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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 AAA PASSION PASSIONPASSION FOR FORFOR SHARING SHARINGSHARING ART ARTART CurrentCurrentCurrent Exhibitions Exhibitions Exhibitions “For“For“For me, me, me, waking waking waking up up up each each each day day day without without without art art art around around around AndyAndyAndy Warhol: Warhol: Warhol: Prints Prints Prints from from from the the the Collections Collections Collections of of of mememe would would would be be be like like like waking waking waking up up up without without without the the the sun. sun. sun. JordanJordanJordan D. D. D.Schnitzer Schnitzer Schnitzer and and and His His His Family Family Family Foundation Foundation Foundation WhenWhenWhen you you you live live live with with with art art art around around around you, you, you, your your your mind mind mind PalmPalmPalm Springs Springs Springs Art Art Art Museum Museum Museum PalmPalmPalm Springs, Springs, Springs, CA CA CA • • Mar• Mar Mar 3, 3, 3,2018 2018 2018 - -May -May May 28, 28, 28, 2018 2018 2018 andandand soul soul soul are are are filled filled filled withwithwith the thethe beauty beautybeauty of of oflife life life and andand the thethe creativitycreativitycreativity of of of the the the human human human spirit.” spirit.” spirit.” EnriqueEnriqueEnrique Chagoya: Chagoya: Chagoya: Reimagining Reimagining Reimagining the the the New New New World World World NevadaNevadaNevada Museum Museum Museum of of Artof Art Art —— —JORDAN JORDAN JORDAN D. D. D. SCHNITZER SCHNITZER SCHNITZER Reno,Reno,Reno, NV NV NV • • Mar• Mar Mar 3, 3, 3,2018 2018 2018 - -Jul -Jul Jul 8, 8, 8,2018 2018 2018 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.
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  • NINA KATCHADOURIAN Born 1968 in Stanford, CA Lives and Works in Brooklyn, NY Nina@Immaterial.Net

    NINA KATCHADOURIAN Born 1968 in Stanford, CA Lives and Works in Brooklyn, NY [email protected]

    NINA KATCHADOURIAN Born 1968 in Stanford, CA Lives and works in Brooklyn, NY [email protected] www.ninakatchadourian.com EDUCATION 1996 Whitney Museum Independent Study Program 1993 University of California, San Diego M.F.A., Visual Art 1989 Brown University B.A. Visual Arts and B.A. Literature and Society (Honors) SOLO EXHIBITIONS 2016 Solo traveling exhibition curated by Veronica Roberts, the Blanton Museum, Austin, TX (catalog) 2015 Kansas Cut-Up, Kentucky Museum of Arts and Crafts, Louisville Sorted Books, Byrdcliffe Guild, Woodstock, NY 2014 Nina Katchadourian: Seat Assignment, Gund Gallery at Kenyon College Seat Assignment, Cecilia Brunson Projects + Basha Projects, London 2013 Two Libraries: Recently Sorted Books, Catharine Clark Gallery, San Francisco Return Trip, testsite, Austin, TX Grand State of Maine, permanent public commission for GSA, Van Buren, ME 2012 Seat Assignment, Catharine Clark Gallery, San Francisco Once Upon a Time in Delaware/In Quest of the Perfect Book, Delaware Art Museum, Wilmington, DE 2011 Seat Assignment, Dunedin Public Art Gallery, Dunedin, New Zealand 2010 Sorted Books, Clifford Art Gallery, Colgate University, Hamilton, NY Sorted Books, Philip Feldman Gallery at Pacific Northwest College of Art, Portland, OR 2009 Nina Katchadourian, Galeria Llucia Homs, Barcelona, Spain Tech Tools of the Trade, Contemporary New Media Art, de Saisset Museum at Santa Clara University, Santa Clara, CA 2008 A Fugitive, Some Maps, Cute Animals and a Shark, Catharine Clark Gallery, San Francisco, CA Nina Katchadourian: