, Candy Necklace (2013) Lithograph and screenprint, 22 x 30 inches. Edition of 6. Printed and published by the artist, Markus Linnenbring, IHEARDYOULOOKING Michael Miller, GRIDHEAD 3 (2013), color Knoxville, TN. $800. (2013), lithograph. drypoint.

Matt Magee, After Math (2013) Allison Miller, Yes, Here and That and Sure (2013) Diptych of two, one-color lithographs, 14 x 11 Series of monotypes, 22 x 30 inches. Three unique inches each, 14 x 24 1/2 inches installed, with 1/2 images. $1200 each. All printed and published by inch in between panels (same distance between Tamarind Institute, Albuquerque, NM. red/white lines). Edition of 20. Printed and published by Tamarind Institute, Albuquerque, NM. $1200.

Althea Murphy-Price, Candy Necklace (2013),

lithograph and screenprint.

Matt Magee After Math (2013), diptych of two, Allison Miller, Here and That (2013), monotype. one-color lithographs.

46 Art in Print November – December 2013 Liz Nielsen, Composition: Hot Air Balloon (2013) Lynn Peterfreund, Eco.ominous 2 (2013) Rosalyn Richards, Rain (2013) Unique chromogenic photograph, 40 x 50 inches. Monotype, 18 x 18 inches. Unique image. Printed Multiple-plate color etching, 6 x 12 inches. Unique image. Printed by the artist, New York. and published by the artist, Florence, MA. $1200. Edition of 15. Printed and published by the artist, Published by Benrimon Contemporary, New Lewisburg PA. Available through Davidson York. $5000. Galleries, Seattle. $400.

Lynn Peterfreund, Eco.ominous 2 (2013),

monotype. Liz Nielsen, Composition: Hot Air Balloon (2013), unique chromogenic photograph.

Liliana Porter, To Dress Up (2013) Dennis O’Neil, Mirror Wall 97 (2013) Two-color lithograph with mixed media. 22 1/2 x Acrylic-based screenprint with cold wax paint, 27 1/4 inches. Edition of 25. Printed and published image 10 x 15 inches, sheet 22 1/2 x 15 inches. by Tamarind Institute, Albuquerque, NM. $1800. Variable edition of 13. Printed and published by Hand Print Workshop Int’l, Alexandria, VA. $1300.

Rosalyn Richards, Rain (2013), multiple-plate color etching.

Jenny Robinson, Infrastructure #1 (2013 Drypoint, collage, 47 x 52 inches. Edition of 4 unique variants. Printed and published by the artist, Berkeley, CA. $4800.

Lilliana Porter, To Dress Up (2013), two-color lithograph with mixed media.

David Rathman, Dangles and Snipes (2013) Suite of 10 prints, spit-bite aquatint and dry-point Dennis O’Neil, Mirror Wall 97 (2013), acrylic- with Gampi chine collé, image 4 3/4 x 6 inches based screenprint with cold wax paint. each, sheet 9 1/4 x 10 1/2 inches each. Edition of 18. Printed and published by Highpoint Editions, Minneapolis. $4750 for the suite; select individual Gary Paller, Blue Spectrum (2013) prints available upon request. Jenny Robinson, Infrastructure #1 (2013), Relief/ collagraph, 62 1/2 x 50 inches. Unique drypoint, collage. image. Printed and published by Wildwood Press LLC, St. Louis, MO. $8000. Julião Sarmento, Curiosity’s Eye series: (aeria and arabia); (hellas planitia); (mare erythraeum); (maria sirenum and cimmerium); (syrtis major); (tithonius lacus) (2013) Six Mixografía® prints on handmade paper, 18 3/4 x 14 3/4 inches each. Edition of 25 each. Printed and published by Mixografia®, Los Angeles. $1500 each.

David Rathman, Windmill (2013), spit-bite aquatint and drypoint wiht Gampi chine collé. Gary Paller, Blue Spectrum (2013), relief/collagraph.

Julião Sarmento, (aeria and arabia) (2013), Mixografía® print on handmade paper.

Art in Print November – December 2013 47 John-Mark Schlink, Architectural Possibles Hunt Slonem, Torouco (2013) Barbara Takenaga, Lines of Force (Fired Red) and (Articulation no.8) (2013) Series of seven, monoprint/hand painted Lines of Force (TBR) (2013) Intaglio (aquatint, spitbite, drypoint, engraving), pigment print, 28.5 x 41 inches. Unique images. Color lithographs, 24 x 20 inches each. Edition 23 1/2 x 18 inches. Edition of 10. Printed and Printed and published by Stewart & Stewart, of 20 each. Printed and published by Shark’s Ink, published by the artist, St. Paul, MN. $500. Bloomfield Hills, MI. $2000 each. Lyons, CO. $1800 each.

Hunt Slonem, Torouco-A (2013), monoprint/ hand-painted pigment print.

Mark L. Smith, Autobio/Austin (2013) Cyanotype, intaglio & mixed media, 77 x 36 inches. Unique image. Printed and published by the artist, Indianapolis IN. $3600. Barbara Takenaga, Lines of Force (Fired Red) (2013), color lithograph.

John-Mark Schlink, Architectural Possibles (Articulation no.8) (2013), intaglio. Yasuyo Tanaka, all things are linked 311 (2013) Embossed print, dyed xerox print of the worldmap, folded-paper cranes, 23 1/2 x 23 inches. Alyson Shotz, Topographic Iteration (2013) Unique image. Printed and published by the Pigment print on Japanese Masa paper, each artist, New York. $1000. crumpled by hand, 40 x 84 x 2 inches. Variable edition of 6. Printed by the artist, New York. Published by Carolina Nitsch, New York. $9000.

Alyson Shotz, Topographic Iteration (2013), Mark L. Smith, Autobio/Austin (2013), pigment print on Japanese Masa paper. cyanotype, intaglio & mixed media.

Yasuyo Tanaka, all things are linked 311 (2013) Annie Stromquist, Withering from the Embossed print, dyed xerox print of the world James Siena, Underdog (one) (two) and Memory Loss series (2013) map, folded-paper cranes. (three) (2013) Ink, watercolor, relief, screenprint, paraffin and Relief print from book board and Sintra, 83 1/4 x collage on paper, 19 1/2 x 8 inches. Unique image. 58 1/4 inches. Edition of 10. Printed and published Printed and published by the artist, Long Beach, Alison Elizabeth Taylor, Scratch (2013) by Island Press, St. Louis, MO. $15,000. CA. $1200. Screenprint, archival inkjet print and collage with laser-cut wood veneer, silver and gold leaf, 20 1/2 x 28 inches. Edition of 30. Printed and published by Lower East Side Printshop, New York. $2800.

Alison Elizabeth Taylor, Scratch (2013), James Siena, Underdog (three) (2013), relief print from book board and Sintra. screenprint, archival inkjet print and collage with laser-cut wood veneer, silver and gold leaf.

Annie Stromquist, Withering (2013), ink, watercolor, relief, screenprint, paraffin and collage on paper.

48 Art in Print November – December 2013 Hank Willis Thomas, Rich Black Specimen: #26, David Tremlett, East (2013) Exhibitions of Note #460, #21, #66 (2013) Aquatint (three zinc plates, one for each color), Suite of four screenprints, 26 1/4 x 20 1/4 inches. 40 x 80 inches. Edition of 26. Printed and AVIGNON, FRANCE Edition of 16. Printed by Erik Hougen, New York, published by Stamperia d’arte Albicocco, Udine. “Les Papesses” NY. Published by Lower East Side Printshop, Italy. $5000. 9 June – 11 November 2013 New York, NY. $8000 for the suite. Palais des Papes and the Collection Lambert

www.lespapesses.com/gb.htm

This exhibition features the work of five women

artists: Camille Claudel, Louise Bourgeois, Kiki

Smith, Jana Sterbak and Berlinde De Bruyckere.

BEND, OR “Creating Impressions: Printmaking in the Northwest” 24 August – 1 December 2013 David Tremlett, East (2013), aquatint. High Desert Museum www.highdesertmuseum.org/creating-impressions A survey exhibition of 66 prints ranging from NW Bernar Venet, Effondrement: Arcs (I–IV) (2013) School legends Mark Tobey and Morris Graves Polymer gravure, etching and photo-etching to Native American contemporary artists Rick Hank Willis Thomas, Rich Black Specimen: with wiping printed in three shades of black Bartow and Marie Watt. Other artists include John #26 (2013), screenprint. with linseed oil from copper plates, sizes vary Buck, Louis Bunce, Dale Chihuly, Joe Fedderson, (image 29 1/2 x 38 1/4 inches to 35 1/2 x 29 1/2 Gordon Gilkey, Manuel Izquierdo, Fay Jones, Jeffry inches, sheet 38 1/2 x 40 inches to 45 1/4 x 38 Mickalene Thomas Mitchell, Royal Nebeker, Lucinda Parker, Laura 1/2 inches). Edition of 50 each. Printed by Peter Ross-Paul and Michele Russo. Interior: Zebra with Two Chairs and Funky Fur (2014) Kosowicz of Thumbprint Editions, London. Relief, intaglio, digital, collage, enamel paint, gold Published by World House Editions, Middlebury, BALTIMORE leaf, colored pencil, 43 x 53 inches. Edition of 24. CT. $4500 each. Printed by Joe Freye, Jason Ruhl, Bruce Crownover “Matisse’s Marguerite: Model Daughter” and Andy Rubin, Madison, WI. Published Tandem 18 September 2013 – 19 January 2014 Press, Madison, WI. Price upon request. Baltimore Museum of Art www.artbma.org/ Left Behind 2 Again (2013) This exhibition will include more than 40 prints, Relief, intaglio, digital, collage, enamel paint, drawings, paintings, and sculptures by Matisse lithography, 43 x 64 1/2 inches. Edition of of his only daughter Marguerite, proviing a rare 24. Printed and published by Tandem Press, glimpse of the artist’s personal life and work. Madison, WI. Price upon request. BERKELEY, CA New Media Combinations: Traditional—Digital 6 September – 16 November 2013

Bernar Venet, Effondrement: Arcs (I) (2013), Berkeley Art Center polymer gravure, etching and photo-etching http://berkeleyartcenter.org/ with wiping printed in three shades of black with New Media Combinations showcases work by linseed oil from copper plates. contemporary artists investigating multiple solutions to mine and combine the potential of traditional and digital technologies. Participating artists include Kim Anno, Rebeca Bollinger, Lia Mickalene Thomas, Left Behind 2 Again (2013), Josh K. Winkler, the highway wall (2013) Cook, Don & Era Farnsworth, Bella Feldman, relief, intaglio, digital, collage, enamel paint. Softground etching with archival inkjet chine collé, 25 x 36 inches. Edition of 6. Printed and Rupert Garcia, Talia Greene, Jeannie O’Connor published by the artist, Minneapolis, MN. $600. and Elizabeth Sher.

Joe Tilson, Stones of Venice: Sant’Alvise, Venezia, BOSTON Stones of Venice: l’Arco del Paradiso and Stones of “North American Print Biennial” Venice, San Giovanni in Bragora, Venessia (2013) 27 October – 20 December 2013 Mixed media and carborundum, 100 x 100 808 Gallery, Boston University cm each. Edition of 30 each. All printed and www.bostonprintmakers.org/biennial.html published by Stamperia d’Arte Berardinelli in This national exhibition is juried by Dennis collaboration with Alan Cristea, Verona, Italy. Michael Jon, Associate Curator of Prints and £1500 each. Drawings, Minneapolis Institute of Arts. The event also features the Arches Student Print Show and an installation by Cuban Artist Ibrahim Miranda.

Josh K. Winkler, the highway wall (2013), BOSTON softground etching with archival inkjet chine “Elegant Contortions: Renaissance Prints” collé. 9 July 2013 – 30 March 2014 Museum of Fine Arts www.mfa.org/exhibitions/elegant-contortions “Elegant Contortions” displays approximately forty engravings, etchings, and chiaroscuro woodcuts from the Museum’s collection. The exhibition focuses on Italian printmakers, such as Giorgio Ghisi; the French (and Italian) school of Fontainebleau; and Dutch engravers, such Joe Tilson, Stones of Venice: Sant’ Alvise, as Hendrick Goltzius, as well as the Mannerist Venezia (2013), mixed media and carborundum. printmaker, Jacques Bellange of Lorraine.

Art in Print November – December 2013 49 display, “Dürer and Italian Antiquity” to consider his influential contribution to the study of Albrecht Dürer (1471-1528). It is organised in collaboration with the Hamburger Kunsthalle and complements The Courtauld’s main exhibition, “The Young Dürer: Drawing the Figure.”

LONDON “The Young Dürer: Drawing the Figure” 17 October 2013 – 12 January 2014 The Courtauld Gallery www.courtauld.ac.uk/gallery/exhibitions/2013/durer/ This exhibition examines the figure drawings of the young Albrecht Dürer (1471-1528). It focuses on Dürer’s formative years from around 1490, when he completed his artistic training, to 1496, when he established himself permanently as a master in Nuremberg in southern Germany. Examples of Schongauer’s prints will feature in the exhibition alongside exquisite drawings by other important figures who influenced Dürer.

LONDON “Ciara Phillips: Workshop (2010 – ongoing)” 2 October – 30 November 2013 In Hempstead, NY: “Land of the Rising Sun: Art of Japan” through 12 January 2014. Katsushika The Showroom Hokusai, The Mitsui Shop at Suruga-cho in Edo from the series Thirty-Six Views of Mt. Fuji, www.theshowroom.org/ (ca. 1830-1831), woodblock print, ink and color on paper. The Showroom presents a major new commission by Canadian/Irish artist Ciara Phillips. For her first London solo show, a new print-based installation will be presented artistic traditions and insights into the various BRONX, NY alongside a temporary screenprinting eras of Japanese culture. “Morphology of the Print” workshop within The Showroom’s gallery. 8 October 2013 – 8 January 2014 Lehman College Art Gallery HOUSTON, TX www.lehman.edu/vpadvance/artgallery/gallery/ “Calaveras Mexicanas: The Art and LONDON This exhibition will examine the form and Influence of José Guadalupe Posada” “Tom Wesselmann at Alan Cristea London” structure of contemporary printmaking and 13 September – 15 December 2013 14 November – 21 December 2013 include works that push the boundaries of the Museum of Fine Arts, Houston Alan Cristea Gallery medium or explore its strategies and techniques www.mfah.org/exhibitions/calaveras www.alancristea.com/ in new ways. mexicanas-art-and-influence-jose-guadalu/ This solo exhibition of Tom Wesselmann This exhibition commemorates the 100th focuses on prints made during the latter half of Wesselmann’s four-decade career, including CAMBRIDGE, UK anniversary of the death of José Guadalupe some of his most significant etchings, aquatints “The night of longing: Love and desire in Posada (1852–1913), considered the father of and screenprints. Japanese prints” Mexican printmaking. “Calaveras Mexicanas: 1 October 2013 – 12 January 2014 The Art and Influence of José Guadalupe Fitzwilliam Museum Posada” showcases a group of approximately 50 LJUBLJANA, SLOVENIA www.fitzmuseum.cam.ac.uk/ of the artist’s prints that explore the continuing “Interruption: The Biennial of Graphic An exhibition of Japanese woodcuts and books resonance of his work. Arts Ljubljana” of the Edo and Meiji periods (18th and 19th 13 September – 24 November 2013 centuries) depicting lovers from literature and LEICESTER, UK The International Centre of Graphic Arts life. Images range from lovers yearning for “Practical Dialogue” www.mglc-lj.si/eng absent partners and expressing their longing in 10 October – 6 December 2013 “Interruption” is the 30th edition of the Ljubljana letters and poems; dramatic scenes of thwarted Embrace Arts, University of Leicester Biennial of Graphic Arts. This installation or desperate lovers, sometimes on the verge of www.le.ac.uk/embracearts/diary/index.html#practi considers the evolutionary graphic field of suicide; ‘risqué prints’ (abuna-e), with suggestions caldialogueartexhibition contemporary times. Printerly processes touch of eroticism or hints that sex is near at hand, An exhibition of new work created during many types of present-day art. Select, traditional through to more explicit images of sexual Leicester Print Workshop’s Practical Dialogue media have evolved and adapted to maintain their partners (shunga or ‘spring pictures’) and their project. Practical Dialogue is a new collaboration relevance, while digital processes, after a long contexts in erotic books; assignations in and led by Leicester Print Workshop’s 2013 Artist fermentation, have finally taken legitimate hold around Edo (Tokyo) and the route to the pleasure in Residence, Sue Baker Kenton. Sue and as artistic tools in their own right. “Interruption” quarter at night. two printmakers, Serena Smith and Peter surveys the extension of traditional as well as Clayton have been collaborating with painters new approaches to printmaking in response to HEMPSTEAD, NY Gino Ballantyne and Richard Devereux and our 21st-century communications. “Land of the Rising Sun: Art of Japan” photographer Gordon Millar to share working 30 September 2013 – 2 February 2014 practices and to produce a new body of work. MUNICH David Filderman Gallery, Hofstra University “Reading Andy Warhol” Museum LONDON 18 September 2013 – 12 January 2014 www.hofstra.edu/Community/museum/museum_ “Antiquity Unleashed: Aby Warburg, Die Pinakotheken im Kunstareal München exhibition_rising_sun.html Dürer and Mantegna” www.pinakothek.de/ This original exhibition highlights Japanese 17 October 2013 – 12 January 2014 This exhibition, curated by the Museum works from the Museum’s permanent collections The Courtauld Gallery Brandhorst, shows—for the first time—how that span the 16th through the 20th centuries. www.courtauld.ac.uk/gallery/exhibitions/2013/ Warhol continuously worked on books as a Works include woodblock prints, hand-painted durer/AntiquityUnleashed.shtml creative artist from his student days in the 1940s scrolls, and wood carvings with a focus on This exhibition recreates Aby Warburg’s 1905 until his death in 1987.

50 Art in Print November – December 2013 MUNICH NEW YORK “Richard Artschwager!” “Artists and Amateurs: Etching in 11 October 2013 – 6 January 2014 Eighteenth Century France” Haus der Kunst 1 October 2013 – 5 January 2014 http://www.hausderkunst.de/ The Metropolitan Museum of Art This retrospective is designed to deepen the http://www.metmuseum.org/exhibitions understanding of Artschwager’s experimental listings/2013/french-etching exploration of the common media forms of “Artists and Amateurs: Etching in Eighteenth-Century painting, sculpture, drawing, and graphics. For France” focuses on the original etchings created by the first time, the selection of works gives equal painters and amateurs in 18th–century France. treatment to the development of his ambitious approaches and methods, which defy classification NEW YORK in the art-historical canon. The works illustrate “Käthe Kollwitz: The Complete Print Cycles” Artschwager’s persistent questioning of art as image 8 October – 28 December 2013 and object in the context of changed conditions Galerie St. Etienne of perception that emerged with the equalizing http://gseart.com/ perspective of photographic reproduction. In addition to the artist’s complete print cycles, the exhibition includes numerous rare NEW BRUNSWICK, NJ preliminary drawings and proofs documenting “Stars: Contemporary Prints by Derrière the evolution of the images. The 70 exhibited L’Étoile Studio (Part Two)” works have been borrowed from private 5 October 2013 – 2 March 2014 collections across the United States and Canada. Zimmerli Art Museum, Rutgers University http://www.zimmerlimuseum.rutgers.edu/ NEW YORK eisenberg-gallery/stars-contemporary-prints- “Roses By Other Names” derri%C3%A8re-l%E2%80%99%C3%A9toile-studio- 25 September – 17 November 2013 part-two#.Ukr-5mTwKDJ Lower East Side Printshop Featuring significant contemporary prints by http://www.printshop.org/web/ many of the artists who defined the American art “Roses By Other Names” includes divergent works scene after 1980, this series is the first survey of by artists exploring the relationship of printmaking prints produced by the studio Derrière L’Étoile, to photography, painting, and sculpture and the founded in New York by printer Maurice slippage between text and image. Sánchez. Part Two spotlights the 1990s.

NORWALK, CT NEW YORK “Time Flies: Kees de Waal” “William Kentridge Prints, 1992 – 2013: 8 December 2013 – 26 January 2014 Published by David Krut” Center for Contemporary Printmaking 10 September – 9 November 2013 http://www.contemprints.org/ David Krut Projects Greenwich Artist Kees de Waal presents insightful http://davidkrutprojects.com/artists/william- commentary on the human condition through kentridge-universal-archive his original prints: lively colorful etchings and This exhibition celebrates twenty-one years of mixed media works. collaboration and coincides with the return of Kentridge’s highly acclaimed theater production of Shostakovich’s The Nose at The Metropolitan NOTRE DAME, IN Opera. “No Little Art: Dürer’s Apocalypse and Northern Renaissance Prints” NEW YORK 12 January – 23 March 2014 “Revisioning History” Snite Museum, University of Notre Dame 4 October – 27 November 2013 http://sniteartmuseum.nd.edu/ Senior & Shopmaker Gallery Marking the museum’s recent acquisition of http://www.seniorandshopmaker.com/exhibitions. Dürer’s critically important woodcut series The html Apocalypse (1511), this exhibition places Dürer’s Drawings and prints by Pablo Bronstein, Vija achievement in context, and includes prints Celmins, Saul Chernick, Bruce Conner, Carlos by Lucas van Leyden, Urs Graf and Michael Garaicoa, Butt Johnson, William Kentridge, Lucy Wolgemut. The goal is to “examine the impact McKenzie, Grayson Perry, Ged Quinn, Andrew Dürer had on art making, intellectual pursuits, Raftery, Kara Walker. and art commerce in the sixteenth century.”

NEW YORK NOTRE DAME, IN “There Will Never Be Silence: “Anton Würth” Scoring John Cage’s 4'33"” 12 January – 23 March 2014 12 October 2013 – 22 June 2014 Snite Museum, University of Notre Dame The Museum of Modern Art http:/sniteartmuseum.nd.edu/ http://press.moma.org/2013/08/there-will never-be-silence-scoring-john-cages-433/ PARIS Taking its title from a letter written by Cage in “The Liberties” 1954, “There Will Never Be Silence” features prints, 12 December 2013 – 31 January 2014 drawings, photographs, paintings, sculptures, and Atelier Michael Woolworth films by such artists as Marcel Duchamp, Kurt http://www.michaelwoolworth.com/ Schwitters, Robert Rauschenberg, Robert Morris, Exhibition-launch of new artist’s book in Paris. A Lawrence Weiner, Yoko Ono, Andy Warhol and collaboration between French publishers TH.TY. other artists associated with Fluxus, Minimalism, and (letterpress) and Atelier Michael Woolworth Conceptual art who pushed preconceived boundaries (prints). Poems by Susan Howe, woodcuts by of space, time, and physicality to new ends. French painter Stéphane Bordarier.

Art in Print November – December 2013 51 PARIS Johns and Sol LeWitt to Damien Hirst, Kiki Smith, “PUNK cabinet de curiosités MADE IN and Kara Walker. “Under Pressure” charts an array of artistic and social concerns, from minimalism Raymond Pettibon” to pop and conceptual art, and more recent works 13 September – 16 November 2013 addressing race, gender, and identity. mfc-michèle didier gallery http://www.micheledidier.com/index.php/gb/news- projects.html SAN FRANCISCO This exhibition shows a preview of the artistic “Prints by Sculptors: A Group Exhibition” youth of Raymond Pettibon, his punk period, 29 October 2013 – 4 January 2014 beginning with Raymond Pettibon’s first artists’ Crown Point Press book Captive Chains, published in 1978. http://www.crownpoint.com/front-page Featuring work by Chris Burden, Bryan Hunt, PHILADELPHIA Anish Kapoor, Tom Marioni and Judy Pfaff. “The Enchanted World of German Romantic Prints” SAN FRANCISCO 21 September – 29 December 2013 “Alyson Shotz: Sequent” Honickman and Berman Galleries, Philadelphia 29 October 2013 – 4 January 2014 Museum of Art Crown Point Press http://philamuseum.org/ http://www.crownpoint.com/front-page This exhibition, comprising 125 etchings, Featuring four new color etchings and a portfolio. lithographs, and woodcuts, will explore prints by artists from Germany, Austria, and Switzerland from 1770 to 1850, and how printmaking reflected ZURICH the profound cultural changes that swept across the “Edvard Munch: 150 Master Prints” German-speaking regions of Central Europe during 4 October 2013 – 12 January 2014 this period. Kunsthaus Zürich http://www.kunsthaus.ch/en/exhibitions/ PHILADELPHIA The Kunsthaus Zürich is showing some 150 masterpieces by the Norwegian Expressionist “Due North” Edvard Munch. The large-format works on Original Prints 9 January 2014 – 26 January 2014 paper, half of them in colour, comprise all of his Philagrafika Projects Art Auction & Party most celebrated motifs: The Scream, Angst and http://duenorth2014.com/ Melancholy, as well as Vampire, Madonna the Girls Sat. Nov. 16, 6-9 pm “Due North” is an international collaboration on the Bridge, and self-portraits. It is the first time envisioned by artist-curator Marianne Bernstein. this private collection, ranging from Munch’s In January 2014, the Icebox Project Space Time Flies: Kees de Waal first drypoint to his final lithograph, has been in Philadelphia will be transformed into a shown in public in its entirety. Sun., Dec. 8, 2-5 pm winterscape featuring video and prints created by through Jan. 26, 2014 selected artists from Philadelphia and Reykjavik. New works presented are the result of a series of ZURICH group expeditions and residencies in Iceland. “Due “Wade Guyton” North” marks the debut of Philagrafika Projects. 31 August – 10 November 2013 Kunsthalle Zürich PHILADELPHIA www.kunsthallezurich.ch “Ephemeral Sprawl” For this exhibition Guyton is creating two 13 September – 23 November 2013 large-scale presentations specially for the The Print Center Kunsthalle Zürich: in vitrines that occupy the http://www.printcenter.org/pc_exhibition.html entire gallery, Guyton presents a “universe www.contemprints.org “Ephemeral Sprawl” is an exhibition of of manipulations, layerings and relations contemporary printed ephemera co-curated of and between overprinted, found and with Printeresting, a collaborative art blog and decontextualised images” which also take the occasional arts producer. The exhibition explores form of a book, Zeichnungen für lange Bilder. themes including activism, entertainment and Kunsthalle Zürich 31.08. – 10.11.2013. community, through the presentation of a wide range of collections and newly made works.

PHILADELPHIA Fairs “Katie Grinnan: Three Headed Lady” 13 September – 23 November 2013 LONDON The Print Center “London Art Fair” http://www.printcenter.org/pc_exhibition.html 15–19 January 2014 This exhibition includes a newly commissioned Business Design Center Islington work, For Your Information, an ambitiously scaled http://www.londonartfair.co.uk/ sculpture by the Los Angeles-based artist. MIAMI SALT LAKE CITY “INK Miami” “Under Pressure: Contemporary Prints 4–8 December 2013 from the Collections of Jordan D. Schnitzer Suites of Dorchester and his Family Foundation” http://www.inkartfair.com/ 4 September 2013 – 5 January 2014 Utah Museum of Fine Arts http://umfa.utah.edu/exhibitions_current MIAMI This exhibition presents selections from the “UNTITLED” largest collection of contemporary prints in the 4–8 December 2013 United States. Spanning the past five decades, it Miami Beach features works by thirty-nine artists from Jasper http://www.art-untitled.com/

52 Art in Print November – December 2013 MIAMI Upcoming Auctions “Art Basel Miami Beach” 5–8 December 2013 LONDON Miami Beach “Prints featuring Andy Warhol and https://www.artbasel.com/miami-beach the Pop Legacy” 19 November 2013 MIAMI Bonhams “SELECT FAIR Miami” http://www.bonhams.com/auctions/#r1=100&m1=1 4–8 December 2013 Catalina Hotel “Old Master Prints” http://www.select-fair.com 3 December 2013 Christie’s NEW YORK http://www.christies.com/calendar/ “IFPDA Print Fair” 7–10 November 2013 “Old Master, Modern and Contemporary Prints” Park Avenue Armory 4 December 2013 http://www.ifpda.org/content/print-fair Christie’s Exhibitors will present nearly six centuries http://www.christies.com/calendar/ of printmaking from early woodcuts and traditional engravings, etchings and lithographs “Editions Evening & Day” to innovative contemporary projects. 12 December 2013 Phillips de Pury NEW YORK http://www.phillips.com/calendar.aspx “The NY Satellite Print Fair” 8–10 November 2013 NEW YORK Bohemian Hall “Early Printed, Medical & Scientific Books” http://www.nysatellite-printfair.com/ 12 November 2013 Swann NEW YORK http://www.swanngalleries.com/scripts/schedule2. “METRO Show” cgi?type=schedule 22–26 January 2014 Metropolitan Pavilion “Prints & Multiples” http://www.metroshownyc.com/ 5 December 2013 Christie’s SAN FRANCISCO http://www.christies.com/calendar/ “San Francisco Fine Print Fair” 24–26 January 2014 “Maps & Atlases, Natural History & Golden Gate Club Historical Prints, Ephemera” http://www.sanfrancisco-fineprintfair.com/ 5 December 2013 Swann http://www.swanngalleries.com/scripts/schedule2. cgi?type=schedule Workshops

AUSTIN, TX “Intro to Woodcut” New Books and Catalogues 7–8 December 2013 Flatbed Press Edvard Munch: A Genius of Printmaking http://www.flatbedpress.com Ed. Kunsthaus Zürich, text by Gerd Woll Students will learn the technique behind creating 224 pages, 162 illustrations bold and dramatic prints in a class suitable for all Published by Hatje Cantz, Stuttgart, 2013 levels of experience. Instructor will demonstrate $70 design principles, carving techniques, inking Among the masterpieces included in this and printing. Wood blocks can be printed with representative volume of images and texts traditional or nontoxic water-based ink on a are graphic versions of Munch’s world- variety of paperweights or cloth. famous subjects in form of large-format color lithographs, etchings, woodcuts, hand-colored prints or experimental prints on colored paper. NEW YORK

“Linocut Monotype”

30 October – 30 November 2013

Robert Blackburn Printmaking Workshop http://www.efanyc.org/rbpmw/

Students will learn the basics of relief printing, oil based monotypes, as well as creating prints with both media in one print. Classes on Wednesdays. Wildwood Press

Tom Huck

Bridal Sweet Please submit announcements of exhibitions, publications and other events to wildwoodpress.us [email protected].

Art in Print November – December 2013 53 Edition of 400, numbered and signed by the Someday is Now: The Art of Corita Kent California Society of Printmakers: artist. Book printed by letterpress and hand Ian Berry (Editor), Michael Duncan (Editor), One Hundred Years, 1913–2013 bound, in slipcase. The book measures 9 3/4 x Cynthia Burlingham (Contributor), Sasha Carrera Karin Breuer, Daniel Lienau, Art Hazelwood, 12 3/4 inches. A suite of four lithographs not (Contributor), Libby Lumpkin (Contributor) Maryly Snow, Sylvia Solochek Walters, Sherry included in the book is also available: edition of 256 pages Smith Bell, David R. Jones 40, on mouldmade paper, numbered and signed, Published by DelMonico Books—Prestel in 330 pages, 380 illustrations $10,000 (book purchase required). conjunction with the Tang Museum, New York Published by California Society of Printmakers, and Saratoga Springs, 2013. San Francisco, 2013 $49.95 Hard bound $65, soft bound $50 This full-scale survey of Corita Kent’s work includes This book includes seven essays ranging prints and ephemera from all phases of her life, from a short one pager to over 75 pages, from revealing her importance as an activist printmaker personal reflections to documented history, and a stylistic innovator in graphic design. from a diversity of authors. The essays are followed by a catalog of current 250 CSP artists and honorary members, followed by eight appendices, a glossary, bibliography, and index. For more information, please visit http://www.

caprintmakers.org/.

Kara Walker, Fisherman (2013), lithograph.

Reading Andy Warhol Slaughter of the Trees Ed. Nina Schleif, texts by Marianne Dobner, Burcu Cuba and Marshall Weber Dogramaci, Simone Förster, Birgitta Heid, Lucy 10 pages Mulroney, Susan M. Rossi-Wilcox, Anna Rühl, Nina Published by Booklyn Artists Alliance, Schleif, Jordan Troeller, Reva Wolf, Matt Wrbican. Brooklyn, NY, 2013 352 pages, 290 illustrations $7400 Published by Hatje Cantz, Stuttgart, 2013 San Francisco Bay Area graffiti super hero Cuba $75 uses a full spectrum of hand painted wild style Reading Andy Warhol presents his achievements lettering to illuminate a traumatic and romantic in book design and writing from the standpoints poem by Marshall Weber. This unique accordion of art history and literary theory. fold book opens up to over 20 feet long. Binding Artists Books by Sophia Kramer.

Lucid Green Paula Hayes 100 pages Published by Carolina Nitsch, New York, 2013 Limited edition: $1500, Deluxe Edition: $18,000 Lucid Green relies equally on image, typography and word to create a poetic world in which the reader is invited to enter through various portals which the book offers. Every detail of the book offers nuanced details of the experience ofa place named Lucid Green; a nature sanctuary set in an unknown time in the future. Text by the The Stranger artist, printed and bound at Conveyor Studio, Anna Hellsgard and Christian Gfeller Booktrek: Selected Essays on Artists’ Books NJ. Limited edition of 45, deluxe edition of five 32 pages (1972–2010) (housed in a cast acrylic case fabricated by Colbar Published by Re: Surgo!, Berlin, 2013 Clive Phillpot, Lionel Bovier, Christophe Cherix, ed. Art, LIC, NY). $1600 286 pages This text-less edition of the classic 1942 novel Published by JRP | Ringier, Zurich, 2013 is a showcase for Anna Hellsgard and Christian $29.95 Gfeller’s signature screenprinting method. Booktrek gathers Phillpot’s various essays on the Unique edition. Available from Booklyn Artists definition and development of artists’ books, Alliance, Brooklyn, NY. including historical texts, manifestos, catalogue entries, and essays on works by Ed Ruscha, Sol LeWitt, Dieter Roth and Richard Long.

Paula Hayes, from Lucid Green (2013).

Porgy & Bess (the libretto) Anna Hellsgard and Christian Gfeller, interior Ira Gershwin and DuBose Heyward, with spread from The Stranger (2013). lithographs by Kara Walker 108 pages, 16 lithographs Published by Arion Press, San Francisco, 2013 $1750

54 Art in Print November – December 2013 one evening by Seattle artist Vaughn Bell. Others congregated Jenny Lin around video installations, rested on node-like 20 pages foam furniture, and enjoyed food and drink in Published by B&D Press, Montreal, 2013 spaces demarcated by massive Gang-designed $45 cloth and metallic cones that descended from the Hand-bound screenprinted book. First in a series ceiling. of books illustrating queer sexual fantasies. Edition of 30. Printed by the artist in Montreal. Available from Booklyn Artists Alliance, Brooklyn, NY.

A view of “EXPOCHICAGO,” September 2013. jenny Lin, from one evening (2013). Photo: Dana Johnson.

Indigenous Unite! EDITION Chicago, 20-22 September, 2013 Maggie Puckett editionchicago.com 8 pages (unbound) EDITION Chicago, a first-time satellite fair of Published by the artist, Chicago, 2013 EXPO Chicago, ran in September at the Chicago $5800 Artists Coalition’s West Loop gallery space. EDI- Unique book, printed by the artist in Chicago. TION was one of many city-wide arts events oc- This artist’s book is a collection of 8 collages curring in conjunction with the second annual of hand-made and colored papers, 4 portraits EXPO on Navy Pier, which aims to raise Chica- and 4 landscapes that explore the effects of oil go’s profile in the contemporary art world. The drilling, mining, logging, hydroelectric projects much-smaller EDITION stood apart by offering and industrial agriculture on indigenous an affordable entry point into the art market for communities in the Amazon rainforest. Available new collectors. We are proud to announce our from Booklyn Artists Alliance, Brooklyn, NY. The fair featured the work of emerging artists first participation at IFPDA represented by a number of invited galleries and organizations, including Carter + Citizen and Print Fair Nov 6-10 2013 Walter Maciel Gallery (Los Angeles), LaMon- AL TAYLOR // CARSTEN HöLLER tagne Gallery (Boston), MKG127 (Toronto), Abry- GEORG BASELITZ // TAL R // ant Gallery, Andrew Rafacz Gallery, the Museum of Contemporary Photography and Public Works PETER LINDE BUSK // SANDRA (Chicago). VASQUEZ DE LA HORRA // The venue was intimate; on Saturday afternoon TACITA DEAN // ROBIN RHODE a modest crowd of artists and collectors con- versed over drinks and hors d’oeuvres in the gal- OLAFUR ELIASSON // DANH VO lery space. Others perused the exhibition tables DOUGLAS GORDON // RODNEY arranged along the edges of the gallery space. GRAHAM // THOMAS DEMAND // For $50 visitors could purchase the screenprint, COPENHAGEN+BERLIN Free Time, created for the event by Chicago artist WWW.NIELSBORCHJENSEN.COM Cody Hudson.

CCP Art Auction & Party Collage from Indigenous Unite!. The 15th annual fundraising party for the Center for Contemporary Printmaking (CCP) takes place on Saturday, November 16, 2013, from 6 to 9 p.m. at the Lillian August Flagship Store, 32 Other News Knight Street, Norwalk, CT. The event includes a Silent Auction, a Live Auction, refreshments EXPO Chicago 2013, 20-22 September, 2013 and an open bar. The party is open to the public; www.expochicago.com tickets are $50 per person at the door, and may EXPO Chicago concluded on September 22nd. be purchased in advance by calling 203-899-7999. The exhibition, held in Festival Hall on the city’s http://contemprints.org/monothon-2013/live Navy Pier, featured over 125 galleries from 17 auction-party13 countries and 36 cities over a period of three days. Midday Saturday, crowds did not seem par- Call for Entries: 2nd Mokuhanga ticularly robust. Yet by mid-afternoon the venue Conference 2014 Tokyo was bustling. Crowds filed through gallery spaces Proposals for the Open Competition Exhibition, designed by Studio Gang Architects. Buyers and Open International Artist’s Book Exhibition and casual viewers gathered around works by art- Portfolio Exhibition will be accepted between ists such as Theaster Gates (Kavi Gupta), Sandro 1 February and 14 March 2014. All proposals Miller, Robert Motherwell (Jerald Melberg Gal- must be related to Water-based Woodblock lery, Bernard Jacobson Gallery) and Ai Weiwei Printmaking. Please see website for more (Haines Gallery, Chambers Fine Art). Many lined information, including entry forms and fees. up at the Natural Resources Defense Council’s http://www.mokuhanga.jp/2014/call_for_ exhibit to “adopt” a miniature terrarium designed proposals/index.html

Art in Print November – December 2013 55 ≤100

Carry Akroyd Sloping, Four Kites, Moonflightand Fen Flock (2013) Four lithographs, 33 x 28 cm. Edition of 50 each. Printed by The Curwen Studio, Cambridge, UK. Published by the artist, Northamptonshire, UK. £95 each.

Claude Closky 2 Constellations (2013) Double sided offset print, A1 (59.4 x 84.1 cm) folded to A4 (29.7 x 21 cm). Edition of 100. Printed by Maes, Ghent. Published by MORE- publishers, Brussels. $60.

Rachael Kidd Flapping Crane (2011) Hand printed lithograph, 15.2 x 15.2 cm Owl (2012) Hand printed lino cut, 20.3 x 20.3 cm. Frog (2013) Hand printed lithograph, 20.8 x 10.4 cm. All images: open edition. Printed and published by Hole Editions, Newcastle upon Tyne, UK. $5 each.

Mungo Thomson Antenna Baldessari (2013, first edition 2002) Screenprint on antenna ball, 2 inches in sphere. Edition of 500. Printed and published by Printed Matter, Inc., New York. $10.

Andrew Wilson Toes (2008) Two-color lithograph, 10 x 12 1/2 inches. Edition of 10. Printed and published by Hole Editions, Newcastle upon Tyne, UK. $100.

Andrew Jeffrey Wright Broken Lines Orange (2008) Screenprint, 11 1/4 x 13 inches. Edition of 26. Printed and published by the artist, Philadel- phia. $40.

56 Art in Print November – December 2013 Artists’ Editions available for under $100 / €100 / £100

Left page, above: Rachael Kidd, Owl (2012). Below: Mungo Thomson, Antenna Baldessari (2013). This page, clockwise from top left: Claude Closky, 2 Constellations (2013) Carry Akroyd, Sloping (2013), Andrew Wilson, Toes (2008) and Andrew Jeffrey Wright, Broken Lines Orange (2008).

Art in Print November – December 2013 57 THE NATIONAL GALLERY OF ART WASHINGTON, D.C. CROWN POINT PRESS ALYSON SHOTZ: SEQUENT FOUR COLOR ETCHINgS ANd A PORTFOLIO NOVEMBER 13-dECEMBER 28, 2013

Sequent, 2013. A portfolio of five color aquatints with collagraph embossing. 13¾ x 13¾". Edition 20.

YES, NO, MAYBE ARTISTS WORKING AT CROWN POINT PRESS The National Gallery of Art Washington, D.C. November 7 – 10 Through January 5, 2014 December 5 – 8

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

Screenprinting, Lithography, and Relief Edition of 18 38.25” x 34.25” www.highpointprintmaking.org Sarah Crowner, Untitled (Spotlights), 2013 612.871.1326

58 Art in Print November – December 2013 New Prints 2013/Autumn

October 29 - November 30, 2013 Opening: Thursday, Nov 7, 7-9 pm Preview for artists & members: 6-7 pm

Artists: Rosaire Appel, Susan Belau, Allison Bianco, Noah Breuer, Deborah Chaney, Elizabeth Corkery, Josh Dannin, Sage Dawson, Jeffrey Dell, Kevin Frances, Ron Fundingsland, Anne-Karin Furunes, Rodrigo Gonzalez, Jungil Hong, Richard Hutter, Sea Hyun Lee, Julia Jacquette, Laura Kinneberg, Kaitlin Knapp, Jonggeon Lee, Janet Marcavage, Sean P. Morrissey, Yoonmi Nam, Heidi Neilson, John O’Donnell, Endi Poskovic, David Sandlin, Gunilla Widholm, and Jenny Wiener. Jeffrey Dell, Screenrush, 2013, Serigraph on translucent Yupo, 38” x 27” each.

International Print Center New York • 508 West 26th Street 5th Floor NYC

212-989-5090 • www.ipcny.org • ipcny.tumblr.com • Tues –Sat, 11-6

ARTINPRINTNEWPRINTS2013.indd 1 Art in Print November – December10/8/13 2013 1:58 59 PM i D a aPPlebroog

Diane Villani eDitions at the iFPDa Print Fair booth 308

november 7 – 10, 2013

American Medical Association I, 1985 Linocut, handwash, rice paper; diptych 29 x 21”- each panel; 29 x 42”- total edition of 20

285 lafayette street 212.925.1075 www.villanieditions.com new york ny 10012 [email protected]

60 Art in Print November – December 2013 NEW ROBERTO JUAREZ SHARK’S INK. 550 Blue Mountain Road MONOPRINTS Lyons, CO 80540 303.823.9190 Detail of Flowers and Pearls VIII, 26¼ x 40 inches www.sharksink.com [email protected]

Steven Ford Steven Ford’s works on paper are represented by Dolan/Maxwell.

Dolan/Maxwell 2046 Rittenhouse Square Philadelphia, Pennsylvania 19103 215.732.7787 www.DolanMaxwell.com [email protected]

Art in Print November – December 2013 61 62 Art in Print November – December 2013 international ﬁ ne ifpda print dealers association

CONGRATULATIONS LYLE W. WILLIAMS Winner of the 2013 IFPDA Book Award

ESTAMPAS DE LA RAZA: Contemporary Prints from the Romo Collection Published By The McNay Art Museum and University of Texas Press

HONORABLE MENTIONS Reﬂ ections and Undercurrents: Ernest Roth Engraved at Lahainaluna Vasari and the Conversations from the Print Studio: A Master and Printmaking in Venice, 1900-1940 by David W. Forbes Renaissance Print Printer in Collaboration with Ten Artists by Eric Denker by Dr. Sharon Gregory by Dr. Elisabeth Hodermarsky and Craig Zammiello

250 W. 26th St., Suite 405, New York, NY 10001-6737 | Tel: 212.674.6095 | [email protected] | www.ifpda.org

New Edition Jim Dine

The Black and Red Heart, 2013 Woodcut with hand drawing, ed. 30 64 by 48 inches

http://www.tandempress.wisc.edu [email protected] 1743 Commercial Ave. Madison, WI 53704 Phone: 608.263.3437 Fax 608.265.2356

Art in Print November – December 2013 63 Back Issues of Art in Print

Volume One / March 2011 – February 2012

In This Issue In This Issue Susan Tallman / On Art in Print Susan Tallman / On Substance Paul Coldwell / Christiane Baumgartner Between States Catherine Bindman / Odilon Redon: Prince of Dreams Deborah Wye (interview) / Thirty-One Years at MoMA Susan Tallman / Redon and Bresdin Adam Lowe / New Work by Giambattista Piranesi Andrew Raftery / Selections from the Istituto Nazionale per la Grafica Suzanne Karr Schmidt / Printed Bodies and the Materiality of Susan Tallman / Jane Kent and Richard Ford Go Skating Early Modern Prints John Ganz / Sturm and Drang on 53rd St. Reviews Kristyna Comer / Christopher Cozier Volume 1, Number 1 Volume 1, Number 2 Reviews

In This Issue In This Issue Susan Tallman / On the Corner Susan Tallman / On Partisanship Gill Saunders / Street Art Constance C. McPhee / Satire in Print: How Napoleon Charles Schultz / Prints and Installation Art Became an Emblem Heather Hess / Wiener Werkstätte Prints and Textiles Nadine M. Orenstein / Satire in Print: Two Mysteries—One Solved Jay Clarke / Impressions from South Africa, 1965 to Now Kristina Volke / Woodcut Printing in Modern Vietnamese Society Reviews Jill Bugajski / The Aesthetic Extremes of Stencil in Wartime Charles Schultz / Sigmar Polke: Photoworks 1964–2000 Volume 1, Number 3 Volume 1, Number 4 Reviews

In This Issue In This Issue On Anarchy Susan Tallman / On Plenty Susan Tallman / Enrique Chagoya’s Printed Codices New Editions / 50 Reviews A – Z Sarah Kirk Hanley / Andry • Apfelbaum • Applebroog • Birk & Pignolet • Booker • Chagoya David Ensminger / Postscripts from the Fading Age of Xerography • Cottingham • Cross • Cutler • Deacon • Dunham • Fischer • Fitzpat- Catherine Bindman / Collecting German Romantic Prints rick • Francis • Furunes • Gehry • Herman • Heyman • Höller • Johns M. Brian Tichenor & Raun Thorp / The Rise of Printmaking • Kassay • Lee • Marclay • Martin • McElheny • Mehretu • Messager • in Southern California Muller • Nam • Pérez • Shapiro • Shellabarger • Smith • Smith • Spleth Susan Tallman / IPCNY New Prints 2011 / Autumn Volume 1, Number 5 • Superimpose • Thiebaud • Thompson • Tiravanija • Victor • White- Volume 1, Number 6 Sarah Andress / Annesas Appel read • Winters • Wirsum • Wollard • Wood • Woods • Worms • Würth Annual Directory 2012 Reviews Reviews & News

Volume Two / March 2012 – February 2013

In This Issue In This Issue Susan Tallman / On Prints and Exhibitions Susan Tallman / On Making Sarah Andress / Jacob Samuel and the Peripatetic Printshop April Vollmer / Mokuhanga International Britany Salsbury / The Print Portfolio in “Print/Out” & “Printin’ ” Anna Schultz / New Observations on Eugène Carrière’s Prints John Ganz / In, Out, and Shaken All About at MoMA Paul Coldwell / Artists’ Projects at Paupers Press Aprile J. Gallant / Copycat at The Clark Art Institute Gill Saunders / The V&A Takes Street Art to Libya Armin Kunz / Prints and the Pursuit of Knowledge in Sarah Grant / Highlights from the Fitzwilliam Museum Collection Early Modern Europe Charles Schultz / Martin Kippenberger; Nicole Eisenman Volume 2, Number 1 M. Brian Tichenor & Raun Thorp / Ellsworth Kelly at LACMA Volume 2, Number 2 Paul Coldwell / Picasso’s Vollard Suite at the British Museum Charles Schultz / Carlos Garaicoa; Jordi Alcaraz Sarah Kirk Hanley / John Baldessari’s Alphabet at Gemini G.E.L. Andrew Blackley / Glenn Ligon Julia Vodrey Hendrickson / Alexander Massouras; Mit Senoj Reviews & News Reviews & News

In This Issue In This Issue On the Past Susan Tallman / On Stanley William Hayter Susan Tallman / German Conclave Prints Andrew Raftery / Genealogies: Tracing Stanley William Hayter Evelyn Lincoln / An Example of a Coffret à Estampe Ann Shafer / Hayter: Content and Technique Séverine Lepape / Remaking Dürer Julia Beaumont-Jones / Stanley Jones on Hayter Angela Campbell & Andrew Raftery / Jesse Feiman / The Matrix and the Meaning in Dürer’s Rhinoceros Liza Folman / Stanley William Hayter and Viscosity Printing Ben Thomas / John Evelyn’s Project of Translation Amelia Ishmael / Susan Tallman / Hayter—Essential Reading Charles Schultz / Bruce Conner: Afterimage Courtney R. Thompson / Inuit Prints; Paper as Dialogue at CBPA Volume 2, Number 3 Volume 2, Number 4 Reviews & News Reviews & News

In This Issue In This Issue Susan Tallman / On Visibility Susan Tallman / On Words and Pictures Faye Hirsch / Nicole Eisenman’s Year of Printing Prolifically Mark L. Smith / Rauschenberg’s & Robbe-Grillet’s Traces Suspectes New Editions 2012 / Reviews A–Z Amy Peltz / The Visual Turn: Comics and Art after the Graphic Novel Charles Schultz / Wade Guyton OS Paul Coldwell / Stephen Chambers: The Big Country M. Brian Tichenor & Raun Thorp / Zarina: Paper Like Skin Christina von Rotenhan/ Louise Bourgeois: Between the Lines New Editions Listings Catherine Bindman / Jürgen Partenheimer: Folded Spirits News Annual Directory 2013 Volume 2, Number 5 Volume 2, Number 6 Reviews & News Complete Your Collection Now...

Volume Three / March 2013 – February 2014

In This Issue In This Issue Susan Tallman / On Our Anniversary Susan Tallman / On Broadcasting Ben Thomas / Paul Coldwell: Graphic Works 1992–2012 Ellen E. Roberts / Ukiyo-e in Chicago Mary Davis MacNaughton / Genji: The Shining Prince in Prints Sarah Kirk Hanley / The Recurrence of Caprice: Chagoya’s Goyas Camille Murgia / Francis Grose’s Rules for Caricaturas Christine Giviskos / Treasures from the Vault: Henri-Gabriel Ibels Catharine Bindman / Kate McCrickard: Kid Robert Palter / The Print in Modern Art: A Critique of Art Since 1900 Britany Salsbury / The Prints of Mary Cassatt Sarah Andress / 1913 Armory Show Revisited: Artists and their Prints Paul Coldwell / Giorgio Morandi: Lines of Poetry Susan Tallman / Julie Bernatz / Artists and Poets Volume 3, Number 1 Courtney R. Thompson / Bonnie Marin: What are you scared of? Volume 3, Number 2 Britany Salsbury / The Impressionist Line at the Clark Sarah Andress / Serena Perrone: Maintaining a Safe Distance... Mel Becker / A Printmaker’s Document by Jim Dine Reviews & News Reviews & News

In This Issue Susan Tallman / On Color Sarah Bodman / Black Books: The Use of Color in Artists’ Books Thomas Primeau / The Use of Stencils on Early Woodcuts Jacobus van Breda / Charles Meryon: Paper and Ink Jason Urban / Pattern Recognition: A Letter from Montreal Carinna Parraman / Color in the Age of Digital Reproduction Richard Axsom / Treasures from the Vault: Ellsworth Kelly’s Red Volume 3, Number 3 Prix de Print No. 1 Reviews & News

Complete your collection of Art in Print now. Log on to MagCloud, our print-on-demand service at www.magcloud.com/established-2011 to order all back issues of the printed journal. Subscribers can also log in to view, download and print back issues of the PDF files available under “The Journal” tab on our home page.

Join the conversation. www.artinprint.org Contributors to this Issue

Kit Smyth Basquin is an administrator in the Print Study Room at the Metropolitan Museum of Art. She wrote her doctoral dissertation on the use of words in the prints of Pat Steir, Jaune Quick-to-See Smith, Lynne Allen and Lesley Dill, and has also written on Mary Ellen Bute’s film about James Joyce’s Finnegans Wake. She was previously curator of education at the Haggerty Museum of Art, Marquette University in Milwaukee.

Julia Beaumont-Jones specializes in 19th century to contemporary works on paper. From 2005–13 she served as Manager of the Prints and Drawings Rooms, Tate Britain, London.

Catherine Bindman is an art critic and editor specializing in museum catalogues. She was Deputy Editor at Art on Paper magazine and lives in New York.

Elleree Erdos works at Craig F. Starr Gallery in New York. A graduate of Williams College, she has worked in the print departments at The Museum of Modern Art and the Sterling and Francine Clark Art Institute, as well as in the American Wing at the Metropolitan Museum of Art.

Anja Grebe holds a PhD in Art History from the University of Constance and is currently Professor of Art History at the Universities of Erlangen-Nuremberg and Würzburg, Germany. She has curated several exhibitions and written books on Medieval and Renaissance art as well as modern artists’ books. Her recent research focuses on the reception of Albrecht Dürer in early modern times and graphic arts of the Renaissance.

Karen Kunc is a Cather Professor of Art at the University of Nebraska-Lincoln and an award winning artist. Her work is in the collection of The Museum of Modern Art; the Library of Congress; the Milwaukee Art Museum and Jyväskylä Art Museum, Finland among other institutions. She has been a Fulbright Scholar in Finland and Bangladesh, and has taught at over 200 institutions around the world. She is developing Constellation Studios as a creative destination for print, paper and the book in Lincoln, Nebraska.

Mark Pascale has been active in the Chicago art world for more than thirty years, as a lithographer, curator, researcher and teacher. Currently he is Curator in the Department of Prints and Drawings at The Art Institute of Chicago and Adjunct Professor of Printmedia, School of the Art Institute. His exhibitions and publications include the catalogues Contemporary Drawings from the Irving Stenn Jr. Col- lection, Marks from the Matrix: Normal Editions Workshop, Right to Print and Jasper Johns: Gray. Currently, he is working on a retrospective exhibition focused on the prints and drawings of Martin Puryear.

Emily Peters is Associate Curator of Prints, Drawings, and Photographs at The Museum of Art, Rhode Island School of Design. She received her PhD in Northern Renaissance Art from the University of California, Santa Barbara. Her research interests include European prints and drawings from the Renaissance and Baroque eras, and she has organized numerous exhibitions ranging from book illustration to British watercolors and including “The Brilliant Line: Following the Early Modern Engraver, 1480-1650” (2009), “Jacques Callot and the Baroque Print” (2011) and “The Festive City” (2012).

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

Charles Schultz is a New York-based art critic. He is an Associate Art Editor at The Brooklyn Rail and the City Editor of New York and Miami for ArtSlant. His writing has appeared in Art in America, Modern Painters, ArtSlant and The Brooklyn Rail. Schultz is currently working on a book about the legacy of Industry in American Art.

Ad Stijnman is a professional printmaker as well as a recognized specialist for historical intaglio printmaking processes.

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

66 Art in Print November – December 2013 dario escobar mixografia , 2013, Mixografia®, 2013, print on handmade in. 24.5 34 x paper, 40, Editionof www.mixografia.com Untitled

Pele Prints Laura Berman | Umbra: RL series www.peleprints.com