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Ukiyo-E in Chicago • Chagoya's Goyas • a Critique of Art Since 1900 • 1913 Armory Show at IPCNY • Artists & Poets

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Ukiyo-E in Chicago • Chagoya's Goyas • a Critique of Art Since 1900 • 1913 Armory Show at IPCNY • Artists & Poets US $25 The Global Journal of Prints and Ideas July – August 2013 Volume 3, Number 2 Ukiyo-e in Chicago • Chagoya’s Goyas • A Critique of Art Since 1900 • 1913 Armory Show at IPCNY • Artists & Poets Keigo Takahashi • The Impressionist Line from the Clark • Jim Dine • Treasures from the Vault • Under 100 • News July – August 2013 In This Issue Volume 3, Number 2 Editor-in-Chief Susan Tallman 2 Susan Tallman On Broadcasting Associate Publisher Ellen E. Roberts 3 Julie Bernatz Ukiyo-e in Chicago: Frank Lloyd Wright, Marion Mahony Griffin and the Managing Editor Prairie School Annkathrin Murray Sarah Kirk Hanley 11 Associate Editor The Recurrence of Caprice: Amelia Ishmael Chagoya’s Goyas Manuscript Editor Treasures from the Vault Prudence Crowther Christine Giviskos 20 Design Director Exposition Henri-Gabriel Ibels Skip Langer à La Bodinière Commentary Robert Palter 23 The Print in Modern Art: A Critique of Art Since 1900 Reviews Sarah Andress 26 1913 Armory Show Revisited: the Artists and their Prints Susan Tallman / Julie Bernatz 29 Artists & Poets Britany Salsbury 33 The Impressionist Line Elleree Erdos 36 Keigo Takahashi: Creases 4 Mel Becker 37 A Printmaker’s Document by Jim Dine <100 40 News of the Print World 41 Contributors 52 Membership Subscription Form 53 On the Cover: Camille Pissarro, detail of Peasant Women Weeding the Grass (ca. Guide to Back Issues 54 1894), etching printed in blue, red, yellow, and black on cream laid paper, The Clark, 1962.91. This Page: Carla Scott Fullerton, detail of Paneled Forms (2013), etching with chine collé. Art in Print’s new series “Treasures from the Vault” Art in Print was made possible with the generous 3500 N. Lake Shore Drive support of the IFPDA Foundation. Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. On Broadcasting By Susan Tallman ver the past 150 years or so, as in “Ukiyo-e in Chicago” by Ellen E. Rob- Duchamp’s Nude Descending a Stair, No. 2, Oprinting came to dominate the erts. It also underlies Enrique Chagoya’s was made infamous by the many printed visual environment, printmaking be- cheeky, poignant adaptations of Goya reproductions made of it. The role of came a critical tool for artists searching etchings, scrutinized in this issue by print in the Armory Show, however, is for the nature of modern experience. critic Sarah Kirk Hanley. While ukiyo-e rarely mentioned today. Some were drawn to the visual effects prints were commercially produced and In his critique (page 23) of Art Since of certain techniques, but the critical populist in appeal, Goya’s etchings are 1900, the current standard text on art of quality linking printmaking to modern more ambivalent objects—they describe the 20th century, historian Robert Pal- life was multiplicity: the simple mind- the plight of common people but have ter documents the contradiction that bending ability to be two places at once. always been collected as “high art.” plagues modern art history: the persis- Multiplicity can make things cheaper; Chagoya further articulates this paradox tently retrograde—one might even say it can make them pandemic; it can help as he borrows, adapts and scrupulously patrician—disdain for actual multiplic- them to crash social barriers and bridge makes images by hand. ity among even the most forward look- geographical distances; it is—as every The constellation of exhibitions and ing and left-leaning of writers. The 20th entomologist knows—a good strategy for events reviewed starting on page 26 century was when mass image produc- intergenerational survival. In this issue looked at the 20th-century romance tion became a critical cultural force; of Art in Print we lay out a diverse array between printed images and published when artists and critics staked their posi- of subjects—from Enrique Chagoya’s poetry, from Henri Matisse’s Mallarmé- tions—pro or con—relative to pop imag- glosses on Francesco Goya to the influ- induced reveries to Leslie Dill’s channel- ery, kitsch and propaganda; when the ence of ukiyo-e prints on Frank Lloyd ing of Emily Dickinson. Despite radical social function of art objects in the world Wright—all tied, one way or another, to differences in style, these works were became the topic of art itself. Nonethe- the power of multiplicity. unified by their willingness to relinquish less, most histories of 20th-century art On page 20 we introduce a new series, certain types of control: to begin with continue to discuss these developments “Treasures from the Vault,” in which we another person’s words, to pursue an almost exclusively through painting and invite a curator, collector or artist to idea through obstreperous techniques, to sculpture, unique objects produced for a pick a single work to discuss in depth. publish something private. tiny a group of highly privileged people, The first is written by Christine Givis- The “original artists’ print” has been ignoring the passionate attention paid kos of the Zimmerli Museum at Rutgers a culturally rich territory for the past 150 to prints and multiplicity by most of the University, who examines Henri-Gabriel years precisely because of—not in spite century’s major artists. Ibels poster for his own 1894 exhibition. of—these ironies. Most prints are neither In the end it will be artists who deter- Ibels’ borrows motifs from his expansive mass-produced nor unique; they share a mine how prints matter. In his new book, bodies of prints—limited edition portfo- family tree with both illuminated manu- A Printmaker’s Document (reviewed by Mel lios as well as commercial designs that scripts and trade paperbacks. Keigo Taka- Becker on page 37), Jim Dine writes that connected serious visual art and popular hashi’s reduction woodcut, reviewed by he has made more than 1000 prints, and entertainment, images of the world and Elleree Erdos on page 36, was printed in adds “I’m not done yet.” The etomologist in the world. an edition of seven, but that small edition smiles. This compound role of printmaking directs the viewer’s attention to the mate- in fin de siècle France was also in evi- rials and processes used in a way that a Susan Tallman is the Editor-in-Chief of dence in “The Impressionist Line from simple drawing of the image would not. Art in Print. Degas to Toulouse-Lautrec: Drawings These issues—the relationship be- and Prints from the Clark,” reviewed tween the worlds of art and pop culture; by Britany Salsbury on page 33. Artists the division of powers between artist, gravitated to printmaking because its fabricator and audience; the social acces- layered logic facilitated a certain kind of sibility of art objects; the visibility of pro- experimentalism (witness Degas’ prac- cess—have been critical to modern art, tice of churning out monotypes to use as and multiplicity has been an important the basis of pastel drawings); because its tool in their pursuit. techniques suited the formal simplifica- As Sarah Andress points out in her tion, flattening and abstraction that were review of “1913 Armory Show Revisited,” essential to burgeoning modernism; and even such art historical lynchpins as because the print functions socially in a the famous “International Exhibition of way that painting does not. Modern Art” succeeded largely through The ability of the print to broadcast print: nearly half the works sold from an aesthetic idea is fundamental to the the 1913 show were prints, and the exhi- architectural developments documented bition’s most infamous painting, Marcel 2 Art in Print July – August 2013 Ukiyo-e in Chicago: Frank Lloyd Wright, Marion Mahony Griffin and the Prairie School By Ellen E. Roberts t the turn of the 20th century, A collectors in Chicago assembled some of the most impressive holdings of Japanese ukiyo-e prints in the United States, and these works inspired the designers of the Prairie School to experi- ment with Japanism. One of the leading collectors and dealers of this material in the city was Frank Lloyd Wright,1 who incorporated into his architecture the asymmetry, geometric simplicity, and abstraction that he admired in Japanese prints and traditional Japanese build- ings.2 Wright’s ukiyo-e collection helped introduce Japanese aesthetics to many Chicagoans, including the architects working with him at his firm in the sub- urb of Oak Park. One of these was Marion Mahony (later Griffin), whose renderings of Wright’s Japanesque buildings emu- lated these prints in especially inven- tive ways.3 Long after Griffin had ceased working with Wright, she continued to use Japanism in her drawings. Wright, Griffin and their Prairie School colleagues found Japanese prints inspiring because they seemed to come from a society that had an ideally close relation with nature, the sort of connec- tion that Prairie School architecture, and the broader Arts and Crafts movement, meant to restore for modern Americans. Although Japan was rapidly industrial- izing by the end of the 19th century, American designers looked at prints such as Utagawa Hiroshige’s Plum Garden at Kameido (Fig. 1) and saw what seemed to be the beautifully artistic life they sought to promote in their Arts and Crafts works. Even Wright, who visited Japan multiple times beginning in 1905, con- tinued to view the country in an ideal- ized way derived from ukiyo-e. While the Japanesque work of such Prairie School designers tells us little about Japan at the Fig. 1. time, it does reveal 20th-century Ameri- Utagawa Hiroshige, Plum Garden at Kameido from the series One Hundred Famous Views of Edo (1857), color woodblock print, 36 x 42.1 cm.
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