New Editions from Apfelbaum to Wilson • Glenn Brown • Nicole

Home , Arlene Shechet, Franz Marc Museum, Nico Helminger, Nina Katchadourian, William Tillyer

US $25

The Global Journal of Prints and Ideas March – April 2018 Volume 7, Number 6

New Editions from Apfelbaum to Wilson • Glenn Brown • Nicole Eisenman • Matt Saunders • Swoon • and more Nina Katchadourian Speaks with Island Press • Bodo Korsig • Todd Norsten • Boston Printmakers • Prix de Print • News AndyAndyAndy Warhol: Warhol: Warhol: Prints Prints Prints from from from the the theCollections Collections Collections of ofJordan of Jordan Jordan D. D.Schnitzer D. Schnitzer Schnitzer and and and His His HisFamily Family Family Foundation Foundation Foundation PortlandPortlandPortland Art Art MuseumArt Museum Museum

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LouiseLouiseLouise Bourgeois: Bourgeois: Bourgeois: Selections Selections Selections from from from EstablishedEstablishedEstablished in in in1997, 1997, 1997, the the the Jordan Jordan Jordan Schnitzer Schnitzer Schnitzer Family Family Family JordanJordanJordan D. D. D.Schnitzer Schnitzer Schnitzer and and and His His His Family Family Family Foundation Foundation Foundation PendletonPendletonPendleton Center Center Center for for for the the the Arts Arts Arts FoundationFoundationFoundation has has has organized organized organized over over over 100 100 100 exhibitions exhibitions exhibitions in in inover over over 100 100 100 Pendleton,Pendleton,Pendleton, OR OR OR • • Mar• Mar Mar 16, 16, 16, 2018 2018 2018 - Apr- -Apr Apr 28, 28, 28, 2018 2018 2018 museumsmuseumsmuseums of of of post-WWII post-WWII post-WWII prints prints prints and and and multiples multiples multiples by by by American American American artistsartistsartists from from from Jordan Jordan Jordan D. D. D. Schnitzer Schnitzer Schnitzer and and and His His His Family Family Family Foundation. Foundation. Foundation. JohnJohnJohn Baldessari: Baldessari: Baldessari: Interference Interference Interference Effects Effects Effects MissoulaMissoulaMissoula Art Art Art Museum Museum Museum TheTheThe Foundation Foundation Foundation provides provides provides programming programming programming for for for students, students, students, Missoula,Missoula,Missoula, MT MT MT • • Mar• Mar Mar 27, 27, 27, 2018 2018 2018 - Aug- -Aug Aug 25, 25, 25, 2018 2018 2018 seniors,seniors,seniors, artists artists artists in in inresidency residency residency and and and lecture lecture lecture series series series and and and the the the collectioncollectioncollection is is ismade made made available available available at at at no no no charge charge charge to to to museums. museums. museums. Person(a):Person(a):Person(a): Portraitures Portraitures Portraitures from from from the the the Collection Collection Collection of of of JordanJordanJordan D. D. D.Schnitzer Schnitzer Schnitzer and and and His His His Family Family Family Foundation Foundation Foundation JordanJordanJordan Schnitzer Schnitzer Schnitzer Museum Museum Museum of of Artof Art Art at at atWSU WSU WSU ExhibitionExhibitionExhibition Inquiries: Inquiries: Inquiries: Pullman,Pullman,Pullman, WA WA WA • Apr• Apr• Apr 6, 6, 6,2018 2018 2018 - Aug- -Aug Aug 4, 4, 4,2018 2018 2018 JordanJordanJordan D. D. D. Schnitzer Schnitzer Schnitzer • • •[email protected] [email protected] [email protected] CatherineCatherineCatherine Malone Malone Malone • • •[email protected] [email protected] [email protected] March – April 2018 In This Issue Volume 7, Number 6

Editor-in-Chief Susan Tallman 2 Susan Tallman On Invitation

Associate Publisher New Editions 2018 3 Julie Bernatz Reviews A–Z

Managing Editor New Editions Round-up: 23 Isabella Kendrick It’s All Political

Associate Editor Nina Katchadourian in 29 Julie Warchol Conversation with Lisa Bulawsky and Tom Reed Manuscript Editor “It’s the Play Thing” Prudence Crowther Victor M. Cassidy 34 Editor-at-Large Bodo Korsig: Making Peace Catherine Bindman With The Past

Design Director Exhibition Review Skip Langer Elizabeth Carpenter 38 Signs of the Times: Recent Monotypes by Todd Norsten

Bob Tomolillo 40 Printmaking in an Age of Political Dissonance

Prix de Print, No. 28 42 Juried by Michael Woolworth Guardian by Eszter Sziksz

News of the Print World 44 Contributors 62 Guide to Back Issues 63

On the Cover: Eszter Sziksz, video stills from Guardian (2017), screenprint on ice. Printed by the artist.

This Page: Arlene Shechet, detail of Significant Other (2017), ongoing series of woodblock prints. Printed and published by the LeRoy Neiman Center for Print Studies, Columbia University, New York.

Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org Art in Print is supported in part [email protected] by an award from the 1.844.ARTINPR (1.844.278.4677) National Endowment for the Arts. No part of this periodical may be published Art Works. without the written consent of the publisher. On Invitation By Susan Tallman

his is Art in Print’s seventh annual Given the chop on our present politi- Tnew-editions review, which once cal waters, it is no surprise to find current again illuminates the peripatetic real- events erupting in ways both overt (Sole- ity of the 21st-century art world. The 40 dad Salamé’s Women’s March, Victory artists included here were born in 13 dif- Garden’s Pray for U.S.) and subtle (José ferent countries on three continents; Antonio Suárez Londoño’s n.294 Lampe- only half remain in the nations where dusa). Here again, external references they started out. Many now live in New abound: Jonathan Horowitz’s gilded York, London and Berlin, but an equal American flag is a comment on economic number have chosen to make their vulgarity and its brutish political metas- homes and studios in places like Colum- tases, but it also cites a 1969 poster by Jas- bus, Ohio, Tempe, Arizona, and Medellín, per Johns as well as Horowitz’s long-term Colombia. fascination with Johns’s flags in all their Contemporary art is a language spo- political and epistemological ambiguity. ken and understood in all these places. Cecily Brown’s commentary on contem- But an international language is not the porary excess takes its cue from Breughel. same as a universal language. And while Art historical references abound for the art world is undoubtedly a far more those inclined to seek them. Nicole Eisen- diverse and inclusive place than it once man’s beer garden is filled with Brook- was, it is still the case that for most people lynites and their fin de sièclecousins; in most places, contemporary art remains Todd Norsten, $5.00 Parking (2017), unique Glenn Brown’s swirling portrait heads irrelevant, baffling, or—as Bob Tomolillo monoprint, 33 x 24 inches. Printed and published are teased from particular Rembrandt notes in his essay “Printmaking in an Age by Highpoint Editions, Minneapolis, MN. etchings, daring us to investigate. And of Political Dissonance”—a joke. while the triptychs of Kara Walker and Realistically, it could not be other- Mark Klett and George Whitman make Tom Huck can be appreciated without a wise. All languages are learned, and most anthropomorphic hay with cacti and a course in art history, recognizing the for- sound funny to nonspeakers. Master- pig. mal echoes of European altarpieces and ing them requires both motivation and Materials reveal themselves in ways their donor portraits opens up compli- opportunity. This is where prints come both self-evident and allusive in works by cated conversations about historical lega- in. Not only are they cheaper and more Tara Donovan and Leonardo Drew. Nina cies and the deployment of social power. portable than most art forms, their mix- Katchadourian’s monotypes look like So if prints are the Duolingo of con- and-match flexibility invites viewers to wispy white-ink sketches of sea life until temporary art, that’s only half the story. participate on their own terms, at their one recognizes, in the strangely familiar Because they aren’t just the language les- own speed, in public or in private. Prints curve and taper of each stroke, the vestige son, they’re also the conversations you get are the Duolingo of visual art.1 of a cat’s whisker. David Huffman’s bas- to have and the literature you get to read. The editions presented in this issue, ketball nets and Abraham Cruzvillegas’s What makes them great is not just that for example, can be owned for sums that 50 peso note implant loaded artifacts they open a door, but that having done so, range from nothing (Marilyn Minter’s within the image. Eszter Sziksz’s Guard- they make it worthwhile to stay. downloadable poster), to pay-what-you- ian is screenprinted on ice, a physical les- will (Chitra Ganesh and Polly Apfel- son in image and ephemerality. Susan Tallman is the Editor-in-Chief of baum), to a poker ante (Melissa Brown), These works don’t spurn the viewer or Art in Print. to amounts close to the cost of a small car. play the dare-you-to-look game that has Many, like Daniel Rios Rodriguez’s become increasingly popular in contem- Notes: flowers and Sophy Naess’s acrobats, offer porary art. But it would be a mistake to 1. Duolingo (www.duolingo.com) is a free, online, instant delight, no dissertation required. think of them as simple: everything here language-learning platform used by 200 mil- Ramiro Rodriguez, Mark Thomas Gib- is layered with meaning—among the lion people for 28 languages, from Arabic to son and Marcelle Hanselaar hook us myriad subjects and references alluded to Vietnamese (with stops at Esperanto and High with stories, while Swoon and Jim Dine are German film history (Matt Saunders), Valerian). appeal to our endemic fascination with neuroscience and literature (Bodo Kor- faces. Wayne Thiebaud, Tom Hammick sig), opera and fascism (Jonathan Meese), and Chiharu Shiota intrigue us with emergent group behaviors in zoology enigmatic scenarios. Jaume Plensa, Ann (Thorsten Dennerline), and the multira- Hamilton and Todd Norsten give us cial ancestry of Alexander Pushkin (Fred texts—short, medium or long—to read. Wilson).

2 Art in Print March – April 2018 EDITION REVIEWS A–Z

Glenn Brown

Half-Life (after Rembrandt) (2017) Set of six etchings, image 76 x 56 cm each, sheet 89 x 68 cm each. Edition of 35. Printed by Paupers Press, London. Pub- lished by Paragon Press, London. Price on request.

he British artist Glenn Brown is T well known for his fascination with, and manipulation of, Old Master paintings, drawings and prints. For this etching project, created for a 2017 exhibition at the Rembrandt House Museum in Amsterdam, he began by looking closely at the four Oriental Head etchings Rem- brandt made after prints by Jan Lievens. Brown digitally distorted this source material and then redrew each image on an iPad, expanding Rembrandt’s etched lines into a swirling mass of gestural, calligraphic strokes and arabesques. In Brown’s hands, the Dutch master’s tur- bans, hats and hair become abstracted clusters of tangled lines, piled high atop each head. This is not the artist’s first foray into etchings after Rembrandt. In 2008, he created nine etchings after Rembrandt portraits, layering the images with multiple passes through the press, creating impressions so dense that only the silhouettes of the figure are visible. The subjects in the Layered Portraits are flattened and in some cases obliterated, the reference to Rembrandt only vaguely identifiable.1 To make the Half-Life prints, Brown’s digital drawings were printed onto ace- tates that were used to create photogra- Glenn Brown, 05 from Half-Life (after Rembrandt) (2017). ©Glenn Brown and Paragon | Contemporary vures. Although each plate was initially Editions Ltd. printed as a single image, it became clear less, those familiar with Rembrandt’s during initial proofing that layering Melissa Brown Oriental Heads will probably be able to would again be the best way to convey glimpse a face in profile or recognize the effect Brown sought. Working digi- Rules of the Game (2017) eyes peering out from under a tangled tally, he played with various combina- Interactive winner-take-all “Texas Hold veil. Captured in the dynamism of inter- tions of plate pairings and returned to ’Em” game and multiple: clamshell box twined, spiraling lines, the heads appear Paupers Press with six final images. The containing a screenprinted and digitally to turn and move, producing images resulting impressions, more than 20 printed manual, five player portfolios, a that are simultaneously playful and times larger than Rembrandt’s original deck of playing cards, a photo book, and unsettling. —Alison W. Chang etchings, vacillate between abstraction a unique wager card (dye sublimation/ screenprint on aluminum). 12 x 18 x 4 and figuration, and even when they Notes: resolve into representation the identity 1. Layered Portraits also included Brown’s engage- inches overall. Variable edition of five. of the subject remains elusive. Nonethe- ments with heads by Urs Graf and Lucian Freud. Printed and published by Small Editions,

Art in Print March – April 2018 3 discarded clothing, rusted shopping carts, found paper. Born in Mexico City in 1968, Cruzville- gas has attained an international reputa- tion, as evidenced by his 2015 commission Empty Lot for the Tate Turbine Hall—a huge raised platform of angular wooden plant beds filled with crumbled soil gathered from London parks. The planters were watered and warmed by the artist’s hand-made lamps, and though no seeds were intentionally sown, plants sprouted, supporting the artist’s optimistic message of “chance, change and hope.”1 Working with Mixografia in Los Angeles this past year, Cruzvillegas created another a new work, featuring what appear to be two crumpled 50 peso bills. (The real bills are now out of circulation: these are facsimiles constructed using the Mixografia process.) The edition takes its title, Ichárhuta, Melissa Brown, Rules of the Game (2017). Courtesy Melissa Brown and Small Editions, Brooklyn. from a Mexican fishing boat with distinc- tive swooping butterfly-winged nets, and Brooklyn. Available only to public collect- The artists participating in each game the bill at top shows a scene of indigenous ing institutions. $1,200. have been grouped according to a shared Purepecha fishermen on Lake Pátzcuaro. “concept, preoccupation, or shared inter- Cruzvillegas, who descends from these ne lucky player of five will take all est in contemporary art.” This will result people, means to send a message about O in this high-stakes art wager, a in a theme to the final art collection that the ecological and economic changes that conceptual book conceived by artist is won by each of the five victors. Acquir- have affected the lake and its people. Melissa Brown and Corina Reynolds of ing institutions will select one represen- Look closely and you will see that Small Editions. They describe it as “a per- tative to play the game—e.g., curator, the bill is crisscrossed with dotted lines formance about acquisitions, permanent trustee, librarian or staff member. Should indicating folds that convert the flat sheet collections, fake collections, new collec- the institution win, it will acquire five or tors and randomness,” asking interested six works for the price of one. Should it parties: “Are you in?” Purchase of the lose, it will keep the box set that docu- book entitles five public collecting insti- ments the performance. Artists likewise tutions to ante into a poker game with benefit no matter the outcome, as their four or five contemporary artists who work will either enter a public collection will wager a unique work of art selected or they will acquire all of the unique by Brown: either a drawing or one-of- works wagered. Once the game is over, a-kind book. Institutions will wager the winner will insert photocopies of the Brown’s unique print (based on Tarot artworks into the five player portfolios and traditional playing card imagery) provided and distribute a copy to each included in the acquired box set. The 21 player as a memento. participating artists are both emerging —Sarah Kirk Hanley and mid-career, and work in a variety of media, generally with an unconventional or conceptual approach: Trudy Ben- Abraham Cruzvillegas son, Anna Betbeze, Michael Berryhill, Kari Cholnoky, David Kennedy Cutler, Ichárhuta (2017) Michael DeLucia, Jess Fuller, Elizabeth Mixografia print on handmade paper and Ferry, Alicia Gibson, E.J. Hauser, Butt archival pigment print, 13 x 7 1/2 inches. Johnson, Matt Keegan, Michael Mahal- Edition of 49. Printed and published by chick, Sam Moyer, Sheryl Oppenheim, Mixografia, Los Angeles. $3,000. John O’Connor, Josh Reames, Emily Mae Smith, Siebren Versteeg, Jacques Louis braham Cruzvillegas is a sculptor Vidal and Wendy White. Biographies are A best known for his vast, improvised available by request. installations, called autoconstrucciónes, Five games of Texas Hold ‘Em will be made of objects salvaged from urban Abraham Cruzvillegas, Ichárhuta (2017). played using the included decks of cards. life—rebar, distressed wood, old bicycles, ©Abraham Cruzvillegas, 2017.

4 Art in Print March – April 2018 frequently involve other contributors (his treatment of the poetry of Vladimir Maya- kovsky won Art in Print’s 21st Prix de Print (Jan–Feb 2017). His new work, Emergent Forms, is a collaboration with the chore- ographer Susan Sgorbati, whose work has focused on “emergent improvisation”— the way structures arise spontaneously in certain complex systems. (She cites evolu- tion as one example.)2 Lift the linen cover to find a written introduction and a wooden platform on which four publications lie crisscrossed: Pattern, Memory, Landscape and Dream. Pattern is a letterpress flipbook in which amorphous shapes in three pale colors move, split and grow, transform- Abraham Cruzvillegas, detail of Ichárhuta (2017). ©Abraham Cruzvillegas, 2017. ing at whatever speed is chosen by the viewer/handler. into the small origami boat displayed Thorsten Dennerline and Memory is a woodcut and letterpress below. There on the side of this little sheet splashed with large pale pink spi- folded boat we get a glimpse of José María Susan Sgorbati rals. It is meant to be assembled into an Morelos, the priest and hero of the Mexi- irregular paper sculpture. When viewed can War of Independence in the early Emergent Forms: Visual Improvisation (2017) from above or from the side, the shapes 1800s. Morelos was also born near Lake Letterpress, woodblock and stone litho- are visible, but they shift and disappear as Pátzcuaro. The subject links the work to graphy, with linen, foil-stamped cover the sculpture is turned. From one angle Cruzvillegas’s ongoing explorations of and elements resting on a CNC bass- the piece resembles the head of an animal identity and the meaning of place. wood-milled box, 9 1/2 x 15 1/4 inches. (a wolf? a pig? a bird?). From other angles, But these bills also represent money. Edition of 30 sets, plus 10 as individual fun-house spaces are created where the The artist notes that “we rarely remember volumes. Printed and published by The imagination can wander. that paper money always has a precious Bird Press, Bennington, VT, with addi- Landscape employs stone lithography to and detailed work of drawing, engraving tional letterpress by Tank Graphics, produce five translucent pages. The dark and printing, we reduce it to its value of Hadley, MA. Price on request. shapes are set off slightly to create a cloudy exchange, forgetting its communicative Pattern perspective when the booklet is closed. or aesthetic potential.”2 Letterpress flip book, 3 x 6 inches. When the booklet is opened to its full Money is a sophisticated invention, Memory width, “a movement is initiated”—as the charged with many layers of meaning— Woodcut and letterpress folded paper book’s description reads—“an extended economic, social, political and aesthetic. sculpture, 8 x 6 inches. arm gesture as the horizon is pulled It serves as a means of exchange, and Landscape and expanded.” also of survival. It is a measure of success Five–page book, stone lithography, 3 3/4 x In Dream, colored, letterpress-printed and status. It can be a stark reminder of 8 1/2 inches (closed); 37 inches (open). shapes (serpents? fossils?) dance on and inequality. And as its duties/uses become Dream through the sheer pages; as they are turned more and more virtual (from old school Letterpress on gampi paper, 6 x 12 inches. the shapes appear to jump around, resem- credit cards to Apple Pay to Bitcoin), its bling human arms and legs in motion. material relevance wanes. he artist Thorsten Dennerline Artist’s books create small theaters of So let us examine this curious mate- T has a particular vision and vocab- private experience. Emergent Forms is a rial thing. It may soon disappear com- ulary—visceral, dreamy and intentionally lengthy show: the unboxing, the turn of pletely. Or perhaps it will continue to live open-ended. “I try to deal with unex- the cover, the lifting and handling of each side-by-side with the discarded objects pected, grotesque and/or poetic subjects,” piece; flipping of pages; the demands of that the artist depends upon for meaning. he explains.1 Painfully personal, and also instructions; folding, sharing, stepping Cruzvillegas’s work does not answer surreal, his work can take the form of back, interacting again; the careful these questions, but floats on the seas of naked anguished figures contorting in cleanup; the invisible pull of the mag- their complexity. space, disconnected body parts, sinister netic closure. It is a performance to expe- —Julie Bernatz animal heads and menacing housewares. rience over and over. The format of a book calms and orga- —Julie Bernatz nizes this pain, and requests engagement. Notes: Books beg to be touched, their contours Notes: 1. http://www.tate.org.uk/whats-on/tate-modern/ examined, their pages turned. Dennerline 1. Artist’s Statement: http://centralbookingnyc. exhibition/hyundai-commission-2015-abraham- likes to create this temptation. He revels in com/galleries/gallery-1-artist-books-prints/artists- cruzvillegas-empty-lot. work/thorsten-dennerline/. 2. https://mixografia.com/events/icharhuta-by- the details of fine paper, texture, edge and 2.http://emergentimprovisation.org/Essay-on- abraham-cruzvillegas/. the gathering of all into a whole. His books Emergent-Improvisation.html

Art in Print March – April 2018 5 Thorsten Dennerline and Susan Sgorbati, Emergent Forms: Visual Improvisation (2017).

Jim Dine This matrix formed the series’ “master kilter registration—the master woodcut woodcut.”1 In what feels like an attempt printed twice in black—to dissolve the Tools in a Puzzled Vessel (2017) to bury this initial design, Dine worked edges of form (a technique that Gauguin Suite of eight woodcuts with etching, on the premise of the French term tête- used for his two-color woodcuts, this lithograph, mechanical abrasion and bêche (head to tail), inverting and over- doubling arose in Dine’s print through handwork, 193.6 x 132.7 cm each. Edition printing multiple matrixes, throwing a happy accident.) In Tools in a Puzzled of 6. Printed by Atelier Michael Wool- in old plates, knocking back definition Vessel (8), Dine pits sage green against a worth, Paris. Published by Alan Cristea with skeins of white in layer after layer sweet raspberry red with black outline Gallery, London. $12,000. of woodcut, lithography, etching and and brute yellow house paint. For print hand painting in acrylic, running each number 3 he stuck to a monochrome pal- n eight large new prints created at composition through the press between ette and began printing with an upside I Atelier Michael Woolworth for the fall 7 and 14 times. down pass of the master woodcut in gray, 2017 exhibition “Montrouge Paintings” at Unable to leave the virtuoso cutting immediately followed by two passes of Galerie Templon, Paris, Jim Dine applied on the master woodcut alone, Dine had white ink rolled over the full surface of his indefatigable energy to images that it printed in black on tracing paper that the “woodboard,” a table top from the are deliberately unmoored from form. he cut up and collaged with some redraw- studio that prints an uneven surface, Handling becomes the subject of these ing, creating new compositions that followed by the master woodcut printed impressive works, grouped under the title Woolworth then transferred into litho- twice in gray upside down and then Tools in a Puzzled Vessel, which show an graphy. Known in the studio as the “organ three etching plates—Face, Oval and ingrained material unity. donor,” the cut-up sheet gave life to two Pinocchio (the latter two retrieved from The “puzzled vessel” we might assume litho plates and opened up Dine’s com- earlier projects)—inked in black and is the artist’s head—its unmistakable position to a jumble of floating elements. printed right side up. The final print bald contour (Dine began losing his hair “I’ve got my hand in there all the time. I is the subtlest, with patches of dark aged 16) and jug-handle ears are cen- cannot stop my hand. I cannot stop fuck- drifting tone. tered on each sheet and crammed with ing around with the print. I’m trying to For Woolworth, one of the joys of tools, drawn using a Dremel rotary tool change it somehow,” Dine explains.2 working with Dine is his lack of hesita- on plywood nailed to the studio wall. Tools in Puzzled Vessel (7) uses off- tion. But when and how does he stop?

6 Art in Print March – April 2018 Left: Jim Dine, Tools in Puzzled Vessel (Seven) (2017). ©Jim Dine. Courtesy Galerie Templon, Paris and Brussels. Right: Tara Donovan, Untitled (2016).

The Tools in a Puzzled Vessel prints appear Tara Donovan transformed into mysterious monuments burnished with the weight of their pro- through the simple expedient of massive cess. Their heavy, slow-drying physicality numbers. In one series of site-specific links them with the material significance Untitled (2016) works, disposable cups join together of the tools they depict, objects that Dine Lithograph, 27 1/2 x 21 1/2 inches. Edition into weirdly beautiful undulating tis- uses as if they were “thoughts or emo- of 30. $2,800. sue—half cloud, half organic growth. tions.”3 The sequence of printing in each Untitled (2016) She has massed shirt buttons into pearl- work is remarkably distinct. Lithograph, 27 1/2 x 21 1/2 inches. Edition escent stalagmites and pencil stubs into Dine is printing the process by which of 20. $2,800. sprawling topographies. The impact of form happens out of feeling, working Untitled (2016) these works lies in the unexpected gulf with and depicting tools to reflect the Lithograph, 42 x 29 inches. Edition of 15. between the original objects’ familiar- common consistency of the material $5,000. ity and the strange sublimity they exert world. This step toward disintegration of Untitled (2016) when legion. the tools to which he is so passionately Lithograph, 42 x 29 inches. Edition of 15. Printmaking is notorious for the dis- attached is compelling. $5,000. tance it inserts between the materials —Kate McCrickard Untitled (2016) used (stone, copper, wood, etc.) and the Lithograph, 19 7/8 x 14 inches. Edition of materials seen (most often ink and paper). 95. $1,500. In the past Donovan has made clever use Notes: All printed and published by Tamarind 1. Plate titles provided by Atelier Michael of the indexical, physical-trace proper- Institute, Albuquerque, NM. Price on Woolworth. ties of relief printing—building matrices 2. Jim Dine, Montrouge Paintings, “Happy in request. from rubber bands (2006), straight pins Montrouge,” interview with Guy Boyer April– (2010) and squished Slinkys (2015). The July 2017 (Paris: Edition Galerie Templon, n Tara Donovan’s magical sculp- printed pictures worked much like her 2017), 11. tures and installations, commonplace 3.http://danieltemplon.com/new/artist. I sculptures, giving us captivating images php?la=en&artist_id=94&display_video=1. things—pins, buttons, toothpicks,—are from plain-Jane parts.

Art in Print March – April 2018 7 In her first residency at Tamarind, however, Donovan had to come to terms with lithography, a technique whose generic description—planographic—is the antithesis of sculptural. At the time she was working with index cards, focus- ing not on their handy, information-ready faces, but on their thin but substantial edges. For a project at the Smithsonian’s Renwick Gallery in 2014, she adhered about one million cards into apparently geological formations.1 But she was also playing with how the facing edges of stacked cards could produce optical patterns, within a flat surface. At Tamarind, Donovan arranged black and white cards, edges forward, in various permutations within wooden frames. Photographs of the arrangements were to generate litho plates and (in all but one) a second plate was used to print the margins flat black. The jittery images that result suggest of all kinds of things—Ikat textiles, elec- tron microscopy, a seismograph recording of a global rave, or a group EEG at same. The intersession of photography obfus- cates the image source—the mind does not jump to “index cards” the way it does to “Slinky” in that earlier series. Instead the work takes on a subtle filmic quality—the sense of watching slivers of time and space passing by rhythmic cycles. It has been 24 years since Nicholson Baker wrote his paean to the library card catalogue, the professionalized extension of those once ubiquitous domestic boxes Leonardo Drew, 59P (2017). of recipes, Christmas lists and AP Ameri- can history notes.2 In the interim, the 62P-71P (2017) style in several editions and monoprints index card has faded from everyday use. Set of ten works: pigmented and cast that ride a line between seductive/repul- Donovan’s prints aren’t an elegy, but they handmade paper with applied pigment, sive, refined/raw and pretty/ugly. They do promise a kind of second life, both for framed individually, various sizes: 25 3/4 are fabricated from dyed and pigmented the physical card and for the poetic power x 18 3/4 inches and smaller. Edition of 10. paper pulp cast in deep relief (larger of the reference. All works printed and published by Pace pieces contain hidden sculptural cores or —Susan Tallman Editions, New York. Price on request. armatures) in a process he developed and perfected with master printers Ruth Lin- Notes: eonardo Drew’s massive bas-reliefs gen and Akemi Martin in the Pace Paper 1.https://www.smithsonianmag.com/smithsonian- and installations are raw, abstracted, workshop in Brooklyn.3 Some composi- institution/artist-tara-donovan-turns-index-cards- L towering-looming-spires-180957053/. pseudo-geometric objects that envelop tions are abstract and chunky; others 2. Nicholson Baker, “Discards,” The New Yorker, the viewer in an entropic world devoid reference earth, sky, plant life and outer 4 Apr 1994, 64–86. of signifiers or content. They appear to space. Some employ copious amounts of be made of found objects, but the art- powdered metallic pigments in iridescent Leonardo Drew ist invariably begins with new materials or flat finishes; others use dyed pulp in such as wood, fibers, metal and earth, just two tones. Their scale ranges from 58P (2017) which he subjects to chemical and physi- intimate to monumental. Pigmented, printed and cast hand-made cal decay.1 His goal is to impart “emo- In his early editions from 2011, Drew paper, 77 x 39 1/2 inches. Edition of 3. tional and physical weight”2 to the final discretely presented aesthetic extremes 59P (2017) work. The titles are sequential numbers with little intermingling. Later he began Pigmented and printed handmade paper that suggest no particular interpretation. blending these modalities. 38P and 48P with hand-applied pigment and attached Over the past six years, the artist has (2014) are oversized variable monoprints cores, 82 x 70 x 3 inches (framed). Edition of 3. explored this alchemical, neo-brutalist from the same matrix: both depict a tree

8 Art in Print March – April 2018 and its roots but the first shimmers with silver metallic pigment as if cast in an extraterrestrial metal, while the second sets an earthy brown background against an iridescent blue tree that suggests flow- ing water. Drew’s most recent editions extend these ideas in new directions, like the root imagery they reference. 62-71P is a suite of 10 prints cast from small sculptures and reinterpreted. 58P (2017) suggests a slimmed-down cousin of the tree in 48P. In 57P (2016) and 59P (2017), silver and ultramarine-barked trees are surrounded by scintillating night skies. Their ethereal surfaces invite reverie. “In the studio I allow life to take hold,” Drew says, “I want to become the weather.” —Sarah Kirk Hanley

Notes: 1. See Art21.org for general discussion of the artist’s work: https://art21.org/artist/leonardo-drew/. 2. All quotations from “Leonardo Drew in Conver- sation with Sarah Suzuki,” International Fine Print Dealers Association Fine Art Print Fair, Javits Center, New York, 29 October 2017. Nicole Eisenman, Beer Garden (2012–2017). 3. For further discussion of his paper editions technique, see Paul Wong, “Leonardo Drew: The a flow of ordinary living pressed into the the copper plate, she marks difference Core and Beyond the Wild Blue Yonder,” Hand magnified space of a local Brooklyn beer through choice of intaglio mark: by set- Papermaking 30, no. 2: 42-45; and Casey Lesser, garden. John Yau has proposed a 1907 ting loose tones of puddled spit bite “Leonardo Drew Challenges Himself and the Tra- ditions of Papermaking,” Artsy.net Editorial, 25 Beer Garden painting by the Expressionist against sharply etched line, and polishing February 2015: https://www.artsy.net/article/artsy- Marianne von Werefkin as precursor for the plate brightly around figures shad- editorial-leonardo-drew-challenges-himself-and- this theme,1 which Eisenman has used owed in aquatint, she brings certain char- the-traditions-of. in both prints and paintings, showing acters to the fore, such as the lampooned garden habitués in pressing multiplic- youth hypnotized by his iPhone. She ity, plucked from life and art historical chooses inscribed marks for granular edi- Nicole Eisenman reference: in this etching, she slips into torial detail—hair, knuckles, dog bones the crowd a naked mother holding a baby and small cameos that line the back of Beer Garden (2012–2017) aloft while a small child glowers beneath the crowd. Eisenman surprises us with Etching, aquatint, soap ground, spit bite her buttocks, as well as a Munch-like the solid logic out of which she makes and drypoint with chine collé, sheet 44 3/8 death heads. a mass of curved bodies fit together in x 51 3⁄4 inches, image 40 x 48 inches. Eisenman turns away from Werefkin’s common connivance, retaining formal Edition of 15. Printed and published by image of a seated crowd at tables near clarity within the challenge of a wide- Harlan and Weaver, New York. $17,000. the woods, in her radical transformation angle view. of the Rückenfigur—a figure seen from For the flat aquatint tones in Beer Gar- icole Eisenman’s extraordinary the back in the foreground of an image, den, the workshop lined an entire sink N new Beer Garden pushes intaglio dwarfed by majestic landscape.2 Here with plastic to hold the acid. Eisenman into the realm of painting. The chef the Rückenfigur is a huge, swarthy hand experimented with spit bite by soak- d’oeuvre of a group of plates realized with clenching the handle of a drinking vessel ing materials such as tarlatan, window Harlan and Weaver five years ago, during in center foreground.3 The hand dwarfs screening and string in ferric acid and Eisenman’s year of living “printerly” (see the urban subjects behind it and affords laying them directly onto the rosined Art in Print Jan–Feb 2013), it has only just a glimpse into the artist’s head through plate. Resulting passages of pixelated tex- been editioned and released, due to the the almost anamorphic self-portrait ture appear on the skirt of a figure in the scheduling complexities of a busy press glimpsed in the oculus made by the mug’s right foreground and on a naked, ghostly and a prolific artist. rim. This image coiled within an image half figure above the upper rim of the Eisenman’s engrossment in the human integrates the artist and the viewer into mug. figure is irresistible. Here, she works the the picture through the old pictorial trick In Beer Garden, Eisenman collapses dis- business of imaginative representation of depicting reflective surfaces (in this tinctions between the historical and the into a giant four-foot-wide copper plate. case beer?) to bring the outside world in. contemporary, the subject and the self, Hipsters chat, light up, embrace and On canvas, Eisenman separates char- gathering polygamous modernist strains slump over their pint glasses, dejected— acter through color and texture. On into a large, peripheral vision. Eisenman’s

Art in Print March – April 2018 9 vision, even when it is ironic, romantic or a street prophet (and werewolf) named Tom Hammick deadpan, is deeply serious (and sometimes Mr. Wolfson and an angel drummer of tragic). She is committed to the human the apocalypse—each engrossed in pur- Lunar Voyage (2017) condition, certainly, but also to the suing his own vision of a perfect society. Suite of 17 reduction woodcuts, sizes humanity that inhabits the theater of the Mr. Wolfson loses his day job toting a ranging from 58 x 48 cm to 121 x 205 cm. imagination. Here she demonstrates that sign that warns of the end of times. After Variable editions of 16 each. Printed and she can conjure almost any texture on cop- falling into a slump, he is struck (literally published by Hammick Editions and per as on canvas, showing her commit- on the head) by a glowing white orb, “The Peacock Press, Aberdeen, Scotland. ment to intaglio, too. WORD,” an enlightenment that promises Available through Flowers Gallery, Lon- —Kate McCrickard him the position of preeminent prophet don and New York. Prices range from in New York. In the span of a few pages $3,000–$15,000. Notes: Mr. Wolfson has been transported into 1. John Yau, Hyperallergic, A Truly Great Artist, another dimension and back to New ome books have pictures and some June 5, 2016, https://hyperallergic.com/303335/a- York. The drawings—executed quickly S pictures have books,” opined R.B. truly-great-artist/. with pen, brush and marker—careen Kitaj in vocal opposition to formal 2. The paradigm of the Rückenfigur is that in 1 Caspar David Friedrich’s famous Wanderer above through dramatic shifts in scale, a trip to abstraction. The British painter and the Sea of Fog (1818). outer space and an encounter with two printmaker Tom Hammick’s outstanding 3. The giant hand appears previously in disembodied eyeballs before whisking new suite of 17 woodcuts, begun at Pea- Watermark (2012), an etching and aquatint the reader off to a cloud-fluff heaven. cock Press in Aberdeen and completed in made with Harlan and Weaver, in which it stirs Tasked with delivering the WORD to his London studio, may be said to have a a bowl of cereal while looking into an interior the masses, Wolfson spurs an urban revo- film—a montage of the first images of the with family. lution, complete with mass-destruction earth and the moon beamed down from and rebuilding of society. Meanwhile, outer space, Stanley Kubrick’s 2001: A the angel drummer, a character that Space Odyssey, Andrei Tarkovsky’s Solaris Mark Thomas Gibson appeared in Gibson’s earlier book Some and Georges Méliès’ Le Voyage dans la Monsters Loom Large (2016), incites a par- Lune. Cutting filmic scenarios into wood, Early Retirement (2017) allel uprising among angels. Hammick creates images that are simul- Bound softcover book, 240 pages, 13 1/2 x Gibson is clearly fascinated by the taneously formal abstractions and narra- 9 inches. Edition of 800. Printed by DZA, American love of apocalyptic narratives, tive representations. Altenburg, Germany. Published by Edi- from sci-fi movies to religious “rapture” Hammick’s Lunar Voyage traverses his tion Patrick Frey, Zürich, Switzerland. to global climate change, as well as by the personal imagery of islands, speedboats, $60. utopian ideal. In pursuit of utopia, Early the forest, his family, as well as moon and Retirement explores the national fixation stars, rockets and space capsules; a sense ark Thomas Gibson’s recent art- with death and conquest, origin myths of suppressed drama and surveillance is M ist’s book Early Retirement begins and Truth with a capital T. manifest. The artist, solemn and imper- with a letter to the reader explaining its —Morgan Dowty sonal, is tacitly present in compositions impetus: the concurrence of a positive personal experience at Yale’s Norfolk Summer School (Gibson teaches at Yale) and a season of public turmoil—“the Pulse Nightclub Massacre, Black Lives Matter movement, climate change and the looming election in November of “ 2016.” Together these prompted him to question the prospects for positive soci- etal change. He closes his letter with a question: “Are you truly contributing to create the future that you claim to desire or are you passively allowing it to fall apart?” Narrated by the skeletal ghost of the black Revolutionary War martyr Cris- pus Attucks, the book is a hefty tome. Its story is communicated almost entirely through pictures, in the manner of early 20th-century pictorial novelists Frans Masereel and Lynd Ward, but in the swift visual style of certain comics. Occasional text in the artist’s hand helps moves the story along. The twisting, whiplash- inducing tale features two protagonists— Mark Thomas Gibson, from Early Retirement (2017). Courtesy of Edition Patrick Frey.

10 Art in Print March – April 2018 set subjects—a drill for stars, an angle grinder for seas, a chisel for rooftops, knives for branches, the jigsaw for people, and gouges for adding detail.3 This formalism adds further tension to the suppressed narrative. Many artists dream of escaping to the moon: Georges Méliès shot up in a canon-propelled capsule; William Ken- tridge arrived on a South African moon by coffee pot. Hammick pitched his geo- desic space tent on the moon, but ended up back in his own terrestrial living room. The real vehicle is the imagination. Hammick’s key journey was into the space of the woodcut, a collaborative adventure that took flight of its own. —Kate McCrickard

Notes: 1. R. B. Kitaj, Second Diasporist Manifesto (New Haven: Yale University Press, 2007), n.p. 2. Michael Waight, master printer at Peacock Press, explains that he and Hammick favored laying the jigsawed blocks on top of the paper sheet, ink face down, to help visual registration and reduce movement between the blocks. This technique also reduces the problem of creasing when printing wood blocks on a large scale. Using a press, with the paper on top of the block, however, gives better embossing, adding to surface richness. 3. David McCracken, “First Foot,” in Tom Ham- mick, Lunar Voyage (London: St Saviour’s Press, 2017).

Tom Huck

Electric Baloneyland (2017) Chiaroscuro triptych woodcut, 86 x 108 inches overall. Edition of 22. Printed and published by Flatbed Press, Austin. Avail- able through C.G. Boerner, New York. Tom Hammick, Lunography from Lunar Voyage (2017). ©Tom Hammick. Courtesy of Flowers $18,000. Gallery London and New York. or over 20 years, Tom Huck (a.k.a. that couple earth and moon. In Lunogra- of that foundational rainbow roll remain F Tom Hück) has been “hitting people phy, a laser-cut moon is pockmarked with visible in the final image: a few squares of over the head” with X-rated sociopo- the names of 14 places that Hammick has hot peach give a view through the win- litical commentary that combines brash lived in or dreamed of, but in most of the dows of a small house watched at night.2 content, technical virtuosity and layered prints figures and props exist as solutions For Starpath, Hammick selected wood references to the history of prints.1 His to formal problems, neither vocal nor with a concentric grain to flatter the form elaborate compositions roil with bawdy engaged. of the rocket shaft, inserting it at an angle images of sex, gluttony and violence, The prints’ calm surfaces belie the to the horizontal grain of the main block delivered in intricately carved woodcuts complex strategies of their production. that is inked in a flat hue of Prussian blue, of monumental scale that reference his Cloud Island began with a 19-color rain- the visionary vacancy of the cosmos that art historical heroes: printmakers from bow roll, spanning the spectrum from red, binds the suite together. Master ES to Max Beckmann. His “fan- orange, yellow, green, blue and indigo to In the slim gaps between blocks, hala- boy worship” of Albrecht Dürer began violet. Over this, individually inked, jig- tions of base color cleave to the edges of at age 14 when he saw the full woodcut saw-cut blocks of flat color were printed, form, playing on the retina like solar- cycle of Dürer’s Apocalypse (1498) at the with multiple colors passing through the izations. Hammick emphasizes the Uffizi gallery with his grandparents. press simultaneously. Only small patches woodcut’s flatness, using set tools for Huck’s images begin with numerous

Art in Print March – April 2018 11 sketches and art-historical research that Evil Prints, in St. Louis, Huck has also Daumier’s Gargantua (1831), features coalesce into a cartoon that he cuts using done projects with Landfall Press and Uncle Sam, shooting himself in the head traditional Japanese wood gouges. His Lawrence Lithography; he worked with and disgorging a hellish rollercoaster on matrices can take up to a year and half to Flatbed Press on Electric Baloneyland which KKK-hooded figures ride pig-cars. complete. because, he explains, his ideas “have out- On the right, masked young men engage Huck has shown with galleries in New grown my personal resources.”2 in a shooting game titled Shoot ‘Em Up: York, San Francisco and Kansas City and Born and educated in the St. Louis Hedz of State with various historical and his work is held in many public collec- area, he has made Midwesterners both contemporary political figures as their tions. This past fall marked his debut the primary audience for and the central targets. Huck recalls “being able to win with Old Master dealer C.G. Boerner, characters in his barbed satires of the REAL weaponry at a fair in the early where his work is complemented by the devolving morality of Heartland culture. eighties . . . Looking back on this, it’s artists he reveres. “Booger Stew: The Electric Baloneyland presents a twisted apparent to me that this [was] an early Monumental Triptychs of Tom Huck amalgam of “fat, angry, boozed, drugged, symptom of an overall illness, especially (I–III)” included three out of a planned racist, bigoted and willfully ignorant in rural America.”4 . cycle of 14 oversized triptychs. Electric Americans having a good time at an —Sarah Kirk Hanley Baloneyland, at approximately seven by American tradition: the county fair.”3 nine feet, is the largest and most recent The center panel, subtitled Fish Hookin’— Notes: (also on view were The Tommy Peepers Here Comes Mr. Fishy, depicts an over- 1.Telephone interview with the artist, (2014) and The Transformation of Brandy weight middle-aged man in underpants, 10 November 2017. Baghead Pts. 1, 2, & 3 (2009), somewhat leather boots and a helmet nabbing an 2. Ibid. smaller in scale.) unwitting “star-spangled mermaid” 3. As quoted in “Booger Stew: The Monumental Woodcuts of Tom Huck” (New York: C.G. Boerner, Though most of his prints are pro- (Huck’s version of Lady Liberty) with his October 2017), press release. duced and published by his workshop, bare hands. The left panel, inspired by 4. Ibid.

Tom Huck, Electric Baloneyland (2017).

12 Art in Print March – April 2018 evokes kelp forests and intergalactic gas clouds as much as it does the foodstuffs suggested by the title. The swirling red and white of Somatic might be a mapping of ocean currents or interstellar gravita- tional fields. The white lines in Rainbow, tangled in the center, pull apart at the top into a knot-work network. It’s easy to fall into the entrancing pattern and flow of these images, so it takes a moment to sort out just why those patterns feel so familiar. Once the penny drops, however, it is obvious that each of these is a printed record of basketball nets or, in the case of Somatic, the chains that replace white rope on outdoor public hoops. Huffman arranged cut-up nets and chains on the copper plates, and aquatint was applied around them. One of the claims made on behalf of abstraction in the 20th century was that it offered a nonreferential, non-culturally-specific universal language—an Esperanto of the eye. When that utopian view collapsed, pop artists began appropriating culturally specific artifacts into painting and sculpture and prints, acknowledging the power and meaning of the local. Finally we lurched into so- called identity art, with artists examin- ing and reporting on their own particular corners of social space. Layering these positions, Huffman’s prints are more generous and inclusive than any of them. As abstract images they are compelling and engaging; as indexes of pop artifacts they are witty and charm- ing; and as reminders of the reality that, across America, basketball hoops are stripped from public parks to “reduce crime” by discouraging visits from black teenagers, they tell us that culture is David Huffman, Somatic (2017) never clean. —Susan Tallman David Huffman American life (brown faces beneath the space helmets, churches, police cars Somatic (2017) flashing their lights). The basketball— Mark Klett Aquatint with chine collé gampi. spherical signifier of race and nation- Collards (2017) hood that it is—features regularly in Saguaro Diptych: 5 16–1 and 5 16–4 (2016) Spray-paint aquatint on airbrushed tex- his work as both a subject and a device: Two photogravures on gampi attached to tured paper. he has made pyramids of basketballs as Arches paper, 24 x 20 inches each. Edition Rainbow (2017) installations, included them in his spacey of 60. Printed and published by Segura Aquatint on airbrushed textured paper. narrative paintings, and employed them Arts Studio, University of Notre Dame, All 40 x 29 inches each. Edition of 25 each. like confetti in brightly colored ab- South Bend, IN. $1,600. Printed and published by Paulson Fon- stractions. taine Press, Berkeley. $2,500 each. Huffman’s three recent etchings with ark Klett is an Arizona-based pho- Paulson Fontaine Press initially pres- M tographer whose work revolves s a painter, David Huffman is ent themselves as all-over abstractions around two concerns: the American A known for mixing nostalgic sci-fi built from bright color and interweaving landscape and the passage of time. His motifs (astronauts, UFOs, rocket ships) skeins of white line. Collards, with its wet ravishing photographs of the desert are with everyday bits of racially inflected green and sense of unfathomable depths, as likely to include rusted unexploded

Art in Print March – April 2018 13 Mark Klett, Saguaro Diptych: 5 16–1 and 5 16–4 (2016). ordnance as a glittering night sky. Since versity in Indiana, and revisited these starred in endless cartoons. Citing both the 1980s, he has done regular surveys earlier photographs, selecting two to rec- without favoring either, Klett gives us in which he rephotographs places in reate as a photogravure diptych. His sen- berth for the most profound of human the American West from the exact van- sitivity to historical affect is fully on view responses: we laughed till we cried. tage points of historical photographs. here: while the original photographs —Susan Tallman (Many of these have been published in were silver gelatin prints, printed in lapi- book form.) Klett understands that even dary grays with visible process marks at Notes: “untouched” nature is not ahistorical. the edges, the photogravures, printed on 1. Mark Klett, Saguaros (Santa Fe: Radius Books, Klett first worked with the lithogra- gampi, have a warmer tonality, and are 2007). pher Joseph Segura in the early 1990s, edged with visible plate marks, as if they when both were on the faculty at Ari- had been carefully removed from a turn- zona State University in Tempe. In 2007 of-the-century tome. Elegant and spare Jonathan Meese Klett made a small photogravure the size in composition, they sing a song of the of the four-by-five-inch Polaroid nega- desert and its ascetic aesthetics. They Geheimhofrätin Animalmutter “Daddy” tives he was then using on location to are elegiac, mourning not only the loss (Fräulein Kundrink) (Privy Councilor shoot portraits of the tree-sized Saguaro of nature, but the loss of ourselves, the Animal Mother “Daddy” [Miss Kundrink]) cacti in the Sonoran Desert. A book pub- changes wrought by history. They are (2017) lished that year reproduced 40 of these also really funny. Lithograph, 76 x 56 cm. Edition of 8. cactus photographs, taken over the One cactus raises its left arm while Hauptkommissär Animaldaddy “Kasperle” course of 20 years.1 His original title for curling the right to where its waist would (Grossmama “Wagnerz”) (Chief Inspector the series was “Desert Citizens,” and one be if it had one; the second points forward Animal Daddy “Kasperle” [Grandmama cannot help but see these towering spiny with one arm while the other arm beck- “Wagnerz”]) (2017) figures as hugging couples, enthusiastic ons come hither (the apparent motion is Lithograph, 76 x 56 cm. Edition of 8. choral conductors and God-beseeching the result of two adjacent limbs in slightly Dr. Animalbaby “Alles” (Oheim Parsifall) preachers. Even the ones with too many different positions, like sequential ani- (Dr. Animalbaby “Everything” arms and tangled body parts suggest mation cels). Both seem to be directing [Uncle Parsifal]) (2017) modernist elaborations of human beings traffic. Given their location (the middle of Lithograph, 56 x 38 cm. Edition of 8. (the sculptures of Jacques Lipchitz in nowhere), the action echoes Mel Brooks’s All printed by Keystone Editions, Berlin. particular). mid-desert tollbooth in Blazing Saddles. Published by Harpune Verlag, Vienna, In 2016 Klett returned to Segura’s The desert offers endless fodder for and Sabine Knust, Munich. Prices on workshop, now part of Notre Dame Uni- reverent pictorialism; Saguaro cacti have request.

14 Art in Print March – April 2018 onathan Meese’s recent lithographs These three lithographs, produced at ness, but there is something endearingly J were created in connection with Keystone Editions in Berlin, follow an wacky about the execution, fingerprints Mondparsifal (Moon Parsifal), the artist’s earlier, poster-like print, Knackimond and all, as if the frantic, swirly-eyed per- contemporary reenvisioning of Richard Parsifals Plakati Geili Grande (2016), made son depicted had delivered a self-por- Wagner’s opera Parsifal (in collaboration in advance of the production. The two trait. In “Grandmama ‘Wagnerz,’” Meese with composer Bernhard Lang and con- larger prints, subtitled “Miss Kundrick” builds a single large, continuous shape ductor Simone Young).1 Meese, whose and “Grandmama ‘Wagnerz,’” are filled from brown ink, in spots thick as mud fondness for incendiary subjects has with Meese’s characteristic, high-octane and with the texture of elephant hide— made him the enfant terrible of German gestural marks beneath the scrawled appropriate for a shape resembling a large art, has a complicated personal history word “LADYKILLERS.” In the first, the and lumpy animal. A triangle at lower with Wagner’s Parsifal: he was hired and artist’s fingerprints can be seen amid a right might be a beak, while other extru- then fired as director of its 2016 presenta- swirl of orange lines. What appears ini- sions suggest tufty legs—a dark figure tion at Bayreuth, perhaps because of cost tially as a chaotic whirlwind resolves squirming to escape. overruns, perhaps because of his arrest into a face: tombstone teeth set in a grin Dr. Animalbaby “Alles” (Oheim Parsi- for performing the Nazi salute on stage below a staring pair of hypnotic spirals. fall) is half the size of the others and (he was performing in an event on “Mega- Like a crazed character from a Tim Bur- was originally just intended as a doodle. lomania in the Art World”). ton movie, it hovers at the edge of creepi- Printed in orange-brown with wide white margins, it depicts another wiggly creature, this time headlined “BABY FUTURE XY.” The blobby form is indeed baby-like, and there is a playful quality to the spiky crown and the slinky-like circles (made with the bottom of a cup) that spin beside it. But its identity remains ambiguous: the stick-like protrusion at bottom right might be an arm or a forked tongue. If not exactly illuminating Mondpar- sifal, the prints’ fantastical biomorphic mayhem aptly represents a production set in a mythical future on a lunar base where Wagner communes with Marlon Brando, the Wicker Man and Barbarella. —Charlotte Collins

Notes: 1. Mondparsifal Alpha 1–8 was presented at the Wiener Festwochen in Vienna in June 2017; Mondparsifal Beta 9–23 was presented at the Berliner Festspiele in October 2017.

Sophy Naess

The zinc ornament dealer’s latest thermometer (I–III) (2017) Series of three monotypes, image 16 x 20 inches each, sheet 26 1/2 x 30 inches each. Untitled (Balancing Acts, I–VII) (2017) Series of seven monotypes, image 16 x 20 inches each, sheet 26 1/2 x 30 inches each. The House of Mirth (I, II) (2017) Two monotypes, image 16 x 20 inches each, sheet 26 1/2 x 30 inches each. Darling Daintyfoot (I–III) (2017) Series of three monotypes, 20 x 16 inches each, sheet 30 x 22 inches each. Avoir la langue bien pendue (I, II) (2017) Two monotypes, image 20 x 16 inches Jonathan Meese, Geheimhofrätin Animalmutter “Daddy” (Fräulein Kundrink) (Privy Councilor each, sheet 30 x 22 inches each. Animal Mother “Daddy” [Miss Kundrink]) (2017). All monotypes listed above $950 each.

Art in Print March – April 2018 15 At a Window (2017) Linocut with chine collé, image 20 x 16 inches, sheet 30 x 22 inches. Edition of 15. $500. Boy on a Swing (2017) Linocut with variable watercolor, image 15 x 11 inches, sheet 21 1/2 x 15 inches. Edition of 15. $550. All printed and published by 10 Grand Press, Brooklyn.

ophy Naess creates playful and radi- S ant works inspired by sources ranging from Greek myths to vintage looms, to the labels of Dr. Bronner’s pungent and morally uplifting soaps. The monotypes and editions she produced in 2017 with Marina Ancona of Brooklyn’s 10 Grand Press are in keeping with this offbeat sensibility, bearing titles evocative of places and states of being (Balancing Acts, The House of Mirth), eliciting easy smiles (Boy on a Swing), or producing an occasional bemused “huh?” (The zinc ornament dealer’s latest thermometer). Sophy Naess, The zinc ornament dealer’s latest thermometer (I) (2017). In many works, lithe figures are arranged in attitudes of action, balance or repose. Some compositions feature Naess’s work seems to exist content- Daniel Rios Rodriguez swathes of brilliant yellow or moody blue. edly outside contemporary concerns, Others are dappled with casual floral leaning instead toward a painterly, Asa Nisi Masa (2017) flecks or framed by decorative boundaries. expressive exuberance. Indeed Matisse’s Sugar-lift aquatint. In the Balancing Acts monotypes, the words seem apt: South Parish (2017) and Three Stones (2017) artist began by painting on a smooth Soft ground, spit-bite aquatint, drypoint, plate. An image was pulled, then the Expression to my way of thinking does roulette and electric engraving. ghosts of the figures were reworked with not consist of the passion mirrored Mim’s (2017) new backgrounds and color overlays. As upon a human face or betrayed by a Soft ground, hard ground, spit-bite aqua- the series progresses, the original out- violent gesture. The whole arrange- tint, drypoint, electric engraving, bur- lines of the figures remain visible, but ment of my picture is expressive. The nishing. each impression is lively and new. place occupied by figures and objects, All above 30 1/2 x 22 inches each. Edition Naess’s work bubbles with historical the empty spaces around them, the of 20 each. $1,000 each. references: Attic vases with Greek acro- proportions, everything plays a part. 2 Mim’s 1, 2, 3 and 4 and bats bounding over charging beasts; a Three Stones 1, 2 and 3 (2017) scene from Emile Zola’s novel The Mas- Born in 1982, Naess is a millennial who Intaglio techniques and measurements terpiece, where, according to the artist, seems to take a long, lively view of her as above, with the addition of colored “the protagonist visits a lawn ornament part in the history of art. She has made inks monoprinted from Plexiglas plates. dealer’s shop littered with urns, vases several short, humorous films (available Unique images. $1,500 each. and statuettes, and finds the proprietor on YouTube), and once photographed her- PNT (2017) ‘clutching in his hand the latest thing in self and a friend in the galleries of the Aquatint burnishing, sugar-lift, drypoint thermometers, a woman juggler squat- Metropolitan Museum clad in sheets of and spit-bite. ting on her heals and balancing the fine her painted art.3 It’s all part of the fun. Snake Theory (2017) glass tube on the end of her nose.’”1 —Julie Bernatz Sugar-lift aquatint. One can also see the legacies of Jean- Both PNT and Snake Theory: 15 x 11 1/4 Honoré Fragonard’s swing; Fernand Notes: inches each. Edition of 20 each. $500 each. 1. Artist’s Statement, 10 Grand Press, 2017. All printed and published by Wingate Léger’s color blocks; M.C. Escher’s tes- 2. Henri Matisse, “Notes d’un Peintre” in La sellations, David Hockney’s illustrations Grande Revue (25 Dec 1908); tr. Alfred H. Barr Jr. Studio, Hinsdale, NH. for Grimm’s fairy tales, as well as Henri in Matisse: His Art and His Public (New York: The Matisse’s Fauvist palette, his arabesques Museum of Modern Art, 1951), p119. he San Antonio–based artist Daniel and inviting windows. All are plucked 3. A conversation with the artist in the Archer Rios Rodriguez is best known for Hotel blog, “Art Talk: Sophy Naess,” 24 May T from memory like blossoms from a wild 2017. https://archerhotel.com/blog/art-talk-sophy- shrine-like paintings built with oil garden. naess/. impasto and collaged objects—rocks,

16 Art in Print March – April 2018 Matt Saunders

Ratlos / Indomitable I–IV (2017) Series of five copper-plate intaglio prints: soft ground etching, spit bite aquatint, sugar lift aquatint, soap ground aquatint, open bite; image 59 x 39 3/8 inches each, sheet 63 3/4 x 43 3/8 inches each. Edition of 16. Printed and published by Borch Editions, Copenhagen and Berlin. $5,000 each, $20,000 for the complete series.

n his new series of five etchings, Matt ISaunders conjures the aura of the silver screen, using organic gestural form and a dizzying array of mark-making. Ratlos / Indomitable I–IV are of a piece with the artist’s ongoing investigations into the “relationship of painting to the moving image . . . situations where they seem to bleed into each other.”1 These Daniel Rio Rodriguez, Asa Nisi Masa (2017). investigations have played out in a variety of formats and techniques, including oil scissors, rope and sundry items—and Ratibida columnifera, sometimes called the paintings on chiffon, animated films and employing a personal vocabulary of Mexican hat flower, which grows in south unique photographs. snakes, eyeballs, pancakes and flowers. Texas near the San Antonio River where This is the third collaboration The six etchings Rodriquez produced the artist frequently hikes. While working between the artist and Niels Borch Jen- at Wingate Studio in summer of 2017 are at Wingate Studio in New Hampshire, sen and the second to address German close cousins to these works: enchant- Rodriguez took similar note of his sur- cult film character Leni Peickert (as ing still lifes that meld fluid drawing roundings: “Mim’s” is the name of a local played by Hannelore Hoger), the pro- with a cartoonish otherworld and recall deli and South Parish is the road along tagonist in two New German Cinema both Picasso and Guston. These prints which Rodriguez jogged with his wife.1 films by Alexander Kluge: Die Artisten are those of a painter: Rodriguez bran- —Morgan Dowty in der Zirkuskuppel: Ratlos / The Artist in dishes sugar-lift and spit-bite with ease the Circus Dome: Clueless (1968) and Die and directness, and he digs into the plate Notes: Unbezähmbare Leni Peickert / The Indomi- 1. Author email with Daniel Rios Rodriguez on with burnishing, drypoint and electric 20 December 2017. table Leni Peikert (1970), whose titles engraving to produce velvety blacks and misty grays. He further used two of the plates—Mim’s and Three Stones—as bases for color monoprints, dabbing their floral arrangements with bright pastel hues. Four of the editions use shaped plates that echo the decorated frames Rodriguez frequently crafts for his paintings. The plate for Asa Nisi Masa was a jagged-tooth oval, on which he drew two overlapping eyes within a wreath of leaves and dots. Mim’s and Three Stones are both oval floral arrangements—in the first, a bouquet of wildflowers springs outward and upward, filling the composition within a border of hand-drawn marbles; the second focuses on daisy-like flowers with protruding cen- ters like pacifiers. The careful observer will note repetitions: the double-eye emblem of Asa Nisi Masa and bulbous flowers of Three Stones can be found in miniature scattered among the flowers of Mim’s. These two still lifes are joined in another way: the pacifier-daisies are Matt Saunders, Ratlos / Indomitable I (left) and Ratlos / Indomitable III (right) (2017).

Art in Print March – April 2018 17 are reflected in Saunders’s. Following on an earlier etched split portrait titled Leni Peikert (2015), these larger-than-life renderings of Hoger’s face—shown from two overlapping close-up angles within each image—dance and flow together, lending a cinematic, time-lapse feel to the series as whole. She displays a range of expressions: pensive, startled, defiant, dreamy. Knowledge of Kluge’s films is peripheral to the appreciation of these images, which stand powerfully on their own as sensitive, monumental portraits of a self- possessed and thoughtful young woman. In a year of female empowerment—most notably in the film industry—they speak to our present cultural moment (though completed before the Weinstein scandal broke). This connection is not imagi- nary—the films originated from the first international wave of feminism and have been interpreted as explorations of the burgeoning feminist sensibility of that period. A primary signifier of the era is Hoger’s pixie haircut, and the etchings reflect the black-and-white, slow-frame- rate aesthetic of New Wave directors. The suite glories in the chiaroscuro possibilities of intaglio and, when installed in order, the prints skip across the viewer’s visual field like a stuttering vintage film. Offering the synesthetic suggestion of a postwar experimental film score, the surfaces sing with brush marks, drips, textures and forms in a profound range of tonalities. During his second visit to Borch Edi- tions in 2015, Saunders explained: “I am interested in a picture that reveals its Arlene Shechet, Significant Other: Pleasure(2017). means and its magic at the same time.”2 Both magic and means are in full evi- Arlene Shechet closely mimicked the tactile, concrete dence in Ratlos / Indomitable I–IV: a cornu- way she works with ceramics and other copia of marks that entrance the eye and Significant Other (2017) materials.1 mind, a bevy of etching techniques Ongoing series of woodblock prints, im- The title for this ongoing body of wood- exploited with a mastery only rarely ages variable, sheets in one of two sizes: block prints is a quadruple entendre that matched.3 24 x 18 1/2 inches or 19 1/2 x 19 inches. simultaneously conveys the visual impact —Sarah Kirk Hanley Edition of 18 each. Printed and published and otherworldliness of the images, her by the LeRoy Neiman Center for Print initial response to a new technique, the Notes: Studies, Columbia University, New York. ways in which it shifted her thinking about 1. The Medium and the Message: Currents 114 $2,500–$3,000. art, and her newfound love of the medium. at the Saint Louis Art Museum (HEC-TV: Saint Neiman Center artistic director Tomas Louis, 20 November, 2017). 3 min., 52 sec. http:// rlene Shechet’s Significant Other Vu, who renewed a longstanding invita- www.hectv.org/watch/hec-tv-scope/the-medium- series with the LeRoy Neiman Cen- tion following Shechet’s 2016 exhibition, and-the-message-currents-114-at-the-saint-louis- A art-museum/29597/. ter at Columbia University represents “Turn Up the Bass,” at Sikkema Jenkins & 2. Steven Tannenberg, Matt Saunders at Niels an important moment for the sculptor, Co. in New York, likes collaborating with Borch Jensen Gallery & Editions (Copenhagen who has never before created editioned sculptors because they have so few pre- and Berlin: Niels Borch Jensen Gallery & Editions, prints. Although Shechet collaborated on conceived notions about the possibilities 2015). https://vimeo.com/135603995. three occasions with Dieu Donné Paper- of print. Shechet’s sculptures are noted 3. See above video/interview for a full discussion of Saunders’s techniques and the concepts mill between 1996 and 2012, the resulting for their unexpected mash-ups of color, behind them. objects were unique, and her approach form and texture; to find these qualities

18 Art in Print March – April 2018 within the capabilities of printmaking required a couple of months of explora- tion. “I am accustomed to the 3D, circum- ambulatory experience,” she explains. “It took some time to understand the different mode of intelligence that comes with something that can be repeated.”2 Working with Neiman Center master printer Nathan Catlin and colorist Colt Hausman, Shechet reinvigorated the jigsaw woodcut technique developed by Edvard Munch and later used by Erich Heckel and Helen Frankenthaler, to incorporate bas-relief and laser-cut embossment. More than 60 ink colors were established to accommodate her signature palette. As matrices, Shechet selected pear wood and raw plywood for their contrasting surfaces. To incorporate the feel of Shechet’s textured glazes into the printed work, Catlin suggested laser-etching select components. To compose the images, Shechet cut up and collaged proofs, rearranging the components in up to ten variants before settling on the final structure. The “white line” effect in some of the prints is a carry-over from this approach, which Shechet decides whether to maintain or eliminate on a case-by-case basis. Catlin then translates the collage into print using the matrices and inks Shechet chooses (sometimes as many as 27 colors in a single print). The resulting play between 2D and 3D visual stimuli and their luscious tones and textures generates an optical buzz. Sur- faces dance with alternating tonal planes, organic patterns and white-line contours in chunky shapes that pop from the smooth, bright white paper. The images Chiharu Shiota, Follow the Line (2017). seem alive, and even close up it can be difficult to parse the technicalities. Chiharu Shiota Key in Hand, she suspended a thicket of red The project, she says, “has fundamen- yarn from the ceiling above two weath- tally changed the way I view prints.” Like Follow the Line (2017) ered fishing dinghies; dangling from the many artists before her she is drawn to Two-color lithograph, 80 x 60 cm. Edition cloud of yarn were thousands of old and their accessibility: “Successful art gener- of 20. €1,200. battered keys, collected from around the ates empathy with the viewer. I like the Direction (2017) world. These materials—boats, red yarn, idea that this work can be a part of people’s Lithograph, 50 x 41 cm. Edition of 20. keys and snarled spaces—are the sub- lives—2D art is so much more intimate €750. jects of Shiota’s recent lithographs with and easier to live with.” Both printed and published by Keystone Keystone Editions, but the prints neither —Sarah Kirk Hanley Editions, Berlin. document the artist’s installations nor attempt to recreate the poetics of found he Japanese-born, Berlin-based objects; instead they rely on the artist’s Notes: hand. 1. For a short film on the 2012 collaboration, see T artist Chiharu Shiota is best known Ian Forester and Wesley Miller. Pentimento in for filling architectural spaces with colos- Direction was originally intended as Paper: Arlene Shechet (Art21, Inc. , New York, sal cobwebs of yarn that obscure and a practice run—a small stone to doodle 2015), https://art21.org/watch/extended-play/ protect objects within—chairs, clothing, on— but when printer Sarah Dudley saw arlene-shechet-pentimento-in-paper-short/. beds and other markers of human pres- the image, she knew it had to be com- 2. All quotations from interview with the author, LeRoy Neiman Center for Print Studies, Columbia ence. In her installation for the Japanese pleted as a print in its own right. The University, 1 December 2017. pavilion at the 2015 Venice Biennale, The loosely sketched composition, set within

Art in Print March – April 2018 19 wide margins, echoes the Venice installation: a small boat filled with cursory, key-like figures beneath a cloud of active, angular scribbles. Shiota’s drawing is quick and confident; lines swoop in and out, moving between black scrawls and delicate tones. The role of the keys as stand-ins for people is explicit here; the boat, held within the casually marked border, can only move in one direction; its passengers, tangled as they are, must go together with it. In Follow the Line, five sketchy figures stand around the edges, each tethered with thin strands of black and red to an abstracted, scribble-filled house at the center. The house, schematically rendered as the classic box-with-triangle-on- top façade with receding sides, flips between appearing volumetric and looking like a flat irregular heptagon. Con- verging at the center, the strands grow angular, filling the house with sharp static. The figures, made of just a few strokes, take on a phantom quality, while the harshness of the house and its interior makes the figures’ connection to it seem nonconsensual, as if they are were being drawn in against their will. The relationship of the figures to each other and the house could be read as a family drama. Shiota sees red as the color of blood, embodying the core of human connectedness: “the thin thread that holds everything together.” Follow the Line might be read as an unhappy family drama or as a blueprint for communal Swoon, Sonia [1/14] (2016). support. Relationships are intricate, as Shiota’s work shows. work of lines resembling the vascular Sonia, who appears in several pieces, in —Jared Long system, heart and lungs, as well as a a workshop at a rehabilitation center in pair of abstracted hands, flame and a Philadelphia. The artist explains: tree. The mix of abstract and figurative imagery and of multiple techniques are Sonia suffered epileptic seizures that Swoon signature aspects of the artist’s work, were brought on by her PTSD (post (Caledonia Curry) which includes painting, printmaking, traumatic stress disorder) flashbacks sculpture and ambitious participatory to severe childhood abuse. I helped Sonia (2016) events. her translate what was happening to Intaglio, relief, hand-painted acrylic While studying at Pratt Institute in her at those moments into a visual gouache, and collage, 32 3/4 x 27 3/4 Brooklyn, Curry began creating large language that she could draw and inches. Varied edition of 14. Printed and drawings and linocut prints and wheat- paint, collage and talk about. She published by Tandem Press, Madison, pasting them in semi-abandoned spaces described lightning, at first tiny, and WI. $5,000. in New York, a practice she continues then exploding until it took her over. today in cities worldwide. Curry’s travels So when I created her portrait, I tried n this new project by Caledonia Curry have led to her create art with the aim to draw all that I had seen of her, her I (better known as Swoon), intaglio of helping local communities rebuild in tender heart, her expressive face, and and relief methods combine with col- the wake of economic collapse or envi- also the lightning she had described lage elements and hand-painting to form ronmental disaster. Most of her work became part of the piece.1 a portrait of a woman emerging from a incorporates portraiture, with subjects cluster of undulating lines and bold zig- ranging from friends and family to indi- Each impression of this complex com- zags that seem to lift her torso aloft. A viduals she has met while working on position is hand-painted and unique in delicate laser-cut overlay features a net- activist projects. Curry encountered chromatic tone and in emotional tenor.

20 Art in Print March – April 2018 light that falls sharply onto his carefully rendered forms simultaneously from overhead and the side. White sheets of Somerset textured paper provide the light in Clown Memories, a new suite of six hard-ground etchings with drypoint made at Crown Point Press. The plates are wiped clean to preserve the white of the paper against black etched line; the handling of these airy drawings is sur- prisingly abstemious for the artist who transforms oil paint into cream frosting. The clown fits into Thiebaud’s reper- toire as comfortably as one of his cakes or pies and has long percolated in his consciousness. As a boy of 12 or 13, Thie- baud and his pals gained free entry into the touring circus if they fed the animals and put up the tents. He recalls meeting the famous circus clown Emmett Kelly, whose down-and-out “Weary Willie” character was based on the hobos of the Great Depression. Thiebaud saw Kelly come out in ragged clothes and try to sweep the spotlight up into a dustpan.1 In a particularly famous print from the 1979 portfolio Recent Etchings II, Thiebaud drew a masculine clown—highly worked, logical and mimetic—far removed from the cheap pathos often linked to the subject. His 2017 recapitulation feels more humorous and intuitive, each print bearing one or two quickly drawn clowns, small in the expanse of white paper; there is no clear sequential connection or need to circumscribe. The clowns wear the droopy round-toed boots, stripy socks, gaping trousers, silly wigs and plastic noses associated with their trade. An Aca- demic Clown orates to an empty stage, a Wayne Thiebaud, Academic Clown from Clown Memories (2017). Balancing Clown steadies a circus dancer on his head, others duel, while in Clown and Beast, the human figure is flattened In one, Sonia radiates a warm glow Wayne Thiebaud by an amorous-looking lion. enlivened by fluorescent pink lightning Thiebaud enjoys the bounce of a stripe bolts. In others, greater use of white Clown Memories on a Breton sailor’s top against ribbed makes the figure appear angelic and ethe- (Clown, Academic Clown, Clown and shading on the lion and uses deep dry- real. In still others, washes of blue and Beast, Bumping Clowns, Balancing point burr to enrich the synthetic curls aqua add cool tones, emphasizing the red Clown and Clown Duel) (2017) of a wig. A few unfastened lines are all and white in the laser-cut areas. But in Portfolio of six hard-ground etchings that is needed to describe the circus all, the juxtaposition of graphic zigzags, with drypoint, image 8 1/2 x 11 inches lady’s fine, gloved fingers. There are little sensitive fine-line drawing and lace-like each (vertical or horizontal), sheet 13 1⁄2 hedgings and softenings, sandpaper used laser-cutting, at once decorative and ana- x 17 inches each (vertical or horizontal). directly on the plate to give silvery gray tomical, delivers a portrait of strength Edition of 20. Printed and published tone within areas of sharply etched line; and vulnerability. by Crown Point Press, San Francisco. these mid-tones help bridge the problem- —Alison W. Chang $12,000. atic jump from flat ground to volumetric figure. Notes: hite pigment is a recurrent Always keeping humor central to his 1.http://www.isupportstreetart.com/interview/ feature in the work of Wayne artistic calculation and dialogue, Thie- swoon-a-visionary-artist/. W Thiebaud. He uses it as a bright ground baud comes close to caricaturing light beneath his pastel-heavy palettes, or as in tricks he inherited from the world of

Art in Print March – April 2018 21 advertising. The shadows cast underneath the two Bumping Clowns make strange, dark pits that quiver with cross- hatching and curled marks as if the spotlight Kelly tried to sweep up had been flipped into shadow and made live. The artist is quoted on the Crown Point website as saying, “There’s nothing really that I’ve ever found in other lines that is like an etched line—its fidelity, the richness of it, the density. You just don’t get that any other way.” Thiebaud reworks an old theme in Clown Memories while underlining his conviction in etching in a curiously forceful way. —Kate McCrickard

Notes: 1. Quoted by Kathan Brown in the Crown Point Press newsletter, Fall 2017.

George Whitman

Tucker (2017) George Whitman, Tucker (2017). Etching with chine collé, image 26 x 32 inches, sheet 32 x 37 1/2 inches. Edition the side of his mouth disconcertingly owners relocated a few years ago to a of 30. Printed and published by James suggestive of the dangling cigarette of a more welcoming community in Pow- Stroud at Center Street Studio, Milton, 1950s saloon sophisticate. hatan County; Tucker continues the MA. $1,800. Whitman had been teaching draw- charity appearances for which he had ing at Virginia Commonwealth Uni- already become known and is now quite n his portrait of Tucker, the 250-pound versity and the University of Richmond a local celebrity. He has his own Face- I pet pig of friends, George Whitman for decades when Stroud sent him some book page and a children’s book about offers a somewhat unlovely specimen, printing plates to work on in 1998. The his escapades (and his collection of hats) even by the most generous estimate. The work they began that year resulted in the is planned. But the question of what his hog’s back legs appear to have buckled etching portfolio Untitled (2005)—ten owners expected when they purchased under the weight of his vast body (metic- large anthropomorphic portrait heads of a pig as a hypoallergenic house pet ulously covered in individually etched animals, among them a boar, a rooster and remains open: “Not sure why they did hairs) as he poses lumpenly in a stylized a crocodile. Three individual but related not anticipate his growing into a 250lb woodland landscape. A tiny eye (the only etchings made at Stroud’s Center Street hog,” deadpans Stroud. one visible from this angle) is all but sub- Studio in 2013 and 2014—Untitled (Land- Stroud has sent four new plates to sumed in the rolls of fat that describe scape I, II, III)—show encounters between Whitman. “He never tells me the subject his face, which is further ornamented by animals and birds in densely described in advance. They just show up months unruly tufts of whiskers growing from foliate landscapes, where fantastic and later. It is always a pleasant surprise to his snout and chin. His ungainly animal natural elements are fused somewhat open the crate. Tucker was a particularly bulk is at once evocative of Dürer’s Rhi- in the manner of 19th-century French interesting unveiling.”4 noceros and Garth Williams’s illustration printmaker Rodolphe Bresdin. Whitman —Catherine Bindman of Uncle, the large hirsute pig that fea- began work on the Tucker portrait imme- tures as a minor character in E.B. White’s diately after completing Landscape III Notes: 1 Charlotte’s Web. But printer/publisher but situated him in gentler terrain. The 1. http://charlottesweb.wikia.com/wiki/ James Stroud reports that the real Tucker friendly monster rests on flower-strewn Uncle?file=Image-1.jpeg (who can be seen online2) is smart, conge- ground in the company of a butterfly and 2.https://mgtvwric.files.wordpress.com/2016/11/ nial and housetrained.3 This is fortunate a vixen and her cubs who are living in the tucker.png as he was acquired by a Virginia family as roots of a gnarled tree trunk. The artist 3. E-mail message to the author, 14 November 2017. a five-pound KuneKune piglet for a child knows Tucker personally, of course, and 4. Ibid. allergic to cats and dogs, and currently has clearly attempted to convey here both lives in their home, sharing a room with his impressive form and something of his one of their boys. Indeed, in Whitman’s compelling personality. depiction the creature’s world-weary Due to pig-permit problems in their old glance has a roguish charm, the tusk at home in Chesterfield County, Tucker’s

22 Art in Print March – April 2018 It’s All Political By Susan Tallman

wo thousand seventeen, in its final T throes, was dubbed the Year of Women, acknowledging a stretch of activism that began with the Women’s March on Washington in January and ran through December with #MeToo. There are a few problems with this appellation: first, fobbing off half the population with a 365-day patch seems to leave the millen- nia to either side in the default position of patriarchy; second, women didn’t sud- denly become politicized in 2017 (please see history of civilization); and third, women were hardly the only people to become politicized in this particular 12-month stretch. In 2017 everything became political. The contemporary art world is no stranger to grandstanding political gestures, but as was made clear at New York Print Week in October, political content now suffuses every venue, contemporary and historical, topical and abstract. One of the most sobering displays of Print Week was at the Satellite Fair, where M. Lee Stone Fine Prints hung a wall with anti-lynching prints produced in the mid- 20th century by artists such as Elizabeth Catlett, John Steuart Curry and Louis Lozowick, as well as lesser-known figures. Though visual style may have changed over the past 80 years, the subject matter of grieving mothers and angry white men, guns in hand, feels horrifically current. Among artists and publishers producing new editions, the gloves are now off. Images addressing specific policies, events and political persons have moved from the periphery to the center of art production, while the work of artists long concerned with injustice and inequality now lands a more visceral punch. At the usually staid IFPDA Fine Print Fair, Two Palms Press showcased Down- town 4 Democracy (D4D) editions, whose sales support strategic political actions Chitra Ganesh, Rise Up (Protest Poster) (2017), five-color screenprint, 22 x 14 1/4 inches. Edition such as the Democratic effort to retake of 200 (approximate). Printed and published by Durham Press, Durham, PA. Sold out. Congress. The editions range from the allegorical (Cecily Brown’s lithe redraw- Trump Plaque, which simply presents the in which crows and hands of many colors ing of Pieter Breughel’s 1559 Battle Between predator-in-chief’s name and face above assemble the message “RISE UP / RESIST.” Carnival and Lent), to the wittily referen- his own words). Offered on a pay-what-you-can basis, the tial (Jonathan Horowitz’s golden update Inaugurating a new protest poster prints raised $1,300 for the Center for Pop- of Jasper Johns’s 1969 Moratorium poster), project at the fair, Durham Press distrib- ular Democracy’s hurricane relief efforts to the literal (Marilyn Minter’s hydrocal uted 200 screenprints by Chitra Ganesh in Puerto Rico. At the INK Miami Fair in

Art in Print March – April 2018 23 Little Prayer for U.S., a set of screenprinted linen prayer flags by the Victory Garden collective (Louise Eastment, Jess Frost, Tara Geer, Wendy Small, Janis Stemmer- mann and Katie Michel). The linen flags are a more permanent distillation of the hundreds of paper flags contributed by artists to a summer exhibition of the same name—both are meant to continue the momentum of the march, and bear messages ranging from “Save the EPA” to a mute portrait of Ruth Bader Ginsberg. The complexities of racial and cultural identity were investigated and articulated in numerous projects, ranging from Fred Wilson’s enigmatic nod to Alexander Pushkin, Queen of Spades (2016) at Emi- nence Grise Editions to Kara Walker’s magisterial etching triptych Resurrec- tion Story with Patrons (2017), printed and published by Burnet Editions. Walker’s print augments her familiar antebellum shadow drama with a strong smack of

John Steuart Curry, Manhunt (1934), lithograph, 9 3/4 x 12 7/8 inches. Edition of 50. Published by Christian iconography: its central sec- Contemporary Print Group, New York and distributed by Raymond and Raymond, Inc. in a portfolio tion—in which Lilliputian figures use entitled The American Scene, Series 2. Image courtesy M. Lee Stone Fine Prints, Inc. ropes to pull upright a black female torso—is flanked by panels in the manner December, the screenprinted poster was The Women’s March lives on in mul- of an altarpiece with donor portraits to a vibrantly colored target by Polly Apfel- tiple projects, including Soledad Salamé’s either side. The silhouetted “donors” are baum with “ME TOO” emblazoned in the hand-colored solar etching after photo- black in physiognomy but white in color, center, which raised $2,000 for the gen- graphs taken at the march, on view at Goya and their attire suggests the 18th century. der justice organization, the Third Wave Contemporary, the first of which shows The three parts are unified by long diago- Fund. (Durham plans to continue this four women in pink “pussy hats” gazing at nal boards that shift in character from effort, though some works may be in lim- the Capitol. At the E/AB Fair, Planthouse scene to scene—architectural beams, the ited editions with set prices.) drew an enthusiastic response to Say a shattered ribs of a ship, a carried cross.

Left: Jonathan Horowitz, Moratorium (Gold Rainbow American Flag) (2017), screenprint on Legion Mirricard gold foil paper, 22 5/8 x 28 3/8 inches. Edition of 100. Courtesy the artist and Downtown for Democracy. $500. Right: Marilyn Minter, Trump Plaque (2017) hydrocal, 11 x 14 x 3⁄4 inches. Edition of 100. Courtesy the artist and Downtown for Democracy. $1,000. Free downloadable poster edition: http://bit.ly/2o5b7KT.

24 Art in Print March – April 2018 Above: Cecily Brown, The Battle Between Carnival and Lent (after Breughel) (2017), archival pigment print, 18 x 24 inches. Edition of 100. Printed and published by Two Palms Press, New York, for Downtown 4 Democracy. Courtesy the artist and Downtown for Democracy.

The precariousness of hope, rather than Libya and Sicily off of which thousands most affecting images are of street fights, the stability of despair, seems the critical of refugees have drowned trying to reach screaming couples and junkies—neigh- subject here. Europe. Even dreams cannot escape the borhood tragedies we may walk by on any The plights of migrants and refugees political wreckage. given day. was a recurring subject, both hopeful and This small print—a work by a Latin Gemini at Joni Weyl’s Ann Hamilton heartbreaking. In Ramiro Rodriguez’s American artist about a crisis connecting exhibition featured three bodies of work: woodcut La Que Bebe No Vuelve (2016, North Africa and Europe—is a reminder large, luxurious photoscreenprints of Segura Art Studio) pictures a story the that despite the American habit of suck- zoological specimens from a natural his- artist’s grandmother told of crossing the ing all the air out of the room (and all the tory museum, a series of book end-pages Rio Grande as a child: she had heard that attention out of the media), the current collaged with fabric and snippets of text, those who drink the water never returned unraveling of political and ethical norms and sheets that from a distance appear as to Mexico—she drank, while her sis- is a global phenomenon. The Crying Game elongated clouds of color. Closer up, it is ter abstained, but both remained in the (2015–2017), a suite of 30 etchings by the clear that these clouds are composed of States. The magical small etchings of José Dutch-British artist Marcelle Hanselaar, blind-stamped words. The nearly seven- Antonio Suarez Londoño (shown by Har- released concurrent with Print Week, foot-tall RIGHTS and the smaller EQUAL lan and Weaver) are always elliptical and is a broad survey of villainy and victim- AND INALIENABLE RIGHTS OF ALL both complex—spaces littered with figures and ization: rape, mutilation, sexual slavery, employ the preamble to the Universal diagrams and animals and elegant webs chemical warfare, acid attacks, torture Declaration of Human Rights, estab- of line. Thus the boat shapes, silhouetted in many flavors. Hanselaar acknowledges lished by the fledgling United Nations fish and human body parts in his etching her debt to Goya and Dix as models of in 1948. (Despite legal challenges from, No. 294 (2016) might seem simply dream- both powerful narrative summary and among others, the United States of like, were it not for the subtitle, Lampe- incendiary outrage. Unlike them, she has America, the UDHR remains the de facto dusa—the Mediterranean island between not experienced war firsthand, but her international standard against which

Art in Print March – April 2018 25 26 Art in Print March – April 2018 Above: Kara Walker, Resurrection Story with Patrons (2017), set of three etchings with aquatint, sugar-lift, spit-bite and dry-point, 39 3/4 x 30 inches, 39 3/4 x 49 inches and 39 3/4 x 30 inches. Printed by Gregory Burnet, Burnet Editions, New York. Published by Sikkema Jenkins & Co., New York. ©Kara Walker. Sold out. the protection and violation of human cordance such that the indexed words dom, justice and peace in the world…” rights are measured.) The artist created are stacked in a vertical spine that spells A third print, THE ANIMAL HAND, a concordance—a form of indexing, usu- out sections of the declaration’s opening applies the concordance technique to ally reserved for scripture, in which indi- statement: “Whereas recognition of the Aristotle’s On the Soul, and forms a bridge vidual words are identified and grouped, inherent dignity and of the equal and between the UDHR pieces and animal but presented within their original ver- inalienable rights of all members of the screenprints produced at the same time. bal context. She then arranged the con- human family is the foundation of free- The book-page collages—one of which

Above left: José Antonio Suárez Londoño, n.294 Lampedusa (2016), line etching, image 4 x 8 inches, sheet 7 1/2 x 12 1/4 inches. Edition of 30. Printed and published by Harlan & Weaver, Inc., New York. $425. Above right: Jaume Plensa, WE (2016–2017), photopolymer letterpress print, 16 x 23 inches. Edition of 14. Printed and published by Bleu Acier, Inc., Tampa. $1,900. Opposite page, clockwise from upper left: Ann Hamilton, RIGHTS (2017), blind embossment with hand-applied ink, 79 1/2 x 21 1/2 inches. Edition of 22. Printed and published by Gemini G.E.L., Los Angeles. $8,500. ©2017 Ann Hamilton and Gemini G.E.L. LLC; Soledad Salamé, The Women’s March 2017 (2017), hand-colored solar-plate etching, 13 1/2 x 15 inches. Edition of 20. Printed by the artist, Baltimore. Published by Goya Contemporary, Baltimore. $900. Courtesy Goya Contemporary, Baltimore; Polly Apfelbaum, Me Too (Protest Poster) (2017), eight-color screenprint, 20 x 16 inches. Edition of 200 (approximate). Printed and published by Durham Press, Durham, PA. Unsigned and unnumbered, stamped on back by Durham Press. Sold out; Victory Garden (Louise Eastman, Jess Frost, Tara Geer, Katie Michel, Wendy Small and Janis Stemmermann), Say a Little Prayer for U.S. (Deluxe Edition) (2017), twelve flags with connecting ribbon, screenprint on natural linen with letterpress broadside, individual flags 8 x 9 1/2 inches,108 inches long unfurled. Edition of 10. Published by Planthouse, New York. $750; Ann Hamilton, detail of Page 37 from Pages (2017), series of cloth and word collages on book endpapers, approx. 8 1/2 x 5 3/4 inches each. Unique work. Printed and published by Gemini G.E.L., Los Angeles. $6,450 each. ©2017 Ann Hamilton and Gemini G.E.L. LLC.

Art in Print March – April 2018 27 Above Left: Ramiro Rodriguez, La que bebe no vuelve (2016), woodcut, 33 x 26.5 inches. Edition of 40. Printed and published by Segura Arts Studio, South Bend, IN. $750. Above Right: Fred Wilson, from Queen of Spades (2016), suite of three pigment prints on Hot Press, 32 x 24 1/2 inches each. Contained in a linen portfolio with an English translation of the complete Pushkin text of the story. Edition of 18. Printed by Andre Ribuoli, New York. Published by Eminence Grise Editions, New York. $7,500. Left: Marcelle Hanselaar, The Promised Land from The Crying Game (2015–2017), etching and aquatint, 25 x 20 cm. Edition of 30. Printed by the artist, London. Published by Julian Page, London. $700.

bears the single word “idealism” above William Kentridge once observed, “I Bleu Acier. Like a Victorian wood a textile swatch—similarly bridge the am interested in a political art, that is to engraving showing how to make shadow physical and the conceptual. In another say an art of ambiguity, contradiction, puppets, the image shows a pair of sil- year, this grouping might have been uncompleted gestures and uncertain houetted hands whose extended fingers understood as a prompt to consider things. An art (and a politics) in which somehow cast a shadow spelling out the the ontology of being human, the glory my optimism is kept in check and my word WE. The print summarizes Plensa’s and tragedy of the human compulsion nihilism at bay.” Keeping optimism in perennial concerns as a sculptor—com- for knowledge and control. But in 2017, check is no longer our problem, but the munity, connectedness, transparency, in America, the hanging of these fra- battle against nihilism needs all hands the intersections of individual bodies gile, hopeful texts alongside eyeless on deck. and shared language—but in 2017 it was birds and long-dead bush babies ap- In this context even small gestures hard not to also read it as a truncated peared to be a statement of clear and can be powerful, such as Jaume Plen- echo of “YES WE CAN.” present danger. sa’s simple letterpress print, done with

28 Art in Print March – April 2018 “It’s the Play Thing”: Nina Katchadourian in Conversation with Lisa Bulawsky and Tom Reed

Nina Katchadourian at Island Press. Photo courtesy Island Press.

he Brooklyn- and Berlin-based art- Lisa Bulawsky When you came to Island know as much as you think. It will work T ist Nina Katchadourian works pri- Press, was that your first experience mak- itself out.” marily in photography, video and film. ing prints? She is perhaps best known for Seat Assign- LB That nervousness was not apparent. ment (2010–present), an ongoing response Nina Katchadourian My first major I was really impressed with the fresh- to the entrapped boredom of air travel, in experience. There had been a little dip- ness and humor—you arrived with the which she makes art mid-flight, using a your-toe-in-the-waters about ten years airplane photographs that would be- camera phone and materials available on previous, but that was just me presenting come the basis for the Window Seat the plane, from in-flight magazines to lav- an idea and a printer making the print. It Suprematism etchings,1 but also with atory paper goods. In 2013 Katchadourian wasn’t at all like what we did—evolving pet toys and cat whiskers—all these spent a week working with Island Press ideas together and working it out from options. And you seemed very comfort- at Washington University in Saint Louis, scratch. able with us playing with these ideas that where she produced a series of five etch- I have to say that I was extremely ner- were very close to you. That seemed so ings of plane wing details, Window Seat vous before coming. You guys were so generous. Suprematism, and a group of monotypes generous, saying, “So many things are made by placing found cat whiskers on an possible! We can do this. We can do that!” NK Oh, that’s nice. The funny thing is, I inked plate (the whisker acts as a stencil, And I kept trying to turn the screws on grabbed that little bundle of whiskers in leaving an arcing white line where it lay myself to come up with things I was inter- the last hour before I left the house to fly between the ink and the paper). Below ested in doing. You probably remember to St. Louis. It was a combination of spon- she speaks with Lisa Bulawsky, director several phone calls where I was panick- taneity and desperation—“these things of Island Press, and Tom Reed, the press’s ing: “I really don’t know what I want to are weird, but you never know what ends master printer, about making art in pub- do. I feel like I should know!” And you up being useful”—so I stuck them in a lic and strategies for play. kept telling me, “you really don’t need to Ziploc bag and took them along.

Art in Print March – April 2018 29 Tom Reed Why did you collect the whiskers? Was it like a reliquary?

NK It was really just the fact that they are so materially interesting. I’m a pack rat and we had three cats, so I would find whiskers on the floor and pick them up and put them on the mantelpiece. Later the location got upgraded to the black marble base of a hilariously hideous sculpture I bought for my husband. So they were there in the bedroom when I was packing. Those whiskers always had a lot of magnetism for me, and materials like that—even if you don’t always know how you’re going to use them—are often a good starting point, because of the attachment and fascination and curiosity that can guide things. That said, I remember we worked like crazy for days and days trying to use them in ways that weren’t right—

TR We tried embossing them, we tried inking each one individually, we tried pressing them in soft-ground. At one point there was gold leaf involved…

NK I was really attached to the idea of using them as letterforms to spell things out—

LB We still have one hanging up, don’t we?

TR I think it says, “Let them eat kittens.”

NK Hah. Finally I decided to be spon- taneous and just think about them as lines—to play a game where I would try to draw things using just this handful of lines. They are just so materially interesting, and that simple fact underlies what makes the prints interesting too: they are so thin at one end and so sturdy on the other, and their arc is so simple yet beautiful. Do you remember how many whiskers there were? I think it was 15 or 17.

TR Well, it grew a little bit because other people started contributing.

NK That’s right—a couple of people came in with whiskers. The first drawing I tried to make was of this fifties-era

Nina Katchadourian, Whisker Prints (4A) (above left) and Whisker Prints (6A) (below left) (2013), whisker stencil monotype, 15 1/2 x 15 1/2 inches. Unique images from group of 17 prints. Printed and published by Island Press, St. Louis.

30 Art in Print March – April 2018 Nina Katchadourian, Whisker Prints (1B) (left) and Whisker Prints (2B) (right) (2013), whisker stencil monotypes, 15 1/2 x 15 1/2 inches each. Unique images from group of 17 prints. Printed and published by Island Press, St. Louis. cartoon character drawn by Al Capp LB You’re from California, and when half just going through stuff—tourist called a shmoo that was on TV for a little you were a kid you went to Finland every tchotchkes and this and that. I bought while when I was a kid. summer, so I would imagine that you about $70 of stuff, including a used book grew up with a pretty intense relation- that had a shark silhouette on the cover. TR Sort of a blob meets a ghost. ship with the sea. The video begins with me holding up that book. But this little box of shark NK Yes, and it had whiskers. My best NK As I recall, when I arrived we all got teeth became the key. I just decided to friend, whom I’ve known since I was together with the students and had a big play dress up with them and make them two years old—we started calling each sprawling conversation. I think I talked my teeth. I set up the camera with a little other Shmoo in about fourth grade. about Seat Assignment and also about my bit of water view behind me and put these And it’s still what we call each other. So obsession with shipwrecks. really quite uncomfortable teeth into my I decided to use the whiskers to make mouth, one at a time. I think I made two this shmoo-form, because I was just play- LB I was also thinking about the shark takes of it and then I was done. It was a ing. If I imagined I was making it for a teeth video.2 really lovely evening. friend, it might take the pressure of the “art-making” off. So I just drew a shmoo NK That’s another example where hav- LB That came before the Whisker Prints, for Shmoo. By the way, I gave Shmoo the ing an assignment and not a lot of time so you became a sea creature before you print of shmoo and Shmoo has it on her turned out to be incredibly productive. I drew them. wall at the moment, which is really nice. was invited to be in a show curated by an Anyway, because of the way the whiskers artist named Chris Doyle in three differ- NK That’s true. And both are made from worked, the shmoo ended up looking a ent Connecticut art spaces—the Aldrich remnants of animals—detritus or traces. little bit like a seal. Museum, Real Art Ways and Artspace. It Whiskers, like teeth, fall out. Their pres- was called “50,000 Beds” and the prompt ence doesn’t indicate that the animal LB I’m looking at a picture of a shmoo was all the beds in Connecticut hotels died. These were petrified shark teeth, right now, and he does look like a seal. and motels. You had to pick one place though, so I did know that the shark was to spend the night, and make a video long gone, but . . . teeth are bones that NK That led to the realization that I could work in the hotel room. So I thought I’ll fall out of your head, which is just really draw other sea creatures with the whis- go to Mystic because the Mystic Seaport strange. kers—aquatic beings like those deep deep Museum is there, and I’m obsessed with deep sea creatures that I’ve always loved all things maritime and its always fun to LB And how does Jacques Cousteau fit that live in this intense darkness and have go and look at the boats, and I’ll ask for into all this? to sense their way through space. At that a room that has a view of the water and point the whiskers—as sense organs— I’ll figure it out. So I got to Mystic, went NK That’s funny. If lying underneath that had a conceptual connection to what I to the museum, and then to the gift question is the question of influences I was drawing with them. shop where I spent about an hour and a might have seen as a child, there’s actu-

Art in Print March – April 2018 31 Nina Katchadourian, Window Seat Suprematism 4 (left) and Window Seat Suprematism 5 (right) (2013), etching and aquatint, plate 14 x 11 inches, sheet 16 x 13. Unique images from a group of 5 prints. Printed and published by Island Press, St. Louis. ally a much more concrete answer, which sounds, in order for more things to be LB It was like a day and a half. We were is a Time Life book we had called The Sea. possible. working on all the other things, including I used to love looking at the pictures. I learned a tremendous amount about the Window Seat Suprematism etchings, at There was a full-page, full-bleed, gray- the benefits of loosening up and- mak the same time. and-white close-up of a whale’s eye. It ing a leap. I hadn’t had to do that for a felt like it was at scale—it was probably while, and it was hard not to be wor- NK It helped to have one thing going on not quite full-scale but it was close since ried about disappointing all of you. I that had a preexisting image underpin- whale’s eyes are pretty small given how big know how to loosen the grip when it’s ning it, something known. It was great to their bodies are. Because it was full-bleed just me that I’m accountable for. But have those formal and technical concerns you could imagine the whale continuing there was this whole community—I to dig into on the other project—put- off the page in all directions. I loved that had to be willing to be unsure of what ting that kind of energy in that direction image. It was the whale’s eye and a little bit the hell I was doing in the company allowed the whiskers thing to be super of the mouth. That’s also one of the Whis- of others. That’s not always so easy. loose. We had an ecosystem of processes kers Prints. I wondered whether anyone in which one thing really helped the other. else would recognize it. TR It’s not easy for anyone; nor very com- This process, when I’m doing it on my So to make the Whisker Prints, I had to fortable. It puts you in a position where own, I think of “productive procrastina- relax. I had to dump certain ideas, and I had you have to perform. tion.” Like a carousel, around and around. to play it like a game without the “art” part. Things eventually get done, but you don’t NK One of the Whisker Prints I kept for feel trapped with any one of them. TR You needed the right amount of limi- myself has an interesting mistake in it. tation. The Plexiglas kind of slipped a bit, so the LB I feel that you navigated that with ink isn’t even, and there’s a kind of jittery great grace, though I totally sympathize NK That is something that, as you know, eh-eh-eh where it got a little stuck. But it with the feeling that you’re being watched I’m very fond of—the challenge of doing created these nice rhythmic bubbles. It and have to perform. a lot with a few things. Once the field just looked right to me. It’s the only one wasn’t so wide open, it got a lot easier where we had that quote-unquote prob- NK The experience has been really use- for me. I had to figure out a way to have lem, and I’m really fond of it. Did we do ful moving forward. I had a residency less stuff that I could do, as weird as that them all in one day? at Pilchuk Glass School about two years

32 Art in Print March – April 2018 afterward. It was the same situation—I by someone who knows a lot more than want to make the marks first. had never worked in glass—but I remem- I do. So it’s kind of like a Whisker Prints bered the lessons about how we worked moment meets a Window Seat Supre- LB I’m picturing you sitting at the end of together. This time I brought a ton of cat matism moment. the print studio, on a stool, at the press, whiskers. I had amassed this unbeliev- But I really feel ready for an attempt to with a pair of tweezers, in the act of plac- able collection—people I don’t even know learn how to do this from scratch, on my ing . . . Placing is like editing. What thing mailed me their lifelong collections of cat own. I think I need to find a printmaking goes next to what other thing, and how whiskers. I had whiskers of living, dearly coach. Next fall, I’m doing a Rauschen- it sits . . . loved cats and also of a few cats that were berg Residency on Captiva Island, and I no more. Oh my god, the aura and sense would love to be able to make some prints, NK That’s totally right. And I loved the of responsibility around these things was for the first time under my own steam. minutiae—how moving a whisker one intense! And it was a total flop. I could not The thing I have to get over, which is millimeter this direction or the other can get the whiskers to work with the glass at a big block, is my hesitance around draw- change things. I do that when I edit video; all. So this time the trick was abandoning ing. I used to work at the Drawing Center I change things by a frame here or a frame the whiskers. in New York, and I got very comfortable there. One of the most fun parts of that And then this past weekend I took talking about drawing and responding to week was trying to find that point—it’s a weaving intensive. I have never done drawings. But I lost confidence in my own like tuning an instrument, when sud- weaving. I thought again about how it ability to draw. The whiskers prints were a denly you know you have the right har- felt to be dumb in the face of a medium way of tricking myself back into drawing. monic relationship between the strings you don’t understand; and how it was because they’re beating a certain way. important to enjoy in some ways that clue- TR I think the success of the Whisker Sometimes you arrive somewhere and lessness. Prints is you coming to understand the people have promised a kind of open- It’s the play thing. I’m someone who whisker as a mark. ness that doesn’t materialize, but you talks so much about play, and yet it can be guys were really amazing on that front. very hard to remember what that means NK I’ve never articulated this before, but And don’t cut this out of the interview, in some situations. You can still get really it’s very helpful to realize that I am much because this is an important point. A col- caught up in this, “well, I’m an artist and better at arranging lines than originating laboration is really an acceptance that all I’m supposed to know how to do this.” them. In the processes that are dear to my of us are going to know some stuff and heart and where I feel confident and famil- not know some stuff. The circulation of LB You’ve lumped prints, glass and weav- iar, “arranging” is the important verb. all that had a really beautiful chemistry. ing together, which are considered “craft” That’s how the Whisker Prints got made. I remain very grateful and think of it as a mediums in different ways. I’m wonder- I work things out with my hands. I very very happy week. ing, do the prints feel like part of your still keep a paper calendar. I still have to practice, or do they feel like a side thing spread printouts all over the studio table LB Very happy, absolutely. We love col- that you did? and arrange them. I made a film two laborating with you. years ago and I had to write everything NK They feel like the first step of some- on index cards and arrange and arrange NK Hey, wanna hear a joke? thing. I’m actually working on a print and arrange and arrange in order to project now with Signal Return in figure out how to tell the story. That’s just TR Sure. Detroit. I’ve had sort of a hand in one how I think. If the lines are given to me part, but the other part has to be done I’m happy to draw with them, but I don’t NK So what did the zero say to the eight?

TR I don’t know—what did the zero say to the eight?

NK Nice belt.

Lisa Bulawsky is the director of Island Press and a professor of art in the Sam Fox School of Design & Visual Art at Washington University in St. Louis.

Tom Reed is master printer at the Sam Fox School of Design & Visual Art.

Notes: 1. Window Seat Suprematism (2014), suite of five etchings derived from photographs taken from window seats positioned over the wing of an airplane. Nina Katchadourian at Island Press, sketching with whiskers using tweezers to move them around 2. Mystic Shark (2007): https://www.youtube.com/ on dark paper. Photo courtesy Island Press. watch?v=4oOL7jhtDcA.

Art in Print March – April 2018 33 Bodo Korsig: Making Peace With The Past By Victor M. Cassidy

Bodo Korsig, Wir waren die neue Horde (We were the new horde, 2001), woodcut on canvas, two panels, 250 x 340 cm overall; and Körper (Body, 2001) woodcut on canvas, two panels, 250 x 340 cm overall.

he graphic forms in Bodo Korsig’s are allusive rather than descriptive. He student imagery as “very aggressive.” He T printed paintings and print-like keeps the works’ content open and does felt the bureaucracy imposed exhausting sculptures hover at the edge of recogniz- not insist upon any specific interpreta- limits on his freedom, and the anxiety of ability, like things flitting in and out of tion. this period is, he acknowledges, still vis- memory or a dream. Black and linear, like Korsig (b. 1962) grew up in Zwickau, an ible in his work. doodles or enigmatic emblems blown up industrial town in East Germany. As a boy, After the Berlin Wall came down in to enormous scale, they may suggest bits he filled notebooks with his drawings and November 1989, Korsig moved first to of machinery, street trash or microscopic enrolled in weekend classes at the studios West Berlin and then in 1993 to Trier, a anatomical structures. Korsig, who views of local artists, where he learned paint- town near the Luxembourg border, where himself as a sculptor, makes his woodcuts ing, drawing and various forms of print- he took a teaching position at the Euro- as preparation for his sculptures and the making. He took to woodcut early on: it pean Academy of Fine Arts (Europäische same forms repeat across media: a three- was “a technique I loved,” he says. “I don’t Kunstakademie Trier). His first mature armed calligraphic shape like a mutant completely understand it . . . I loved Dürer work was made that year—a quartet of starfish (or triads of neural ganglia) [and] the German Expressionists.”1 As he 23-foot-high acrylic paintings collectively appears, for example, as an eight-foot began to have professional ambitions, titled Inkognito (1993), which was exhib- wall sculpture of cast aluminum (Hidden he found that doors were closed to him ited at the Städtisches Museum Zwickau. Mind, 2006) and as a wall-to-wall Astro- because he would not join the Commu- Foreshadowing much of Korsig’s later turf carpet (Can You Feel What I Feel?, nist Party or serve three years in the East work, these huge acrylics employed blocks 2006), and has near relations in wood- German army: “your whole development of red into which the artist scratched cut-on-canvas works such as I Can’t Stop is limited if you don’t play the game,” ragged white lines, and over which he (2007). He admires Richard Serra’s black he explains, and alludes to unspecified placed black linear shapes suggestive of oil-stick drawings and acknowledges the “hateful experiences” at the hands of the machine parts and budding plants.2 influence of Ernst Ludwig Kirchner on regime. In 1986, however, he entered the The shapes in Inkognito originated in his early work; the glyph-like look of his School of Advertising and Design (Fach- Korsig’s informal sketches and photo- imagery owes something to Mark Roth- schule für Werbung und Gestaltung) in graphs. Since youth, he has explored the ko’s early surrealist works and to Native East Berlin, where he studied sculpture urban landscape, looking head-on, but American cave paintings he saw in the and stone restoration. He made some also gazing up at buildings, electrical Southwest in the 1990s. The titles—often figurative art at this time but preferred boxes and shadows, and down at trash on in English though the artist is German— semi-abstraction, and characterizes his the ground. He reworks and recasts these

34 Art in Print March – April 2018 notes to create elusive images and sculptural forms that he finds more interesting than what he saw in real life. From the beginning of his professional career, Korsig has also made woodcuts characterized by heavy black lines, often with images floating alone or in pairs at the center of an empty ground. In some prints, thin lines extend from the center to the edge of the picture space, suggest- ing instability. Paired images may be confrontational, creating tension and a sense of threat. He prints woodcut editions on his own press, and uses a steamroller to print unique, banner-like works as tall as eight feet, often on canvas so they can be viewed without looking through glass.3 (Done outdoors, the steamroller drew crowds and generated television and newspaper coverage, as well as invitations to demonstrate his process at venues in Germany and Switzerland. Eventually, the need to travel with woodblocks and printing supplies and to rent steamroll- ers locally became burdensome. He still makes steamroller prints, but in Trier.) At the Cologne art fair in the early 1990s, Korsig met the American artist and print workshop innovator Garner Tullis. Korsig spoke little English at the time, but Bodo Korsig, Inkognito (1993), oil on canvas, 850 x 250 cm each. Städtisches Museum Zwickau, in 1993 he traveled to New York and called Zwickau, Germany. on Tullis, who showed him his workshop in downtown Manhattan and suggested hill with trees) or as an eye floating above together for a midday meal in the kitchen he keep in touch. In 1996 Korsig began the horizon with two small triangles. and talked shop. “The whole world came working with Tullis, who had developed a Tullis embraced Korsig as “a young to Garner,” Korsig recalls. “At lunch there computer-controlled hot table for working sculptor with a novel outlook on life and was always someone else at the table.” He with encaustic wax pigments and hand- a fluid comprehension of materials [who] met artists such as Sean Scully, Catherine made paper. In Passion (1997), Korsig used added a new dimension to what was Lee and Robert Ryman, and encountered active brushwork and translucent amber occurring at the workshop.”4 He took the a larger and more accomplished art com- and yellow to activate the ground beneath young man under his wing and taught munity than he had known in Germany: a black drawing that might be read as a him how to navigate the art world. As in “I could hardly have chosen a better place landscape (a body of water below a round many other studios, everybody joined to be.”

Bodo Korsig, Kaltes Gehirn (Cold Brain, 2002), woodcut on canvas, five panels, 60 x 30 cm each.

Art in Print March – April 2018 35 structures. In the second, phrases from the poem are scattered across a flat orange ground, beside black silhouettes that resemble freshly erupted seedlings. Each work is composed of two panels that stand on the floor and lean against the wall, forming a confrontational presence. In New York in the ’90s Korsig also became interested in making art based on human brain function. Returning to his hometown of Zwickau in 1993, he found that some of his old friends and acquain- tances had used their post-reunification freedom to travel or start business enter- prises, while others did little more than grouse about political corruption and their love lives. “I was shocked,” he says, “because they are still waiting, still waiting for something. They couldn’t change their mentality to move forward. I don’t know what they are waiting for, but also understand that some people cannot for- get the pain and frustration of the dic- tatorship.” He wondered what could be done for them—a new brain perhaps? He started reading about neuro- psychology and consulting with scien- tists, the most prominent of whom was Eric Kandel, director of the Kavli Insti- tute of Brain Science at Columbia Univer- Bodo Korsig, Passion (1997), encaustic on paper, 101 x 101 cm. sity (and later winner of the 2000 Nobel Prize in Physiology or Medicine). Kandel’s In New York Korsig also began two (We were the new horde, 1998), was built research focuses on the physical mecha- bodies of work that have continued to around an apocalyptic free-verse poem nisms of memory and behavior, but he be central to his production. In 1998 he that Korsig sees as “a reflection on our has also been active in finding common produced a book of encaustic paintings, world today”: ground between the “two cultures” of sci- FATE, which has been followed by some 35 ence and art.6 we arrived from the unavoidable / we volumes of collaborative text-and-wood- Korsig says that the New York art envi- swarmed the land cut book projects with writers such as the ronment gave him permission to engage extinguished all memories and / colors poets John Ashbery, John Yau and Novalis as an artist with the brain’s response to of the past . . . Scardanelli, and the novelists Paul Auster extreme stimuli: fear, violence, death and injected diseases into the living and Norbert Niemann.5 Most have been love. He began to use neuro-anatomical slaughtered the old and children. produced in small limited editions, but imagery—cell structures, synapses, gan- these “books” have also taken the form This poem is also referenced in glia—as his point of departure, creating of unique leporellos and architecturally two eight-foot-high steamroller-printed compositions that are often more nar- scaled, painted and perforated folding woodcuts on canvas from 2001, Wir waren rative than his earlier work, and also screens with texts by the poets Zao Zhang die neue Horde and Körper (Body). In the more open and positive. He was “play- (Magnolia, 2008) and Akira Tatehata (His- first, printed in black on a flat blue back- ing around with . . . color, space, line and tory Sisters, 2009). His first project with ground, the title runs across the bot- shape,” as well as multiple layers. He says Scardanelli, Wir waren die neue Horde tom below two vaguely botanical spiral he felt like “a bird in a cage for many years

Bodo Korsig, HEADTRANSPLANT (2001), woodcut on canvas, 50 x 300 cm.

36 Art in Print March – April 2018 that finally was free.” Returning to his studio in Germany, he made steamroller-printed woodcuts and linocuts on canvas with titles such as Obsession (1999), Erase Your Past (2000), HEADTRANSPLANT (2001), Where can I buy a new brain? (2001), and Who am I when I am sleeping? (2002). Kaltes Gehirn (Cold Brain) (2002) is a group of five mod- estly sized woodcuts on canvas (23 1/2 x 12 inches each). The line drawings— printed in black on a flat blue ground— look like they might have been lifted from a medical text, but none represents a specific biological subject. The nearly ten- foot-long triptych HEADTRANSPLANT (2001) is less ambiguous: the central panel spells out the title in black on a red ground and is flanked left and right with silhouetted severed heads perched on what could be curled wire supports or arteries (there is humor in this). Many of these works were gathered together in the exhibition “Where can I buy a new brain?,” which appeared at three German museums in 2006–07. Along with a large number of woodcuts, it included wall and floor sculptures (the most malevolent of which were four-foot-long ceramic-stud- ded clubs piled in a disorderly heap on the floor and partially inserted in the wall).7 Today Korsig spends most of his time in Europe, with occasional trips to Asia, and the tenor of his art has shifted. For a 2013 exhibition, he created Ursprung (Origin), a series of 34 woodcut monotypes made in collaboration with the Luxembourgish writer Nico Helminger. (Reproduced in an eponymous limited-edition catalogue, each image is accompanied by a handwritten phrase or sentence.) The monotypes have brushed grounds in subdued, mixed Bodo Korsig, Aus dem inner eines tons betrachtet ist das lied unfassbar (Seen from the inside colors that recall Korsig’s encaustic paint- of a sound, the song is unbelievable, 2013), woodcut monotype on handmade paper, 60 x 40 cm. ings from 15 years earlier. The curled-up form at the center of Aus dem Innern eines conversations). Statements by Korsig come from thin air” (Fate, 52). Tons betrachtet ist das Lied unfassbar (Seen these interviews. Catherine Lee talked to the 5. Letter from Marina, text by John Yau, woodcuts from the inside of a sound, the song is author about Korsig’s years in New York. by Bodo Korsig (New York and Gotha: Edition unbelievable) could be an ear canal 2. Korsig recalls being struck by the intense public Balance, 1999); Closer, text by John Ashbery, reaction to these paintings, which he compared to woodcuts by Bodo Korsig (Gotha: Edition Bal- attached to a plant hanging from the top political banners he had seen in his youth. ance, 2002); Pulse, text by Paul Auster, woodcuts edge. This attractive work may indicate 3. For a video of Korsig steamroller by Bodo Korsig (Rheinbach: John Gerard, 2007). that Korsig has begun to mellow and make printingssee:shttps://www.youtube.com/ 6. Kandel is author of numerous books. Among peace with his demons. watch?v=gCC33IwCVx0. them are Reductionism In Art And Brain Sci- 4. Garner Tullis, “Introduction,” Fate (Frankfurt: ence: Bridging the Two Cultures (NY: Columbia Goliath, 2000), 4. Tullis was not alone in thinking University Press, 2018) and The Age of Insight: Victor M. Cassidy is an art journalist and of Korsig as a sculptor. Faye Hirsch wrote: “Bodo The Quest to Understand the Unconscious In critic who has written for Art in America, ArtNet, Korsig is a sculptor and even in his drawings, Art, Mind, and Brain: From Vienna 1900 to the Sculpture Magazine and other publications. paintings and woodcut prints, the logic of a sculp- Present (NY: Random House, 2012). Korsig and tor prevails. Bold, mostly black, abstract forms are Kandel had discussions long before these books disposed with care in his compositions, like free- were published, but Kandel had been thinking of Notes: standing sculptures set within a room or reliefs C.P. Snow’s “two cultures” for many years. 1.The author interviewed Korsig at his studio on placed against a bare wall. Neatly, they span their 7. The museums were Städtische Galerie 25 May 2017 and talked with him by telephone supporting surface edge to edge or are cautiously Bietighelm-Bissingen; Kunstraum Potsdam on 12 October 2017 (there were subsequent brief balanced within the frame as if leaning against Waschhaus; and Leonhardt-Museum, Dresden.

Art in Print March – April 2018 37 EXHIBITION REVIEW Signs of the Times: Recent Monotypes by Todd Norsten By Elizabeth Carpenter

“Todd Norsten: NOWHERE” Highpoint Center for Printmaking, Minneapolis 15 September – 11 November 2017

he painter Todd Norsten, who is T both an enthusiastic traveler and avid outdoorsman, has a deep appreciation for vernacular art and architecture. Born in Willmar, Minnesota, he has exhibited broadly (including at the 2006 Whitney Biennial) and is as at home in small Midwestern towns as he is in Los Angeles, New York or Rome. His recent exhibition at the Highpoint Center for Printmaking in Minneapolis was titled “N O W H E R E”—an allusion perhaps to the places where he finds inspiration for his citations and reinventions of commonplace signage. The 19 monotypes on view extended his painterly concerns to paper. On sheets Todd Norsten, AMAZING AND SPECTACULAR (2017), unique monoprint with collaged elements, that appear to have been knocked about a 24 x 33 inches. Printed and published by Highpoint Editions, Minneapolis, MN. bit, off-kilter words and phrases expound broken poetry: “FUZZY LITTLE BLEEP” He is particularly interested in the multiple interpretations, including dual- says one; “THE END IS AT HAND AGAIN” materiality of found signage, whether ity, futility and meaninglessness. predicts another. In others, scrappy hand- painted in imitation of a typographic The tendency to “read into things” is drawn emblems and logos—Uncle Sam’s font, handwritten in pen or built from powerful and often sends the reader in top hat, a can of Tru-Test house paint— commercially available plastic lettering. search of the author. Do these fragmented fill the flat and careworn space. Some are The way a message is made, he observes, thoughts stem from an interior mono- appropriated from signs found in the real “says more about the maker than the logue of the artist? Are these the voices of world; others he creates on his own. words that they are trying to communi- reason, judgment, cynicism or soul- In his paintings Norsten is a master of cate.”1 The eventual obliteration of these searching? The answer would seem to be trompe l’oeil effects—even the most ran- objects is visually and metaphorically “all of the above.” Norsten has cast a wide dom-looking mark or drip is painstak- fascinating as well: all forms of commu- net, gathering and archiving ephemera he ingly created—and the same is true here. nication find an endpoint in abstraction, has encountered as he moves through the Using diluted inks and spraying applied absence and silence. world, while obliquely registering his own inks with solvents, he gave the sheets a Norsten’s signs can be considered thoughts and beliefs. He brings all the weathered surface reminiscent of the semiotically, in light of Saussure’s absurdity, disgust, poetry, frustration and walls of his painting studio, where drips “signifier” and “signified” (Uncle Sam’s humor in his intellectual and emotional and pockmarks mingle with palimpsests hat, the United States) or Charles Sand- tool box together with his inescapable of previous works. These sheets were ers Peirce’s “icon,” “symbol” and “index” drive to be a maker of things. then used as backgrounds and working (the drawing of the paint can, the word material for the forms and letters that “Latex,” the physical traces of pigments). Elizabeth Carpenter is an independent curator, he cut out and adhered to other sheets. But Peirce also stated emphatically that writer, and educator based in Minneapolis, Using the monotype process of apply- meaning (the signified) was always unsta- Minnesota. She is a former curator at the ing an inked brush to a Plexiglas print- ble and dependent on the perspective of Walker Art Center in Minneapolis. ing plate allowed him to work swiftly the viewer. Thus Norsten’s works should and spontaneously, providing immediate be seen as vehicles both for communica- Notes: results that fostered experimentation. tion and representation. They are open to 1. In conversation with the author, July 17, 2017.

38 Art in Print March – April 2018 Todd Norsten, The End Is At Hand Again #2 (2017), unique monoprint with collaged elements, 33 x 24 inches. Printed and published by Highpoint Editions, Minneapolis, MN. $3,000. Printmaking in an Age of Political Dissonance By Bob Tomolillo

Eric Goldberg, Second Amendment Special (2016), etching/aquatint, 14 x 11 inches. Edition of 20. Printed and published by the artist, Philadelphia, PA.

he 2016 presidential election caused that would offer viewers an alternative Eric Goldberg discussed his 2012 etch- T a heightened state of political and means of gathering information. The ing Second Amendment Special in terms of ethical awareness among many artists, prompt was sent out in late 2015, and the paradox that: and its outcome has occasioned broad throughout the rancorous primary sea- reflection on society and art’s role within son, prints poured in from across the we Americans have been struggling it. As an activist artist and member of the United States, as well as from Cuba and with for many decades. How do we 70-year-old Boston Printmakers, I helped Canada. When the exhibition went on both “bear arms” and insure our organize the group’s recent exhibition, view at Phillips Exeter Academy’s Lamont safety, if arms, by their very nature “2016, A State of Mind,” for which we Gallery, more than half the organiza- are dangerous and the potential to invited members to submit work address- tion’s members—some 148 artists—were create harm is inherent in their very ing a host of contemporary sociopolitical represented. being? Our society has become so challenges: “Energy conservation, wealth Of the 148 prints, 57 illustrated a polit- complex that this seemingly funda- opportunity, LGBT rights, global warm- ical viewpoint, 42 remarked on human mental right to defend ourselves has ing, issues of national security, immigra- nature, 28 addressed the environment become a lethal threat to the indi- tion, animal rights, voter suppression and 12 tackled immigration. Each sub- vidual rather than a means of protec- [and] issues of privacy are some of the mitted work was accompanied by a 150- tion. The Second Amendment to the concerns facing our diverse community.”1 word text that revealed aspects of the Constitution is a classic example of Our plan was to create “a reasoned, art-making process, and in some cases a well-meaning plan gone hideously well placed forum for the issues at hand” illuminated a moral. wrong.2

40 Art in Print March – April 2018 beliefs and tend to block out all dif- BC) said, “Moral principles please our fering views without giving them any minds as the taste of beef and mutton rational consideration.4 please our mouths.”7 The process of making art can spark a similar questioning. Conservative rhetoric in America has Perhaps, in the age of Trump, it can serve often considered visual arts as a type of not only as a form of resistance to oppres- unnecessary social program or useless sion, but as a means of lifting human self-indulgence, and American media spirits by addressing moral questions. take frequent swipes at art’s integrity (consider, for example, the recent television commercial in which a professor Bob Tomolillo is an artist and professional printer. spouts unintelligible art-speak to wide- He is Secretary of The Boston Printmakers. eyed students who stand at their easels, gazing at a corpulent naked model chew- Notes: ing on a Slim Jim).5 Meanwhile, a large 1. The Boston Printmakers, “A State of Mind: 2016 number of artists have come to wonder Members Show, Prospectus.” bostonprintmakers. how art might work to support the kind org/media/A-state-of-mind/2016-a%20state-of- mind.pdf. First published on the BP website in of free society that seems endangered in 2015. a world dominated by billionaires on the 2. The Boston Printmakers, A State of Mind: 2016 one hand and the desperate poor on the Members Show, ed. Constance Del Nero (The Yvonne Leonard, King Stork (2016), photo- other. Boston Printmakers, 2016), 17. gravure, aquatint and line etching over woodcut Art, like politics, functions within, 3. Ibid., 25. and digital print, 16 x 12 inches. Printed and 4. Ibid., 32. published by the artist, Oyster Street Press, and expresses, specific ethical systems, 5. “Slim Jim Commercial 2016 Meat Stick,” Dartmouth, MA. and historically it has been used to rein- YouTube video, 2:00, posted by “Commercials force all kinds of messages—to prop up Funny,” 25 December 2016, www.youtube.com/ Yvonne Leonard explained the genesis institutions, instill faith in government watch?v=5BNCwNFkolQ. of her print in Aesop’s fable of the frogs and propagandize wars as well as to call 6. José Luis Bermúdez and Sebastian Gardner, Art and Morality, ed. José Luis Bermúdez and who begged Zeus for a king: when Zeus attention to human suffering.6 Our pres- Sebastian Gardner (London: Routledge, 2003). gave them a log and they found it was inert, ent political climate has, I find, one posi- George Lakoff, Moral Politics: How Liberals and they asked for a new king; when Zeus sent tive effect: it encourages people to Conservatives Think, 3rd ed. (Chicago, IL: Univer- a stork that ate the frogs, they asked to be consider their most deeply held moral sity of Chicago Press), 246. saved from the stork, but “Zeus refused, beliefs, and to engage publically in the 7. Nicolas Baumard, “Mèng Zǐ (372–289 BCE) on saying the frogs now had what they’d expression of those beliefs. There is per- the Moral Organ,” International Cognition and Cul- ture Institute, 25 June 2011, cognitionandculture. wanted.” Leonard felt the story “resonated sonal, as well as public benefit, to this net/blog/nicolas-blog/meng-zi-372-289-bce-on- with events in the public sphere.”3 exercise: the Chinese sage Meng-tse (372 the-moral-organ. In several cases, artworks made years earlier were reevaluated by the artist in light of this new, alarming political context. About his 2012 linocut Two Worlds, Dennis Revitsky wrote:

When this linocut was created a few years ago, I didn’t consider it to have any political meaning, but rather was concerned with human nature—how some people perceive their lives to be enjoyable, exciting, and mostly filled with light, while others, for one reason or another, perceive them with more gloom, and experience them as harsh and dark. During the past few years, however, with our country’s politics becoming more agitated and polarized, I think this image can be viewed as being analogous to some aspects of the current political situation. Too many of us have allowed our views to become extremist and tend to see most political issues in black and white terms. We often construct Dennis Revitzky, Two Worlds (2012), linocut, 16 x 21 inches. Edition of 10. Printed and published our worlds to steadfastly defend rigid by the artist, Honeoye Falls, NY.

Art in Print March – April 2018 41 Prix de Print No. 28 PRIX de Guardian PRINT by Eszter Sziksz Juried by Michael Woolworth

This iteration of the Art in Print Prix member at the Memphis College of Art, Then the image is printed, the water- de Print has been judged by Michael has produced a magical body of work by soluble ink freezing and sticking to the Woolworth. The Prix de Print is a screenprinting images in black ink onto ice. But the work is not complete until the bimonthly competition, open to all ice, leftover bits of soap, sugar cubes and ice begins to melt, causing the ink to dis- subscribers, in which a single work is the delicate interior of eggshells. Her solve, darken and fade away, enhancing selected by an outside juror to be the sub- images explore the materials’ intrinsic the images’ beauty. ject of a brief essay. For further informa- fleeting qualities and their poetic associa- Sziksz’s prints evoked for me the work tion on entering the Prix de Print, please tions. They haunt the imagination. of the Colombian artist Oscar Muñoz, go to our website: http://artinprint.org/ Sziksz studied printmaking at the such as his self-portrait in charcoal dust about-art-in-print/#competitions. Obudai Muveszeti Szakiskola School of floating on water, which dissolves as the Arts in Budapest and obtained a BA from water drained from the sink. As it turns Eszter Sziksz, Guardian (2017) the University of Eötvös Loránd there out, Sziksz is a fan, and for her as for Screenprint on ice, approximately 3 x 3 before moving to the United States, earn- Muñoz, recording the works’ transforma- inches. Unique work. Printed by the ing her MFA in printmaking at the Mem- tion and disintegration is an integral part artist. phis College of Art in 2010. That same of its production. In “Edging Forward, New year, while visiting relatives in Hungary Prints Winter 2018” at IPCNY in New York, and glancing through her grandmother’s she showed both a photograph of the melt- mysterious cyclopean eye stares snapshots, she came up with the idea of ing artwork and a looped video in which it A out from the center of a cloudy using ice to capture memory: “I thought goes from solid to water to solid again. At translucent circle, surrounded by a ras- that if I printed these family pictures on the exhibition opening she also presented tered blur. Encountering Eszter Sziksz’s ice and let them melt, I could demon- an unusual “edition” of ten prints: every simple, melancholy image, screenprinted strate the passing of time.” 15 minutes or so, when the work had dis- on ice, I was fascinated by its combination Her portraits of her ancestors and solved into an inky puddle on its pedestal, of power and fragility, and by her master- children, she explains, are “identities she replaced it with another. “The fridge ful use of ephemeral materials to reflect as an extension of myself, the past and was on the 12th floor of the building but poetically on memory and mortality. future of my family cycle, aiming to show the gallery was on the fifth, so we had to Since founding my atelier in Paris an invisible human nature.” Inspired by carry each print in a cooler surrounded more than 30 years ago, printmaking has the writings of François Soulages and by ice cubes. It looked as if someone was taken me to crazy and unexpected places. Roland Barthes on photography, loss transporting a donated organ,” she recalls. Using only 19th-century hand presses, I and temporality, Sziksz explains that for She has also practiced ice printing on try to push complex, labor-intensive tra- her, “Time is the greatest mystery in the a large scale. The ephemeral IceHotel, ditional methods to their limits, creating world. We cannot see it or touch it but we located on a riverbank in northern Swe- hybrid, often irreverent techniques. We still somehow feel it . . . The fear of fate, of den, invited her to create an installation have printed on unorthodox surfaces— disappearance, is always in me.” in 2013; working with crystal-clear ice plastic, wax, sandpaper, gold leaf, 90 With banal items from her kitchen blocks hulled from the local Torne River, square feet of plaster blocks—I have seen such as plastic cups and glass bowls, she she created a suite whose walls, covered other prints on rubber, and know of John makes ice in softly rounded shapes, then with screenprinted ice discs backlit with Cage’s perishable editions on sheets made uses a hot iron to obtain an impeccably LEDs, glowed like stained-glass windows. of pressed edible mushrooms. But I had flat printing surface. Photographic -por Invited back in 2016, she fashioned por- never before seen prints on ice. traits are transferred to the mesh of the trait prints on two layers of ice blocks. Over the past seven years, the Hun- printing screen, where they enter the first As a printmaker, I have learned to garian-born Sziksz, an adjunct faculty stage of distortion or decomposition. embrace and exploit accidents, and I

42 Art in Print March – April 2018 Eszter Sziksz, view of installation and video stills from Guardian (2017). love the inherent unpredictability of her brought to mind Jacques Prévert’s poem Desks revert to trees work, which is vulnerable to fluctuations “Page d’écriture,” in which a schoolboy, Chalk reverts to cliffs in temperature, humidity, and atmo- distracted from his math lesson by the The quill pen reverts to a bird. sphere. I generally try to make printed song of a lyrebird, starts to daydream, matter that lasts, at least during our life- until the classroom and everything times (if not longer). But Sziksz’s frag- around him seem to dissolve: Michael Woolworth is an American-born ile images upend this ideal, redefining publisher and printer based in Paris. printmaking as a metaphor for memory And windowpanes revert to sand and the way it fades over time. Her work Ink reverts to water

Art in Print March – April 2018 43 Ann Aspinwall, Alba (2017) Deborah Bell, The Immeasurable, Forgiveness News of the Linocut with hand coloring, 34 x 55 inches. and I believe in all that has never been spoken Edition of 6. Printed and published by Aspinwall (2017) Print World Editions, New York. $3,200. Six- and seven-color lithographs, 76.5 x 56.5 cm each. Edition of 45 eachPrinted and published by The Artists’ Press, White River, South Africa. R12,600. Selected New Editions

Polly Apfelbaum, Atomic Mystic Puzzle 10 (2017) Woodblock monoprint on handmade Japa- nese paper, 25 5/8 x 25 5/8 inches. Unique image. Printed and published by Durham Press, Durham, PA. Price on request. Ann Aspinwall, Alba (2017).

Olive Ayhens, Hardwood Swamp (2018) Etching and watercolor embellishment, 18 x 26 inches. Edition of 6. Printed and published by Bleu Acier Inc., Tampa, FL. $1,500. Deborah Bell, The Immeasurable (2017).

Laura Berman, Umbra: RD5 (2017) Relief monoprint, diptych, 30 x 60 inches. Unique image. Printed and published by Pele Prints, St. Louis, MO. Price on request.

Polly Apfelbaum, Atomic Mystic Puzzle 10 (2017).

Kate Arthur, Cartography of the Body (Blue) (2017) Olive Ayhens, Hardwood Swamp (2018). Etching on cotton cloth, image 79 x 79 cm, substrate 110 x 94.5 cm. Edition of 15. Printed by War- Hamo Bahnam, Through a glass darkly, we’ll ren Editions, Cape Town, South Africa. Published never see eye to eye (2017) Laura Berman, Umbra: RD5 (2017). by Yellowwoods Art, Cape Town. R15,000. Multiblock linocut, 15 x 11 inches. Edition of 25. Printed and published by Santo Press, Scottsdale, Brent Bond, Conception of the Minotaur (2017) AZ. $60. Letterpress, linocut, multi-plate photopolymer relief and archival inkjet on patterned cover stock, 11 3/4 x 9 1/2 inches. Edition of 50. Printed and published by Santo Press, Scottsdale, AZ. $125.

Kate Arthur, Cartography of the Body (Blue) (2017). Hamo Bahnam, Through a glass darkly, we’ll never see eye to eye (2017). Frances B. Ashforth, Great Basin 3 (2017) Unique waterbase ink (akua & charbonelle) Dan Barrow, Matboard Poem (2017) monotype, 22 x 22 inches. Unique image . Printed Screenprint and collage on matboard, 37 x 28 Brent Bond, Conception of the Minotaur (2017). by Christopher Shore, Norwalk, CT. Published by inches. Edition of 10. Printed by Nicholas Shick, Frances B. Ashforth, Ridgefield, CT. $950. Toronto, Ontario. Published under the auspices Richard Bosman, Rear View Night E (2017) of the Open Studio Visiting Artist Residency pro- Monoprint, archival pigment print uniquely gram, Toronto, Ontario. $1,000 CAD. hand painted, 21 3/4 x 29 3/4 inches. Unique image. Printed and published by Stewart & Stew- art, Bloomfield Hills, MI. $3,000.

Frances B. Ashforth, Great Basin 3 (2017). Dan Barrow, Matboard Poem (2017). Richard Bosman, Rear View Night E (2017).

44 Art in Print March – April 2018 John Buck, Cannonball Creek (2017) Béatrice Coron, Winged Thoughts I (2017) Dan Halter, Domboremari (Bronze) (2017) Color woodcut, 24 1/2 x 40 1/4 inches. Edition of Laser engraved woodcut and hand-cut lino- Linocut, 100 x 80 cm. Edition of 6. Printed and 15. Printed and published by Shark’s Ink, Lyons, leum, 16 1/4 x 9 3/8 inches, 20 1/2 x 13 1/2 inches. published by Warren Editions, Cape Town, South CO. $2,500. Edition of 40. Printed and published by Santo Africa. R16,000. Press, Scottsdale, AZ. $250.

John Buck, Cannonball Creek (2017).

Ingrid Calame, Willa, Ada and Stacy (2018) Three-run, three-color direct gravures with soft Dan Halter, Domboremari (Bronze) (2017). ground and drypoint, 24 1/2 x 24 inches each. Edition of 30. Printed and published by Graph- Béatrice Coron, Winged Thoughts I (2017). Marcelle Hanselaar icstudio, University of South Florida, Tampa, FL. The Crying Game 29 (2015–17) $2,100 each, $6,000 for the suite of three. Sameer Farooq, Behind the Eyes (Yellow) (2017) Etching and aquatint, 38 x 43 cm. Edition of 30. Monoprint, 22 x 30 inches. Unique image. Printed by the artist, London. Published by Julian Printed by Pamela Dodds, Toronto, Ontario. Page, London. $700. Published under the auspices of the Open Studio Visiting Artist Residency program, Toronto, Ontario. $1,700.

Marcelle Hanselaar, The Crying Game 29 Ingrid Calame, Willa (2018). (2015–17). Sameer Farooq, Behind the Eyes (Yellow) (2017). Enrique Chagoya Keiko Hara, Verse Ma and Ki • Memory (2017) The Ghosts of Borderlandia (2017) Don Gorvett, Chebacco Moonrise (2017) Mokuhanga print with stencil and collage, 12 1/2 Color lithograph with chine collé, 15 x 80 inches. Reduction woodcut, 16 1/2 x 31 3/4 inches. Edi- x 18 inches. Edition of 15. Printed and published Edition of 30. Printed and published by Shark’s tion of 25 including unique impressions. Printed by the artist at Mokuhanga Project Space, Walla Ink, Lyons, CO. $3,600. and published by the artist at Piscataqua Fine Walla, WA. Available from Stewart & Stewart, Arts Studio and Gallery, Portsmouth, NH. $1,100. Bloomfield Hills, MI. $2,000.

Enrique Chagoya, The Ghosts of Borderlandia (2017).

Sue Coe Chunee, the Elephant Who Wouldn’t Die (2018) Offset lithography, 28 x 20 inches. Edition of 100. Printed and published by the Borowsky Center Don Gorvett, Chebacco Moonrise (2017). Keiko Hara, Verse Ma and Ki • Memory (2017). for Publication Arts and the MFA Book Arts + Printmaking Program at University of the Arts, Joanne Greenbaum, Untitled (2017) Jacob Hashimoto, The Blurred, Mystical Philadelphia. $400. Etching, soft ground, aquatint, image 16 x 12 Affirmation of the Universe (2017) inches, sheet 22 1/2 x 17 inches. Variable edition Woodblock on handmade Japanese paper, 39 x of 10. Printed and published by Jennifer Melby, 36 inches. Edition of 37. Printed and published Brooklyn, NY. $1,200. by Durham Press, Durham, PA. Price on request.

Sue Coe, Chunee, the Elephant Who Wouldn’t Die (2018).

Jacob Hashimoto, The Blurred, Mystical Joanne Greenbaum, Untitled (2017). Affirmation of the Universe (2017).

Art in Print March – April 2018 45 Lee Henderson A hand that points aligns the air (2017) Lithograph, 30 x 22 inches. Edition of 7. Printed by Pudy Tong, Toronto, Ontario. Published under the auspices of the Open Studio Visiting Artist Residency program, Toronto, Ontario. $1,200 CAD.

Yvonne Jacquette, Ocean View Wind Patterns, Camden Maine (2017). Catherine Kernan, Nocturnal Canal #1 (2017). Roberto Juarez, Orange Stoplight and Fatherwell (2017) Karen Kunc, Array of Raressence (2018) Color lithographs, 30 1/4 x 20 1/2 inches each. Woodcut on Japanese paper, 72 x 26 inches. Edition of 30 each. Printed and published by Edition of 5. Printed by the artist, Lincoln, NE. Shark's Ink, Lyons, CO. $2,000 each. Published by Constellation Studios, Lincoln, NE. Lee Henderson, A hand that points aligns $6,500. the air (2017).

Mildred Howard Assegnazioni con De Seingalt #VI (2017) Monoprint with collage, chine collé and digital/ lithograph, 20 3/4 x 17 inches. Unique image. Printed and published by Shark’s Ink, Lyons, CO. $3,500.

Roberto Juarez, Orange Stoplight (2017).

Alex Katz, Nicole (2018) 14 run lithograph, woodcut and screenprint, Karen Kunc, Array of Raressence (2018). 36 1/2 x 80 inches. Edition of 60. Printed and published by Graphicstudio, University of South Garth Meyer, Congo, Gabon, Gabon II, Florida, Tampa, FL. Price on request. Sumatra, Rwanda (2017) Photogravures, image 28 x 35.5 cm each, sheet 47 x 53.5 cm. Edition of 15. Printed and published Mildred Howard, Assegnazioni con by Warren Editions, Cape Town, South Africa. De Seingalt #VI (2017). R8,500.

Sidney Hurwitz, P.R. Sugar Mill (2018) Aquatint with watercolor, 22 x 23 inches. Edition of 20. Printed and published by the artist in collaboration with Robert Townsend at R.E. Alex Katz, Nicole (2018). Townsend Studio, Georgetown MA. Available from Stewart & Stewart, Bloomfield Hills, MI. Hugh Kepets, STANLEY VII (2018) $1,600. Archival pigment print, 22 x 29 1/2 inches. Edition of 45. Printed and published by the artist, New York, NY. Available from Stewart & Stewart, Bloomfield Hills, MI. $750. Garth Meyer, Congo (2017).

Marcia Neblett, Rose (2017) Linocut, 20 1/2 x 17 inches. Edition of 5. Printed and published by the artist, Norfolk VA. Available from Stewart & Stewart, Bloomfield Hills, MI. $400.

Sidney Hurwitz, P.R. Sugar Mill (2018).

Yvonne Jacquette Ocean View Wind Patterns, Camden Maine (2017) Hugh Kepets, STANLEY VII (2018). Color lithograph, 24 x 33 3/4 inches. Edition of 30. Printed and published by Shark's Ink, Lyons, CO. Catherine Kernan, Nocturnal Canal #1 (2017) $3,400. Monoprint/woodcut, 28 3/4 x 17 inches. Unique image. Printed and published by the artist, Venice, Italy. Available from Stewart & Stewart, Bloomfield Hills, MI. $950.

Marcia Neblett, Rose (2017).

46 Art in Print March – April 2018 Endi Poskovic, Zlatan (Call me Ishmael) (2017) Carolyn Swiszcz, $5 Pizza, South St. Paul (2017) Stone lithograph with photo-lithographic color Watercolor monoprint, 34 5/8 x 27 5/8 inches. plates, 21 x 15 inches. Edition of 30. Printed in col- Unique image. Printed and published by High- laboration with Jill Graham at NSCAD University point Editions, Minneapolis, MN. $2,500. Print Studio, Halifax, Nova Scotia, Canada. Pub- lished by the artist, Ann Arbor, MI. Available from Stewart & Stewart, Bloomfield Hills, MI. $800.

Jackie Saccoccio, Untitled (2017).

Cinga Samson, Ama Fong Kong (2017) Etching laminated onto cotton cloth, image 70 x 55 cm, substrate 85 x 70 cm. Edition of 15. Printed by Warren Editions, Cape Town, South Africa. Carolyn Swiszcz, $5 Pizza, South St. Paul Published by Yellowwoods Art, Cape Town. (2017). R15,00. Swoon, Girl with Dappled Sunlight (2017) Etching, relief, and screenprint, 23 3/4 x 35 Endi Poskovic, Zlatan (Call me Ishmael) 3/4 inches. Edition of 18. Printed and published (2017). by Tandem Press, Madison, WI. $3,500. Pecos Pryor and James Hapke A 24 Hours (2018) Intaglio, 72 x 36 inches. Edition of 4. Printed and published by the artists at Constellation Studios, Lincoln, NE. $1,600.

Cinga Samson, Ama Fong Kong (2017).

Kiki Smith, sun zoom spark (2017) Swoon, Girl with Dappled Sunlight (2017). Set of three intaglio prints, 18 1/2 x 15 inches. Edition of 18. Printed and published by the William Tillyer, Night Snow and LeRoy Neiman Center for Print Studies, Colum- These aromatic stanzas (1974/2018) bia University, New York. $2,200 each, $6,600 Intaglio zinc plate on paper and ine drawing and for the set. relief printing collage on paper, image 21 x 11.5 cm, sheet 66 x 50 cm (Night Snow) and image 24.8 x 19.5 cm, sheet 66 x 50.7 cm (These aromatic stanzas). Edition of 25 each. Printed by Clifton Edi- tions, London. Published by Bernard Jacobson, Pecos Pryor and James Hapke, A 24 Hours London. $800 each. (2018).

Kathleen Ritter, Abbot Thayer’s Card Demonstration (unexposed and exposed) (2017) Screenprint with exposed photochromic inks, 15 x 22 inches. Edition of 10. Printed by Meggan Winsley, Toronto, Ontario. Published under the auspices of the Open Studio Visiting Artist Resi- dency program, Toronto, Ontario. $500. Kiki Smith, zoom (2017).

Stacey Steers, Vital Signs (2017) Color lithograph with digital collage, 30 x 22 inches. Edition of 30. Printed and published by William Tillyer, Night Snow (1974/2018). Shark's Ink, Lyons, CO. $1,500. Sandy Walker, my moon (2017) Woodblock print, 11 3/8 x 27 7/8 inches. Edition of 8. Printed and published by the artist, Oak- land, CA. $500.

Kathleen Ritter, Abbot Thayer’s Card Demonstration (exposed) (2017).

Jackie Saccoccio, Untitled (2017) Etching, aquatint, scraping and embossing, image 16 x 21 inches, sheet 22 x 27 inches. Edition of 10. Printed and published by Jennifer Melby, Sandy Walker, my moon (2017). Brooklyn, NY. $1,200. Stacey Steers, Vital Signs (2017).

Art in Print March – April 2018 47 Exhibitions of Note HAMBuRG, GERMANY “Artists’ Books” ADELAIDE, AuSTRALIA 1 December 2017 – 2 April 2018 “Andrea Przygonski: Chi Town Chronicle” Hamburger Kunsthalle 28 February – 23 March 2018 http://hamburger-kunsthalle.de praxis ARTSPACE http://praxisartspace.com.au HOuSTON “Radicals and Revolutionaries: “Sister City Prints: An Intercontinental America’s Founding Fathers” Collaborative Project” 10 March – 28 May 2018 15 March – 15 April 2018 Museum of Fine Arts Houston West Gallery Thebarton https://www.mfah.org/ http://westgallerythebarton.com.au ITHACA, NY ALBuQuERQuE, NM “Drawing the Line: 150 Years of “Movers and Shakers—Works by Artists European Artists on Paper” Who Teach, Lead and Inspire” 20 January – 10 June 2018 2 March – 25 May 2018 Johnson Museum of Art, Cornell University GALLERY WITH A CAuSE http://museum.cornell.edu http://gallerywithacause.org KNOxVILLE, TN AuSTIN, Tx “Press Ahead: Contemporary Prints “Spencer Fidler: Vivarium” Gifted by Helen and Russell Novak” 17 March – 28 April 2018 2 February – 15 April 2018 Flatbed Press In New York, through 7 May: “Selections from the Knoxville Museum of Art http://flatbedpress.com Department of Drawings and Prints: Portraits and http://www.knoxart.org/ States.” Charles-Marie Dulac, Cluster of Trees BALTIMORE (Bouquet d’arbres) from L’Estampe originale, KOCHEL AM SEE, GERMANY “Sacred Spring: Vienna Secession Posters Album VIII (1894), lithograph, image 47 × 35.7 “Paul Klee: Landscapes” from the Collection of LeRoy E. Hoffberger cm, sheet 59.5 × 42.5 cm. Rogers Fund, 1922. 25 February – 10 June 2018 and Paula Gately Tillman Hoffberger” Franz Marc Museum 25 March – 29 July 2018 http://franz-marc-museum.de Baltimore Museum of Art Art Institute of Chicago https://artbma.org/ http://www.artic.edu/ LA LOuVIèRE, BELGIuM “Damien Deroubaix: Hier vloekt “The Other Side: Osaka Prints from the BERLIN men niet (ici on ne jure pas)” “Thomas Zipp: Abstract Pleasures” Brooks McCormick Jr. Collection” 2 December 2017 – 1 April 2018 15 February – 10 June 2018 17 February – 21 April 2018 Centre de la Gravure et de l’Image imprimée Smart Museum of Art Niels Borch Jensen Gallery http://www.centredelagravure.be/ http://smartmuseum.uchicago.edu/ http://nielsborchjensen.com LEICESTER, uK CLEVELAND BOSTON “Aspects of Print: Work by Roy Bizley” “M. C. Escher: Infinite Dimensions” “Graphic Discontent: 10 February – 12 May 2018 German Expressionism on Paper” 3 February – 28 May 2018 Leicester Print Workshop “Japanese Prints: The Psychedelic Seventies” 14 January – 13 May 2018 http://leicesterprintworkshop.com Cleveland Museum of Art 2 February – 12 August 2018 “The German Woodcut: http://www.clevelandart.org/ LONDON Christiane Baumgartner” “The EY Exhibition: Picasso 1932— 30 September 2017 – 28 May 2018 DENVER, CO Love, Fame, Tragedy” Museum of Fine Arts, Boston “Degas: A Passion for Perfection” 8 March – 9 September 2018 http://mfa.org 11 February – 20 May 2018 Tate Modern Denver Art Museum http://tate.org.uk http://denverartmuseum.org BRuSSELS “Sophie Podolski: MADISON, WI Le pays où tout est permis” EuGENE, OR “Art/Word/Image” 20 January – 1 April 2018 “Long Nineteenth Century in 12 December 2017 – 12 August 2018 WIELS, Contemporary Art Centre Japanese Woodblock Prints” Madison Museum of Contemporary Art http://www.wiels.org 18 November 2017 – 1 July 2018 http://www.mmoca.org/ “Morris Graves: Layers of Time” 18 January – 18 March 2018 CAMBRIDGE, MA MARGATE, uK “Inventur—Art in Germany, 1943–55” Jordan Schnitzer Museum of Art, “Journeys with "The Waste Land"” The University of Oregon 9 February – 3 June 2018 3 February – 7 May 2018 http://jsma.uoregon.edu Harvard Art Museums Turner Contemporary http://harvardartmuseums.org http://turnercontemporary.org GLENS FALLS, NY “Alphonse Mucha: Master of Art Nouveau” CHICAGO MExICO CITY “Shockingly Mad: Henry Fuseli and 14 January – 18 March 2018 “Learning to Read with John Baldessari” the Art of Drawing” The Hyde Collection 11 November 2017 – 8 April 2018 http://hydecollection.org/ 18 November 2017 – 1 April 2018 Museo Jumex “Helen Frankenthaler Prints: The https://fundacionjumex.org/ Romance of a New Medium” GREENWICH, CT 20 April – 30 September 2018 “American Abstraction: The Print Revival MILWAuKEE “The Arranged Flower: Ikebana and of the 1960s and ’70s” “Designing Paris: The Posters of Jules Chéret” Flora in Japanese Prints” 2 December 2017 – 1 April 2018 15 December 2017 – 29 April 2018 10 January – 8 April 2018 Bruce Museum Milwaukee Art Museum https://brucemuseum.org/ https://mam.org/

48 Art in Print March – April 2018 MINNEAPOLIS “Carolyn Swiszcz: New Suburban Mysteries” 9 February 2018 – 24 March 2018 Highpoint Center for Printmaking http://highpointprintmaking.org

MONTREAL “Commemorating Dr. Sean B. Murphy (1924–2017): Prints and Drawings from Five Centuries” 13 December 2017 – 1 April 2018 Montreal Museum of Fine Arts http://mbam.qc.ca

MuNICH “SKETCHBOOK[HI]STORY, Sketchbooks from the collection of the Staatliche Graphische Sammlung München” 22 February – 21 May 2018 “Japanese Posters. Ikko Tanaka—Faces” 3 March – 17 June 2018 “Paul Klee: Construction of Mystery” 1 March – 10 June 2018 Pinakothek der Moderne http://pinakothek.de

NASHVILLE “Yaniro Vissepó: Blue Yards” 3 March – 31 March 2018 In New Brunswick, through 29 July: “Set in Stone: Lithography in Paris, 1815–1900.” Théodore The Gallery at Fort Houston Géricault, The English Farrier (1821), lithograph. Collection Zimmerli Art Museum at Rutgers, Museum http://forthouston.com Purchase. Photo: Peter Jacobs.

NEW BRuNSWICK, NJ “Selections from the Department of “Collaborative Histories: Dieu Donné” “On the Prowl: Cats and Dogs in Drawings and Prints: Portraits and States” 9 January – 21 April 2018 French Prints” 6 February – 7 May 2018 The Print Center 5 September 2017 – 31 July 2018 “Before/On/After: William Wegman and http://printcenter.org “Set in Stone: Lithography in Paris, California Conceptualism” 1815–1900” 17 January – 15 July 2018 PORTLAND, OR 20 January – 29 July 2018 “Visitors to Versailles (1682–1789)” “Craftsmanship and Wit: Modern Zimmerli Art Museum, Rutgers University 16 April – 29 July 2018 Japanese Prints from the Carol and http://zimmerlimuseum.rutgers.edu The Metropolitan Museum of Art Seymour Haber Collection” http://metmuseum.org 4 November 2017 – 1 April 2018 NEW YORK “Grant Wood: American Gothic and Portland Art Museum “Focus on Abstract Gems: Other Fables” https://portlandartmuseum.org/ Small Paintings, Sculptures and 2 March – 10 June 2018 Paper Pieces” Whitney Museum of American Art POuGHKEEPSIE, NY 13 February – 7 April 2018 http://whitney.org “People Are Beautiful: Prints, Anita Shapolsky Gallery Photographs and Films by Andy Warhol” http://anitashapolskygallery.com NEWPORT, RI 26 January – 15 April 2018 “Modernity vs. Tradition: Art at the “New Prints 2018/Winter” The Frances Lehman Loeb Art Center Parisian Salon 1750–1900” http://fllac.vassar.edu 11 January – 31 March 2018 1 December 2017 – 8 April 2018 International Print Center New York Redwood Library & Athenæum http://ipcny.org RICHMOND, VA https://redwoodlibrary.org/ “Birds & Poppies: Large-Scale “Power and Grace: Drawings by Woodcuts by Richard Ryan” Rubens, Van Dyck, and Jordaens” OBERLIN, OH 16 January – 2 July 2018 19 January – 29 April 2018 “Lines of Inquiry: Learning from Joel and Lila Harnett Museum of Art, Morgan Library & Museum Rembrandt’s Etchings” University of Richmond http://themorgan.org 6 February – 13 May 2018 https://museums.richmond.edu/ Allen Memorial Art Museum, Oberlin College “Power in Print” http://www2.oberlin.edu/amam/ SAN ANTONIO, Tx 18 May 2017 – 31 March 2018 “Haiti’s Revolution in Art: Jacob Lawrence’s Schomburg Center for Research in OxFORD, uK Toussaint L’Ouverture Series” Black Culture, New York Public Library “America’s Cool Modernism: 8 February – 6 May 2018 https://www.nypl.org/ O’Keeffe to Hopper” McNay Art Museum 23 March – 22 July 2018 https://www.mcnayart.org/ “Our Anthropocene: Eco Crises” Ashmolean Museum of Art and Archaeology 19 January – 31 March 2018 http://ashmolean.org SAN FRANCISCO The Center for Book Arts “Get with the Action: Political Posters http://centerforbookarts.org PHILADELPHIA from the 1960s to Now” “Keith Smith at Home” 16 September 2017 – 8 April 2018 “Leon Golub: Raw Nerve” 17 February – 8 July 2018 “Robert Rauschenberg: Erasing the Rules” 6 February – 27 May 2018 Philadelphia Museum of Art 18 November 2017 – 25 March 2018 The Met Breuer https://www.philamuseum.org San Francisco Museum of Modern Art http://metmuseum.org https://www.sfmoma.org/ “Collaborative Histories: Dieu Donné”

Art in Print March – April 2018 49 uNIVERSITY PARK, PA WINTERTHuR, SWITZERLAND Abstract Botanica “Dox Thrash, Black Life and the “On Paper: Artist’s Farewell” Works by Lauren Kussro and Rochelle Toner Carborundum Mezzotint” 3 December 2017 – 6 May 2018 February 3 – March 27, 2018 16 January – 20 May 2018 Kunst Museum Winterthur Palmer Museum of Art https://www.kmw.ch/ https://palmermuseum.psu.edu/

WAKEFIELD, uK Fairs “School Prints” 12 January – 20 May 2018 ARLINGTON, VA The Hepworth Wakefield “Capital Art Fair” http://hepworthwakefield.org 7 – 8 April 2018 Holiday Inn, Rosslyn Westpark Hotel WALSALL, uK http://www.capitalartprintfair.com/ “Artist Rooms: Vija Celmins” 2 February – 6 May 2018 BOSTON New Art Gallery Walsall “Boston Print Fair” http://thenewartgallerywalsall.org.uk/ 12 – 15 April 2018 The Cyclorama, Boston Center For The Arts WASHINGTON, DC http://www.ad2021.com/the-boston-print-fair “Brand New: Art and Commodity 2055 O Street Lincoln, NE 68510 in the 1980s” LONDON www.constellation-studios.net 14 February – 13 May 2018 “London Original Print Fair” Hirshhorn Museum, Smithsonian Institution 3 – 6 May 2018 http://hirshhorn.si.edu/ Royal Academy of Arts http://londonoriginalprintfair.com/ “Hung Liu In Print” SAN JOSE, CA “Printstallations” 19 January – 8 July 2018 National Museum of Women in the Arts Lectures 24 February – 10 June 2018 https://nmwa.org/ San Jose Institute of Contemporary Art https://www.sjica.org/ “The Sweat of Their Face: ALBuQuERQuE, NM Portraying American Workers” “Wonder Cabinet” 3 November 2017 – 3 September 2018 20–22 April 2018 SANTA FE, NM National Portrait Gallery Tamarind Institute “Art & Activism: Selections from http://npg.si.edu/ http://tamarind.unm.edu/announcements/view/97- the Harjo Family Collection” albuquerque-wonder-cabinet 9 February – 13 May 2018 WELLESLEY, MA IAIA Museum of Contemporary Native Arts http://iaia.edu “Intermezzi: The Inventive Fantasies OBERLIN, OH of Max Klinger” “Rembrandt: The Last Renaissance Artist” 13 February – 10 June 2018 5 April 2018 ST. LOuIS Davis Museum, Wellesley College Allen Memorial Art Museum, Oberlin College “The New York Collection for https://www.wellesley.edu/davismuseum/ http://www2.oberlin.edu/ Stockholm Portfolio” 2 January – 21 May 2018 “Postwar Prints and Multiples: Investigating the Collection” 2 February – 16 April 2018 “Island Press: Recent Prints” 2 February – 16 April 2018 Kemper Art Museum, Washington University in St. Louis http://www.kemperartmuseum.wustl.edu/

“Sun xun: Time Spy” 16 February – 12 August 2018 Saint Louis Art Museum http://slam.org

SuDBuRY, uNITED KINGDOM “Cedric Morris at Gainsborough’s House” 10 February – 17 June 2018 Gainsborough’s House http://gainsborough.org

SYRACuSE, NY “Americans in Venice: Late 19th and Early 20th Century Prints” 17 August 2017 – 13 May 2018 Syracuse University Art Galleries http://suart.syr.edu

In Oxford, through 22 July: “America’s Cool Modernism: O’Keeffe to Hopper.” Paul Strand, The White Fence, Port Kent, New York (1916), photogravure, 16.5 x 21.5 cm. George Eastman Museum, Rochester, New York ©Paul Strand Archive/Aperture Foundation.

50 Art in Print March – April 2018 Conferences Text by Christian Pallone 192 pages, 162 color illustrations Published by Skira, Lausanne, Switzerland, 2017 LAS VEGAS $50. “SGCI 2018 Printmaking Conference: Altered Landscapes” 4 – 7 April 2018 Las Vegas https://sgcinternational.org/

LONDON “Printing Colour 1700–1830: Discoveries, Rediscoveries and Innovations in the Long Eighteenth Century” 10 – 12 April 2018 The Tamarind Map. Senate House, London http://www.ies.sas.ac.uk/events/conferences/print- Multiple Art Days Returns to Paris ing-colour-conference Artists’ Publications: The Multiple Art Days fair (MAD) will take place The Belgian Contribution in the Monnaie de Paris this fall from 14–16 Sep- ROME, ITALY Edited with text by Johan Pas. tember 2018. An annual fair will present a wide “Print Think Conference 2018: Text by Geert Lernout, Anne Thurmann-Jajes spectrum of contemporary art, from zines to rare The Eternal Return” 308 pages, 680 color illustrations objects, prints, multiples, artists’ books, videos, 14 – 22 May 2018 Published by Walther König, Köln, 2017 audio CDs and vinyls. With 100 international Temple University Rome $59.95 publishers, MAD celebrates these most inde- https://tyler.temple.edu/print-think-2018 pendent and versatile actors in today’s art world. http://www.multipleartdays.fr. Auctions

LONDON “Prints and Multiples” 28 March 2018 Bonhams, Knightsbridge http://bonhams.com Artists in Residence at Watershed Center for Fine Art Publishing and Research “Prints & Multiples” The Watershed Center for Fine Art Publishing 28 March 2018 and Research at Pacific Northwest College of Art Christie's (PNCA) recently concluded its first semester-long http://www.christies.com/ artist residency with Storm Tharp. This formal- Other News izes years of publishing print editions in collabo- “Prints & Multiples” ration with visiting artists such as Eli Subrack 27 March 2018 (Assume Vivid Astro Focus) and Regina Silveira Sotheby's Art in Print Receives Third NEA Grant as well as hosting professional printers including http://www.sothebys.com/ Art in Print has been approved for a $25,000 grant James Reid from Gemini G.E.L., Maurice Sanchez in the latest round of decisions by the National from Derriere L’Étoile and Paul Mullowney from LOS ANGELES Endowment for the Arts, Art Works fund. “Prints and Multiples” Mullowney Printing. As the research and educa- National Endowment for the Arts Chairman tion extension of the printmaking lab at PNCA, 1 May 2018 Jane Chu has approved more than $25 million Bonhams Watershed is staffed and supported through the in grants as part of the NEA’s first major fund- MFA in Print Media program. https://www.bonhams.com/ ing announcement for fiscal year 2018. The Art Works category is the NEA’s largest funding cat- NEW YORK egory and supports projects that focus on the cre- “Prints & Multiples” ation of art that meets the highest standards of 1 May 2018 excellence, public engagement with diverse and Doyle excellent art, lifelong learning in the arts, and/or http://doyle.com/ the strengthening of communities through the arts. The grant will help support production of “Evening & Day Editions” six issues of the journal, the “Art in Art in Print” 24 April 2018 commissioning program, and the bimonthly Prix Phillips de Print competition. This is the publication’s https://www.phillips.com/ third NEA grant. “Prints & Multiples” 26 – 27 April 2018 Sotheby's Storm Tharp, faculty, and students on the http://www.sothebys.com/ Ray Trayle press, Watershed Center for Fine Art Publishing and Research. Photo: Mario Gallucci. “Old Master Through Modern Prints” 8 May 2018 New Online Resource: The Tamarind Map Swann Auction Galleries “Find a Tamarind Printer” is a new online inter- http://www.swanngalleries.com/ active resource for people seeking Tamarind- trained printers or curious about where former Tamarind students are geographically. The map Please submit announcements of New Books includes all lithography workshops or educa- exhibitions, publications and tional programs associated with an individual other events to utagawa Kuniyoshi: who has successfully completed the one-year or The Edo-Period Eccentric two-year Tamarind program. See: http://tama- [email protected]. Edited with text by Rossella Menegazzo. rind.unm.edu/programs/73-the-tamarind-map.

Art in Print March – April 2018 51 INTERNATIONAL PRINT CENTER NEW YORK

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left: Roger Tibbetts, Recto, etching and aquatint, 2017, ed. 40

Art in Print March – April 2018 53 Arlene Shechet

Pleasure (2017) Pressure’s On (2017) Miracle (2017) Main Squeeze (2017) Edition of 18 Edition of 18 Edition of 18 Edition of 18 24 1/4 x 18 1/2 in 24 1/4 x 18 1/2 in 24 1/4 x 18 1/2 in 24 1/4 x 18 1/2 in

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54 Art in Print March – April 2018 Richard Bosman Capital Art Fair 7-8 April 2018 Holiday Inn-Rosslyn Westpark Hotel Arlington VA 22209

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JACOB HASHIMOTO The Calamitous, yet Normal Circumstance of the Universe | 2017 Woodblock on Handmade Japanese Paper Edition of 37

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Art in Print March – April 2018 55 INVITATION TO CONSIGN Spring 2018

INQUIRIES East Coast Deborah Ripley +1 212 644 9059 [email protected]

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EDWARD RUSCHA (BORN 1937) Ok (State I), 1990 Color lithograph Sold for $40,000

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56 Art in Print March – April 2018 MILDRED HOWARD NEW MONOPRINTS

“Assegnazioni con De Seingalt IV” (2017) monoprint w/collage/chine collé/digital/lithograph 20¾ x 17 inches

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Art in Print March – April 2018 57 FLATBED PRESS

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58 Art in Print March – April 2018 Crown Point Press

Wayne Thiebaud: Merriment Recent Etchings

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Wayne Thiebaud, Tulip Sundae, 2015 Sugar lift aquatint with drypoint printed in black 21 x 20", edition 35

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

MATTHEW SHLIAN

Recipient of Tamarind’s first Frederick Hammersley Artist Residency and a featured participant in the Albuquerque Wonder Cabinet, April 20-22, 2018 sponsored by the Frederick Hammersley Foundation.

Ara 244: The Other Ishihara Test - Sherbert, 2016 Three-dimensional, five-color lithograph, 20 x 20 x 1 inches Collaborating Printers: Candice Corgan, and Thomas Cert

Fine Art Lithography Workshop and Gallery Full inventory online at tamarind.unm.edu 505.277.3901 | [email protected]

Art in Print March – April 2018 59 new edition

Robert Kushner Blue Iris

Five plate aquatint etching Edition of 30 plate 24 x 24 inches sheet 30 x 30 inches

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

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Receive Art in Print’s weekly News of the Print World via email. It’s all part of your subscription. www.artinprint.org Suscríbete a la revista sobre grabado más pionera Subscribe to the most pioneering print magazine TOM HÜCK Contributors to this Issue The Monumental Triptychs I–III Julie Bernatz is the Associate Publisher of Art in Print. Catherine Bindman is an editor and art critic who has written extensively on both Old Master and contemporary prints. She was Deputy Editor at Art on Paper magazine and lives in New York.

Lisa Bulawsky is the director of Island Press and a professor of art in the Sam Fox School of Design & Visual Art at Washington University in St. Louis. She is a visual artist whose works have been widely exhibited in the United States and abroad.

Elizabeth Carpenter is an independent curator, writer, and educator based in Minneapolis, Minnesota. She is a former curator at the Walker Art Center in Minneapolis.

Victor M. Cassidy is an art journalist and critic who has published a book on the Chicago sculptor Steve Urry and Sculptors at Work, a volume of sculptor interviews. His book Artistic Collaboration Today is due in 2018. He has written for Art in America, Sculpture Magazine and other publications.

Alison W. Chang is an independent curator and scholar based in New York City and the Vice President of the Association of Print Scholars. She holds a BA from Wellesley College and an MA and PhD in the history of art from the University of Pennsylvania.

Charlotte Collins is a Berlin-based writer, editor and Argentine Tango dancer.

Morgan Dowty is a printmaker and art historian based in Baltimore. She is Curatorial Assistant for the Department of Prints, Drawings & Photographs at the Baltimore Museum of Art.

Sarah Kirk Hanley is an independent print specialist and critic based in the New York area. She is a frequent contributor to Art in Print and a consulting expert for 1stdibs.com and Art Peritus Advisors & Appraisers.

Jared Long is an American artist and life model living in Berlin.

Nina Katchadourian is an interdisciplinary artist whose work includes video, performance, sound, sculpture, photography and public projects. A museum survey of her work “Curiouser” is currently the Blanton Museum of Art and will travel to the Cantor Center at Stanford University in September 2017 and to the Institute for Contemporary Art at VCU in Richmond, VA in April 2018.

Kate McCrickard is an artist and writer based in Paris. Her publications include a 2012 monograph on the work of William Kentridge for Tate Publishing, a contributing essay to William Kentridge: Fortuna and contributions to Print Quarterly and Art South Africa quarterly.

Tom Reed is the master printer at Island Press and senior lecturer in the Sam Fox School of Design & Visual Art at Washington University in St. Louis. Reed received his MFA from the University of Iowa and has had several gallery and museum exhibitions, including at the Contemporary Art Museum St. Louis.

Bob Tomolillo began his career as a professional printer in 1972 working at Impressions Workshop in Boston and then in Amsterdam at The Printshop. He has been a member of The Boston Printmakers since 1986. His lithographs are included in Rijksmuseum, Harvard Art Museums and Boston Public Library print collections.

Michael Woolworth is an American-born publisher and printer based in Paris. He has been honored by the French government as a Maître d’art and Chevalier 526 West 26th St. rm 304 des arts et des lettres, and his editions have repeatedly been awarded the prize for the best artists’ book in France. He is also the co-founder and co-director of MAD, New York, NY 10001 a Paris-based editions fair. www.cgboerner.com Susan Tallman is the Editor-in-Chief of Art in Print.

62 Art in Print March – April 2018 Back Issues of Art in Print

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Volume 6, Number 1 Volume 6, Number 2 Volume 6, Number 3 Volume 6, Number 4 Elisabeth Pellathy, Lee Somers and Scott Stephens – Cahaba River Watershed – shells, map, moss, 44” x 30”, 2017

MYSTERIES OF PLACE Selected prints from the Institute of Electronic Arts, New York State College of Ceramics at Alfred University Featuring the work of Elisabeth Pellathy, Lee Somers and Scott Stephens February 2 – July 29, 2018

Alfred University Alfred, NY 14802 ceramicsmuseum.alfred.edu