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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 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 , and the Managing Editor 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, O printing 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 , 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 , 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: , 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. The , Clarence Buckingham cans’ ambivalence toward the modern- Collection, 1925.3752. This impression was owned by Frank Lloyd Wright. ization of their own society.4 Like most Americans, Chicagoans craze for all things Japanese widespread the country. Although he never learned began collecting Japanese art in earnest in the United States.5 Chicago banker Japanese, Gookin became an expert on in the 1880s, after the 1876 Philadel- Frederick Gookin was one of the first Japanese art and by 1888 was speaking on phia Centennial Exposition made the serious collectors of ukiyo-e prints in that topic at the Chicago Literary Club.

Art in Print July – August 2013 3 anese houses profoundly influenced him. Rejecting traditional Western archi- tecture such as that of the Renaissance, Wright emulated the Japanese buildings in Morse’s book and in ukiyo-e prints such as Utagawa Toyoharu’s Perspective Picture: Snow-viewing Banquet (Fig. 2). In Wright’s stairhall for Dankmar Adler and ’s James and Helen Charnley house (Fig. 3), for example, he used a unifying lintel in emulation of the Japanese kamoi jambs, translucent interior windows inspired by Japanese shoji, and alcoves resembling the toko- noma alcoves used in Japan for the dis- play of art objects.9 Wright admired the simplification, geometric modularity and openness he saw in Japanese architec- ture and ukiyo-e prints, and he began to use these characteristics as well. In the Fig. 2. Utagawa Toyoharu, Perspective Picture: Snow-viewing Banquet (ca. 1771), color woodblock Charnley house stairhall he allowed the print, 38.9 x 25.5 cm. The Art Institute of Chicago, Clarence Buckingham Collection, 1925.3184. This structure to dominate the decoration, impression was owned by Frank Lloyd Wright. creating interplays of space and light and exploiting, as he later described it, the Gookin befriended Edward Sylvester than anyone else to stem the tide of “definitely decorative value of the plain Morse, a zoologist who worked in Japan this folly. On one of his journeys home surface, that is to say, of the flat plane as and wrote the first book on Japanese he brought many beautiful prints, such.”10 For Wright, the porosity of space, domestic architecture in English Japanese those I made mine were the narrow tall which would become so characteristic of Homes and Their Surroundings (1886).6 In decorative form hashirakake ... These his architecture, was linked not only to 1890 and 1891, Gookin arranged a series first prints had a large share I am sure the traditional Japanese use of the open of lectures at the Art Institute of Chi- in vulgarising the Renaissance for me.8 plan, but also to ukiyo-e compositions. He cago, where Morse spoke on Japanese art, explained: “Hiroshige did, with a sense handcrafts and pottery. Through Morse, Wright and Gookin became close of space, very much what we have been Gookin met the art historian Ernest friends, and Wright was apt to have doing with it in our architecture. Here Fenollosa, another important Japanist, attended the lectures at the Art Institute you get a sense of tremendous, limitless who was Morse’s neighbor in Salem, by Morse, whose work on traditional Jap- space, instead of something confined Massachusetts. within a picture.”11 In 1886–87 Fenollosa traveled around Wright’s interest in Japan was further the world with the Japanese Imperial encouraged by the Japanese displays at Fine Arts Commission and likely visited the 1893 World’s Columbian Exposition Chicago to see his cousin, the architect in Chicago. There, for the first time, Joseph Lyman Silsbee. Silsbee acquired Japanese art was shown in the Fine Arts Japanese objects through Fenollosa; he Building, rather than in the ethnographic displayed a bronze bodhisattva, a hanging area, and Japanese architecture had pride scroll and porcelain in his house, and he of place, with a building based on the hung ukiyo-e prints in his office, where Ho-o-do temple outside Kyoto promi- Wright, his young assistant, probably first nently placed on the fair’s Olmsted- saw these works.7 Although Wright only designed Wooded Isle and installed with worked for Silsbee briefly in 1887–88, the traditional Japanese interiors.12 Wright, encounter sparked his interest in Japan who was just beginning his own architec- and his awareness of leading Ameri- tural practice, began to incorporate Japa- can Japanists such as Fenollosa. Wright nism into his buildings’ exteriors as well recalled in 1917: as their interiors as he developed what became known as the Prairie style. When I first saw a fine print about It was in seeking to furnish such struc- twenty-five years ago it was an intoxi- tures that Wright became a Japanese print cating thing. At that time Ernest dealer. His Buffalo, New York, patron Fenollosa was doing his best to per- Darwin D. Martin had commissioned a Fig. 3. suade the Japanese people not to Frank Lloyd Wright, for Adler and Sullivan, house in 1903 (Fig. 4) and given Wright Stairhall, view up to skylight, James and Helen wantonly destroy their works of art Charnley House, Chicago, IL (1891–1892). an unlimited budget, allowing him to ... Fenollosa, the American, did more Photo: Ellen Roberts. express his ideal of the Prairie house.13

4 Art in Print July – August 2013 Fig. 4. Frank Lloyd Wright, entrance hall and view down the pergola toward the conservatory, Darwin D. Martin house, Buffalo, N.Y., (ca. 1908). Photograph by Henry Fuermann and Sons. Courtesy The Metropolitan Museum of Art, New York, Purchase, Hermann G. Pundt, Gift and Edward Pearce Casey Fund, 1981.1005.4. ©The Metropolitan Museum of Art. Art Resource, NY. A bird and flower print by Fig. 5. Utagawa Hiroshige, Swallows and Cherry Utagawa Hiroshige hangs on the pier to the right. Blossoms (early 1830s), color woodblock print, 37.5 x 12.7 cm. The Art Institute of Chicago, Clarence Buckingham Collection, 1925.3591. Inspired by Japanese architecture and the most remarkable ukiyo-e collections This impression was owned by Frank Lloyd prints, Wright designed a modular, in the United States. The banker and Wright. sparely decorated building with an open railroad magnate saw his first prints at plan, in which the geometric structure is the World’s Columbian Exposition and held in the U.S. (Fig. 6). Wright lent 218 emphasized. He concluded that ukiyo-e bought his first examples the following prints, more than any other collector, prints would harmonize perfectly with year. By the time he died in 1913, Bucking- followed by Buckingham with 162 and such interiors and sold Martin examples ham had assembled a collection of nearly Gookin with 130. As the most knowledge- from the collection he had brought back 1,500 ukiyo-e, which his sister Kate gave able of these collectors, Gookin curated from his first trip to Japan in 1905. Wright to the Art Institute of Chicago in 1925. the exhibition, dividing the prints by especially admired Hiroshige’s work and Gookin became the first curator of this period and artist. Wright designed the thought that his bird and flower prints, collection, which is still the heart of the installation and decided how to hang the such as Swallows and Cherry Blossoms (Fig. museum’s excellent ukiyo-e holdings. works, using his characteristic geometric 5), were the most fitting decoration for a By 1908, Chicago was home to superb simplification in the decoration and fur- Prairie house. collections of Japanese prints, as evi- nishings. He arranged the prints for max- Wright went on to sell prints to a num- denced by the Art Institute’s exhibition imum decorative effect, hanging them ber of Chicagoans, most notably Clarence of 655 ukiyo-e drawn from local hold- from cords of varying lengths to create an Buckingham, who put together one of ings, the largest Japanese print show ever arrangement of horizontals and verticals

Art in Print July – August 2013 5 Fig. 6. A Loan Exhibition of Japanese Colour Prints (1908), Art Institute of Chicago, installation designed by Frank Lloyd Wright. Photo: Institutional Archives, Art Institute of Chicago. reminiscent of the geometric balance he artists, after the fundamental mathemat- 1906 K. C. de Rhodes House in South admired in ukiyo-e. Wright also adopted a ics of structure,” a statement that could Bend, Indiana,17 Mahony typically set subtle color scheme, mounting the prints apply equally well to his architecture.15 off the spare planes of Wright’s architec- in neutral mats with chestnut frames, The prints that Wright brought back ture by surrounding his buildings with which were hung from muted green cords from Japan in 1905 not only led to his detailed renditions of foliage, creating against grayish-pink walls so as not to becoming a dealer and exhibitor but contrasting blank and detailed areas overwhelm the prints’ transparent and also influenced the architects working reminiscent of ukiyo-e prints such as often faded colors. For smaller works, in his firm, especially Marion Mahony. Hiroshige’s bird and flower works (Fig. 5). Wright designed a stand with a simpli- The second woman to graduate from In this rendering, Mahony even included fied silhouette of vertical and horizontal the Massachusetts Institute of Technol- a bird and flower inspired by such a Hiro- elements that harmonized perfectly with ogy, Mahony began working for Wright shige print in the lower left corner. Wright the surrounding architecture and the in 1895 and became his lead assistant. A later inscribed the drawing: “Drawn by prints’ underlying geometry. particularly talented draftsperson, she Mahony—After FLLW and Hiroshige.” During the exhibition, Wright gave a executed the presentation drawings for Both Mahony and Wright admired lecture on Japanese prints at the Chicago many Wright buildings. Barry Byrne, the way Japanese artists manipulated Woman’s Club, which he later expanded another architect working for Wright, perspective for expressive ends. In emu- into his book The Japanese Print: An Inter- recalled: “The style of these drawings of lation of such effects, Mahony frequently pretation.14 The text reveals that Wright’s Miss Mahony’s was determined only in depicted Wright’s buildings from unusu- high regard for ukiyo-e was, like that of a general way by Mr. Wright, he having ally high or low perspectives in order most Westerners at this time, grounded in mind, of course, the artistic charac- to achieve the graphic abstraction she in their formal characteristics rather ter evident in Japanese prints. The pic- appreciated in ukiyo-e. In her rendering than in any understanding of their origi- ture compositions were initiated by Miss of Wright’s 1905 Thomas P. Hardy House nal meaning in Japanese culture. Wright Mahony, who had unusually fine compo- in Racine, Wisconsin (Fig. 7), for example, was also typical in that he found in ukiyo-e sitional and linear ability, with a drawing Mahony chose a viewpoint looking up at the qualities that would justify his own ‘touch’ that met with Mr. Wright’s highly the house from the Lake Michigan shore, aesthetic project. He wrote of Japanese critical approval.”16 Wright encouraged creating a radically asymmetrical compo- print designers: “This process of elimina- Mahony to emulate ukiyo-e, and she made sition in which the lower half is almost tion of the insignificant we find to be their Japanism her own. entirely blank. The work’s extreme ver- first and most important consideration as As she did in her drawing of Wright’s ticality, reminiscent of a Japanese pil-

6 Art in Print July – August 2013 Mahony continued to experiment with Japanism after Wright abandoned Oak Park for Europe in 1909. In 1911 she married another former Wright assis- tant, , and the two worked on a number of architectural commissions together. Marion Mahony Griffin’s perspective view of the Rock Crest/Rock Glen neighborhood of Mason City, Iowa, which she and her husband designed circa 1912 (Fig. 9), demonstrates her continuing engagement with Japa- nese sources. The composition is divided into three, with the vertical compositions at either end suggestive of Japanese pil- lar prints or hanging scrolls, while the radically horizontal central composition suggests a Japanese handscroll.18 In this work, Griffin used the bird’s-eye view that appears in prints such as Katsushika Hokusai’s Bamboo Fence at Kume Vil- lage (Fig. 10). In Griffin’s rendering, this tipped-up perspective emphasizes the houses nestling into the landscape, just as the structures in Hokusai’s landscape do. This treatment stressed her buildings’ close connection to nature, in good Arts and Crafts fashion. Just as Hokusai did, she also framed the architecture with golden clouds, which serve to obscure some areas and highlight others, creating an asymmetrical yet balanced composi- tion in which detail is contrasted with emptiness. Such golden clouds origi- nated in traditional Japanese yamato-e paintings.19 Griffin’s materials further evoke Japanese paintings. The iridescent satin ground is unusual in an architectural rendering, but suggests the silk support of Japanese paintings. Prairie School architect William Purcell described how after she left Wright’s firm she:

continued the development of her personal style of drawing and worked out a system for tinting line render- ings transferred to satin by black or brown line blueprint process. These lar print (Fig. 8), further contributes to were then colored with liquid Japanese its abstraction. Although this rendering dyes and produced a lovely and unique is not a conventionally useful source of art form. She kept everything within information on Wright’s building, it is the medium but fully expressive of its true to the Japanism that underlay such possibilities. The compositions were Wright structures. developed in highly decorative pat-

Above: Fig. 7. Marion Mahony, Perspective View of Frank Lloyd Wright’s Thomas P. Hardy House, Racine, Wisconsin (1905) for Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright (Berlin: E. Wasmuth, 1911), plate 15, lithograph on tan wove paper, 5 1/2 x 21 inches. The Art Institute of Chicago, Ryerson and Burnham Libraries. Right: Fig. 8. Suzuki Harunobu, Osen at the Tea House at the Gate of the Kasamori Shrine (1769–70), color woodblock print, 68.8 x 12.2 cm. The Art Institute of Chicago, Clarence Buckingham Collection, 1925.2746. This impression was owned by Frank Lloyd Wright.

Art in Print July – August 2013 7 Fig. 9. Marion Mahony Griffin, Perspective View of Marion Mahony Griffin and Walter Burley Griffin’s Rock Crest/Rock Glen, Mason City, Iowa (ca. 1912), lithograph and gouache on green satin, 59 x 201 cm. The Art Institute of Chicago, Gift of Marion Mahony Griffin through Eric Nicholls, 1988.182.

terns, with flat Japanesque values and foliage was undoubtedly based on a Japa- Tasmania / On the Seacoast (Fig. 12), she in colors that were looked upon at that nese motif.”22 noted that the tree was “picturesque as time as extremely radical.20 In her series of Forest Portraits (Fig. 12), the dwarf Japanese pines.”24 Of her Forest begun in the late 1910s, Griffin explored Portrait No. 18, Sassafras Trees, Tree Ferns, It is a sign of Griffin’s Japanism that Japanesque resonances in the Australian and Giant White Eucalyptus, she wrote: Purcell assumed she was employing Japa- landscape. Fascinated with the conti- “So many of the Australian trees, unlike nese dyes, when in fact she was using the nent’s flora, she intended these works to ours, have showy masses of blossoms Western medium of gouache to achieve be botanical illustrations. Unlike tradi- that pilgrimages to the fern gullies in the Japanesque effects. tional botanical illustrations, however, spring time are not unlike the Japanese In 1914, after winning the commis- the Forest Portraits are large in scale and pilgrimages to the flowering cherry and sion to design the new Australian capital, show the plants in a landscape context. plum.”25 Like Wright, Griffin was drawn , the Griffins moved to Austra- Critics noted Griffin’s abstraction and to the apparently close relationship with lia. There, they began to move away from flattening and linked the works to Japa- nature she saw pictured in Japanese the Japanese influence of their earlier nese art. A writer in the journal Build- printed images. Prairie School architecture: Griffin later ing wrote of the Forest Portraits: “If we Even after numerous trips to Japan, described their design for Newman Col- were told they were of the best period Wright continued to envision the country lege at the University of (Fig. 11) of Japanese art we would hardly raise a as it appeared in ukiyo-e. As late as 1943, as indebted to the “Mayan architecture question.”23 In her extended captions for he wrote: “Ever since I discovered the of Ancient Mexico.”21 Griffin’s drawings, these works, Griffin established her sub- print Japan had appealed to me as the however, continued to exhibit qualities jects’ aesthetic value by associating them most romantic, artistic, nature-inspired of Japanism; one reviewer wrote of her with plants in Japanese art. Writing on country on earth.”26 Although Japanese views of the Canberra commission: “the Forest Portrait No. 1, Banksia Marginata, architecture and paintings also inspired

Fig. 11. Marion Mahony Griffin, Perspective View of Marion Mahony Griffin and Walter Burley Griffin’s courtyard, Newman College, University of Melbourne, Australia (ca. 1915–18), lithograph, gouache, and ink on beige silk, 37.2 x 109 cm. The Art Institute of Chicago, Gift of Marion Mahony Griffin through Eric Nicholls, 1996.24.2.

8 Art in Print July – August 2013 Fig. 10. Katsushika Hokusai, Bamboo Fence at Kume Village, from the series Eight Views of the Ryūkyū Islands (ca. 1832), color woodblock print, 25.8 x 37.3 cm. The Art Institute of Chicago, Clarence Buckingham Collection, 1925.3383. This impression was owned by Frank Lloyd Wright.

Prairie School designers like Wright and Janice Katz, Roger L. Weston Associate Curator 7. Silsbee’s hall and dining room are illustrated in Griffin, it was the print that governed of Japanese Art at the Art Institute of Chicago, for Inland Architect, 34, no. 6 (November 1890), n.p. their view of Japanese culture, and it was her many insights about this topic. 8. Frank Lloyd Wright, “The Print and the Renais- that view that caused them to emulate 2. On Japanese influence on Wright, see Kevin sance,” manuscript, , Nov. 15, 1917, Frank Nute, Frank Lloyd Wright and Japan: The Role of Lloyd Wright Foundation, quoted in Kevin Nute, this source through the early 20th cen- Traditional Japanese Art and Architecture in the Frank Lloyd Wright and Japan, 24–25. Although tury. The harmonious scenes that Work of Frank Lloyd Wright (London: Routledge, Wright said he obtained his first ukiyo-e prints appeared in the ukiyo-e landscapes of 1993). On Japanese influence on the Arts and about 25 years before 1917, or in 1892, he also Hokusai and Hiroshige seemed to sug- Crafts movement, including the Prairie School, remembered that it was when Fenollosa was gest exactly the sort of environment these see Ellen E. Roberts, “The Spell of Japan Was convincing the Japanese of their traditional art’s Upon Them: Japanism and the Arts and Crafts value. By 1892, thanks in part to Fenollosa, the architects sought to create in the modern Movement,” in Judith A. Barter, ed., Apostles of Japanese had new appreciation for their artistic world. Beauty: Arts and Crafts from Britain to Chicago, tradition, and Fenollosa was back in the United exh. cat. (Art Institute of Chicago, 2009), 45–82. States. Thus, Wright likely obtained his first prints 3. On Marion Mahony Griffin, see Debora Wood, before this, when Fenollosa returned from Japan ed., Marion Mahony Griffin: Drawing the Form of in July 1890, at the same time Silsbee acquired Ellen Roberts is the Harold and Anne Berkley Nature, exh. cat. (Evanston, Ill: Mary and Leigh the Japanese art that was in his house by Novem- Smith Curator of American Art at the Norton Block Museum of Art, Northwestern Univer- ber 1890. Museum of Art in Florida. sity, 2005); and David Van Zanten, ed., Marion 9. On Japanism in the Charnley house, see Ellen

Mahony Reconsidered (Chicago: University of E. Roberts, “Japanism as Integral to the Modern Chicago Press, 2011). American Home: Frank Lloyd Wright and the Notes: 4. On American antimodernism in this period, see Charnley House,” ch. 4 in “Japanism and the 1. On Wright as a collector and dealer of Japa- T. J. Jackson Lears, No Place of Grace: Antimod- American Aesthetic Interior, 1867–1892: Case nese prints, see Julia Meech, Frank Lloyd Wright ernism and the Transformation of American Cul- Studies by James McNeill Whistler, Louis Comfort and the Art of Japan: The Architect’s Other Pas- ture, 1880–1920 (Chicago: University of Chicago Tiffany, Stanford White, and Frank Lloyd Wright” sion, exh. cat. (New York: Japan Society, 2001). Press, 1981). (Ph.D. dissertation, Boston University, 2010), This article has grown out of work I did for the 5. On American Japanism, see William N. Hosley, 203–253. Authorship of the Charnley house is exhibition “The Formation of the Japanese Print The Japan Idea: Art and Life in Victorian America, still debated. Wright claimed that he designed Collection at the Art Institute of Chicago: Frank exh. cat. (Hartford, Conn.: Wadsworth Atheneum, the entire structure, but it seems unlikely that Lloyd Wright and the Prairie School,” held at the 1990). Louis Sullivan would have delegated the com- Art Institute of Chicago, August 11–November 4, 6. Edward Sylvester Morse, Japanese Homes mission to his assistant, since the Charnleys 2012. I am grateful to my co-curator on that show, and Their Surroundings (Boston: Ticknor, 1886). were his close friends. Nevertheless, as chief

Art in Print July – August 2013 9 draftsperson at Adler and Sullivan, Wright would have been charged with developing the design’s details, especially those on the interior. Indeed, it is on the interior, especially in the upper sto- ries, where Japanese resonances appear, forms that were characteristic of Wright’s, and not Sul- livan’s, architecture. For more on the Charnley house, see Richard Longstreth, ed., The Charnley House: Louis Sullivan, Frank Lloyd Wright, and the Making of Chicago’s Gold Coast (Chicago: University of Chicago Press, 2004). 10. Frank Lloyd Wright, Frank Lloyd Wright, An Autobiography (New York: Duell, Sloan and Pearce, 1943), 132. 11. Frank Lloyd Wright, “The Japanese Print Party,” tape transcript, Taliesin, Sept. 20, 1950, Ó FLWF. Quoted in Nute, Frank Lloyd Wright and Japan, 108. 12. For illustrations of this structure, see C. D. Arnold and H. D. Higinbotham, Official Views of the World’s Columbian Exposition (Press Chicago Photo-gravure Company, 1893), plates 54–55. For illustrations of the interiors, see Okakura Kakuzo, The Ho-o-den (Tokyo: K. Ogawa, 1893). 13. On the Martin house, see Jack Quinan, Frank Lloyd Wright’s Martin House: Architecture as Por- traiture (New York: Princeton Architectural Press, 2004). 14. Frank Lloyd Wright, The Japanese Print: An Interpretation (Chicago: Ralph Fletcher Seymour, 1912). 15. Wright, The Japanese Print, 13–14. 16. Barry Byrne, review of Arthur Drexler’s The Drawings of Frank Lloyd Wright (New York: Hori- zon Press, 1962), in Journal of the Society of Architectural Historians, 22 (May 1963), 109. 17. The Frank Lloyd Wright Foundation Archives The Museum of Modern Art/Avery Architectural & Fine Arts Library, Columbia University, New York. 18. For a Japanese hanging scroll with a simi- lar composition to the panels at the ends of Griffin’s view of Rock Crest/Rock Glen, see Moku’un Ryûtaku, Landscape (1500), ink and light color on paper, Museum of Fine Arts, Bos- ton, 11.6331. For a Japanese handscroll with a similar composition to that of the central area, see Sesshu Toyo (1420–1506), Landscape of the Four Seasons, ink and faint color on paper, Mori Museum, Yamaguchi, Japan. 19. For such a yamato-e painting, see Artist unknown (Japanese), The Tale of Taishokan, (1640/80) pair of six-panel screens; ink, col- ors, and gold on paper, Art Institute of Chicago, 1996.436.1-2. 20. Walter Burley Griffin correspondence, William Gary Purcell Papers, Northwest Architec- tural Archives, University of Minnesota Libraries. 21. Marion Mahony Griffin,The Magic of America: Electronic Edition (Art Institute of Chicago and New-York Historical Society, 2007), vol. II, p. 241. 22. “Along the Bye-Paths: Exhibition of Mrs. Griffin’s Work,” Journal of the Proceedings of the Royal Victorian Institute of Architects, 11, no. 4 (September 1913), 200. 23. “Institute of Architects: Review of the Annual Exhibition of Work,” Building, Oct. 11, 1930, 54. 24. Griffin, The Magic of America, vol. III, 25. 25. Griffin, The Magic of America, vol. III, 348. 26. Wright, An Autobiography, 194. Fig. 12. Marion Mahony Griffin, Forest Portrait No. 1: Banksia Marginata, Tasmania / On the Seacoast (December 1918 – January 1919), pen and black ink on drafting linen, 93.98 x 45.72 cm. The Art Institute of Chicago, Gift of Marion Mahony Griffin through Eric Nicholls, 1988.9.5.

10 Art in Print July – August 2013 The Recurrence of Caprice: Chagoya’s Goyas By Sarah Kirk Hanley

Enrique Chagoya, La Libertad (Liberty) (2006). Monotype on Somerset paper, 34 1/2 x 47 3/4 inches. Edition of 3. Printed and published by Smith Andersen Editions, Palo Alto, CA. ©Enrique Chagoya. Courtesy of the artist and George Adams Gallery, New York.

Hegel remarks somewhere that all dramas with their own caricatured fiends intimate media of drawing and prints to great world-historic facts and person- and beasts.2 Enrique Chagoya, however, express his personal views, refining his ages appear, so to speak, twice. He is the artist who has most effectively ideas and compositions in sketchbooks forgot to add: the first time as tragedy, demonstrated the uncanny relevance of that he later translated into etchings.6 the second time as farce. Goya’s political satire to our own times. The 80 etchings of the Caprichos, which —Karl Marx1 Since 1983, he has faithfully recreated first appeared in 1799, mocked the back- over 30 Goya etchings, altering each by wardness of Spanish culture, the nobil- s if taking Marx’s famous observa- deft substitutions that pinpoint our own ity, the government and the Church, and A tion to heart, a number of con- social ills. Chagoya’s Goyas are decidedly were almost immediately withdrawn temporary artists have appropriated farcical, but his savage political wit and from publication. The Desastres, a loosely ’s darkly satirical prints his reverence for the original works have related group of 85 etchings that por- to serve their own commentaries on produced a graphically compelling and trayed the effects of the human folly. Jake and Dinos Chapman poignantly acerbic body of work. between Napoleonic France and Spain, have amplified the morbidity and degen- Goya’s three great suites of etch- was considered too lurid for the time, and eracy found in Goya to the point of ings—Caprichos (Caprices) (1797-98),3 the the plates sat in storage until 1863 when infamy; the Japanese conceptual photog- so-called Desastres de la Guerra (Disasters of they were finally published, 35 years after rapher Yasumasa Morimura has drawn War) (1810 -1 4 a nd 182 0 -2 3), 4 a nd Disparates/ Goya’s death.The more lyrical Disparates on Goya’s Romantic aesthetic in a series Proverbios (Follies/Proverbs) (ca. 1816-17)— expanded on the allegorical language of of elaborate self-portraits that mimic are some of the most lastingly influential the Caprichos: the compositions are larger the master’s compositions; and sculp- works in the history of prints.5 Painter and more complex, the artist’s intentions tors Rona Pondick and Thomas Schütte to the Spanish court during the last gasp more veiled, and the use of etching tech- have repurposed Goya’s psychological of the Inquisition, Goya turned to the niques more sophisticated. Sometimes

Art in Print July – August 2013 11 hilarious, sometimes heartbreaking, sometimes both, Goya’s prints were revo- lutionary in being simultaneously satiri- cal and profound.7 Enrique Chagoya’s first serious encounter with these prints occurred in 1983 when he was an undergraduate at the San Francisco Art Institute taking a course on the history of printmaking with Robert Flynn Johnson, curator at the Achenbach Foundation for Graphic Arts. Johnson taught from the collection, and the final assignment could be either a paper or a work of art. Chagoya sub- mitted an intaglio print that replicated plate 71 of Goya’s Desastres—Contra el bien general (Against the common good)— but gave Goya’s bat-winged monster the face of Ronald Reagan (Fig. 1). “I already vaguely had this idea of making Reagan one of Goya’s demons,” Chagoya recalls. But it was in Johnson’s class that he was inspired, not simply to borrow Goya’s iconography, but to make “a print that would look like Goya’s print with Reagan as the central character. It was a very exciting feeling.”8 Chagoya has returned to this format again and again over the course of his career: his most recent portfolio of etch- ings after Caprichos appeared this spring. Of his 34 intaglio prints after Goya, all but two carefully reproduce the dimensions and appearance of the originals, includ- ing plate numbers and collection stamps (the remaining pair are original compo- sitions with Goya-esque motifs). These works have appeared as both stand-alone prints and in portfolios; almost half derive from Caprichos, more than a dozen from Desastres, and three mimic iconic images from Disparates. [See the checklist at the end of this article for a full listing and correlation to the Goyas.] While his subjects have changed down the years— from Reagan to Monica Lewinsky to Dick Cheney to Barack Obama—Chagoya’s themes remain Goya’s themes: corrup- tion, scandalous behavior in the Church, extremes of poverty and wealth, atroci- ties of war, and an upper class tainted by decadence and self-satisfaction. (The fact that Reagan’s head supplants that of a demon while Obama’s replaces that of Above: Fig 1. Enrique Chagoya, Contra el bien general. (Against the common good.) from Homage to Goya II: (1983, published 2003), etching with aquatint and red a beautiful young woman is indicative of rubber stamp, image 6 3/4 x 8 1/2 inches, sheet 13 x 15 inches. Edition of 30. Printed and published the artist’s political sympathies, which by Segura Publishing Company, Tempe, AZ. ©Enrique Chagoya. Courtesy of the artist and Segura Goya would likely have shared.)9 Arts Studio, University of Notre Dame, South Bend, IN. Below: Fig 2. Enrique Chagoya, Estragos de Chagoya has also made occasional la guerra. (Ravages of war.) from Homage to Goya II: The Disasters of War (1983-87, published prints after other artists, including 2003), etching with aquatint and red rubber stamp, image 6 3/4 x 8 1/2 inches, sheet 13 x 15 inches. Edition of 30. Printed and published by Segura Publishing Company, Tempe, AZ. ©Enrique José Posada, Jacques Callot and George Chagoya. Courtesy of the artist and Segura Arts Studio, University of Notre Dame, South Bend, IN. Cruikshank. These appropriations fit into

12 Art in Print July – August 2013 Left: Fig 3. Enrique Chagoya, Linda maestra! (A fine teacher!) from The Return to Goya’s Caprichos (1999), etching with aquatint and red rubber stamp, image 5 7/8 x 8 1/4 inches, sheet 15 x 11 inches. Edition of 40. Printed and published by Segura Publishing Company, Tempe, AZ. ©Enrique Chagoya. Courtesy of the artist and Segura Arts Studio, University of Notre Dame, South Bend, IN. Right: Fig 4. Enrique Chagoya, Porque esconderlos? (Why hide them?) from Recurrent Goya (2012, published 2013), etchings and aquatint with red letterpress remarque on Revere Ivory paper, image 5 7/8 x 8 1/4 inches, sheet 14 5/8 x 11 1/16 inches. Edition of 18. Printed and published by Universal Limited Art Editions, Bay Shore, NY. ©2012 Enrique Chagoya/ Universal Limited Art Editions. the body of political and social-satirical decades (for the series published this year, way I could get close to his lines was works he makes in various media. They he examined impressions at the Prado).12 by shaking my hand while drawing stand apart from his other main body of He begins with plates that are about 1/16 them, otherwise my lines would be too work, the “reverse anthropology” pseudo- inch longer in each dimension than the straight, and I concluded that by the artifacts, mainly codices and lithographs, platemarks on the original impressions, time Goya made his etchings he had that purport to document an alternate to compensate for later shrinkage in the to have [had] a shaky hand. It was history in which Mesoamericans van- paper. He then traces the image from a a weird revelation, and perhaps my quished the conquistadors and exerted Dover Publications book that reproduces closest communication with Goya’s cultural hegemony [see Art in Print, Vol. Goya prints true-to-scale, flips the trac- ghost.... I love the shaky lines; they 1, No. 6].10 ing over to compensate for the left-right are more beautiful than straight lines. Chagoya has been fascinated with the reversal of printing, and using a sheet It was a drawing lesson Goya taught art of forgery since childhood. In a recent of transfer paper, traces the outlines me… quite a revelation for my forma- discussion, he emphasized the impact of of the image onto the grounded plate. tive years as a printmaker.14 his father’s work on his own: as an officer Finally, he draws directly with a stylus in the department of criminology at the on the plate while carefully observing a The lines are then etched to varying central bank of Mexico, the elder Chagoya reversed image of the original, copying degrees in accordance with Chagoya’s kept examples of counterfeit currency, Goya’s original marks as closely as pos- notes on the original. After that, the plate including intaglio plates, in his office and sible. (Chagoya believes that masterful is re-grounded and re-etched to perfect related intriguing tales to his son about technique is fundamental to the success nuances of line. Finally, aquatint ground the men who had made them.11 To make of his art.)13 This is where the true magic is applied, often using a shaker as Goya Contra el bien general, Chagoya carefully of simulation comes into play: did, and stopped-out or etched as appro- examined the original at the Achenbach priate to particular passages. and reproduced its facture as closely as The [next] stage is to eyeball [Goya’s] In another early etching (1986-87/2003) possible, a process that has remained cross-hatching lines and try to match adapted from the Desastres—Estragos relatively consistent over the past three them. Here I realized that the only de la guerra (Ravages of war) (Fig. 2)—the

Art in Print July – August 2013 13 Left: Fig 5. Enrique Chagoya, Que viene el Coco. (The Bogeyman is coming.) from The Return to Goya’s Caprichos (1999), etching with aquatint and red rubber stamp, image 5 7/8 x 8 1/4 inches, sheet 15 x 11 inches. Edition of 40. Printed and published by Segura Publishing Company, Tempe, AZ. ©Enrique Chagoya. Courtesy of the artist and Segura Arts Studio, University of Notre Dame, South Bend, IN. Right: Fig. 6. Enrique Chagoya, Grande el Sombrero (Hat’s too Big) from Recurrent Goya (2012, published 2013), etchings and aquatint with red letterpress remarque on Revere Ivory paper, image 5 7/8 x 8 1/4 inches, sheet 14 5/8 x 11 1/16 inches. Edition of 18. Printed and published by Universal Limited Art Editions, Bay Shore, NY. ©2012 Enrique Chagoya/ Universal Limited Art Editions. only change made to Goya’s image of would have been so opposed to Franco.”17 bodies tumbling into a shattered interior Unlike the monotonous blue collec- was the replacement of a fallen armchair tion marks of the Biblioteca Nacional, with a television, which reappears in the Chagoya’s stamps are tailored to each lower margin in a red stamp, where its image to provide further commentary screen reads “THIS IS NOT A TEST.” The on the content. The combination of Desastres depicts events Goya either wit- black and red has become a signature nessed or heard about by word of mouth, of Chagoya’s satirical-political works, and they marked a radical departure purposefully echoing the colors of pre- from earlier war images in their empha- Colombian texts, Russian Constructivist sis on the experiences of “nameless indi- design and myriad 20th century political viduals.”15 Chagoya’s insertion of the two protest posters.18 televisions comments on the familiarity Humor is essential to farce—Chagoya of such horrors in modern media, and the has said he has “tried to pick the Goya necessity emergency broadcasts to rouse images that would give me room [to do] us to action. something funny.”19 He has indulged Red stamps like the one in Estragos in verbal and visual puns: Contra el bien de la guerra appear on most of Chagoya’s general alluded to the Iran-Contra scan- Goya prints. They are modeled on col- Fig 7. Francisco de Goya, Francisco Goya dal under Reagan; Linda maestra! (A fine lection marks stamped on original Goya y Lucientes, Pintor (Francisco Goya y teacher!) (1999) (Fig. 3) shows Monica impressions by the Biblioteca Nacional Lucientes, Painter), plate 1 from Caprichos Lewinsky on a broom with her mentor de España during the fascist dictator- (Caprices) (1796-1797, published 1799), and betrayer Linda Tripp. (The tapes of etching, aquatint and drypoint on cream laid ship of Generalísimo Francisco Franco.16 Lewinsky’s conversations with President paper, third of three states, image 8 1/2 x Chagoya felt that the marks were “an 6 inches. Open Access Image from the Clinton play a cameo role in the red insult to Goya’s integrity because he Davison Art Center, Wesleyan University. stamp below.) Chagoya’s humor can also

14 Art in Print July – August 2013 alleviate what Shifra Goldman calls the “bitterness” of Goya’s original composi- tions.20 Goya’s original miser in Porque esconderlos? (Why hide them?), clutching a bag of gold that he is about to lose to a sneering aristocrat, is a figure of pathos, but in Chagoya’s rendition (2012/13) the viewer can laugh at the decrepit old man who desperately grasps his Damien Hirst dot painting (Fig. 4)—an insider’s joke on the inflated market for contemporary art. Bringing things into our own times can also work to make terror more vis- ceral and real. In Que viene el Coco (Here comes the Bogeyman) (1999), Chagoya replaces Goya’s imaginary monster with a real one—Louisiana state representa- tive and former Ku Klux Klan Grand Wizard David Duke (Fig. 5). Chagoya has twice reworked the famous El sueño de la razon produce monstrous (The sleep of rea- son produces monsters): in Return to Goya’s Caprichos (1999), the bats, owls and cats that rain down on Goya’s sleeping art- ist become Tomahawk missiles, Stealth bombers and Apache helicopters. In Recurrent Goya (2012/13), the artist sleeps amid mushroom clouds, fireballs and burning artwork. In early impressions of Contra el bien general, Chagoya signed his name with a capital “G” in the middle, emphasiz- ing the great name embedded within his own, but he is clear about who holds the upper hand. The opening plate of the Recurrent Goya suite is based on the famous self-portrait that formed the frontispiece of Goya’s Caprichos (Fig. 6). Chagoya put his own face under Goya’s familiar top hat, but the dimensions of the head are considerably shrunk, or per- haps the hat is larger (or both). Where the original (Fig. 7) asserted the name of the artist in elegant script, Chagoya has written Grande el Sombrero (Hat’s too Big), a Spanish expression equivalent to the English “big shoes to fill.” In his two orig- inal Goya-inspired compositions—Self- portrait with Goya’s Shoe (1987/2003) (Fig. 8) and Goya conoce a Posada (Goya meets Posada) (1987/2003) (Fig. 9)—Chagoya again acknowledges his debt: in one he merged the two names in florid letter- ing that reads “Enrique Cha____goya”; Above: Fig 8. Enrique Chagoya, Self-portrait with Goya’s Shoe from Homage to Goya II: The in the other, Goya shakes hands with the Disasters of War (1987, published 2003), etching with aquatint and red rubber stamp, image 6 3/4 x great 19th-century Mexican printmaker 8 1/2 inches, sheet 13 x 15 inches. Edition of 30. Printed and published by Segura Publishing José Posada while a masked, imp-like Company, Tempe, AZ. ©Enrique Chagoya. Courtesy of the artist and Segura Arts Studio, University of Notre Dame, South Bend, IN. Below: Fig. 9. Enrique Chagoya, Goya conoce a Posada (Goya meets Chagoya scurries below on roller skates.21 Posada) from Homage to Goya II: The Disasters of War (1987, published 2003), etching with aqua- Finally, in Ni mas ni menos (Neither more tint and red rubber stamp, image 6 3/4 x 8 1/2 inches, sheet 13 x 15 inches. Edition of 30. Printed and nor less) (1999), Chagoya places his own published by Segura Publishing Company, Tempe, AZ. ©Enrique Chagoya. Courtesy of the artist and head on the body of the monkey who, in Segura Arts Studio, University of Notre Dame, South Bend, IN.

Art in Print July – August 2013 15 of the Caprichos, with its depiction of a young woman recoiling as she removes teeth from the mouth of a hanging corpse; Chagoya gives the two parts to Snow White and Rat Fink. Goya’s Aquellos polbos shows a prisoner being tried by the Inquisition before a jeering crowd; Chagoya puts Rat Fink in the dock, turn- ing the auto de fé into a meditation on prejudice (Fig. 10). In Goya’s print, the European identity of the crowd is of no consequence, but here it creates a racial and cultural divide between the prisoner and his tormentors. Chagoya’s repurposed Goyas reveal that the essential dramas and injustices of 18th-century Spain are still being played out today; only the actors’ names have changed. Politics is still rife with corruption; greed still dictates per- sonal interactions; the powerful still prey on the weak. In Goya’s Tu que no puedes (Thou who canst not), two men strain under the weight of donkeys they carry on their backs; the donkeys rep- resent the upper classes and the image has long been understood as a comment on the unequal distribution of labor. In Recurrent Goya (2012/13) (Fig. 11), Chagoya swaps one donkey for an elephant so each man carries a mascot of an American political party; the image retains Goya’s original message but further implies that the current gridlock between Democrats and Republicans places an undue burden on the citizenry. Chagoya explains the stamp below as “a cake of money … the birthday of corruption,” an icon of the big money behind politics.25 In Quien mas rendido? (Which of them is the more over- come?) (1999), Chagoya takes Goya’s pros- Fig 10. Enrique Chagoya, Aquellos polvos (Those specks of dust) (2006), monotype on Somerset titute and client and replaces them with paper, 47 3/4 x 34 1/2 inches. Edition of 3. Printed and published by Smith Andersen Editions, Palo two black-suited financiers. The bowing Alto, CA. ©Enrique Chagoya. Courtesy of the artist and George Adams Gallery, NY. . gentleman’s hat becomes a briefcase, a gossip with a fan becomes a woman with Goya’s print, is busy painting a portrait aristocrat), Chagoya employs contempo- a cell phone, and the lap dogs are accom- of a donkey. Chagoya explains, “It’s kind rary pop cultural archetypes to carry his panied by a BMW. Above the canines, of a disclaimer, but also I am a subject of meanings. Chagoya has added a speech bubble that my own satires, just to say that I am not Chagoya’s “Mexicanized” version of reads: “Your ad en Espagñol here.” pointing fingers at others without point- Rat Fink, the hot-rod counter-culture Abuse scandals in the Catholic Church ing the finger at myself, too.”22 icon created by “Big Daddy” Ed Roth, have given Chagoya reason to revive Chagoya does indeed point fingers at appears frequently in the artist’s work. Goya’s criticism of the clergy. (Chagoya, others: Ronald Reagan, Jerry Falwell, Jesse For Chagoya, DC Comics and Disney who was raised Catholic, says he respects Helms, Fidel Castro, Dick Cheney, Rupert characters like Mickey Mouse represent the faith but not corruption.26) In Que se Murdoch and Pope Benedict XVI have all the worldwide dominance of American rompe la cuerda (The rope is fraying) (1986- been lampooned in his prints, much as popular culture and symbolize the 87/2003), Goya’s priest balancing on a Goya savaged the queen, the prime min- privileged vantage point from which tightrope over a crowd becomes Pope ister and other identifiable figures of his Americans relate to the world, while Rat John Paul II in a miter. Goya was try- time.23 And just as Goya employed com- Fink represents how Mexicans have been ing to dramatize the dangerous involve- mon social types and tropes (the foolish portrayed.24 A caza de dientes (Out hunt- ment of the Church in contemporary miser, the vain old woman, the greedy ing for teeth) is one of the most visceral power struggles,27 and Chagoya takes

16 Art in Print July – August 2013 a similarly negative view of John Paul II and his regressive attitude toward women, birth control and homosexual- ity. In his 2012/13 print Mucho hay que chupar (There is plenty to suck), Chagoya addresses himself to the pedophilia scan- dals in the Church: Pope Benedict XVI takes the place of Goya’s ghoul in robes, smacking his lips in delight over a basket of baby dolls, a feast he is about to share with his repugnant cohorts while bats hover ominously. (Interestingly, Goya’s image may itself have been a criticism of child abuse in the Church: an annotation made in Goya’s time notes, “Those who reach eighty suck little children.”)28 Events today, Chagoya believes, “are more extreme than in Goya’s times. We are on the edge of many possible world- wide catastrophic events.… Threatening situations created by humans (anthropo- genic), both natural and political, seem to be occurring more frequently... We are polluting the oceans, the skies, and the earth… We have more power and weap- ons… [Finally,] the income gap between working classes and financial elites in this country and in most of the world seems to be bigger than ever.”29 While Marx’s comment suggests that tragedy is the ancestor of farce, Goya and Chagoya both know them to be twins. The flaws of human nature are eternal, tragic, farcical and—at any given moment in time—topi- cal. In one sense, however, Marx’s obser- vation holds true: for us at least, Goya’s humor is of the blackest sort, while Chagoya’s can provoke an outright guffaw.

Fig. 11. Enrique Chagoya, Tu que no puedes (Thou who canst not) from Recurrent Goya (2012, published 2013), etching and aquatint with red letterpress remarque on Revere Ivory paper, image Sarah Kirk Hanley is a regular contributor to 5 7/8 x 8 1/4 inches, sheet 14 5/8 x 11 1/16 inches. Edition of 18. Printed and published by Universal Art in Print and is the featured columnist for the Limited Art Editions, Bay Shore, NY. ©2012 Enrique Chagoya/Universal Limited Art Editions. INK blog on Art in Print. She is working on an exhibition of Chagoya’s and Goya’s prints to be shown at the Elaine L. Jacob Gallery at Wayne and Dinos Chapman,” Tate Etc. 8 (Autumn 2006). Pérez Sánchez, Sayre et al., Goya and the Spirit State University to coincide with the Mid America http://www.tate.org.uk/context-comment/articles/ of Enlightenment (Boston: Museum of Fine Arts, Print Council conference in the fall of 2014. id-have-stepped-on-goyas-toes-shouted-his- Boston, 1989), xcv–cxxvii. ears-and-punched-him-face. 7. Neither of these sets was successfully pub- 3.The Davison Art Center at Wesleyan University lished during Goya’s lifetime so there are many Notes: offers high-resolution images of the entire suite of difficulties with their documentation. The number 1. Karl Marx, “The Eighteenth Brumaire of Louis the Caprichos on their website: http://www.wes- of Desastres plates is now 80, but five were lost Bonaparte,” in The Karl Marx Library, vol. 1, ed. leyan.edu/dac/coll/grps/goya/goya_intro.html. before publication. One surviving album from and trans. Saul K. Padover (New York: McGraw- 4. The actual title is Fatales consequencias de la Goya’s time clarifies the order and titles, but no Hill, 1972), 245; retrieved from the Marxists sangrienta guerra en España con Buonaparte. Y such record exists for the Disparates, nor do we Internet Archive, http://www.marxists.org/archive/ otros caprichos enfaticos (The terrible results of know whether its 22 plates are complete. marx/works/1852/18th-brumaire/. the bloody war in Spain against Bonaparte. And 8. Moira Roth, “Interview” in Roth and Robbin 2. See Cordélia Hattori et al., Goya, Les Caprices other emphatic caprices). Legere Henderson, Enrique Chagoya: When & Chapman, Morimura, Pondick, Schütte (Paris: 5. Dates given here note when Goya is believed Paradise Arrived (New York: Alternative Somogy Editions d’Art/Palais des Beaux Arts de to have worked on the plates, not when they were Museum, 1989), 11. Accessed online, http:// Lille, 2008). For a discussion of the Chapman published. www.alternativemuseum.org/exh/archives/ brothers’ Goya obsession, see Christopher 6. On the relationship between Goya’s prints and chagoy_0589.pdf. Turner, “‘I’d like to have stepped on Goya’s toes, drawings, see Eleanor A. Sayre, “Introduction to 9. On Goya’s liberal politics, see Nigel shouted in his ears and punched his face’: Jake the Prints and Drawings Series,” in Alfonso E. Glendinning, “Art and Enlightenment in Goya’s

Art in Print July – August 2013 17 Checklist of Enrique Chagoya’s Works after Goya

Listed in the order published:

1. The Return to Goya’s Caprichos (1999)1 i. Que viene el Coco. (The Bogeyman is coming.) (Fig. 5) ii. A caza de dientes. (Out hunting for teeth.) iii. Quien mas rendido? (Which of them is the more overcome?) iv. De que mal morira? (Of what ill will he die?) v. Ni mas ni menos. (Neither more nor less.) vi. El sueño de la razon produce monstrous. (The sleep of reason produces monsters.) vii. Linda maestra! (A fine teacher!) (Fig. 3) viii. Se repulen. (They spruce themselves up.) Enrique Chagoya, detail of Self-portrait with Goya’s Shoe (1987, published 2003). ©Enrique Cha- goya. Courtesy of the artist and Segura Arts Studio, University of Notre Dame, South Bend, Indiana. After Goya’s etchings of the same titles; plates 3, 12, 27, 40, 41, 43, 51, and 68 from the Caprichos (Caprices) Circle,” in Goya and the Spirit of Enlightenment, Paradise Arrived, 25–26. Portfolio of 8 etchings with aquatint and lxiv–lxxvi. 22. Email 25 March 2013. red rubber stamp with title page (letterpress 10. On Chagoya and Posada, see Shifra 23. For a summary of efforts to pin down specific in black and red) and enclosed in paper Goldman, “The Subversive Vocabulary of Enrique cultural references in Goya’s prints, see Andrew portfolio case Chagoya,” in Steven H. High et al., Enrique Schulz, Goya’s Caprichos: Aesthetics, Perception, Edition: 40 Chagoya: Locked in Paradise (Reno: Nevada and the Body (Cambridge: Cambridge University Each plate: 5 7/8 x 8 1/4 inches Museum of Art, 2000), 15–18. On the print Press, 2005); in-depth investigations of images Each sheet: 15 x 11 inches after Cruikshank, see Constance C. McPhee and individuals can also be found throughout Printer and publisher: Segura Publishing and Nadine Orenstein, Infinite Jest: Caricature Goya and the Spirit of Enlightenment. Company, Tempe, AZ2 and Satire from Leonardo to Levine (New York: 24. For further discussion, see Locked in Metropolitan Museum of Art, 2011), 193, 204 (cat. Paradise, 10–12; and Borderlandia, 1. 2. Los Ensacados (Men in sacks) (2003) 160). On “reverse anthropology,” see Patricia 25. Email 25 March 2013. After Goya’s etching of the same title; Hickson, “Borderlandia Unbound,” in Hickson, 26. Ibid. plate 8 from Disparates/Proverbios (Follies/ Robert Storr, and Daniela Pérez, Enrique 27. See catalogue entry in Goya and the Spirit of Proverbs) Chagoya: Borderlandia (Des Moines: Des Moines Enlightenment, 356–358. Etching and aquatint with red rubber stamp Art Center, 2007), 2. Accessed online, http:// 28. Lucia P. Iannone et al., Goya: : on cream wove paper www.bampfa.berkeley.edu/exhibition/Chagoya/ An Exhibition from the Collection of Mr. Arthur Edition: 40 Borderlandia_Unbound.pdf. Ross, Yale University Art Gallery, September 16– Plate: 10 5/16 x 14 inches 11. Enrique Chagoya, “Read between the Lines: November 15, 1981 (New Haven: Yale University Sheet: 16 3/16 x 17 inches A Conversation between Enrique Chagoya and Art Gallery, 1981), 28. Printer: Brian Shure, Rhode Island School Dr. Jason Mayler” (Lecture, Haggerty Museum, 29. Email 25 March 2013. of Design Marquette University, Jan. 30, 2013), DVD. Publisher: Printmaking Department, 12. Ibid. Rhode Island School of Design, 13. See Diane Deming, “Interview with Enrique Providence, RI Chagoya,” in Locked in Paradise, 65–66. 14. Email 2 April 2013. 3. Modo de volar (Way of flying) (2003) 15. See Sayre in Goya and the Spirit of After Goya’s etching of the same title; Enlightenment, cix–cx; also Juliet Wilson Bareau, plate 14 from Disparates/Proverbios (Follies/ Goya’s Prints: The Thomás Harris Collection in Proverbs) the British Museum (London: British Museum Etching with aquatint and red rubber stamp Publications, 1981), 46–50. Of R el at ed Int er est : Edition: 25 16. Prior to 2008, Chagoya made these marks Plate: 10 1/2 x 14 1/4 inches with rubber stamps; he later used lithography on Exhibition: Sheet: 16 x 19 inches one print (checklist 9) before switching to letter- “Francisco Goya Los Caprichos” Printer and publisher: Segura Publishing Company, Tempe, AZ press on the suggestion of ULAE Master Printer (The exhibition includes Chagoya’s Bill Goldston. Two of his prints after Goya (check- 1999 suite Return to Goya’s Caprichos) list 11 and 12) bear no red stamp. For informa- 4. La lealtad (Loyalty) (2003) tion on the collection stamps of the Biblioteca Loveland Museum After Goya’s etching of the same title; Nacional see Lugt 4110, also generally placed at Loveland, CO plate 17 from Disparates/Proverbios (Follies/ the lower center margin; for more information, see 14 June – 22 September 2013 Proverbs) http://www.marquesdecollections.fr (French only). Etching with aquatint and red rubber stamp 17. When Paradise Arrived, 12. Allentown Art Museum Edition: 25 18. Ibid., 10; and Borderlandia, 1. Allentown, PA Plate: 10 1/2 x 14 1/4 inches 19. When Paradise Arrived, 13. 2014 Sheet: 16 x 19 inches 20. Locked in Paradise, 15. Printer and publisher: Segura Publishing 21. Ibid., 15–18, for further discussion, see When Company, Tempe, AZ

18 Art in Print July – August 2013 5. Homage to Goya II: The Disasters of 8. Liberty Backwards (2008) War, 1983-87 (2003)3 After Nor this. (Tampoco.); plate 36 from i. Estragos de la guerra. (Ravages of war.) Goya’s Desastres de la Guerra ii. Grande hazaña. con muertos! (Heroic feat! (Disasters of War) Against the dead!) Photo-etching with red rubber stamp on iii. Extraña devoción! (Strange devotion!) Arches Cover paper iv. Esta no lo es menos. (This is no less so.) Edition: 60 v. Contra el bien general. Plate: 6 3/4 x 8 1/2 inches (Against the common good.) (Fig. 1) Sheet: 9 1/2 x 12 1/2 inches vi. Las resultas. (The Consequences.) Printer: Donald Farnsworth, Magnolia vii. Farándula de charlatanes. ( Editions, Oakland, California Charlatans’ show.) Publisher: Des Moines Art Center Print viii. Que se rompe la cuerda. Club, Des Moines, IA (benefit) (The rope is fraying.) ix. Self-portrait with Goya’s Shoe (Fig. 8) 9. Esto es Peor. (.) x. Goya conoce a Posada (Goya meets Posada) (2008, published 2009) (Fig. 9) After Goya’s etching of the same title; plate 37 from Goya’s Desastres de la Guerra Plates i-viii after Goya’s etchings of the same (Disasters of War) title; plates 30, 39, 66, 69, 71, 72, 75 and 77 Etching and aquatint with red remarque in Enrique Chagoya, detail of Goya conoce a from Desastres de la Guerra (Disasters of War) lithography Posada (Goya meets Posada) from Homage to Portfolio of 10 etchings with aquatint and Edition: approximately 30 Goya II: The Disasters of War (1987, published red rubber stamp; with title page (letterpress Plate: 6 3/4 x 8 1/2 inches 2003). ©Enrique Chagoya. Courtesy of the artist in black and red) and enclosed in paper Sheet: 13 x 15 inches and Segura Arts Studio, University of Notre portfolio case Printer: Jenny Schmid, University of Dame, South Bend, IN. Edition: 30 Minnesota: Twin Cities Each plate: 6 3/4 x 8 1/2 inches Publisher: Printmaking Department, iv. Porque esconderlos? (Why hide them?) Each sheet: 13 x 15 inches University of Minnesota: Twin Cities, (Fig. 4) Printer and publisher: Segura Publishing Minneapolis, MN v. Tu que no puedes. (Thou who canst not.) Company, Tempe, AZ (Fig. 11) 10. Return to Goya No. 9 (2010) vi.El sueño de la razon produce monstruos. 6. Aquellos polvos4 (Those specks of dust) After No te escarpás. (You will not escape.) (The sleep of reason produces monsters.) (2006) (Fig. 10) plate 72 from Goya’s Caprichos (Caprices) x. Mucho hay que chupar. (There is plenty to After Goya’s etching of the same title; Etching and aquatint with red letterpress suck.) plate 23 from Caprichos (Caprices) remarque on Revere Ivory paper x. Subir y bajar. (To rise and to fall.) Monotype on Somerset paper Edition:50 After Goya’s etchings of the same titles; Edition: 3 Plate: 5 7/8 x 8 1/4 inches plates 1, 14, 23, 30, 42, 43, 45 and 56 from the Sheet: 47 3/4 x 34 1/2 inches Sheet: 14 5/8 x 11 1/16 inches Caprichos (Caprices) Printer and publisher: Smith Andersen Printer: Universal Limited Art Editions, Portfolio of 8 etchings and aquatint with red Editions, Palo Alto, CA Bay Shore, New York letterpress remarque on Revere Ivory paper Publisher: International Print Center New With title page and enclosed in clamshell 7. La Libertad (Liberty) (2006) York, New York, NY (benefit) portfolio box bound in burgundy silk with After Tampoco. (Nor This.); plate 36 title stamped in ink on the cover from Goya’s Desastres de la Guerra 11. Con razon ó sin ella (Rightly or Edition: 18 (Disasters of War) Wrongly) Each plate: 5 7/8 x 8 1/4 inches Monotype on Somerset paper (2011, published 2012) Each sheet: 14 5/8 x 11 1/16 inches Edition: 3 After Goya’s etching of the same title Portfolio box: 15 5/8 x 11 7/8 x 1 3/8 inches Sheet: 34 1/2 x 47 3/4 inches plate 2 from Desastres de la Guerra Printer and publisher: Universal Limited Art Printer and publisher: Smith Andersen (Disasters of War) Editions, Bay Shore, NY Editions, Palo Alto, CA Etching5 Edition: 30 Notes: Plate: 7 x 8 1/2 inches 1. For further discussion of the series and in- Sheet: 14 x 15 inches dividual plates, see Patricia Hickson, Enrique Printer: Lynne D. Allen, Boston University Chagoya: Borderlandia (exhibition texts), (Des Publisher: Red Press Editions, Boston, MA Moines: Des Moines Art Center, 2008), accessible online: http://www.tfaoi.com/aa/7aa/7aa840.htm. 12. No se puede mirar. (One can’t look.) 2. Segura Publishing Company is now the (2011, published 2012) Segura Arts Studio, Notre Dame University, South After Goya’s etching of the same title; Bend, IN. plate 26 from Desastres de la Guerra 3. There are early impressions prior to the 2003 (Disasters of War) edition in Chagoya’s collection and other private Etching6 collections. There is also an early impression of Edition: 30 Contra el bien general (plate v) in the collection Plate: 7 x 8 1/2 inches of the Achenbach Foundation for Graphic Arts, Sheet: 14 x 15 inches Fine Arts Museums of San Francisco. For further Printer: Lynne D. Allen, Boston University discussion of the series and individual plates, see Publisher: Red Press Editions, Boston, MA Patricia Hickson, Borderlandia (exhibition texts), 2008. Enrique Chagoya, detail of Tu que no puedes 13. Recurrent Goya (2012, published 2013) 4. In Goya’s original, this word is spelled “polbos.” (Thou who canst not) from Recurrent Goya i. Grande el Sombrero (Hat’s too Big) (Fig. 6) 5. This print does not have the red remarque or (2012, published 2013). ©2012 Enrique ii. Que sacrificio! (What a sacrifice!) stamp that appears on all other prints listed. Chagoya/Universal Limited Art Editions. iii. Aquellos polvos (Those specks of dust) 6. As above.

Art in Print July – August 2013 19 Treasures from the Vault 1 Exposition Henri-Gabriel Ibels à La Bodinière By Christine Giviskos

n November 1894, the Parisian artist performed anonymously in the funfairs, cific plays and appeared in his exhibition I Henri-Gabriel Ibels mounted his first a far cry from the celebrities of the theater under the heading “Lithographies,” along solo exhibition in the entrance-hall or café-concert (nightclub) represented with his 1893 collaboration with Henri gallery of the Théâtre d’Application, also by the solo performer. The commedia de Toulouse-Lautrec, the portfolio Le known as La Bodinière, after its founder dell’arte lay somewhere in between: its Café-Concert, for which Ibels is now best Charles Bodinier. Ibels’ star had risen history was of fair and boulevard perfor- known. (The portfolio included 11 litho- quickly in the early 1890s following the mances, but by the 1890s its characters graphs by each artist, all depicting stars artist’s studies at the Académie Julien. A were increasingly seen on more reputable of Parisian café-concerts.) founding member of the Nabis, Ibels was stages. The strongmen at the upper left of a painter and pastellist, but his primary Ibels’ interest in these circles ran Ibels’ poster denoted the artist’s most activity was printmaking. His subject deep. The first color poster he ever made recent venture—a suite of 14 etchings, Les matter, focused squarely on entertainers advertised a performance at the Horloge Forains (1894), most of which picture the and working-class Parisians, and his con- café-concert. Published in May or June itinerant saltimbanques of the shabby sub- tributions to popular illustrated journals 1892 and reproduced in the illustrated urban fairs.3 Ibels had worked with this such as Le Messager Français and L’Echo de weekly Le Courrier Français, it depicted subject matter earlier: an 1892 program Paris earned him the nickname le Nabi the singer Jules Mévisto in the guise of for the Théâtre Libre shows two dancers journaliste. La Bodinière was an auspi- Pierrot. Ibels went on to portray him as and a strongman waiting on a temporary cious site for the artist’s inaugural ex- such on song sheets and in the playlet stage, and his design for the song sheet Le hibition—it had acquired significant L’Amour s’amuse (alongside the actress Pitre shows a clown with three other per- cachet for its theatrical performances, Camille Stéfani as Colombine). An 1893 formers, adapted into an etching for Les musical recitals and lectures, and was Ibels poster for the first “Salon de Cent” Forains. Etched on small plates (3 1/2 by an important exhibition venue that had exhibitions sponsored by the artistic and 5 1/2 inches on average), the prints depict hosted the first solo exhibitions of both literary journal La Plume1 featured Har- acrobats, dancers, a caged lion, a fat lady Jules Chéret and Théophile-Alexandre lequin observing Pierrot as he painted at and four different strongmen (though Steinlen. an easel. The “Éternelle Comédie” section none repeat the composition on the exhi- The catalogue for Ibels’ exhibition of Ibels’ La Bodinière exhibition included bition poster). lists no fewer than 132 entries, some the L’Amour s’amuse playlet as well as Such performers were an obvious covering multiple works, for a total of maquettes for his posters of Mévisto. choice for Ibels, given his interest in the more than 200 prints, drawings and The show’s “Théâtres et Concerts” city’s popular entertainments and the , which he organized in 12 sec- section was just as close to Ibels’ heart, history of such subjects in 19th-cen- tions. The poster Ibels made for the show if not closer. In 1892 he had been com- tury French art beginning with Honoré highlighted the first three of these: a missioned by André Antoine, founder of Daumier. Ibels’ contribution to the first pair of strongmen signify “Les Forains,” the experimental Théâtre Libre, to cre- portfolio of L’Estampe Originale in 1893 Ibels’ etchings of the ragged funfairs ate eight color lithographic programs for was a large color lithograph titled Au (forains) on the outskirts of Paris; three the theater’s 1892-93 season. Ibels recog- Cirque, showing a clown from the back as characters from the commedia dell’arte— nized the potential of this commission to he stands on the edge of a circus ring. His Pierrot, Harlequin and Columbine— make his work known “to the press and attention to the performers of the forains represent the second section, “L’Éternelle ‘in’ crowd that subscribes to the Théâtre may also have stemmed from his ongo- Comédie”; and the single stage performer Libre,” as he later put it.2 Several works ing fascination with anonymous soldiers, denotes the third section, “Théâtres et under the “Théâtres and Concerts” head- laborers and peasants. Ibels essentially Concerts.” Each represents a particular ing depict Théâtre Libre actors in plays, casts the figures of Les Forains—per- genre of popular entertainment in fin such as Firmin Gémier, dans “Les Tis- forming on temporary stages, acting as de siècle Paris, and each genre held a dif- serands” and Coquelin Cadet, dans “le barkers and standing around between ferent social role. The strongmen would Testament de César Girodot.” The actual shows—as “entertainment workers” who have been among the saltimbanques who programs, however, did not picture spe- convey both the physical and psychologi-

20 Art in Print July – August 2013 Henri-Gabriel Ibels, Exposition H.G.Ibels à La Bodinière (1894), color lithograph on paper, 57.5 x 40.9 cm. Collection Zimmerli Art Museum at Rutgers University, Museum Purchase. 84.027.002. Photo: Peter Jacobs.

Art in Print July – August 2013 21 that of Toulouse-Lautrec, to whom he was often compared. The motifs for “Les Forains,” “La Comédie Eternelle,” and ”Théâtres et Concerts” announced both the earlier and new work being presented, though visitors to the exhibition may have been surprised to see fair performers, a logical extension of Ibels’ interest in portraying theater performers, in a series of etchings by the artist. The poster’s figural compo- sitions were reproduced in the exhibition catalogue, which noted that they were made as three independent “lithographes rehausées” (hand-colored lithographs) included in the exhibition.4 Printed by Eugène Verneau, one of the most impor- tant color lithographic printers in Paris, the poster demonstrates Ibels’ sensitive and often complex use of color as well as his great attention to pose and gesture in his figures. In addition to announcing the presentation of his work at La Bodinière, Ibels’ exhibition poster offers a concise resumé of the artist’s work to date, high- lighting his distinct approach to captur- ing the lives of performers specifically and contemporary figures generally. The poster is the final item listed in the exhi- bition catalogue, with a note that the number includes “various states and changes of this poster, printed in only 11 examples.”5

Christine Giviskos is Associate Curator of European Art at the Zimmerli Art Museum at Rutgers University. She serves on the Board of Trustees of the Print Council of America.

Henri-Gabriel Ibels, detail of Exposition H.G.Ibels à La Bodinière (1894), color lithograph on paper. Notes: 1. Anne-Marie Sauvage, ”Henri-Gabriel Ibels, ‘Le Nabi journaliste’: L’oeuvre graphique des années cal aspects of the labor of performance. most obvious precedent for Pablo Picas- 1890,” Nouvelles de l’estampe 129 (1993), 25-33. See also Gérard Millot, “Henri-Gabriel Ibels, Nabi Etching appears to have held limited so’s Les Saltimbanques (1905) drypoints. Illustrator of Songs: A Catalogue Raisonné of interest for him—Les Forains is Ibels’ only The fact that Ibels not only debuted His Music Sheets,” Zimmerli Journal 3 (2005), extensive use of the medium, and only this portfolio in his first solo exhibition 198-215. a small number of single etchings made but listed it first in the catalogue and fea- 2. Cited in Patricia Eckert Boyer, Artists and the around the same time are known—but he tured a related motif on the poster indi- Avant-Garde Theater in Paris 1887-1900 (Wash- ington, DC: , 1998), 46. used it successfully to recreate the expres- cates the prominence he wished to give 3. Two of the etchings, however, show performers sive line and tonal variations that distin- it. As an artist known almost exclusively from the more prestigious, permanent Parisian guished his lithographs, while working for his lithographic work, Ibels was surely circuses: the famous clown duo Chocolat et Footit on a smaller and more intricate scale. trying to show off his technical range and and an equestrian act. In the context of Ibels’ oeuvre up to was perhaps also asserting his artistic 4. The catalogue for Exposition H.-G. Ibels au Théâtre d’Application is reproduced in Theodore 1894, Les Forains stands out for its ambi- bona fides as a peintre-graveur. His Café- Reff, ed., Modern Art in Paris 1855-1900: Exhibi- tion, presenting a rich and underexplored Concert portfolio with Toulouse-Lautrec tions of Symbolists and Nabi (New York: Garland subject in an extensive series in a new may also have inspired him to attempt Publishing, 1981). medium for the artist. Though Les Forains a new portfolio in a different medium, 5. No. 132, “[Affiche pour] la présent. Exposition. has largely escaped notice in literature on depicting a different category of per- Divers états et transformation de cette affiche, tirage à 11 exemplaires seulement.” the artist or studies of the 19th-century former. The etchings would furthermore circus and fairs, the portfolio remains the have served to distinguish his work from

22 Art in Print July – August 2013 COMMENTARY The Print in Modern Art: A Critique of Art Since 1900 By Robert Palter

he 20th century was a great age ism and deconstruction. To have kept the photography. Foster mentions that when T of printmaking by any criterion— book from collapsing into an incoherent the Museum of Modern Art was founded the graphic quality of the prints, the tech- collection of brilliant aperçus is in itself in 1929 it included a department of prints nical inventiveness of the printmakers a remarkable achievement. Though Art and drawings,3 but the obvious implica- and master printers, the pace and produc- Since 1900 is marketed as a textbook for tion—that prints were relevant to artists tivity of the many print workshops. But undergraduates, the prose is so densely of this period—is never acknowledged it would be difficult to learn any of this allusive and stylistically elusive that only (today it constitutes MoMA’s largest from reading Art Since 1900: Modernism, well-informed and sophisticated readers department, with over 50,000 works). Antimodernism, Postmodernism by Hal are likely to find it accessible. Nonethe- The few references to prints that Foster, Rosalind Krauss, Yve-Alain Bois less, I would recommend it for those with are made evince a lack of attention that and Benjamin H. D. Buchloh, the book an interest in the field, though with a fur- is worryingly at odds with the general that has over the past eight years become ther substantial proviso. precision of the text. Take, for example, the standard reference and teaching tool Foster’s citation of Lyonel Feininger’s for modern art.1 It neglects the revival “cathedral of the future” woodcut, which of the German woodcut tradition by Die illustrated the first Bauhaus manifesto Brücke in the early 1900s, the establish- of 1919 and is reproduced here.4 The cap- ment of William Stanley Hayter’s influ- tion says the dimensions are unknown; ential print workshop Atelier 17 in Paris they are, in fact, well-known and readily in 1933, Picasso’s output of over 2,000 available.5 prints, and the explosion of all kinds of Buchloh begins his essay on Picasso’s printmaking in the U.S. in the second Guernica (1937) with an allusion to the art- half of the 20th century. Nonetheless, the ist’s two cartoon-like etching-aquatints, book is widely regarded as the deepest Dreams and Lies of Franco (1937), made to account of modern art currently avail- raise money for children orphaned by the able, and it deserves careful reading and Spanish Civil War.6 He reproduces the evaluation. prints and traces their roots in Spanish A major reassessment of 20th-century archaic religious prints and (with a gra- art in 800-plus large, closely printed tuitous slur on American literacy) “the pages, beautifully and copiously illus- comics, the contemporary narrative and trated: that is an accurate but wholly iconic strips of challenged American lit- inadequate characterization of Art Since eracy.”7 Unmentioned is that Hayter’s 1900. The originality of the work lies Atelier 17 had commissioned the prints, in its format and the ways that format which were issued in an edition of 850, affects its contents. The text consists of a When I first acquired the book, as a hand-numbered but not hand-signed, series of mini-essays, each written by one print collector with a particular interest in and sold at the Spanish pavilion of the of the authors and attached in chrono- 20th-century art, I immediately checked 1937 World Exposition in Paris.8 Buchloh logical sequence to one year between the excellent index for entries on Hayter also shows one of Picasso’s most famous 1900 and 2000. As explained in the pref- or his renowned studio. I found nothing. prints, Minotauromachy (1935), some of ace, the book “is organized as a succes- I soon came to realize that prints (with whose constituent images anticipate ele- sion of important events, each keyed to the large exception of photography) are ments of Guernica, but appears confused an appropriate date ... But, like the pieces conspicuously absent. The authors men- about its medium, twice referring to it as of a puzzle that can be transformed into tion them only in passing; the immense an “aquatint,”9 though the caption cor- a great variety of images, the 122 entries bibliography at the end includes no books rectly identifies it as “etching and engrav- can also be arranged in different ways to about prints; nor do the authors feel the ing.” This is admittedly a relatively trivial suit the particular needs of individual need to justify these omissions. Presum- slip, but it indicates an uncharacteristic readers.”2 In separate introductions the ably they believe prints simply have little carelessness. four authors explain the particular per- to do with modernism, antimodernism In his study of photomontage in Wei- spectives from which they will write: or postmodernism in art. Except for some mar Germany Buchloh says that “Heart- Foster, psychoanalysis; Buchloh, the extended discussions of typography, film, field and Klutsis ... became the first social history of art; Bois, formalism and video and performance art, Art Since 1900 members of the avant-garde to invoke structuralism; Krauss, poststructural- concentrates on painting, sculpture and propaganda as an artistic model,”10 and

Art in Print July – August 2013 23 illustrates this development with a Klut- seven engravings and drypoints but never of the fifteenth century devoted to the sis image captioned as a “Lithograph bothered to print final proofs, since he making of prints as special objects (my poster.” As with Dreams and Lies of Franco, was more interested in the process than emphasis).17 Even after the development Buchloh seems uninterested in questions the product. Pollock’s work with Hayter of reproductive engravings in the 16th about how many were printed or how has been seen as critical to the develop- century, original prints were created all they were made and distributed. Given ment of his drip paintings; the prints and the time, often by artists who also made his political emphasis, one might think some associated ink drawings represent copies. he should care about the answers. the only remaining evidence we have of More troublingly, Krauss writes of “the Foster’s discussion of Andy Warhol’s that development. Bernice Rose writes: linear simplifications that Francisco Goya earliest screenprints (1962)11 bypasses the and Honoré Daumier adopted in order to medium’s history as a commercial tool for As William S. Lieberman has pointed make their work available to replication labeling boxes, bottles and posters that out, the more autonomous line of sev- techniques such as lithography”18—a had been adapted by artists as far back eral of these drawings can be traced remark that is inaccurate in every way. as the 1930s—a history that seems highly specifically to Pollock’s handling of Goya and Daumier never “replicated” pre- relevant to Warhol’s strategic position the burin for printmaking under the existing works (she presumably means straddling the cultures of art and com- guidance of Stanley William Hayter paintings); neither artist adopted “linear merce. More generally, as scholars such at Atelier 17 in New York ... Hayter simplifications” in his printed work; and as Roberta Bernstein have pointed out, insisted on the autonomy of line as a of all the common print mediums, lithog- Warhol’s printmaking was “integral to self-expressive force and on the auto- raphy is the most adaptable to nonlinear, his art, generating images and influenc- matic handling of the burin. It seems “painterly” images. The interrelations ing his painting style.”12 Here, as else- probable that the central experience between Daumier’s paintings and litho- where in the book, the possibility that of the changing structure, in fact, his graphs are complex, but as one special- prints might direct the development of discovery of the allover linear configu- ist put it, “his painting was so unlike his painting is ignored. ration—the philosophy of risk under- lithographs.”19 As for Goya, I would only Bois, writing about Barnett Newman, lying it and all of Pollock’s subsequent mention that “linear simplification” is far observes that Newman’s preface to the work—is in the automatism of the from a helpful characterization of Goya’s lithography portfolio 18 Cantos (1964) printmaker.15 techniques in any of his great series of “provides the best analysis of the question etchings and lithographs. of scale, as opposed to size, written in this In Art Since 1900 this period of Pol- Given Krauss’ version of the history of century.” He neither describes nor shows lock’s critical development is elided. printmaking, it would be easy to dismiss any interest in the prints that inspired There are two valuable essays on Pollock: prints as unworthy of serious consider- Newman’s analysis. one by Bois for the year 1942, explain- ation. But the historical evidence clearly In an endeavor of this scale, there ing the debt Pollock and other American indicates that printmaking has never is plenty of room to quibble about the painters owed to the surrealists André been—and is certainly not in the modern selections made to represent any given Masson, Roberto Matta and Arshile period—merely parasitic on other forms year. Even so, 1944 stands out as particu- Gorky; the other by Krauss for the year of art. larly problematic. The book offers two 1949, taking Pollock’s signature drip Curious about reviews of the book, I essays for that year (both by Bois): one paintings as a fait accompli and explain- found one by Norman Bryson in Frieze commemorates the death of Piet Mon- ing how they have been interpreted by 92 (June-August 2005), another by Pepe drian and the painting he left unfinished the likes of Clement Greenberg, Michael Karmel in Art in America (November (Victory Boogie Woogie), while the other Fried, T. J. Clark and Robert Morris. I 2005), and a set of eight commissioned deals with the post-war art of such “Old would have expected historians of art to by The Art Bulletin for its June 2006 issue. Masters of modern art” as Matisse, wonder about those intermediate years, All were written by professors of art his- Picasso, Braque and Bonnard. Both Mon- but the evident bias against prints seems tory. Only one, Robert Storr, mentioned drian and the “Old Masters” are discussed to preclude such a healthy curiosity. prints, in the course of complaining that earlier in the book many times and in Two perfunctory remarks by Krauss Art Since 1900 shortchanged Max Beck- some detail, so one might think the year concerning the origin and later develop- mann, whose portraits, triptychs, prints otherwise uneventful. Yet 1944 was when ment of printmaking may help explain and writings are ignored. One can only MoMA mounted “New Directions in Gra- the attitude toward prints that seems to wonder at the failure of these writers to vure,” a survey of prints from the work- permeate Art Since 1900. The first is her be alarmed at such a serious gap in a book shop of Stanley William Hayter, and an reference to “The culture of engraved intended for the education of their art exhibition whose widespread influence copies of original works of art that begins history students. has been compared to that of the Armory to develop in the Renaissance.”16 Krauss Art Since 1900 performs a much- Show of 1913.13 appears to suggest a clear distinction needed service, collapsing a century of Hayter, along with Picasso, was one of between originality (painting) on the one chaotic creativity in art and criticism into the most innovative printmakers of the hand and reproduction (printmaking) on a coherent and manageable whole. It is 20th century, and had an impact on hun- the other. As early as the Renaissance, nevertheless a shame that the authors’ dreds of artists in Paris and New York.14 however, things were not so cut and vision seems to have been constrained by Jackson Pollock worked at Hayter’s ate- dried. In The Renaissance Print 1470-1550, remarkably old-fashioned prejudices lier from the fall of 1944 to the summer of David Landau and Peter Parshall write of against the print—an art form vital to so 1945. During that brief period he executed “the care that artists in the latter quarter many of the artists they valorize.

24 Art in Print July – August 2013 Robert Palter has taught philosophy and history at the University of Chicago, the University of Texas at Austin and Trinity College (Hartford, CT). Stay Notes: 1. Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh and David Joselit. Art Informed. Since 1900: Modernism, Antimodernism, Post- modernism (London: Thames and Hudson). First published in 2005. An enlarged second edition Connect to (one new author, a dozen new essays) was pub- lished in 2011. All citations below are from the second edition. Art in Print. 2. Ibid., 12. 3. Ibid., 233. 4. Ibid., 194. 5. See, e.g., Bauhaus, ed. Jeannine Fiedler and Peter Feierabend, English ed., 2006, 603: 31.9 x 19.6 cm, or the Museum of Modern Art’s online collection listings. 6. Stephen Coppel, Picasso and Printmaking in Paris (University of California Press, 1998), 19. Though Buchloh gives the title as “Dreams and Lies of Franco,” Coppel and other sources give it as “The Dream and Lie of Franco.” 7. Art Since 1900, 314. 8. Coppel, Picasso and Printmaking in Paris, 19-20, 125. 9. Art Since 1900, 316, 319. 10. Ibid., 179. 11. Ibid., 530-34 12. Frayda Feldman and Jörg Schellmann, Andy Warhol Prints (Munich: Editions Schellmann, Schirmer/Mosel Verlag and New York: Ronald Feldman Fine Arts, Inc., 1989), 15. Visit 13. See Joann Moser, ed., Atelier 17: A 50th Anni- www.artinprint.org offers versary Retrospective Exhibition (Madison: Elve- free access to a selection of hjem Art Center, 1977), 8. 14. For a list of these artists, see Moser. articles, reviews of new prints, 15. Bernice Rose, Jackson Pollock: Works on print exhibitions and books as Paper (New York: The Museum of Modern Art, well as a calendar of print exhibi- 1969), 18. 16. Art Since 1900, 295. tions and events from around the 17. David Landau and Peter Parshall, The world. The site also offers links to Renaissance Print 1470-1550 (New Haven: Yale important print resources. University Press, 1994), 81. 18. Art Since 1900, 696. 19. Michael Pantazzi, “Son rêve, en effet, a été la Subscribe peinture,” Daumier 1808-1879 (Ottawa: National Subscribers have access to all Gallery of Canada, 1999), 31. articles and reviews as well as the weekly Art in Print “News of the Print World” eBlast.

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Art in Print July – August 2013 25 EXHIBITION 1913 Armory Show Revisited: the Artists and their Prints By Sarah Andress

n 1913 more than 70,000 visitors— I some curious, some supportive, some overtly hostile—swarmed the “Interna- tional Exhibition of Modern Art” at New York’s 69th Regiment Armory in masses that one artist compared to “a subway crush in the evening rush hour.”1 Much as we are used to art that courts con- troversy, it is hard to imagine the deep offence taken by many visitors, artists and newspaper writers at what were essentially aesthetic differences. The art- ists who experimented with radical new styles were labeled “amoral,” “degener- ate,” even “dangerous.” It was a turning point in the development of modern art in America, and as such it has been revis- ited by museums and galleries at regular intervals ever since: in 1963 the Munson- Williams-Proctor Institute and Henry Street Settlement restaged a smaller ver- sion in the original location, the city hav- ing become in the meantime the global center of contemporary art. This year’s centennial of the Armory show sparked symposia, conferences and exhibitions across the country,2 including the fasci- nating “1913 Armory Show Revisited: the Artists and their Prints” at the Interna- tional Print Center New York. Each retelling carries its own story about what has happened in the inter- vening years. Some have emphasized the idea of an America unwillingly trans- formed by the invasion of the European Arthur B. Davies, Figure in Glass (1916-17), drypoint on zinc. Courtesy Harris Schrank, New York. Avant-garde, others have pointed to the prominent role of American artists in organizing the show and the broad appre- French-oriented organizers, but is now tinued to work in that vein long after, ciation for much of the art it included. recognized as critical to the development but his name has been eclipsed by oth- The IPCNY show took a different tack, of modernism, a point made forcefully ers; perhaps continuing to include him in building an exhibition around the art- at IPCNY by Ernst Ludwig Kirchner’s exhibitions such as this one will prompt ists who showed at the Armory, both 1904 Gartenbild (Image of a Garden) and more attention. (Nankivell’s recognition American and European, but represent- Wassily Kandinsky’s 1911 Allerheiligen has faded so much that his 1894 etching ing them exclusively through their prints (All Saints Day). Conversely, Americans Two Boys Walking was listed for a mere (only some of which were on view in 1913). Abraham Wolkowitz and Frank Nan- $30 on eBay.) Still others passed through Freed from a specific checklist of works, kivell exhibited at the Armory but are the Armory on career trajectories that, in the organizers were able to tell a subtler quite unfamiliar names today. Wolkow- retrospect, had little to do with the aspi- story about a moment in time and how its itz, associated with Alfred Stieglitz’s 291 rations of modernism: Augustus John, impact played out historically. gallery, was recognized as a modernist the most prominent British portraitist German Expressionism, for example, before 1913, and his 1927 lithograph at in the early 20th century, had no fewer was given short shrift in 1913 by the show’s IPCNY (New York #2) shows that he con- than 27 works at the Armory; in the cur-

26 Art in Print July – August 2013 was represented at IPCNY by, among Hartley, George Bellows, Edward Hopper other works, Georges Braque’s drypoint and John Marin. Job (1911), an unusual 1910 woodcut by One advantage of the current exhi- Raoul Dufy, and Pablo Picasso’s L’Homme bition’s looser approach to chronology au Chien (rue Schoelcher) (1920). Picasso was the ability to see the impact of the actually garnered little attention in 1913, 1913 show on the Americans—a pair of but the work of Henri Matisse was so 1916 drypoints by Davies, for example, reviled in reviews that the writing bor- show this generally conservative artist in dered on character attacks. The nude the midst of a brief flirtation with Cub- women in the two Matisse lithographs ism. Also on view was a later woodcut, at IPCNY regard the viewer assertively, Seated Woman (1920), by Max Weber, the and one of them wears a knowing smile. only artist here who did not show at the Though these frank, unidealized por- Armory. He was invited, but objected trayals were not on view at the Armory, that he was allowed only two paintings one can only imagine the derision that instead of the six he thought he deserved; would have greeted them. his presence here attests to his central It is often forgotten that, while the role in American art thinking of the time. most controversial art in the Armory The single most contentious—and show was European, the exhibition’s most parodied—work of the Armory organizers were all members of the show was of course Marcel Duchamp’s Pierre Bonnard, Rue Vue d’en Haut (1895- 1899), from the set Quelques Aspects de la American Society of Painters and Sculp- Nude Descending a Staircase, No. 2 (1912). Vie de Paris, color lithograph on thin wove tors. The most instrumental were Walt (IPCNY included several cartoons from paper. Artist proof outside the edition of 100. Kuhn, Arthur B. Davies and Walter Pach. the time mocking Duchamp’s master- Published by Ambroise Vollard. Courtesy C.G. Pach had worked in Paris and was a criti- piece.) The painting was ingeniously Boerner LLC, New York. cal link to European developments and represented here through Duchamp’s artists. At IPCNY their prints confirm Boîte en Valise, the collection of minia- rent show he was represented by a single that while such American artists were ture replicas of his best-known works, etching, Head of a Granger (1906), finely adventurous and curious, they remained packed into a small suitcase. The first rendered but unadventurous. John’s early far more attached to traditional repre- Boîtes were produced in the 1940s, but the post-Impressionist affiliations faded in sentation than their European peers. set on view at IPCNY was part of the 1961 his later work and his name is not often One cannot quibble, however, with the re-issue and is thus doubly reproductive. mentioned in the story of modern art. quality of the work on its own terms, There is a sense of Duchampian, pun- Odilon Redon’s Symbolist paintings represented here by prints from Marsden ning recursiveness here—Nude Descend- were greatly admired by the Armory’s American organizers, and the 73-year-old artist fared well with New York audiences, while they seemed to find incompre- hensible the younger Nabis artists, who took Redon’s mystical subjectivity a step further toward formal abstraction. At IPCNY, Redon’s lithograph Il tombe dans l’abime, la tête en bas (1896) was hung not far from Edouard Vuillard’s Jardin des Tuileries (1896) and Bonnard’s Rue vue en haute (1895-1899), allowing the viewer to trace lines of influence and innovation. One can see how much further Bonnard and Vuillard were taking Redon’s steps towards flattened, impenetrable space; Redon resumed using color in his work soon after this print was made, but Bon- nard and Vuillard were already there. Another Nabis highlight was Félix Val- lotton’s fluid and frenzied woodblock Manifestation (1893), a reminder of the prominent role of the movement in mod- ernist printmaking. A Paul Cézanne lithograph effectively illustrated the threads later taken up by Jean-Édouard Vuillard, Jardin des Tuileries (1896), color lithograph on chine. Artist proof printed the Cubists. was one of the most outside the edition of 100. Printed by Auguste Clot, Paris. Published by Ambroise Vollard in his L’Album divisive styles in the 1913 exhibition and des Peintres-Graveurs. Courtesy C.G. Boerner LLC, New York.

Art in Print July – August 2013 27 Left: Walt Kuhn, Strong Girl (1916), drypoint. Courtesy Harris Schrank, New York. Right: Marie Laurencin, La Romance (1912), etching. Edition of 25. Courtesy Harris Schrank, New York. ing a Staircase was one of 57 works that paintings and sculptures, nearly half the the Armory show organizers reproduced 250 works sold from the show were prints. Exhibition: on half-tone postcards to publicize the Actions, as they say, speak louder than “The 1913 Armory Show Revisited: show; the postcards contributed greatly words. the Artists and their Prints” to the painting’s notoriety and undoubt- IPCNY, New York edly some were defaced, not unlike the 23 March – 23 May 2013 mustachioed Mona Lisa of Duchamp’s Sarah Andress is the former Managing Editor of defaced L.H.O.O.Q., one of the works lov- Art on Paper magazine. She has contributed articles to FlashArt, TimeOut London and artlog. ingly recreated for the Boîte en Valise. The miniatures, produced by collotype print- ing, hand-coloring and other meticulous Notes: techniques, are ironically at odds with 1. William Zorach, writing in 1913 Armory Show: the purposefully cavalier production of 50th Anniversary Edition 1963, exh. cat. (Utica: Duchamp’s “original” readymades. Munson-Williams-Proctor Institute; New York: Henry Street Settlement, 1963), 94. Interestingly, hundreds of works of art 2. The Archives of American Art has recently from this supposedly abhorrent show made available hundreds of documents related were sold in 1913, including Nude Descend- to the Armory show, including the papers of exhi- ing a Staircase. These things went home bition organizers Arthur Davies, Walt Kuhn, and with people who paid money for them. Walter Pach; http://armoryshow.si.edu/. Angry visitors there were—but also those who were captivated; the vitriol reported in the press may have reflected its eager- ness to sell papers more than the actual mood of the crowd. “1913 Armory Show Revisited: the Artists and their Prints” is a reminder of another important and almost uniformly overlooked fact: while the Armory Show is most famous for its

28 Art in Print July – August 2013 EXHIBITION Artist & Poet By Susan Tallman with Julie Bernatz

Robert Motherwell, Red 4-7 from A La Pintura (1969), color aquatint and lift-ground etching from two copper plates, with letterpress, on white wove paper, image 36.8 x 66 cm, sheet 64.7 x 96.5 cm. Written by Rafael Alberti and translated by Ben Belitt, published 1972. ULAE Collection acquired through a chal- lenge grant of Mr. and Mrs. Thomas Dittmer, restricted gift of supporters of the Department of Prints and Drawings, Centennial Endowment, Margaret Fisher Endowment Fund. 1982.862.14. The Art Institute of Chicago.

nce upon a time, people read Artist and the Poet” at the Art Institute and 1972, and his lifetime coincided Opoetry. They also collected prints, brought together books and portfolios rather neatly with the golden age of not as vibrant wall décor but as objects of from throughout the 20th century; it the livre d’artiste as a form, burgeon- secluded reverie, intimate things slipped ran concurrently with the museum’s ing with French Symbolism in the 1880s from between covers, lingered over, vast “Picasso and Chicago” show, which and diminishing in the ’70s as artists mused upon. The integration of prints included the great etchings after Ovid, grew more intrigued by public behavior and poetry in livres d’artistes and port- Balzac and Buffon. At the Poetry Foun- than by private introspection. “Picasso folios made sense—they operated on the dation, “Joan Mitchell: At Home in and Chicago” surveyed the artist’s career same wavelength, they marked the same Poetry” put that artist’s collaborations through works drawn entirely from local urge to identify and articulate the small with poets on view, while a connected collections. Most of the paintings—how- resonant moments of life. symposium, “Sitting Between the Sea ever great—were familiar, but the hun- Given the loudness of much contem- and the Buildings,” allowed contemporary dreds of rarely seen prints and drawings porary art and the brutishness of much artists and poets to make the case for the on view were revelatory. Picasso was contemporary prose, such efforts may continued, productive entanglement of immersed to some degree in the literary seem like throwbacks to a gentler, alien the printed image and the written word. life of his time (he drank with poets); he clime. A recent constellation of events in was also a workhorse. His great etchings Picasso Chicago offered the chance to reevalu- for Balzac’s Chef d’oeuvre inconnu (1931) ate the poem-print link, historically Pablo Picasso produced more than a and Ovid’s Metamorphosis (1931) were and in the hands of living makers. “The hundred livres d’artistes between 1905 done as commissions, as were the win-

Art in Print July – August 2013 29 given over entirely to ULAE publications.) sented clearly and without interference. The next great work on view was Frequently, however, poems were David Hockney’s magical series of rumi- treated more as found material than as nations on influence, infatuation and set texts. In Darkness Mother (1978), Rob- creativity, The Blue Guitar: Etchings By ert Rauschenberg worked with Andrei David Hockney Who Was Inspired By Wal- Voznesensky on compositions where lace Stevens Who Was Inspired By Pablo Cyrillic and Roman letters, and Rus- Picasso (1976-77). Like A la Pintura, it is a sian and English words, are chopped up love song between language and vision: and deployed for visual impact. (A small poems about art, pictures about poetry. vitrine of Russian Constructivist books But Hockney plays a game of presence doing much the same thing some 60 years and absence—Stevens’ poems were earlier provided important historical not meant to be read in the presence of context.) In Leslie Dill’s The Word Made Picasso paintings and Hockney’s etchings Flesh (1994), passages of Emily Dickin- are not accompanied by Stevens’ poems. son merge with naked skin and printed Actual poems were relatively rare in paper in ways that hover between hom- the show—they appeared most consis- age and fetish. Dill investigates how read- tently in the ULAE room, in works such ers can both consume and be consumed David Hockney, Title Page from The Blue Guitar as Fifth Stone, Sixth Stone (1967–68), a by someone else’s words; compromising (1976–77), color etching and aquatint from two portfolio of lithographs by Lee Bonte- the integrity of Dickinson’s poems in the copper plates on white wove paper, image 42.5 x cou and poems by Tony Towle, or Jasper process is part of the point. 34.5 cm, sheet 52.5 x 46 cm. Printed by Maurice Johns’ Skin with O’Hara Poem (1963-65), a In much of “The Artist and the Poet” Payne, Mrs. Solomon B. Smith Memorial Fund. single print that was to have been part of the poetry was simply invisible, the liter- 1978.23.1. The Art Institute of Chicago. a larger project before O’Hara’s accidental ary pedigree of the images announced by death. Larry Rivers’ collaboration with the wall labels. There was no language some sugar-lift etchings made after Buf- O’Hara, Stones (1957-59), remains one of to be seen in Louis Marcoussis’ elegant fon’s Histoire Naturelle (1942). They are the most dynamic integrations of word Surrealist etchings after Apollinaire; or paradigmatic examples of his ability to and image in contemporary art, precisely Ken Price’s The Plain of Smokes (1981) after take some external incident—a girl, an because both artist and poet were mak- poems by Harvey Mudd; or Tony Fitzger- object, a story—and tease it into a rush- ing it up as they went. Alex Katz’s Face of ald’s densely etched companions to his ing stream of pictorial invention. (The the Poet (1978) paired the artist’s lapidary own writing. A room on Mallarmé was famous etching of The Painter and Model portraits with the poets’ own words, pre- brooded over by Edvard Munch’s wraith- Knitting from Le Chef d’oeuvre inconnu is effectively an illustration of this phenom- enon.) For Picasso the text was less a col- laborator than a starting pistol. Artist and Poet Most of the projects in “The Artist and the Poet,” on the other hand, suggested a passionate attachment to specific lan- guage. The show opened with Robert Motherwell’s A la Pintura (1972), the quin- tessence of postwar literary-visual erudi- tion. Each unbound page bears a poem by Rafael Alberti in both English and Span- ish; each poem celebrates an aspect of the art of painting, and each is balanced by a block of dense color and perfectly balanced gestural mark. Motherwell’s images move around from page to page, accommodating themselves to the space of the poems without ceding any of the viewer’s attention. A la Pintura is justly famous—it is a sensitive (and drop-dead gorgeous) meeting between a poet who loved painting, a painter who was deeply involved with poetry, and a printshop— Universal Limited Art Editions—founded David Hockney, A Tune from The Blue Guitar (1976–77), color etching and aquatint from two copper with just such collaborations in mind. plates on white wove paper, image 34.5 x 42.5 cm, sheet 52.5 x 46 cm. Printed by Maurice Payne, (Another room of “Artist and Poet” was Mrs. Solomon B. Smith Memorial Fund. 1978.23.3. The Art Institute of Chicago.

30 Art in Print July – August 2013 it is adopted as something to be under- mined, exposed as fraudulent, interfered with. It is no longer loved. Joan Mitchell at the Poetry Foundation Love of language was front and cen- ter at the Poetry Foundation, however, where Joan Mitchell’s colossal four-panel painting Minnesota (1980) oversaw let- ters, photographs, livres d’artistes and print portfolios attesting to the art- ist’s engagement with poetry, a life-long affair. Mitchell’s mother, Marion Strobel, was a poet and associate editor of Poetry Magazine; one vitrine displayed a poem contributed to the journal by a ten-year- old Mitchell, alongside a charming note from the editor: “Dear proud mother, tell your poet it’s a masterpiece!” Else- Joan Mitchell and Charles Hine, spread from Smoke (1989), a book of sixteen bifolia color diptych etchings with aquatint, sheet 14.5 x 19 inches, folded 14.5 x 9.5 inches. Edition of 90. Printed and pub- where hand-typed, hand-corrected let- lished by Limestone Press, San Francisco, CA. ©Estate of Joan Mitchell and ©Charles Hine. Courtesy ters from her mother and from her friend of the Joan Mitchell Foundation. Frank O’Hara were full of breezy news, documenting a world in which poetry like portrait of the poet and lined with image on the page disrupted the syntax and painting were interwoven. O’Hara prints by Matisse and Ellsworth Kelly. of both, and handed over to the viewer reported on MoMA letterhead from his Both Matisse and Kelly seemed to have the job of making sense of it all. summer-sultry museum office with two found in Mallarmé’s writing a preview This is still how many contemporary fans blowing, “I have just returned from of their own impulses to peel away the art/text works function (think Barbara Southampton which was very nice this lived-in clutter of the world and expose Kruger, Bruce Nauman, Glenn Ligon), weekend. Hot sun, cold water, and a party the vibrant core of experience, but the but the language appropriated by art at Fairfield [Porter]’s on Saturday night.…” writing itself was absent. today is no longer the language of poetry, Mitchell made prints and livres Curated by Emily Vokt Ziemba and it is the language of advertising, popular d’artistes throughout her career, both Mark Pascale, “The Artist and the Poet” media and bureaucracy. This borrowed in Europe (where she lived from 1959 was first and foremost an art exhibition language has been just as carefully (and onward) and on visits to the U.S. The and thus emphasized visual responses often more expensively) fashioned, but works on view attest to her intense feel- to literary stimuli. (Nobody likes read- ing poetry standing up anyway.) But this collection of vital images and absent words raises the question, What do these two things really have to do with each other? The relationship between words and images is, as Michel Foucault put it, “an infinite relation.… Neither can be reduced to the other’s terms: it is in vain that we say what we see; what we see never resides in what we say. And it is in vain that we attempt to show, by the use of images, metaphors, or similes, what we are saying; the space where they achieve their splendour is not that deployed by our eyes but that defined by the sequen- tial elements of syntax.”1 For the Symbolists who first nurtured the print-poem hybrid, the black hole of this “infinite relation” was a productive space for the eruption of personal mean- ing. Their interest was not in precision of expression, but in the provocative lacu- Joan Mitchell and Nathan Kernan, “Cobble Hill” from the portfolio Poems (1992), one of eight lithographs, sheet 21.25 x 31.5 inches, folded 21.25 x 15.75 inches. Edition of 76. Printed and published by Tyler nae that stretched between two precise Graphics, Mount Kisco, NY. ©Estate of Joan Mitchell and ©Nathan Kernan. Courtesy of the Joan Mitchell expressions. The abutting of word and Foundation.

Art in Print July – August 2013 31 Installation view of the “Joan Mitchell: At Home in Poetry” exhibition at the Poetry Foundation, February–May 2013. Photo: Nathan Keay. ing for language and to the way she things more easily studied than enjoyed. employed gesture and image as paral- Susan Tallman is the Editor-in-Chief of Art in Yet artists and writers continue to chase Print. Julie Bernatz is the Associate Publisher. lels of linguistic expression. Her defi- the carefully honed expression, to distill ant approach to color and mark-making the fraught distractedness of life into animates the pages of Smoke: Poems by Notes: something lean and lasting, to search for 1. Michel Foucault, The Order of Things (New Charles Hines (1989), Cobble Hill (1992) the perfectly plucked note. York: Pantheon Books, 1971), 9. from a portfolio of poems by Nathan Kernan, and her contribution to the com- memorative O’Hara volume, In Memory of Exhibition: My Feelings (1967). Like Motherwell, and “The Artist and the Poet” in contrast to many of the works in “Art- Art Institute of Chicago ist and Poet,” Mitchell cleaved to the tra- 1 February – 2 June 2013 ditional livre d’artiste form: a discretely Exhibition: bounded image arranged around neatly “Picasso and Chicago” typeset lines, each echoing but never dis- Art Institute of Chicago rupting the other. 20 February – 12 May 2013 Joan Mitchell died in 1992, Robert Motherwell in 1991. The Poetry Foun- Catalogue: dation symposium therefore added an Picasso and Chicago: 100 Years, important contemporary addendum to 100 Works all three shows. Artists Lesley Dill and by Stephanie D’Alessandro with a Mildred Howard joined poets Bill Berk- contribution by Adam Gopnik son and John Yau to discuss the ongoing Published by the Art Institute of relationship between artists and poets, Chicago, 2013 122 pages, 125 illustrations from Dill’s channeling of Dickinson to contemporary collaborations that How- Exhibition: ard, Yau and Berkson have individually “Joan Mitchell: At Home in Poetry” undertaken. The language spoken was Poetry Foundation, Chicago distinct from typical artspeak: visually 4 February – 31 May 2013 evocative words supported by deeply Lesley Dill, A Word Made Flesh…Back (1994), imagined pictures, all offered up in the photo-lithograph, color etching and aquatint on Symposium: hope of some universal connection. tea-stained mulberry paper, hand-sewn on buff “Sitting Between the Sea and Forms—livres d’artistes, rhyming qua- wove paper, image 74.2 x 55 cm, sheet 76.5 x the Buildings” trains—go in and out of fashion; they 56.7 cm. Printed by Steven Campbell, and Poetry Foundation, Chicago Barbara Spies Labus, with the assistance of 11 May 2013 serve a culture for a generation in a vital, C. Tyler Johnson. Gift of Stanley Freehling. accessible way and then become rarified, 1994.749. The Art Institute of Chicago.

32 Art in Print July – August 2013 EXHIBITION The Impressionist Line from Degas to Toulouse-Lautrec: Drawings and Prints from the Clark By Britany Salsbury

he 19th century was a period of Tcontinuous flux in which industri- alization, commodification and urban- ization fundamentally transformed everyday experience. In France espe- cially these changes found resonance in the visual arts. As the Salon’s influence declined and private galleries and deal- ers proliferated, artists found themselves less reliant on official patronage and freer to experiment with new subjects and new aesthetics. “The Impressionist Line from Degas to Toulouse-Lautrec: Draw- ings and Prints from the Clark” reveals the ways in which graphic media were employed by artists—Impressionists, Realists, Post-Impressionists and aca- demic artists also—to embrace or reject modernity. Organized collaboratively by the Frick Collection and the Sterling and Francine Clark Art Institute, the exhibi- tion includes 58 works that span the sec- ond half of the 19th century, and focuses on the distinct properties of drawings and prints as tools of formal innovation Edgar Degas, Studies of the Borghese Gladiator (ca. 1853–56), black and red chalks on cream laid and vehicles for public engagement. paper, 24.2 x 31.3 cm. ©Sterling and Francine Clark Art Institute, Williamstown, MA, 1971.41. “The Impressionist Line” opens with Edgar Degas’ drawing, Studies of the ment of modern art to their proper place Borghese Gladiator (ca. 1853-56), which within the flow of ideas and forms. The the young Degas sketched from antique idealized polish seen in a study of a wom- sculpture at the Louvre as students had an’s head by Pierre Puvis de Chavannes done for generations, documenting the (ca. 1865) suggests that the stiff classicism same figure from multiple perspectives of his paintings was in fact a critical step in order to hone the technical skills toward the simplification and abstraction required for painting. Seen in the context that would typify Post-Impressionism. of his later Impressionist works, such The academic painter William-Adolphe as the two charcoals of bathing women Bouguereau, whose lolling pseudo-clas- included here, the Louvre study makes sical nudes are often cited as everything clear how drawing’s traditional func- Impressionism rebelled against, is rep- tions—in this case the delineation of resented by a graphite Study of Venus for the nude body—persisted even as artists “Apollo and the Muses in Olympus” (ca. pushed toward radical new approaches. 1867). Bouguereau’s idealized nude served In its focus on the role of drawing as the universal starting point for all 19th- century artists, the exhibition upsets the William-Adolphe Bouguereau, Study of Venus common distinctions between move- for “Apollo and the Muses in Olympus” (ca. ments, genres and hierarchies. It returns 1867), graphite with touches of white chalk on beige wove paper, 46.8 x 30.5 cm. ©Sterling and artists we now think of as less canoni- Francine Clark Art Institute, Williamstown, MA, cal or even antithetical to the develop- 1955.1578.

Art in Print July – August 2013 33 Camille Pissarro, Peasant Women Weeding the Grass (ca. 1894), etching printed in blue, red, yellow, and black on cream laid paper, image 12 x 16 cm, sheet: 16 x 19 cm. The Clark, 1962.91.

as a study in proportion and form for titutes as they sleep, bathe and wait for tive engraving through which painters subsequent works, which means it func- clients. The flat planes of vivid color used had long reproduced their work. Paul tioned exactly like Degas’ Gladiator study, for the prints represented the forefront Gauguin created his Volpini Suite spe- despite the divergent paths these two art- of both chromolithographic technology cifically to build his reputation within ists chose to take. and vanguard style at the time. In spite the artistic community of fin-de-siècle If drawing was the time-honored of its unorthodox technique and subject Paris, but he did so through zincography basis of all artistic practices in the sec- matter, however, the suite was produced (a variant of lithography that used a zinc ond half of the 19th century, printmak- specifically for collectors who were cli- plate rather than a stone), which allowed ing had suddenly come to be understood ents of Toulouse-Lautrec’s publisher and him to draw the images directly, as if as a vehicle for experimentation as well a business partner in the venture, Gustave on paper. Several of the prints directly means of engaging the broader public and Pellet. The publisher went so far as to reprise prior paintings, but despite this a nascent art market. Several lithographs design a watermark for the prints’ paper deliberate approach to collectors, works from Henri de Toulouse-Lautrec’s Elles displaying his initials and the artist’s. such as Human Misery (1889) display the series (1896) combine the usual drawn Such interweaving of formal inventive- artist’s fascination with specific, dis- line of lithography with spatters of ink to ness and deliberate entrepreneurship was tinct qualities of printmaking. Gauguin’s create striking tonal effects. In 12 images, characteristic of the moment. sparse, linear drawing highlights the the portfolio presents episodes from the The new printmaking was some- unusual, bright yellow paper (likely an surprisingly banal lives of Parisian pros- thing quite distinct from the reproduc- allusion to the time Gauguin spent with

34 Art in Print July – August 2013 Vincent van Gogh), which resonates with the muddy sanguine ink. These formal qualities accentuate the tension of the work’s subject, meant to recall Adam and Eve before the Tree of Knowledge. The borders that surround the images result from Gauguin’s decision not to fully clean the zinc plate before printing; it frames the image but also foregrounds the technical process that produced it. Other artists were still more deliber- ately inventive with print techniques. An artist’s proof of Camille Pissarro’s Peasant Women Weeding the Grass (c. 1894) shows a subject typical for the artist: French peasants at work cooperatively in an agrarian idyll. In its bright, almost acrid color, the work evokes Pissarro’s paint- ings. The notes written on the margins of the proof, including a lengthy description of color to be used, reveal the complex- ity of the process and the artist’s strategic exploitation of etching effects and ink tonalities. At the same time, Pissarro—a committed anarchist—recognized that prints conformed more readily than painting to his ideals; it offered potential as an affordable and democratic means to reach a wider public with didactic, origi- nal works of art. As artists had begun to do during these years, Pissarro signed his name prominently in pencil in the mar- gin, designating the print as original and unique. Through works like these, “The Impressionist Line” charts the dramatic evolution of art over a critical half-cen- tury. Drawing is revealed as the thread Paul Gauguin, Human Misery from the Volpini Suite (1889), zincograph printed in reddish-brown ink that ties the most radical innovations of with borderlines in graphite on yellow wove paper, sheet 43.9 x 53.9 cm. ©Sterling and Francine Clark Art Institute, Williamstown, MA, 1962.61. Paul Cézanne to the stodgiest academic sketches of Bouguereau, and printmak- ing is asserted as a critical site of experi- mentation and social attentiveness. Exhibition: Most importantly, the exhibition invites “The Impressionist Line from Degas reconsideration of the familiar narrative to Toulouse-Lautrec: Drawings and of modern art’s rise as told through Prints from the Clark” The Frick Collection, New York painting. 12 March – 16 June 2013

Catalogue: Britany Salsbury is a PhD candidate in Art The Impressionist Line from Degas to History at City University of New York and an Toulouse-Lautrec: Drawings and Prints Andrew W. Mellon Curatorial Fellow in the from the Clark Department of Prints and Drawings at the Edited by Jay A. Clarke with essays Metropolitan Museum of Art. She is a frequent by Mary Weaver Chapin, Jay A. Clarke, contributor to Art in Print. Anne Higonnet, Richard Kendall and Alastair Wright Published by the Sterling and Francine Clark Art Institute, and distributed by Yale University Press, New Haven, 2013 148 pages, 103 color illustrations

Art in Print July – August 2013 35 NEW EDITION Keigo Takahashi: Creases 4 By Elleree Erdos

Keigo Takahashi, Creases 4 (2012).

Creases 4 (2012) eventually became a master printer, spe- varied lavender tones. The knife-like pre- Reduction woodcut, 13 x 19 inches. cializing in large-scale screenprint and cision of the defining lines suggests the Edition of 7. Printed and published by woodcut, working for more than ten years facets of a gemstone, while the tight con- Marginal Editions, New York. $300. at Watanabe Studios and Pace Editions figuration in the lower right corner recalls before opening his own shop. In the pro- the creases of a piece of crumpled paper. ore than 13 years ago Keigo cess, he has become a print artist himself. Takahashi exploits contradictions of pre- MTakahashi found himself in the In Creases 4, Takahashi explores three- cision and disorder, geometry and repre- print workshop of Sol LeWitt because dimensional space on a two-dimensional sentation, flatness and dimensionality in a friend who worked there needed help surface through the manipulation of an image of malleable space. The illusion with some heavy lifting of materials for color, shape and line. A reduction wood- of three-dimensional creases is at odds a project. A graphic designer with a gig cut, the image was created through the with the paper’s planarity. In the strict at a bar on the side, Takahashi had not repeated processes of carving, inking and standards of the print studios where he previously given much thought to print- printing in transparent color, working used to work, “Creased paper was totally making as an art, let alone a career path. from light to dark. His images are made opposite … but I started finding interest Suddenly, however, he found himself from small, carved shapes cut from veneer and beauty [in] it,” says the artist. fascinated by the process and enamored pieced together on a larger block. This At Takahashi print shop in Brooklyn, of the art. He taught himself various allows him to vary the direction of the KeigoPrints, he trains printmakers in printmaking techniques and took on jobs wood’s grain, constructing an energetic, screenprint and woodcut. His shop is a as assistant to artists such as LeWitt, Jim rolling landscape. haven for young artists starting out much Dine and Chuck Close for whom print- Here he has created an almost math- as he did—new to the art of printmaking making was a central activity. Takahashi ematical image, juxtaposing triangles of but passionate about the medium.

36 Art in Print July – August 2013 BOOK REVIEW bright yellow book cover embossed with a put his finger in a light socket.” Never- woodcut of the title to the artist’s poems theless, Dine and Crommelynck contin- and thoughts on dyslexia, pain and other ued to collaborate for many years—Desire personal subjects, Dine’s quixotic touch in Primary Colors (1982) was made from is as visible in this book as it is in his art. the plates attacked with the grinder. A He starts with the serendipitous conversation from 2006 transcribed in moment that sealed his affinity for print- the book provides insight into the work- making: browsing in a bookstore at the ing relationship that evolved between the age of 17, he stumbled upon Paul Sachs’ fastidious Crommelynck and the impul- Modern Prints and Drawings (an awaken- sive, innovative Dine. ing shared by other print connoisseurs). The relationships that form between Images by Kirchner, Nolde and Beck- artist and printer are at the heart of Dine’s mann stared back at him from the pages, love of printmaking. He offers snippets of prompting Dine to pick up a chisel—the his conversations with Donald Saff, Kurt first of many tools he would come to use— Zein and Michael Woolworth as well as and make his first woodcut in his grand- Crommelynck. He recounts how, intoxi- father’s basement. He rolled oil paint cated with wine in a café one afternoon, onto the block and hand-rubbed onto it a he asked if Zein could produce an etch- piece of Japanese paper he says may have ing that looked like a charcoal drawing. been stolen from his high school art class. Six months later Zein delivered a piece The image of his Grandpa Cohen mate- of hardened cardboard of the kind used rialized on the paper’s delicate surface. for meat packaging in France, which he Dine was thrilled. coated with a layer of acrylic paint—a Dine’s grandfather ran a hardware cardboard etching plate capable of pro- A Printmaker’s Document store, and hand tools have appeared as ducing a charcoal-like mark. Zein recalls: By Jim Dine with additional texts by the subjects of his drawings, paintings Gerhard Steidl, Ruth Lingen, Daniel and prints. The first project he - com I was always dreaming, how can you Clarke, Bill Lagattuta, Julia D’Amario pleted at the great American lithography make the print in a new way, another and Katherine Kuehn shop Universal Limited Art Editions was way, experimenting, that was always 280 pages, 127 color illustrations Pliers (1962), which became the precur- in my brain… not being a slave to line Published by Steidl Verlag, 2013 sor to tool prints such as Four C-Clamps etching and aquatint. This is boring €30 (1962), Sledgehammer and Axe (1971) and stuff. And working with [Dine] was Bolt Cutters (1973). Though Dine is fasci- absolutely not boring. It was abso- by Mel Becker nated with these common objects as sub- lutely exciting. [He] gave me a kick. jects, the tools he actually uses to make Printmaker’s Document details the his work are often less pedestrian: he Ruth Lingen, a woodcut printer, type- A rich history and artistic processes writes lovingly about the Dremel rotary setter and papermaker, describes Dine’s of Jim Dine’s prints, as told by the artist tool he used for woodblocks such as Red and many of the printers with whom he Dancer on the Western Shore (1988) and has collaborated over the years. Inspired Winter Dream (for V.) (1994) or the chain- by a semi-autobiographical volume from saw he applied to the etching plate for the German printmaker HAP Grieshaber, Owl (1994)—the saw’s ability to simulate this curious, compact book is part cata- feathers was, he writes, “a gift to me from logue raisonné, part memoir and part the saw and a very accurate depiction by artist’s book. Dine pulls back the curtain accident.” to reveal intimate details of his prints Dine recalls the shock such methods and his life—the afternoon spent with sometimes elicited. Arriving at the studio machinist Charles Brand assembling the of the esteemed etcher Aldo Cromme- etching press used for Dine’s Self-Portraits lynck in 1982 he found Richard Hamilton (1971); using his wife’s underpants to “working on something very sensitive, dust the plate for The Pine in the Storm of beautifully drawn, and clean…you could Aquatint (1978) with resin; the irritable have had your appendix taken out and summer triggered by the high altitude of never gotten a disease.” Dine was there Aspen where he printed A Double Feature to work on plates from the series Nancy (1983). Largely chronological in structure, Outside in July (1978), which he had begun the book offers vignettes tucked around earlier with Crommelynck. When Dine 74 Dine prints, beginning with those began reworking the plates with an elec- created in the early 1960s and continuing tric grinder Hamilton was entertained, on to works made in the past year; these but when Crommelynck saw his delicate Jim Dine, Owl (1994), etching intaglio from one copper plate drypoint, roulette and sandpaper are interspersed with texts by, and con- soft ground besmirched with dust and abrasion, image 37 x 31 1/4 inches, sheet versations with, his printers. From the copper he looked, Dine writes, “like he’d 44 1/4 x 33 inches.

Art in Print July – August 2013 37 Jim Dine, Pliers (1962), lithograph on Japan paper, 7 3/4 x 29 1/2 inches.

penchant for “cross pollinating many dif- public. Dine’s 60 years of printmaking minology to bolster his detailed explana- ferent printmaking techniques on single have taught him that a print “is not always tions of the processes behind the prints. prints.” Orange Birthday Robe (2011) is a easy to grasp at first glance. It takes some And carrying on the tradition of Sachs 35-color print that combines lithography, visual education to see the intricacies, and other scholars of technique, he also woodcut, rubber stamps and soft ground and also to understand the layers and sprinkles definitions and printmaking etching. Its complexity was further exac- different techniques.” Helpfully, he has “how-to’s” throughout the book (includ- erbated by what seemed an impossibly provided a glossary of printmaking ter- ing a humorous account of his attempt to tight schedule, but the challenge left Lin- bite an etching plate with urine in a Paris gen feeling “excited about printmaking hotel room). again.” Even with these additions, A Printmak- This, more than anything, is what er’s Document will be most appreciated by Dine communicates in A Printmaker’s readers who are either already enthralled Document—excitement. The thrill expe- by prints or are fascinated by the art and/ rienced by printers rising to (or recovering or personality of Jim Dine. For that audi- from) Dine’s demanding inventiveness ence, this volume is a delight, filled with and the exaltation experienced by the insights and details far more meaningful artist as his wild aspirations, facilitated than the familiar catalogue listings of by the printerly problem-solving aesthet- edition sizes and proof numbers. ics of his collaborators, resolved into new works of art. Jim Dine, Untitled (Rabbi) (1953), oil paint print on paper, image 12 x 12 inches, sheet 15 1/4 x This excitement is notoriously diffi- 16 1/2 inches. Unique proof. Printed by Jim Dine cult to communicate to the broader art in his grandfather’s basement.

38 Art in Print July – August 2013 Jim Dine, Desire in Primary Colors (1982), triptych aquatint and electric tools from four copper plates printed once in one color (left: light red, center: light yellow, and right: light blue) and once in black on three sheets, image 23 1/2 x 19 1/2 inches, sheet 30 x 65 inches total (left and right: 30 x 22 1/2 inches, center: 30 x 20 inches).

The book closes with a list of 12 things process he still uses 60 years later. Fore- Mel Becker is the Collection Cataloguer in Dine treasures about printmaking, from most on his list are people—the printers, the Prints and Drawings Department at the Art the smell of the ink and the evenness with binders, papermakers and typesetters he Institute of Chicago. She is a former rare book which it spreads when rolled with bray- has worked with over the years and who librarian. ers, to his memory of using a wooden have become his close friends. The chain- spoon as a rubbing tool to print a giant saw, Dremel and 18 volt grinder are close woodblock back in his art school days—a behind.

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Art in Print July – August 2013 39 Artists’ Editions available for under ≤100 $100 / €100 / £100

Stefan Brüggemann This Work Is Realised When It Is Burned (2013) Offset print on multi-offset 120gr, A1 (59.4 x 84.1 cm) folded to A4 (29.7 x 21 cm). Edition of 100. Printed in Ghent, published by MOREpublishers, Brussels, Belgium. http://www.morepublishers.be/ €60. Francesco Cassi Hacke (2013) Screenprint, 50 x 70 cm. Edition of 10. Printed by the artist, Berlin. Published by hARdCoRe bRIcOlagE, Berlin. http://www.hardcorebricolage.com/serigraphy.html €55. Brian Gormley and Michael Carter On Bolus Head (2012) 68 page book, 14 x 10 1/2 inches. Edition of 200. Published by En Garde Books in collaboration with The Cill Rialaig Project. The original etching editions were printed in 2011 by the Clo Cill Rialaig Print Center, Co., Kerry, Ireland. Available through Printed Matter, NY. http://printedmatter.org/ $100. Michiel Schuurman, Quiet is the New Loud Francesco Cassi, Hacke (2013), screenprint. (2011), screenprint. Michiel Schuurman Quiet is the New Loud (2011) Screenprint, 84.4 x 118.4 cm. Edition of 30. Printed by the artist, Amsterdam. Published by Amsterdams Grafisch Atelier, Amsterdam. http://amsterdamsgrafischatelier.nl/ €50.

Stefan Brüggemann, This Work Is Realised When It Is Burned (2013), offset print. Brian Gormley and Michael Carter, On Bolus Head (2012), book.

40 Art in Print July – August 2013 News of the Print World

New Editions

Guy Allott, Robots (2013) Series of 9 , 45 x 30 cm. Edition of 6. Printed by the artist, London. Published by Grey Area Multiples, Paris. $500 each. Joell Baxter, from the series didn’t I, didn’t I, didn’t I (three) (2013), screenprint.

Jules Buck Jones, Continental Divide (2013) Chine collé etching, image 4 x 40 inches, sheet 15 x 44 inches. Edition of 10. Printed and pub- Stephen Chambers, from the series Fantasmi lished by Flatbed Press, Austin, TX. $800. (2013), aquatint.

Chuck Close Self-Portrait (Pink T-Shirt) (2013) Archival watercolor pigment print, 75 x 60 inches. Edition of 10. Printed and published by Magnolia Editions, Oakland, CA. Price on request. Cindy (Smile) (2013) Archival watercolor pigment print, 75 x 60 inches. Edition of 5. Printed and published by Magnolia Editions, Oakland, CA. Price on request. Jules Buck Jones, detail of Continental Divide (2013), etching. Guy Allott, from the series Robots (2013), woodcut. Squeak Carnwath, Water Light, She Cried, and Side One 2 (2012/2013) Glen Baldridge UV-cured acrylic over calcium carbonate on The Collection (2013) panel, 10 x 10 x 1 1/2 inches. Edition of 10. Printed Ten-color woodcut with laser engraving, image and published by Magnolia Editions, Oakland 24 x 35 inches, sheet 28.5 x 39 inches. Edition of CA. Price on request. 15. Printed by Flying Horse Editions, Orlando, FL. Co-published by Flying Horse Editions, Orlando, FL, Forth Estate, Brooklyn, NY, and Robert Black- burn Printmaking Workshop, New York, NY. Harbinger (2013) Eight-color woodcut with laser engraving, image 19 x 18 inches, sheet 23.5 x 22 inches. Edition of 45. Printed by Flying Horse Editions, Orlando, FL. Co-published by Flying Horse Editions, Orlando, Chuck Close, Cindy (Smile) (2013), FL, Forth Estate, Brooklyn, NY and Robert Black- archival watercolor pigment print. burn Printmaking Workshop, New York, NY. Prices on request. Robin Duttson, Bullfinch, Great Tit and Roses (2013) 19-color screenprint, image 100.5 x 70.5 cm, sheet Squeak Carnwath, Side One 2 (2012/ 2013), 116 x 85 cm. Edition of 45. Printed by Jealous Print Studio, London, UK. Published by TAG Fine Arts, London, UK. £795 Stephen Chambers, Fantasmi (2013) Set of 6 aquatints with chine collé and gold leaf, image 28 x 38, sheet 42 x 52 cm. Edition of 20. Printed and published by Stamperia Berardinelli, Verona, Italy. £2500 for the set, £1000 for the couple, £550 for a single print. This set of images is unified by the view-through- the-keyhole device, about which the artist says, “When I leave my studio at the end of the day the last thing I do is to look through the keyhole at Glen Baldridge, Harbinger (2013), the work I have just left behind. This is both a eight-color woodcut. way of shuttering, or framing, the image, and also a way of detaching myself from the days labour; Joell Baxter, didn’t I, didn’t I, didn’t I the work becomes somebody else’s.” (one, two, and three) (2013) Screenprints, image 8 1/4 x 16 1/2 inches each, Chuck Close sheet 18 1/2 x 26 1/2 inches each. Edition of 6 Self-Portrait (Yellow Raincoat) (2013) each. Printed by Erik Hougen, New York, NY. Archival watercolor pigment print, 75 x 60 inches. Published by Lower East Side Printshop, New Edition of 10. Printed and published by Magnolia Robin Duttson, Bullfinch, Great Tit and Roses York, NY. $700 each. Editions, Oakland, CA. Price on request. (2013), screenprint.

Art in Print July – August 2013 41 Slow Rotation (2013) Mark Fox, Jeezlepete (Variation 5/15) (2013) Monoprint, 74.5 x 56.4 cm. Unique image. Printed Three-dimensional intaglio construction in 35 by the artist, London, UK. Published by Paul colors on Revere standard white and Rives BFK Stolper, London, UK. £1200. grey paper, 43 1/4 x 56 1/4 x 2 inches. Edition of 15 unique variants. Printed and published by ULAE, Bay Shore, NY. $5800.

Huang Kai, Lu Lu Pa Alleyway, No. 3 (2012), woodcut.

Jane Kent Pink Eye (2013) Screenprint, 67 x 47 cm. Edition of 35. Printed by Aspinwall Editions, Bentlage, Rheine, Germany. Published by Aspinwall Editions, New York. $850. Susie Hamilton, Slow Rotation (2013), monoprint. Blue Nose (2013) Screenprint, 67 x 47 cm. Edition of 35. Printed by Mark Fox, Jeezlepete (Variation 5/15) (2013), Aspinwall Editions, Bentlage, Rheine, Germany. Sarah Hardacre, Sublime Heat (2012) intaglio construction. ©2013 Mark Fox. Published by Aspinwall Editions, New York. $850. Three-color screenprint, 70 x 100 cm. Edition of 20. Printed by the artist, Manchester, UK. Pub- Elizabeth Gilfilen lished by Paul Stolper, London, UK. £600. A Stone’s Throw (2013) Series of 9 watercolor and carborundum mono- prints, 23 1/2 x 26 inches. Unique images. Printed and published by Oehme Graphics, Steamboat Springs, CO. $1300. Gathering Moss (2013) Series of 26 solar plate monoprints, image 24 x 18 inches, sheet 33 x 26 inches. Unique images. Printed and published by Oehme Graphics, Steamboat Springs, CO. $1600. Restless Topography (2013) Series of 21 carborundum and drypoint mono- prints, image 24 x 18 inches, sheet 33 x 26 inches. Unique images. Printed and published by Oehme Sarah Hardacre, Sublime Heat (2012), Graphics, Steamboat Springs, CO. $1600. screenprint. Jane Kent, Blue Nose (2013), screenprint. Murmur (2013) Mary Heilmann, Autumn Wave (2012) Series of 18 watercolor monotypes, image 24 x 15-color screenprint, 62 x 43 cm. Edition of 175. William Kentridge, Invisible Object (Sphinx) 18 inches, sheet 33 x 26 inches. Unique images. Printed by Brand X Editions, New York, NY. Pub- (2013) Printed and published by Oehme Graphics, lished by Counter Editions, London, UK. $1200. Intaglio with photogravure, drypoint and bur- Steamboat Springs, CO. $1600. ($1000 for Art in Print subscribers*; see note p. 43.) nishing, image 13 1/4 x 20 inches, sheet 19 1/4 x 25 3/4 inches. Edition of 18. Printed by the artist and Randy Hemminghaus, New Brunswick, NJ. Pub- lished by Brodsky Center for Innovative Editions, New Brunswick, NJ. $6000.

Elizabeth Gilfilen, Gathering Moss (2013), William Kentridge, Invisible Object (Sphinx) solar plate monoprint. (2013), intaglio with photogravure. Mary Heilmann, Autumn Wave (2012), screenprint Susie Hamilton Jonggeon Lee, Pyramid I (2013) Internal Darkness (2013) Huang Kai, Lu Lu Pa Alleyway No 1-4 (2012) Relief print, base 32 inches x height 36 inches, Monoprint, 54 x 37.2 cm. Unique image. Printed Woodcuts, 95 x 120 cm each. Edition of 60 each. sheet 38 x 42.75 inches. Edition of 8. Printed by by the artist, London, UK. Published by Paul Printed by the artist, Xian, China. Published by Erik Hougen, New York, NY. Published by Lower Stolper, London, UK. £960. China Print Art Gallery, Beijing. Price on request. East Side Printshop, New York, NY. $1500.

42 Art in Print July – August 2013 Interior with Ghosts (2013) Archival inkjet, screenprint, and collage, 18 x 15 3/4 inches. Edition of 6. Printed by Erik Hougen, New York, NY. Published by Lower East Side Printshop, New York, NY. $750.

Easter (2013) Archival inkjet and screenprint, 16 x 12 inches. Edition of 6. Printed by Erik Hougen, New York, NY. Published by Lower East Side Printshop, New York, NY. $750.

Static (2013) Adam McEwen, Chocolate Bar (2013), Archival inkjet and screenprint, image 12 graphite sculpture. x 16 inches, sheet 16.5 x 20 inches. Edition of Jonggeon Lee, Pyramid I (2013), relief print. 6. Printed by Erik Hougen, New York, NY. Steven Millar Published by Lower East Side Printshop, New Sara Lee Orbit (2013) York, NY. $750. The Crossing (2013) Archival inkjet and screenprint, diameter 9 Intaglio and woodblock, image 42 x 59.5 cm, sheet inches, sheet 13 x 13 inches. Edition of 6. Printed 58 x 72.5 cm. Edition of 40. Printed and published by Erik Hougen, New York, NY. Published by Marilyn Minter, Gossip (2012) by Stoney Road Press, Dublin, Ireland. £575. Lower East Side Printshop, New York, NY. $600. C-print, face mounted, image 26 1/2 x 40 inches, framed 28 1/2 x 42 inches. Edition Passage Through (2013) Portal (2013) of 20. Published by Carolina Nitsch for the New Intaglio and woodblock, image 42 x 59.5 cm, sheet Archival inkjet and screenprint, image 15 1/2 x 15 Museum of Contemporary Art, New York, NY. 58 x 72.5 cm. Edition of 40. Printed and published 1/2 inches, sheet 19 1/2 x 19 1/2 inches. Edition $15,000. by Stoney Road Press, Dublin, Ireland. £575. of 6. Printed by Erik Hougen, New York, NY. Published by Lower East Side Printshop, New York, NY. $750 .

Glimpse (2013) Archival inkjet, relief, screenprint, and collage, image 22 x 19 1/2 inches, sheet 27 x 23 1/2 inches. Edition of 6. Printed by Erik Hougen, New York, NY. Published by Lower East Side Printshop, New York, NY. $900.

Marilyn Minter, Gossip (2012), C-print. Sara Lee, The Crossing (2013), intaglio and woodblock. Matthew Palladino Bad Map (2013) Michael Loderstedt, Snared (Green Birds), Snared Ten-color lithograph, 30 x 44 1/2 inches. (Blue Birds), Snared (Yellow Birds) (2012) Edition of 25. Printed and published by Shark’s Three screenprint monotypes, image 12 x 26 3/4 Ink, Lyons, CO. $2000. inches, sheet 12 1/2 x 30 inches each. Printed and published by the artist, Cleveland, OH. Available Wonder Box: Expulsion (2013) through VanDeb Editions. $700 each. 14-color lithograph, 44 1/2 x 30 inches. Edition of 25. Printed and published by Shark’s Ink, Lyons, CO. $2000

Steven Millar, Glimpse (2013), archival inkjet and screenprint.

Mend (2013) Archival inkjet and collage, 10 x 15 inches. Edi- tion of 6. Printed by Erik Hougen, New York, NY. Published by Lower East Side Printshop, New York, NY. $600. Michael Loderstedt, Snared (Green Birds) (2012), screenprint monotype. Marriage (2013) Archival inkjet, intaglio with relief roll, collage, and hand additions, image 17 x 15 1/2 inches, Adam McEwen, Chocolate Bar (2013) sheet 22 x 19 1/2 inches. Edition of 6. Printed by Matthew Palladino, Bad Map (2013), Graphite sculpture, 1.4 x 10.2 x 18.6 cm. Edition Erik Hougen, New York, NY. Published by Lower lithograph. of 45. Fabricated by Mersen USA, Greenville, MI. East Side Printshop, New York, NY. $900. Published by Counter Editions, London, UK. $4500 ($3750 for Art in Print subscribers*). Elegy (2013) Ryan Parker, Windows (2012) *Art in Print subscribers receive a special dis- Archival inkjet, screenprint, and collage, 20 3/4 Series of 8 etching, aquatint and collage, 19 3/4 x count on these editions. Visit www.counteredi- x 18 3/4 inches. Edition of 6. Printed by Erik 29 5/8 inches. Unique images. Printed and pub- tions.com and enter the code ARTINPRINT at Hougen, New York, NY. Published by Lower East lished by Ryan Parker, Philadelphia, PA. Available checkout to receive your discount. Side Printshop, New York, NY. $750. at Dolan/Maxwell. $1800 each.

Art in Print July – August 2013 43 Ryan Parker, from the series Windows (2012), Hugo Wilson, Untitled (2013), etching and etching, aquatint and collage. aquatint.

Terry Winters, Strings (for Cabinet) (2012) Josh Smith, Big Fish (2013) April Vollmer, Blackout (2013), Mokuhunga Woodcut, 13 1/2 x 10 5/8 inches. Edition of 100. Aquatint with spit bite and dry point, 56.5 woodblock. Printed by Grenfell Press, New York, NY. Pub- x 78 cm. Edition of 75. Printed by Burnet lished by Cabinet, New York, NY. $500. Editions, New York, NY. Published by Counter Editions, London, UK. $1500 ($1250 for Art in Stephen Walter, Nova Utopia (2013) Print subscribers*; see note p. 43.) Archival digital print with protective UV glaze, 133.5 x 171.5 cm. Edition of 50. Printed by Corian- der Studio, Perivale, UK. Published by TAG Fine Arts, London, UK. £3000.

Josh Smith, Big Fish (2013), aquatint with spit bite and dry point. Terry Winters, Strings (for Cabinet) (2012), woodcut.

Mickalene Thomas, Sleep: Deux Femmes Noires (2013) Mixed media collage: woodblock, screenprint Stephen Walter, Nova Utopia (2013), archival Betty Woodman, Alessandro’s Room (2013) and digital print, 38 1/2 x 80 1/2 inches. Edition digital print Twelve-color woodcut, lithograph triptych, of 25. Printed and published by Durham Press, chine collé, collage, 27 x 80 inches. Edition of 30. Durham, PA. $20,000. Printed and published by Shark’s Ink, Lyons, CO. George Whitman, untitled (landscape) (2013) $4,500. Etching with chine collé, image 22 x 28 inches, sheet 30 x 35 inches. Edition of 35. Printed and published by Center Street Studio, Milton, MA. $1500.

Mickalene Thomas, Sleep: Deux Femmes Betty Woodman, Alessandro’s Room (2013), Noires (2013), woodblock, screenprint and woodcut, lithograph, chine collé, collage. digital print collage.

April Vollmer, Blackout (2013) Mokuhanga woodblock on Gozen handmade Exhibitions of Note Japanese paper, 38 x 26 inches. Variable edition of 12. Printed and published by the artist. $600. ASCHERSLEBEN, GERMANY After Hurricane Sandy last fall, April Vollmer’s “Graphic Work of Neo Rauch, Part 2” Lower East Side studio was without electricity George Whitman, untitled (landscape) (2013), Through 2 March 2014 for a week. During that time she played host to etching with chine collé. Grafikstiftung Neo Rauch a Czech artist, Simon Brejcha, who had come www.grafikstiftungneorauch.de/ for the opening of IPCNY’s “New Prints 2012/ The second installment of a survey of Neo Rauch’s Autumn” exhibition, in which his work was prolific career in printmaking, housed in a foun- included. [http://www.ipcny.org/node/1796] He Hugo Wilson, Untitled (2013) dation dedicated to his work and located in his was interested in learning about Japanese wood- Etching and aquatint, image 70 x 99.5 cm. Edi- home town. For a review of the current exhibi- block, so Vollmer began working on this edition tion of 20. Printed by Ian Steadman, London, UK. tion, see: http://www.blouinartinfo.com/news/ during daylight hours. Each impression is unique, Published by Pratt Contemporary, Ightham, UK. story/889387/behind-the-seven-mountains-uncov- with ferns printed freely around the perimeter. £1440. ering-neo-rauch-through-his.

44 Art in Print July – August 2013 AUSTIN, TX “Larry Scholder: Archive” Through 23 August 2013 Flatbed Press http://www.flatbedpress.com/index. cfm?cid=8297&beid=1167&tid=103 “Archive” is a retrospective covering nearly 20 years of Larry Scholder’s investivation of scale and color as a printmaker.

AUSTIN, TX “Luminous: 50 Years of Collecting Prints and Drawings at the Blanton” Through 15 September 2013 Blanton Museum of Art, University of Texas http://www.blantonmuseum.org Part of the Blanton’s 50th anniversary celebra- tions, this exhibition focuses on the museum’s collection of 16,000 works on paper. High- lights include a self-portrait by Diego Rivera, Vik Muniz’s Jorge (2003), Pablo Picasso’s Mino- taure aveugle guide par une fillente dans la nuit (1933-34) and Mary Cassatt’s In the Opera Box (ca. 1880).

CAPE TOWN, SOUTH AFRICA In Cape Town, South Africa: “The Print Show’” through 1 August 2013. Diane Victor, Apollo and “The Print Show” Daphne from The Birth of a Nation series (2009), drypoint. Through 1 August 2013 Ebony Cape Town http://www.davidkrut.com Scott Fullerton’s engagement with printmak- This selection of editioned work produced at the FORT WORTH, TX ing began with her incorporation of etched David Krut Print Workshop (DKW) showcases “Wayne: The Tamarind Decade” steel plates into her sculptural work. She subse- the results of ongoing collaborations between 23 July 2013 through 19 January 2014 quently tried printing from those plates, and the workshop’s master printers and artists Wil- Amon Carter Museum of American Art in this exhibition expands into digital liam Kentridge, Deborah Bell, Diane Victor, Maja http://www.cartermuseum.org printing, chine collé and screenprinting on Maljević, Senzo Shabangu and Stephen Hobbs. This exhibition features 15 works created during glass. June Wayne’s decade as founder and director of EVANSTON, IL the Tamarind Lithography Workshop. It includes “Blacklisted: William Gropper’s Capriccios” multiple states of her print projects, demonstrat- JOHANNESBURG, SOUTH AFRICA Through 11 August 2013 ing how she reworked and developed themes. “Stephen Hobbs: Be Careful In the Block Museum of Art, Working Radius” http://www.blockmuseum.northwestern.edu/ GLASGOW, UK Through 10 August 2013 The first exhibition in 60 years to show Gropper’s “Carla Scott Fullerton—Occupying Forms” David Krut Projects complete portfolio lithographs made in response Through 18 August 2013 http://davidkrutprojects.com/exhibitions/be-care- to the blacklisting of artists in 1950s by the House Glasgow Print Studio ful-in-the-working-radius Committee on Un-American Activities. http://www.gpsart.co.uk/ In these woodblock and linocut prints, Hobbs continues his investigation of the structures and surfaces of the urban environment. See The Be Careful Pop-Up Book listed under Artists’ Books.

LONDON, UK “Stephen Walter: Anthropocene” Through 28 July 2013 Londonewcastle Project Space http://londonewcastle.com/arts-programme/calen- dar/all/ Stephen Walter is best known for his redrawn maps of London. This exhibition includes his latest work, Nova Utopia, a hand-drawn map of Thomas More’s fictional island state, Utopia, a century after revolution has trans- formed it.

MADISON, WI “Gifts of the Ebb Tide: The Sea in Japanese Prints” Through 1 September 2013 Chazen Museum of Art http://www.chazen.wisc.edu/ A selection of Japanese woodblock prints featur- In Madison: “Gifts of the Ebb Tide: the Sea in Japanesse Prints” through 1 September 2013. ing the sea, drawn from the museum’s notable Kitagawa Utamaro, frontispiece from The Shell Book (Gifts From the Ebb Tide) (1789), collection. The show includes The Shell Book by color woodcut. Kitgawa Utamaro from 1789.

Art in Print July – August 2013 45 Beneath Trees of My Own Planting, is a large-scale Domein in 14 years, will showcase work from the site-specific installation of cascading printed last 20 years, including his iconic The 23rd History mylar panels. of the Human Face (Aljo-Violet). Airmail Painting no. 128 from 1999, acquired by Het Domein last PHILADELPHIA, PA year. “The thing is not so much to read what is “Photogravure: Master Prints from in the paintings as to read what they are inces- the Collection” santly doing: traveling,” says Dittborn. Dittborn Through 11 August 2013 uses found objects and drawings, placing them Philadelphia Museum of Art in envelopes that provide information about the http://www.philamuseum.org work and the journey it has been on. The exhibi- A century before its current revival, photogravure tion will be accompanied by a publication. was an important, if laborious, medium among artist-photographers. This exhibition includes 55 TORONTO, CANADA master prints from the 1880s through the 1910s. “Micah Adams: Coinage” “Alexei Vella: Beings from Beyond” PHILADELPHIA, PA Through 27 July 2013 “Starting From Scratch: The Art of Etching Open Studio from Dürer to Dine” http://www.openstudio.on.ca Through 11 August 2013 Micah Adams created large etchings based on Philadelphia Museum of Art coin details as well as used coins themselves http://www.philamuseum.org as tiny printing plates. “Beings From Beyond” Nearly 70 etchings covering a half-millenium explores Vella’s interest in monstrosity influ- of artistic acivity are on view in this exhibition, enced by pulp fiction and pop-culture. In Glasgow: “Carla Scott Fullerton— drawn from the museum’s collection. Occupying Forms” through 18 August. Carla VENICE, CA Scott Fullerton, Paneled Forms (2013), SHANGHAI, CHINA & VENICE, ITALY “Orit Hofshi: Cessation” “Qiu Zhijie: The Unicorn and the Dragon. etching with chine collé. Through 27 July A map of collections of Fondazione Querini Shulamit Gallery Stampalia, Venice and Aurora Museum, Shang- http://shulamitgallery.com/ hai” Hofshi, who first came to broader American MUNICH, GERMANY Through 18 August 2013 attention through Philagrafika in 2010, is known “Paris Intense: The Nabis—from Bonnard Fondazione Querini Stampalia, Venice for large works that employ woodcut prints and to Vallotton” Aurora Museum, Shanghai carved wood templates in large installations. Through 30 September 2013 http://www.querinistampalia.it/ The current exhibition includes spoon-printed Neue Pinakothek Qiu Zhijie’s dual exhibitions in Shanghai and woodcuts and full wall installations. Three of http://www.pinakothek.de/en/neue-pinakothek Venice mark two ends of the first great experi- the pieces included in this show depict piles of “Paris Intense” was the title Félix Vallotton gave ment in globalization: Marco Polo’s 13th-century stones; whether they are artifacts of construction to a series of lithographs made in 1893/94 about round-trip between Venice and China. Qiu is cre- or destruction is not made clear, but the connec- the modern French metropolis. This exhibition ating site-specific installations in each location. tion between image, labor, and physical matter is brings together all Nabis works in the museum’s Originally trained as a printmaker, Qiu is creat- explicit. collections for the first time, and throws new ing site-specific maps—some made as rubbings light on this exceptional group and its intentions. on paper in the ancient Chinese manner, others VENICE, ITALY drawn with ink directly on site—of the muse- “Qiu Zhijie: The Unicorn and the Dragon. NEW YORK, NY ums’ historical collections, charting the bizarre A map of collections of Fondazione Querini “Spring Chickens, Free Range” misunderstandings that arise from the cultural Stampalia, Venice and Aurora Museum, Through 26 July exchange between East and West, and between Shanghai” David Krut Projects past and present. [see SHANGHAI] http://davidkrutprojects.com/about/dk-projects-in- new-york SHANGHAI, CHINA This group exhibition features ten artists from “From Gesture to Language: Transforming the Rhode Island School of Design’s Printmak- Practices of Art Expression” ing program: Paloma Barhaugh-Bordas, Kevin Through 11 August 2013 Frances, Amanda Hu, Genevieve Lowe, Jonathan Rockbund Art Museum Palmer, Diego Rodriguez-Warner, Saman Sajasi, http://www.rockbundartmuseum.org Justin Sorensen, Cole Swavely and Elisabeth Co-curated by Pascal Torres Guardiola of the Walden. Chalcography Department at the Louvre and Larys Frogier, director of the Rockbund Art Museum, “From Gesture to Language” explores NEW YORK, NY the connection between visual and textual con- “Surface Tension” structions in contemporary art. The exhibition Through 8 August 2013 relates classical, modern and contemporary Senior & Shopmaker Gallery works and will include works by Jenny Holzer, http://www.seniorandshopmaker.com Robert Morris, Yan Pei-Ming, Dahn Vo and oth- Drawings and prints by Tauba Auerbach, Vija ers. Some are drawn from the contemporary col- Celmins, Bruce Conner, Robert Mangold, Julie lection of the Chalcography Department while Mehretu, Edda Renouf and Robert Ryman. others have been commissioned for this show.

PHILADELPHIA, PA SITTARD, NETHERLANDS “Soledad Salamé: Looking Back... Looking For- “Eugenio Dittborn: Your Letters, Pinturas ward...” and “Taryn McMahon : Shade Beneath Aeropostales 1986-2012” Trees of My Own Planting” Through 9 September 2013 Through 27 July Museum Het Domein The Print Center http://www.hetdomein.nl http://www.printcenter.org/ Chilean artist Eugenio Dittborn is famous for his Soledad Salamé employs experimental print pro- folded “Airmail Paintings”, which he describes In New York: “Surface Tension,” through cesses to explore the environmental impact of as “homeless paintings” or “letters in transit.” 8 August 2013. Tauba Auerbach, our industrial history. Taryn McMahon’s Shade This solo exhibition, his first at the Museum Het Plate Distortion III (2011), color aquatint.

46 Art in Print July – August 2013 editioning and basic methods of printing onto WASHINGTON, DC Workshops t-shirts. “Yes, No, Maybe: Artists Working at Crown Point Press” AUSTIN, TX NEW YORK, NY 1 September 2013 through 5 January 2014 “Screenprinting” “Mokuhanga Japanese Woodblock with National Gallery of Art 20 July 2013 April Vollmer” http://www.nga.gov/exhibitions/crownpoint.shtm Flatbed Press 17 July - 4 September 2013 In “Yes, No, Maybe” fully resolved prints and their http://www.flatbedpress.com/ Lower East Side Printshop related working proofs are juxtaposed to show This introductory class includes a demonstration http://www.printshop.org the nuanced decisions that go into the produc- of the full screen printing process, and the Six Wednesday evenings working with tradi- tion of final images. (Something you can do with instructor will work with each participant to tional Japanese woodblock printing for contem- prints, where each stage is preserved, but cannot complete a small edition of 2-color prints. with painting.) All were made at Crown Point porary artists. Press between 1972 and 2010. The show includes AUSTIN, TX ROCKLAND, ME 80 prints by eminent artists such as Richard “Intro To Linocut” Diebenkorn, John Cage and Chuck Close, as well “Mokuhanga Japanese Woodblock with 27 - 28 July 2013 April Vollmer” as younger artists such as Mamma Andersson, Flatbed Press Julie Mehretu and Chris Ofili. 9 - 11 August 2013 http://www.flatbedpress.com/ Farnsworth Museum Participants will learn design principles, carving http://www.farnsworthmuseum.org/education/ techniques, inking and printing. mokuhanga-japanese-woodcuts-april-vollmer Fairs An intensive introductory workshop in which AUSTIN, TX participants will cut and print an edition of color CHICAGO, IL “Copperplate Etching” prints with this water-based, nontoxic technique. “EXPO Chicago” 3 - 4 August 2013 19 - 22 September 2013 Flatbed Press SANTA FE, NM Navy Pier http://www.flatbedpress.com/ “Mokuhanga Japanese Woodblock” http://www.expochicago.com/ This two-day workshop will teach the basics 15 - 19 July The second iteration of EXPO CHICAGO will of line etching techniques, using drypoint and Making Art Safely feature 120 participating galleries from 16 coun- liquid hard ground on copper plates. http://www.makingartsafely.com/April_Vollmer_ tries and 34 cities. Print dealers include Bernard Moku_Hanga.html Jacobson Gallery (London), Carolina Nitsch AUSTIN, TX A one-week intensive workshop in water-based (New York), Pace Prints (New York) and Tandem “Hand Papermaking” Japanese woodblock printing with Mokuhanga Press (Madison). 10 August 2013 expert April Vollmer. Flatbed Press LONDON http://www.flatbedpress.com/ “KALEID 2013 London” Participants will learn the basic elements of the 20 July ancient art of paper making as they are taught New Books and Catalogues The Art Academy the process of preparing the vat of pulp, pulling http://www.kaleideditions.com/eshop/ sheets with a mould and deckle, and couching The Art of Influence: Asian Propaganda KALEID 2013 London is a curated showcase of and pressing the paper. Mary Ginsberg artists’ books. Awards and acquisitions will be 192 pages, 130 illustrations announced on Friday, 19 July. AUSTIN, TX Published by British Museum, London, 2013 “Intro to Woodcut” £19.99 17 - 18 August 2013 Published to accompany the eponymous exhibi- Flatbed Press tion, the catalogue covers three-quarters of the http://www.flatbedpress.com/ 20th century (1900-1976) and a large part of the This class will instruct on design principles, world’s largest continent: not just Mao-era kitsch carving techniques, inking and printing, as well posters, but textiles, paper currency, teapots and as how to print at home without a press. other ephemera from India, Japan, Korea and elsewhere. The messages encompass early impe- NEW YORK, NY rialist cries for independence; World War II pro- “Intaglio” panda (from both sides); the wonders or horrors 25 - 29 July 2013 of capitalism or Communism (pick any combi- Lower East Side Printshop nation). This even-handed approach to ideology http://www.printshop.org clears the way for an examination of the mecha- This course aims to provide students with a nisms of pictorial argumentation. mastery of basic intaglio techniques as well as an overview of historical and contemporary approaches to the medium. In Norwich, UK: “The 18th Norwich Print Fair” 9–21 September 2013. NEW YORK, NY “Screenprinting Intensive” 29 July - 2 August 2013 NORWICH, UK Lower East Side Printshop “The 18th Norwich Print Fair” http://www.printshop.org 9 - 21 September 2013 Week-long introduction to various screen- St. Margaret’s Church Gallery printing techniques. http://www.norwichprintfair.co.uk/ Now in its 18th year, the Norwich Print Fair will NEW YORK, NY feature 30 exhibiting printmakers. In accordance “Waterbased Screenprinting” with its goal of fostering greater understanding 6 August - 10 September 2013 of print media, in 1998 the fair received funding Lower East Side Printshop to produce the concise and helpful A Simple http://www.printshop.org Guide to Printmaking Techniques, which Topics will include screen preparation, color is now downloadable online: http://www. separation for multi-plate prints, correct color norwichprintfair.co.uk/techniques.asp. mixing, registration, screen monoprinting,

Art in Print July – August 2013 47 Reba and Dave Williams built a massive and Distinguished Images: Prints in the Visual Manfred Sellink Tommy Simoens important collection of 19th- and 20th-century Economy of Nineteenth-Century France American prints over the course of some three

Stephen Bann luc tuymans luc tuymans graphic works 1989–2012 decades. The collection was acquired by the 276 pages, 116 illustrations National Gallery in 2009 and through their Print Published by Yale University Press, Research Foundation the Williamses have con- New Haven and London, 2013 tinued to evangelize about prints with projects $65 such as the DVD All About Prints: 500 Years of Stephen Bann’s latest book examines printmak works graphic - Prints and Printmaking. Reba White Williams’ ing as part of a larger cultural system of image latest venture is a mystery novel centered on creation and consumption, rather than focusing print dealing at its most nefarious. either on specific techniques or on a single art- ist or movement. The result is a much broader

and more valuable study of how printed images1989–2012 functioned for both artists and viewers. Most RICHARD importantly, it works to dissolve some of the false

Manfred Sellink distinctions—“reproduction” versusisbn: 978-94-6130-051-5 “original” Tommy Simoens LONG being the most salient—that the 20th century imposed on our understanding of the 19th. PRINTS 1970 — Editions ‘13 Deborah Cullen Luc Tuymans is one of the most influential paint- 2013 32 pages ers in the world today. His attenuated images Published by Lower East Side Printshop, Inc, are persistent, alluring and yet out of reach, like New York, 2013 a name caught annoyingly on the tip of one’s A catalogue of this year’s new editions from tongue. They pass through numerous stages on Museum LESP. Deborah Cullen writes about artists Sebas- Kurhaus Kleve their way to the canvas scanned: google searches, Hamburger Kunsthalle tiaan Bremer, Seven Millar, Alison Elizabeth Tay- The New Art screen shots, Polaroids, drawings, photocopies Gallery Walsall Verlag der lor, Jonggeon Lee and Joell Baster. Buchhandlung Walther and more photocopies. In print media Tuymans König, Köln found a sympathetic set of processes in which Hieronymus Cock—The Renaissance in Print repetition, loss and syntactic survival are inevi- Joris Van Grieken, Ger Luijten and table events. This large hardcover catalogue doc- Jan Van der Stock uments 65 editions that Tuymans has produced Richard Long Prints 1970 – 2013 416 pages, 320 illustrations since 1989, providing each with an immaculate, Beate Kolodziej, Roland Monig and Published by Yale University Press / Mercator- full page reproduction, and elucidating most Gerard Vermeulen fonds, Brussels, 2013 with a brief back story. The main essay is by 200 pages, 150 color illustrations $95 Breughel scholar Manfred Sellink. The Antwerp painter and printmaker Hiero- Published by Verlag der Buchhandlung Walther Köenig, Cologne, Germany, 2013 nymus Cock (1518-1570) and his wife, founded Mapping Ethnography in Early Modern Catalogue Raisonné in German and English one of the earliest European print publishing Germany—New Worlds in Print Culture £36 firms, At the Sign of the Four Winds. This ambi- Stephanie Leitch The first catalogue raisonné of the influential tious, beautifully produced, and thoroughly 296 pages land artist Richard Long, the book inventories 55 detailed catalogue reproduces more than 100 Published by Palgrave Macmillan, editions produced over 45 years. Together they prints by artists from Frans Floris to Pieter Hampshire, UK, 2010 form a survey of his entire career and the criti- Breughel the Elder. Many are spectacular. The $95 cal role of prints in disseminating his ideas. Pub- related exhibition was shown at the M-Museum This book, which won the 2011 Roland H. Bain- lished to accompany the exhibition of the same Leuven, 14 March to 9 June 2013 and will travel to ton Prize for Art History, examines the role of title, “Richard Long Prints 1970–2013” will appear the Institut Neerlandais, Paris, 18 September to 15 early German prints on the development of Early at Museum Kurhaus Kleve, Hamburger Kunst- December 2013. Modern European thinking. Leitch analyzes the halle, and The New Art Gallery Walsall. role of the printed image on attitudes toward empirical observation, inter-cultural investiga- tion, proto-science and global adventuring.

Restrike: Coleman and Dinah Greene

cock Hieronymus Mystery No. 1 Reba White Williams 393 pages NG partners Published by Delos, Mount Jackson, VA, 2013

Hieronymus MANY The Renaissance in Print $12

The Renaissance E GER RINTMAKI N P EI COCK L in Print H E R TIO NA NA ENTLAG M B INTER SIU ND

Hieronymus 2 PO (Antwerpen 1517/8–1570) This book carefully reconstructs and analyses the output wasc a painterock and printmaker. Together with his wife Volcxken of Cock’s and his wife’s business. It seeks to do justice to the SYM Diericx he was one of the first in Northern Europe to establish entrepreneurial drive of the protagonists and to emphasize a publishing company for prints. From 1548 onwards their Aux the importance of the print publisher in the history of art. Quatre Vents (At the Sign of the Four Winds) print-publishing house issued hundreds of important etchings and engravings. Edited by Joris Van Grieken, Ger Luijten and Jan Van der Stock. sponsors Prints after frescoes and paintings by Raphael and Bronzino, the first series of classical ruins and antique sculpture, as well as Joris Van Grieken is curator of prints and designs by Northern artists such as Maarten van Heemskerck, drawings at the Royal Library of Belgium, Brussels; yale university press Frans Floris and Hans Vredeman de Vries were disseminated Ger Luijten is director of the Fondation Custodia, in large numbers all over Europe, helping to spread Renaissance Paris, and editor of The New Hollstein, the essential reference

ideals of beauty. It was Cock who had an eye for the talent of work for German and Netherlandish printmaking; mercatorfonds Pieter Bruegel, who was to supply him with over sixty designs for Jan Van der Stock is professor of art history prints. Cock also took the initiative to produce engravings of some at the University of Leuven and director of Illuminare – of Hieronymus Bosch’s monumental imaginative compositions. Centre for the Study of Medieval Art (KU Leuven). nd yale university press | mercatorfonds

printed in belgium 9 780300 191844 2 SNAP 2012: 2nd International Printmaking Symposium Bentlage, Rheine, Germany Luc Tuymans Graphic Works 1989-2012 Martin Rehkopp and Knut Willich, ed. Manfred Sellink and Tommy Simoens 152 pages, 221 illustrations 256 pages, fully illustrated Published by Edition & Verlag Kloster Bentlage, Published by Ludion, Antwerpen, 2013 Rheine, Germany, 2013 $60 €12.

48 Art in Print July – August 2013 To order a copy, please write to info@kloster-bent- lage.de or Kloster Bentlage gGmbH, Bentlager Weg 130, 48432 Rheine, Germany. This catalogue documents the printmaking sym- posium that took place 27-30 September 2012 at Kloster Bentlage in Rheine, Germany. It includes Susan Tallman’s keynote address (see also her report on the symposium in Art in Print, Vol. 2, No. 5), examples of work from the nine accompa- nying exhibitions and a CD with texts and images from the lectures and presentations given during the four-day event.

Artists’ Books

The Be Careful Pop-Up Book By Stephen Hobbs Jorges Luis Borges and Thomas Wood, 19 pages The Book of Sand (2013), artist book. Published by David Krut Projects, Johannesburg, 2013 Price on request This limited edition pop-up book functions as a Other News kind of “paper architecture” and was published in conjunction with Hobbs’ recent exhibition “Be IFPDA Elects Seven New Members Careful in the Working Radius.” The title comes The International Fine Print Dealers Association from a sign the artist found at a Chinese building (IFPDA) announced the addition of seven new site in Maputo, Mozambique. In the book Hobbs organization to its ranks, bringing its total mem- collides the sometimes brutish geometries of bership to 165 galleries, dealers, printshops and the urban grid with the eruptive joy of a pop-up publishers. The IFPDA was founded in 1987 as an book. organization of specialist print dealers who have been vetted on both business ethics and quality of work offered. Criteria considered for member- ship include “inventory, worthwhile exhibitions, informative catalogues... reputation for honesty and integrity… and their contribution to the cul- tural life of their communities.” The new mem- bers are: Carolyn Bullard Fine Prints & Drawings / Susan Schullman Printseller (European and Ameri- can prints up to 1945, Dallas and New York); Ger- rish Fine Art (19th and 20th century British prints, London and Monmouthshire, UK); Ruiz-Healy Art (modern and Contemporary Latin Ameri- can art, San Antonio TX and New York); Niels Boch Jensen (printshop and publisher, Berlin and Copenhagen); Parkett Editions (publisher of con- temporary prints and editions, Zurich and New Stephen Hobbs, The Be Careful Pop-Up Book York); Paupers Press (printshop and publisher, (2013), artist book. London); Singapore Tyler Print Institute (print- shop and publisher, Singapore)

Future of E|AB Fair Up In the Air Sirens’ Song The Editions | Artists’ Book Fair, which has over By Elisabeth Stevens the past 15 years become an essential element of 89 pages, 12 illustrations New York’s November “Print Week,” may have Published by Brick House Books, Baltimore, 2011 seen its last iteration. Fair organizer and co- $18 founder Susan Inglett notified exhibitors [last This compact paperback, which Kirkus Reviews week] that in order to concentrate on the needs named one of the best Indie books of 2011, is a of her gallery artists, she will be stepping down facsimile of the livre d’artiste produced by Goss from her E|AB role. Begun as a small event with Press. As indicated by the title, the 13 etchings a dozen dealers, E|AB has grown under Inglett’s and 48 poems revolve around themes of sexual- leadership to include some 60 exhibitors of ity, death and desire. prints, multiples, artists books and ephemera from around the world. While it is hoped that The Book of Sand another entity might step in to take on the fair or Jorges Luis Borges and Thomas Wood to provide an alternative venue for “Print Week,” 15 pages, 10 illustrations no one has yet come forward. Inglett notes, how- Published by Nawakum Press, Santa Rosa, 2013 ever, that “there are a few conversations left to $1200 be had.” First published in Spanish in 1975, The Book of Sand is a short story from Borges’ last major MoMA Restructures Print Department collection of the same name. Thomas Wood’s Effective 1 July, The Museum of Modern Art’s relief-printed etchings complement the text in Department of Prints and Illustrated Books this book, whose peak-roofed shape echoes the will merge with its Department of Drawings to façade of the Argentine Biblioteca National, become the Department of Prints and Drawings. which Borges directed for nearly 20 years. The new entity will be headed by Christophe

Art in Print July – August 2013 49 Cherix, who has been Abby Aldrich Rockefeller Société des peintres-graveurs français with Félix Chief Curator of Prints and Illustrated Books Bracquemonde), but he also made woodcuts and since 2010. Connie Butler, formerly The Robert was deeply influenced by Japanese prints. This Lehman Foundation Chief Curator of Draw- small catalogue includes a number of distinctive ings, will be taking up new responsibilities in Los works, including a hand-print that seems oddly Angeles as co-curator of the Hammer Museum’s predictive of late 20th-century investigations of biennial and visiting faculty at the University of indexical meaning. http://www.zone-secure.net/ Southern California’s Roski School of Fine Arts. EGillis-catalogue02-Guerard/, Eric Gillis Fine Art. She will continue her curatorial work on upcom- ing MoMA retrospectives of Mike Kelley (fall Interview with IPCNY’s Anne Coffin 2013) and Lygia Clark (2014). on Artspace.com Artspace has posted a brief interview with Anne David Platzker Joins MoMA Department of Coffin of the International Print Center New Prints and Illustrated Books York, in which she talks about the organiza- The Museum of Modern Art has announced its tions founding, history and purpose: http://www. appointment of David Platzker as a Curator in artspace.com/magazine/interviews_features/anne_ the Department of Prints and Illustrated Books. coffin_interview. Platzker, formerly Executive Director of Printed Matter, is an expert in contemporary artists’ books, multiples and ephemera. He produced the catalogue raisonné, Claes Oldenburg: Multiples in Awards and Competitions Retrospect 1964–1990 and is the co-author (with Richard Axsom) of Printed Stuff: Prints, Posters, Major New Printmaking Prize Established and Ephemera by Claes Oldenburg: a Catalogue The French Académie des beaux-Arts has Raisonné 1958–1996. In addition to other respon- announced a major new printmaking prize, the sibilities at MoMA, he will have a critical role in Mario-Avati-Académie des beaux-arts Print- managing the museum’s emormous collection of making Award, whose goal is “to provide encour- Fluxus material. agement to artists who practice the various tech- niques of printmaking and who, by the quality New Documentary on American of their work, advance the art of printmaking to 20th Century Printmaking which Mario Avati devoted his life.” The $40,000 Midwest Matrix, a one-hour film examining prize will be awarded annually and is open to art- postwar printmaking in America through the rise ists of all nationalities. It was created through a of academic print departments and the experi- partnership of the Académie des beaux-Arts, gift ences of GI Bill-supported artists, has just been of Helen and Mario Avati and CAF America. released by filmmaker Susan Goldman. It - fea For rules and registration see: http://www.acad- tures interviews with many of these artists, now emie-des-beaux-arts.fr/actualites. The deadline for in their 80s and 90s, and charts the changes in submissions is 15 July 2013. American art education and American art that resulted. For more information: http://www.mid- Open Studio National Printmaking westmatrix.info/. Awards in Canada The fourth Open Studio National Printmaking Awards for Canadian artists were presented on 16 May to Kurt Pammer (First Prize, $3000), Flo- rin Hategan (Second Prize, $1500), and Eric Euler (Third Prize $500). The Open Studio National Printmaking Awards were set up in 2008 to record and reward excellence in Canadian print- making. The award winners are selected from these 100 prints by a jury of distinguished of Canadian arts professionals. Open Studio is an artist-run, Toronto-based organization that pro- motes contemporary, original, fine art prints. KNOW THAT YOU ARE LUCKY CHICAGO, IL a memoir by Kathan Brown “Printers Ball 2013: Trip & Return” Buy a copy at crownpoint.com or Amazon.com. 27 July 2013 Also on Kindle and in the iTunes store. Spudnik Press http://www.poetryfoundation.org/harriet/2013/06/ trip-return-at-printers-ball-2013/ Know That You Are Lucky a memoir by KATHAN BROWN The annual celebration of literary culture and printmaking will be held at Spudnik Press this year and include screen printing demonstrations, discussions by print and poster makers, readings from local poets, and performances from Elastic Arts Foundation musicians throughout Hubbard Street Lofts. The event is supported by the Poetry Foundation and Poetry Magazine.

CROWN POINT PRESS Please submit announcements of New Online exhibitions, publications and other events to Henri Guérard print catalogue CROWN POINT PRESS The late 19th-century artist Henri Guérard is best [email protected]. known for his work in etching (he co-founded the

50 Art in Print July – August 2013 BETTY WOODMAN

Alessandro’s Room (2013) twelve color woodcut / lithograph triptych / chine collé / collage white thai mulberry / somerset / anjin papers 27 x 80 inches, edition of 30 $4,500

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New Print Projects New Print Projects Mark Cooper Jeff Perrott Rachel Perry Welty Bill Thompson George Whitman

Currently on view at IPCNY New Prints/New Narratives George Whitman untitled (landscape), detail etching with chine collé 2013 edition 35

www.centerstreetstudio.com Center Street Studio

Art in Print July – August 2013 51 Contributors to this Issue Purchase Back Issues of Art in Print. Sarah Andress is the former Managing Editor of Art on Paper magazine. Before that, she was in the exhibitions department of Independent Curators International. She earned an MA in Art History from the Courtauld Institute in London and has contributed articles to FlashArt, TimeOut London and artlog.

Mel Becker is the Collection Cataloguer in the Prints and Drawings Department at the Art Institute of Chicago. A former rare book librarian, she has an MLS and is currently working on her Master’s degree in Contemporary Art History, Theory and Criticism at the School of the Art Institute of Chicago. She is also a printmaker, these days mainly in her kitchen with a Gocco press.

Julie Bernatz is the Associate Publisher of Art in Print. She received her MFA in Printmedia from the Art Institute of Chicago in 2010. Prior to this she was the director of production for a range of print and digital publishing endeavors in New York, San Francisco and Los Angeles. She is a graduate of Bryn Mawr College.

Elleree Erdos is a recent graduate of Williams College, where she majored in art history; she currently works at Craig F. Starr Gallery in New York. Erdos has worked in the print departments at the Museum of Modern Art and the Sterling and Francine Clark Art Institute, as well as in the American Wing at the Metropolitan Museum of Art.

Christine Giviskos is Associate Curator of European Art at the Zimmerli Art Museum at Rutgers University, where she has curated or co-curated many print exhibitons, most recently “Henri- Gabriel Ibels and Mary Cassatt Prints: In the Company of Women.” Her publications include contri- butions to the exhibition catalogues Picasso and the Circus (Trout Art Gallery, 2011), The Language of the Nude: Four Centuries of Drawing the Human Body (Crocker Art Museum, 2008) and Oudry’s Painted Menagerie (J. Paul Getty Museum, 2007). She is currently serving on the Board of Trustees of Print Did you know you can Council of America. purchase any issue of Sarah Kirk Hanley is an independent print curator, writer and appraiser. She writes “INK” for the Art in Print? Art in Print website and is a frequent contributor to the journal. Hanley is currently organizing two exhibitions of Enrique Chagoya’s work, including a mid-career retrospective of his works on Miss the New Editions issue? paper. She also teaches at the School of Continuing and Professional Studies at New York University and is a consulting expert for the Berlin-based online auction company Auctionata. Hanley has held positions at Christie’s, New York, the Milwaukee Art Museum, and the Lower East Side Printshop. Need the Stanley William Hayter issue for your Robert Palter has taught philosophy and history at the University of Chicago, the University of Texas library? at Austin, and Trinity College (Hartford, CT). He is the author of three books: Whitehead’s Philosophy of Science (1960), The Duchess of Malfi’s Apricots, and Other Literary Fruits (2002), and Twosomes (2012).

Want to give the Renaissance Ellen E. Roberts is Harold and Anne Berkley Smith Curator of American Art at the Norton Museum issue to a friend? of Art. She has published extensively on Japanism and the American Aesthetic Interior, most recently in “Japanism in Stanford White’s Dining Room for Kingscote,” in the Isabella Stewart Gardner Museum’s Inventing Asia: American Perceptions and Influences around 1900 (forthcoming 2013). She has a Ph.D. in All 15 issues of Art in Print Art History from Boston University and a B.A. in the History of Art from Yale College. are available on MagCloud at www.magcloud.com/user/ Britany Salsbury is a PhD candidate in Art History at the Graduate Center, City University of New York, where she focuses on print culture in late 19th-century France and Germany. She is an Andrew established-2011. W. Mellon Curatorial Fellow in the Department of Drawings and Prints at the Metropolitan Museum of Art. If you have any questions, please contact us at Susan Tallman is the Editor-in-Chief of Art in Print. She has written extensively about prints, issues of [email protected]. multiplicity and authenticity, and other aspects of contemporary art.

Special Thanks to Sanford Schulert, Kathryn Hedgepeth and Mary Murphy of the Chicago Arts & Business Council / Business Volunteers for the Arts. Their advice and support have been essential to the future of Art in Print.

52 Art in Print July – August 2013 2013 Membership Subscription Form

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

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

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In This Issue In This Issue Susan Tallman / On Visibility Susan Tallman / On Words and Pictures Faye Hirsch / Nicole Eisenman’s Year of Printing Prolifically Mark L. Smith / Rauschenberg’s & Robbe-Grillet’s Traces Suspectes New Editions 2012 / Reviews A–Z Amy Peltz / The Visual Turn: Comics and Art after the Graphic Novel <100 Paul Coldwell / Stephen Chambers: The Big Country Charles Schultz / Wade Guyton OS Christina von Rotenhan/ Louise Bourgeois: Between the Lines M. Brian Tichenor & Raun Thorp / Zarina: Paper Like Skin Catherine Bindman / Jürgen Partenheimer: Folded Spirits New Editions Listings <100 News Annual Directory 2013 Volume 2, Number 5 Volume 2, Number 6 Reviews and News

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Art in Print July – August 2013 55 Announcing the Art in Print Prix de Print

Art in Print is pleased to announce a new open call competition, the Art in Print Prix de Print. Beginning in September, each bi-monthly issue of Art in Print will feature a full-page reproduction and brief essay about the work of one artist, chosen by an outside juror. Jurors will include artists, curators, printers, publishers and dealers from around the world.

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

How do I submit? Send your image to Art in Print along with the required information. Details can be found under the “About Us” tab at www.artinprint.org.

Deadlines: For the September-October Prix de Print, the deadline is 15 July 2013. Subsequent deadlines will be the fifteenth of every even-numbered month: 15 September, PRIX 15 November, 15 January, 15 March, 15 May, 15 July, etc. de PRINT To find out more, please contact us at [email protected].