US $30

The Global Journal of Prints and Ideas November – December 2019 Volume 9, Number 4

On • Coopérative des Malassis • German Notgeld • Ray Beldner on Art and Cash • Orit Hofshi • Chris Ofili The Renaissance of Etching • Boom • Grosvenor School Linocuts • Miró at MoMA • Prix de Print • News MickaleneMickalene Thomas, Thomas, July July 1977 1977, ,2019. 2019. Relief,Relief, screen screen print, print, intaglio, intaglio, archival archival inkjet, inkjet, wood wood veneer, veneer, copper copper and and gold gold foil foil stamping, stamping, chine chine collé, collé, collage. collage. Edition Edition of of 25. 25. 41 41 x x34 34 inches. inches.

17431743 Commercial Commercial Avenue, Avenue, Madison, Madison, WI WI 53704 53704 tandempress.wisc.edutandempress.wisc.edu | | 608.263.3437 608.263.3437 | | [email protected] [email protected] November – December 2019 In This Issue Volume 9, Number 4

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

Associate Publisher Rachel Stella 5 “Banco! Banqueroute!” Design Director Julie Bernatz The Malassis Do Money David Storey 10 Production Editor Notgeld Serienscheine, briefly Kevin Weil Renée Bott 16 Advertising Manager Deep Fakes: Ray Beldner Talks with Lydia Mullin Renée Bott about Making Art With Money and Money With Art Administrative & Editorial Assistant Sarah Kirk Hanley 22 Percy Stogdon Orit Hofshi: Deep Time

Manuscript Editor Catherine Bindman 27 Prudence Crowther Etcher Sketch: A Conversation with Nadine Orenstein and Freyda Spira Editor-at-Large about “The Renaissance of Etching” Catherine Bindman New Edition Review Re’al Christian 33 A Study in Light: New Prints by Chris Ofili Exhibition Reviews David Trigg 36 Slicing Modern Life: Grosvenor School Linocuts Faye Hirsch 40 Brooklyn Boom Nicole Meily 44 Genesis in Black and Red: Miró at MoMA Prix de Print, No. 38 46 Juried by Catherine Bindman THOUSANDS PROTEST TRUMP FAMILY BRITISH VACATION from The Linotype Daily project by Dan Wood

On the Cover: Christian Zeimert, detail News of the Print World 48 of L’Envers du Billet (1970), screenprint. Courtesy of Musée des Beaux-Arts de Dole, Claude-Henri Bernadot.

This Page: detail of Gérard Tisserand, L’Envers du Billet (1970), screenprint. Courtesy of Musée des Beaux-Arts de Dole, Claude-Henri Bernadot.

Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published without the written consent of the publisher. On Money By Susan Tallman

mong his other virtues, Albrecht that such printed paper may have its own It isn’t wallpapered with dollar bills or A Dürer was a meticulous book- charms is the lesson of David Storey’s even autographed impressions of Melen- keeper. His travel diaries are chock- article on early 20th-century German colia I, but this corner is one of those a-block with tallies in now arcane emergency money (Notgeld) designed to remarkable places where people lean in to currencies—“8 thaler” for wine, “5 white be hoarded rather than spent. look closely, and pause to take the mea- pfs” for a Lutheran tract, “20 stivers” for More abstractly, the effects of money sure of what lies before them. We have an elk’s foot—as well as payment in units (and its absence) can be charted through been lucky to keep such company. still perfectly familiar: a St. Eustace to multiple essays here: the correlation a servant; a Melencolia I to a secretary; between real estate values and creative Susan Tallman is Editor-in-Chief an engraved Passion to a goldsmith. practice was an underlying theme in of Art in Print. Dürer prints, then as now, were valued the exhibition “Pulled in Brooklyn: 26 as masterpieces of art, not just markers Printshops, 101 Artists,” reviewed by Faye of exchange, but Dürer understood that Hirsch. David Trigg calls attention to the reproducibility brought fungibility with sheer force of will it must have taken to it. Though would not become produce the bright, dynamic world of common in Europe until centuries later, Grosvenor School linocuts in the midst Dürer’s unchartered accountancy is a the Great Depression. Our Prix de Print Art in Print sneak preview of the coming codepen- winner, selected by Catherine Bindman, dency of printing, art and money. is the June 4 edition of Dan Wood’s Lino- Art in Print is a not-for-profit This issue of Art in Print is about type Daily, whose headline points to a 501(c)(3) corporation, founded money—money as a facilitator, a col- presidency in which money appears to be in 2010. lectible and a designated driver of social the only metric for everything. (A later and political values. Having no inherent example of Wood’s trenchant responses Board Members material value, paper currency depends to the news of a day occupies the page on allusion—connecting what it repre- opposite this one.) Julie Bernatz sents pictorially (heroic raptors, dead Money is not everything, of course, Catherine Bindman statesmen, ponderous monuments) to and elsewhere on these pages Sarah Kirk Renée Bott what it represents notionally (the power Hanley surveys Orit Hofshi’s rumina- Nicolas Collins of the state, the ability to buy a cup tions on land, water and time; Re’al Chris- Thomas Cvikota of coffee). tian introduces two new etching series David Dean Artists, unsurprisingly, have made the by Chris Ofili that encompass natural Bel Needles most of it: they have painted its portrait beauty and human tragedy; Catherine Robert Ross (William Harnett), screenprinted it on Bindman speaks with curators Nadine Antoine Rouillé-d’Orfeuil canvas (Andy Warhol), and wallpapered Orenstein and Freyda Spira about inno- Marc Schwartz the Guggenheim Museum with it to illus- vation, experimentation and the origin Susan Tallman trate just how much space a $100,000 art of etching; and Nicole Meily looks back prize takes up in one-dollar bills (Hans- at Joan Miró’s leap into imaginary form. Editorial Board Peter Feldmann). Ray Beldner, inter- Sometimes, however, money does have Richard Axsom viewed here by Renée Bott, has stitched the last word. This is the final issue of Jay A. Clarke it together to recreate iconic works of art. Art in Print. There is, it turns out, such a Paul Coldwell No art form, however, more closely thing as being too not-for-profit. Almost Stephen Coppel overlaps the forms and purposes of nine years ago, I approached Julie Bernatz Faye Hirsch money than the print. As Rachel Stella about partnering to create a 21st-century Jane points out in her article on the screen- successor to the Print Collector’s News- David Kiehl prints of the Coopérative des Malassis, letter. This was in many ways a naïvely Evelyn Lincoln artists’ prints and paper currency share ambitious goal, but Julie’s clear and grace- Andrew Raftery a means of production as well as icono- ful design actually superseded our model, Christian Rümelin graphic strategies. The value of both and the 58 issues of Art in Print we have Gillian Saunders forms rests on a communal faith in what published stand as a testament to the they signify—the genius of an artist, the talent, generosity and good graces of the For further information visit solvency of a nation. Hyperinflationary writers, artists, advisors, donors, board artinprint.org/about-art-in-print/. spirals like the one currently destabiliz- members, staff, subscribing members— ing Venezuela are periodic reminders of and one wildly over-qualified volunteer what happens when faith dissolves and editor—who care about this particular all that is left is printed paper. The truth corner of the art world.

2 Art in Print November – December 2019 Dan Wood, ART IN PRINT, NOT DEAD! from The Linotype Daily project (2019), 4 September 2019, letterpress, 8 1/8 x 5 1/2 inches. Edition of 100. Printed and published by the artist, Providence, RI.

Art in Print November – December 2019 3 Thank You!

For unstinting gifts of time, effort, wisdom, patience, persistence and support both material and personal over the course of nine years, I wish to thank

Julie Bernatz Eric Avery Kathan Brown, Sasha Bugaskas Prudence Crowther Rick Axsom and Valerie Wade Isabella Kendrick Renée Bott Lisa Bulawsky Annkathrin Murray Alison Chang Cole Rogers and Carla McGrath Stephen Coppel Sam Davidson Damon Davis Felix Harlan and Carol Weaver Charlotte, Nicolas and David Dean Dusica Kirjakovic Tantum Collins Elleree Erdos Karl Larocca Brad and Sylvie Langer Nancy Friese Jeff Larson and Sarah Kirk Hanley Crosstech Communications Judy Hecker Ann Marshall Carolyn and Sarah Andress Faye Hirsch and Jean-Paul Russell Kit Basquin Laurie Hurwitz Jennifer Melby Catherine Bindman Dana Johnson Andrew Mockler Paul Coldwell Evelyn Lincoln Paula Panczenk Matt Magee Tom Cvikota Pam Paulson Alexander Massouras Peter Pettengill Jane Kent Kate McCrickard Ron Rumford David Kiehl Lydia Mullin Bud Shark Armin Kunz Bel Needles Maryanne Ellison Simmons Joan Rosenbaum Tucker Nichols Norm Stewart David Storey Mark Pascale Jim Stroud Mildred Weissman Andrew Raftery Kelly Troester Robert Ross Diane Villani Antoine Rouillé d’Orfeuil Michael Woolworth Christian Rümelin Britany Salsbury ...and all those Gill Saunders who wrote for, Marc Schwartz read and appreciated Percy Stogdon Art in Print. Richard Tuttle Jason Urban Roberta Waddell Julie Warchol Kevin Weil “Banco! Banqueroute!” The Malassis Do Money By Rachel Stella

Christian Zeimert, L’Envers du Billet (1970), screenprint, 102 x 57 cm. Courtesy of Musée des Beaux-Arts de Dole, Claude-Henri Bernadot.

anknotes have matrices designed by was inevitably a prime topic, but other our first creation—Qui Tue? Ou Véri- B artists, they are pulled by master propositions were fielded as well, notably tés sur un fait divers—allowed us to craftsmen, and the prints vary in value, that undermining market-driven art or better understand our shared ideals, just like prints. But you don’t the institutional mediation of art would our contradictions and our limitations. need an understanding of Modern Money change artists and society. By creating in common, we engage in Theory to grasp the difference: just use In 1969 six painters—Henri Cueco, political action that is loosely aimed your fingers. Unlike most printed art- Lucien Fleury, Jean-Claude Latil, Michel but sharply targeted.1 works, each bill in your wallet has two Parré, Gerard Tisserand and Christian sides. This is a story of the other side, so to Zeimert—founded the Coopérative des Although the group as a whole refused speak, of the —not so much the Malassis. They outlined their intent to to endorse any specific political affili- back as perhaps the underside or left side. develop new ways of distributing point- ation, individually the Malassis were The portfolio L’Envers du Billet was cre- edly partisan art in the sixth issue of the card-carrying supporters of organiza- ated by a group of young French artists in Bulletin de la Jeune Peinture: tions (Cueco, Latil, Parré and Tisserand 1970. They met as members of La Jeune all belonged to the PCF) that might be Peinture, a loosely structured association We have been driven by today’s stulti- hospitable to collaborative creative labor. that in the 1950s gathered energy under fying cultural policy and the indiffer- The name “Coopérative des Malassis” the leadership of painter Paul Rebeyrolle ent silent majority to find new ways sidesteps contemporary politics, instead and others close to ’s then power- to exercise our profession. The coop- suggesting that they modelled them- ful Communist party, the PCF. La Jeune erative lets us share the means of pro- selves on the agricultural and worker Peinture organized an annual Salon at duction and our technical knowledge; cooperatives of the 19th century; “Malas- the Musée d’art moderne de la ville de it should enable us to circulate our sis” is the name of the neighborhood Paris, and by the time of the événements production quickly, often and widely. they worked in, but the word also means of May 1968, the group had become a Functioning as a group makes it possi- uncomfortably or inappropriately seated. forum for those who sought to reconfig- ble to expand upon the work we began Legally the Malassis were structured ure the role of art in society. Changing these past years in the Salon de la Jeune as an Association 1901, a nonprofit orga- the socioeconomic status of the artist Peinture. Our collective practice and nization. This enabled its members to

Art in Print November – December 2019 5 Jean-Claude Latil, L’Envers du Billet (1970), screenprint, 102 x 57 cm. Courtesy of Musée des Beaux-Arts de Dole, Claude-Henri Bernadot. promote their work outside of the gallery cultural symbols, to acquire dignity of the bill as an emblem of the societal system through an ingenious noncom- by using the force of its neutrality to changes induced by the 1960 revalua- mercial rental contract. They proposed conceal all that is disgraceful and tion of France’s currency. Circulated as wall-ready exhibitions for a monthly fee, ignominious. The banknote, which of 1963, the “Corneille” was the first 100 eyeing venues such as union halls, party everyone dreams of possessing in as franc note to dispense with the clarifi- headquarters and social centers. Their many copies as possible, is the quint- cation “nouveaux francs,” bringing the advertising flyer concluded: essential mass image. It is both fas- hundredfold devaluation process to cinating and repulsive, a veritable completion. To overcome antipathy to If the rental of artwork that has no bourgeois museum in your pocket. We the new currency (paychecks divided by commercial vocation strikes you as preserved the traditional disposition 100 caused more grumbling than propor- a legitimate way to reconstitute our of allegories and symbols associated tionately slashed price tags gave joy), the working capital, you may further con- with this mass-produced image, but government communicated extensively tribute by becoming a passive member we charged them with their real mean- about the new “franc lourd,” or heavy- of the Coopérative des Malassis for 50 ing, showing neutrality to be the veil weight franc, meant to compete in same francs a year. This fee implies certain of violence, misery and alienation.3 class as the Swiss franc or German mark. duties on our part (make new work, However weighty the banknote was in offer you a print) but does not endow As the most common vehicle for the financial terms, its rather limited icono- you with any rights.2 state’s circulation of symbols, familiar to graphy, focused on one of France’s “great all members of society, paper money was men,” was perhaps too slight to carry the The first project available for rent, and ideally suited for the Malassis’ program of Malassis’ social commentary. Zeimert thus the group’s foundational action, cultural critique. For the portfolio, they treated the bill’s backside literally: he was L’Envers du Billet, a portfolio of six chose as their subject the 100 franc note, depicted Corneille from the back, gazing large screenprints (102 x 57 cm each) to be which at the time carried the portrait of over what appears to be the trenches of a shown with some related . The the 17th-century playwright Pierre Cor- battlefield rather than the title concerns the back of the banknote, neille. Each of the six artists created his playwright’s native Rouen regularly rep- or as the Malassis explained it: own alterations of the design, displacing resented. Latil upgraded Corneille’s por- the portrait and attempting to reveal the trait as it normally appears on the back of Each of us saw this project as treating hypocrisies of national mythology trans- the bill, in left profile, by having him lean the bill’s true image, the face it doesn’t mitted through changing hands at every out of the cartouche, perhaps waving at show, its other side. We decided to cash transaction. the strippers prancing in the background. make apparent what is concealed by Money is the subject of the portfolio, The other Malassis subverted the Banque the decor. Decor is the academic alle- but not monetary issues or the economy. de France’s evocation of national achieve- gory that attempts, through vague None of the prints explored the potential ment by choosing great men of their own

6 Art in Print November – December 2019 Above: Lucien Fleury, L’Envers du Billet (1970), screenprint, 102 x 57 cm. Courtesy of Musée des Beaux-Arts de Dole, Claude-Henri Bernadot. Below: Henri Cueco, L’Envers du Billet (1970), screenprint, 102 x 57 cm. Courtesy of Musée des Beaux-Arts de Dole, Claude-Henri Bernadot. as centerpieces. For Tisserand, this is from Mary Shelley’s Frankenstein. Parré French cultural achievement. He replaced the artist himself, sardonically looking took up the challenge by substituting for Corneille with Maréchal Lyautey, whose the viewer in the eye while knitting red, Corneille an anamorphosis similar to the devoted belief in the civilizing virtues of white and blue stockings and no doubt skull depicted in Holbein’s Ambassadors. colonialism incited him to consolidate waiting, like a tricoteuse, for the guillotine Cueco’s treatment is the least ambigu- the caste system in and pave the to fall. Fleury supplanted the author of Le ous revelation of the problems lurking way for an extractive economy beneficial Cid with a smiling portrait of the monster beneath the banknote’s celebration of to France.

Art in Print November – December 2019 7 Above: Gérard Tisserand, L’Envers du Billet (1970), screenprint, 102 x 57 cm. Courtesy of Musée des Beaux-Arts de Dole, Claude-Henri Bernadot. Below: Michel Parré, L’Envers du Billet (1970), screenprint, 102 x 57 cm. Courtesy of Musée des Beaux-Arts de Dole, Claude-Henri Bernadot.

L’Envers du Billet was self-published in Judging from the rarity of these prints never printed in its entirety, since Tisser- 1970, announced in an edition of 300. No in the secondary market, few appear to and was reputed to have pulled the prints chronology indicates whether any social have been sold. Their funny money was on demand.5 Fleury recounts that when center or other space ever rented the set not easy to disburse even in alternative he tried to persuade the owner of the La as a stand-alone exhibition. The portfo- outlets such as the Journée de la vente du Hune bookstore and print gallery to carry lio does, however, feature in several cata- livre marxiste, the Marxist book fair. It the portfolio, he was rebuffed because logues of group shows by the Malassis.4 is possible that the planned edition was the price was so low it was a threat to

8 Art in Print November – December 2019 the market.6 It does seem that they were by the sinking of its very means—money. distributed through institutions such as The choice of Géricault’s Raft as their France’s network of “artothèques”—art vehicle to belittle the state’s enlisting of lending services attached to public librar- an artistic masterpiece to affirm the value ies—where several complete sets can still of money is doubly ironic: that particu- be borrowed. larly masterpiece has long been identified Today credit cards have largely dis- as an allegory of the sinking ship of state. placed the bourgeois museum in your The Malassis group was active for pocket, and the prints in L’Envers du Bil- almost ten years, producing works that let, with their bright colors and cartoony succeeded in provoking responses as draftsmanship, look more groovy than damning as the social critique they meted seditious. The Malassis sought to sabo- out. In 2014, when the last men standing tage the bills’ stately authority, allegories (Cueco, Latil and Tisserand) gave a state- and symbols, exposing their presumptive ment for one of those museum retrospec- neutrality as a “veil of violence, misery tives come too late, they explained how and alienation.” But while they succeeded they dealt with the destruction of Le billet in creating images that parody banknotes, qui coule and the other components of they did not question money as a repre- their most important work. They saw it as Laszlo Moholy-Nagy: Q1 Suprematistisch. sentation of value, or as an emblem of a kind of glory. “Even covered over,” they Etching 1923. wealth and status. The artists were not affirmed, “our work will continue its rav- finished with this issue, however, and ages”—and proclaimed their pride in the portfolio contained the promise of being noxious, toxic artists.7 a more determined effort. In 1974 the Malassis—minus Zeimert, who withdrew Expressionists: in 1971—reached the acme of their collec- Rachel Stella is the producer and co-author of tive career when they signed their first the television documentary L’Almanach d’Henri Beckmann, Heckel, and last contract for a public commis- et Marinette: Regarder avec les Cueco. Kirchner, Nolde, sion. The city of Grenoble allocated the Munch, Kollwitz, etc. decoration budget of a new shopping cen- Notes: ter to a set of large mural paintings. Now 1. Bulletin de la Jeune Peinture #6 (November Bauhaus/Constructivists: destroyed, Onze variations sur le Radeau 1970): 8. This and all subsequent translations by Feininger, Hausmann, de la Méduse ou la dérive de la société was the author. Kandinsky, Klee, El Lissitzky, an allegory describing a shipwrecked 2. Flyer reproduced in Les Malassis, une coopérative de peintres toxiques (1968–1981), society, alienated by working conditions, Moholy-Nagy, Schlemmer, (Musée des Beaux-Arts Dole, 2014), 14. Schwitters, etc. adrift on its own waste. Composed of 11 3. Bulletin de la Jeune Peinture #6, 8. panels, each a satiric variation on Géri- 4. To cite two: Antonio Del Guercio et al, Les cault’s maritime tragedy, The Raft of the Malassis (Rome: Galleria Ciak, 1973); and Jean-

Medusa (1818–19), it was a visionary work. Louis Pradel, La Coopérative des Malassis (Montreuil: Centre des Expositions de la Ville and Long before the existence of any image Honfleur: PJ Oswald, 1977). of the Great Pacific Garbage Patch, the 5. Recounted by David Cueco in email to author. Malassis depicted a sea of floating plastic 6. Les Malassis, une coopérative de peintres water bottles. Ghoulish sailors are shown toxiques, 171. stranded on the Lit conjugal (matrimonial 7. Document reproduced in Les Malassis, une bed) without knowledge of online dating coopérative de peintres toxiques, 156. apps. They also revisited the banknote. This time, instead of trying to cor- rect a semiotic proposition by altering its imagery as they did in L’Envers du Bil- let, the artists put a banknote of their own into pictured circulation in order to interrogate its place in society. In the panel titled Le billet qui coule (the sinking banknote), a fluttering bill is sucked into Alice Adam Ltd. the sea like a ship going down. If the 100- by appointment franc note was a “Corneille,” this drown- Chicago ing bill must be a “Géricault:” the image 312-787-7295 between the two watermarks is a sepia- [email protected] toned reproduction of the celebrated aliceadamltd.com , with its unmistakable billowing sail and figures slipping overboard. The wreckage of consumerism is announced

Art in Print November – December 2019 9 Notgeld Serienscheine, briefly By David Storey

Fig 1. 50-pfennig note issued by Frankenhausen (1921), 7 x 10 cm.

ost of the economic legacies of By the end of the war in 1918, however, Unlike the wartime vouchers, these M World War I for were collectors and collectors’ clubs had arisen, were designed in sequential denomina- catastrophic, but one at least marks and with them a demand for more Not- tions of pfennigs, all united through a an intriguing intersection of print and geld, new Notgeld. In response to this mar- pictorial and/or narrative theme articu- social history—the brief flourishing of ket and also to the continuing shortage of lated on the bill’s face (the reverse sides emergency currency, or Notgeld—paper , a new type of bill evolved, printed conformed more closely to the format vouchers that were issued locally in lieu in thematic series—Notgeld Serienscheine. of traditional paper currencies, display- of national currency. Printed in small In an ad hoc, decentralized flurry, hun- ing the note’s value, limitations and local denominations—generally one mark or dreds of , regions, states, information and details). Regional his- less—they were intended to replace - organizations, festivals and other organi- tory and culture were popular subjects— age in commercial transactions, and had zations began to commission, print and local songs and folktales are frequently developed as an emergency response to sell their own local versions of paper cer- illustrated, as are events that predate the the critical shortages of metals and the tificate notes. These were nominally for unification of Germany in 1871. There are widespread hoarding of and gold. the benefit of local residents but were also citations of victorious battles, regional Notgeld was printed by regional govern- meant to appeal to the expanding market legends and miracles, industrial or agri- ments, cultural and civic groups and other of Notgeld collectors and dealers. Notgeld cultural strengths, morality tales—an organizations across the nation. These specialist Courtney L. Coffing estimated endless uplifting torrent of narrative in early notes were usually just functional in that “the total number of individual bills pictorial serialization. But satire appears design: typographic statements in black of paper notgeld printed is 163,000, with too, along with political commentary, ink, with a serial number and perhaps an Serienscheine notes frequently grouped moralizing, and cultural critique rep- officiating rubber stamp or seal. and sold in series of six or more.”1 resenting hundreds of distinct points

10 Art in Print November – December 2019 of view. The stylistic spectrum ranges from traditional illustrative naturalism to full-blown . A series from Frankenhausen records a critical battle in the 16th-century Peasants War (Fig. 1); another, from the Silesian town of Grünberg (now Zielona Góra in ) celebrates the 13th-century immigra- tion of weavers and vintners from West- ern Europe (Fig. 2). A 50-pfennig note from the town of Itzehoe, one of a series designed by Wenzel Hablik (1881–1934), takes a more abstract approach with a graphically simplified map (Fig. 3); and a one-mark note from Neheim abjures his- tory, showing instead a brightly lit factory framed by a verse about the resilient Ger- man spirit in its pursuit of light (Fig. 4). It is easy to see such Notgeld as a form of cultural discourse, preoccupied with the past and anxious about the future. One might even characterize the form as a kind of predigital social media for debat- ing and reconstructing a new national cultural identity. In truth, however, most Notgeld Serien- scheine are visually unremarkable, bur- dened with boring subjects, indifferent design and, all too often, compositions dependent on the format of bureaucratic documents. Among the many categories of dullness are postcard scenics, portraits of hometown notables, and full-throttle backyard boosterism. My first encounter with Notgeld was accidental. Collector’s curiosity, sparked by a long in European history and coins, led to a casual Google search for Weimar-era inflationary currency, which resulted in a screen filled with thumbnail images of drab coupon certificates. Then, suddenly, there was a stark black-and- white silhouette of a crowd that stopped me cold. It was graphic in every sense of the word, so clear and yet so mysterious. Children walking in darkness. A panto- mime in black and white, no details. And it filled the world. All this power was contained in a 50-pfennig note, less than four inches on its longest side, designed by the pho- tographer and filmmaker Walter Hege for the town Naumberg in 1920 (Fig. 6). Serienscheine are small, ranging from

Above: Fig 2. 50-pfennig note issued by Grünberg (Schlesien) (1921), 6.5 x 9 cm. Center: Fig 3. 50-pfennig note issued by Itzehoe (1922), designed by Wenzel Hablik, 6 x 11 cm. Below: Fig 4. 1 Mark note issued by Neheim, undated, 7 x 9.5 cm.

Art in Print November – December 2019 11 the size of a up to a few foundational German hero Hermann, black shape framed by tree trunks, with inches on a side. Rarely does one reach who defeated the Romans in the Battle of his club, his antlered helmet, and cloak the size of a postcard. The paper quality the Teutoburg Forest in 9 CE (Fig. 5). As blowing moodily in the breeze. The lack of is uniformly good, heavy and not faded in a shadow play, Hermann appears as a surface detail—texture, color, shading— by age. The commercial lithography or letterpress printing is simple but robust, and coupled with the fact that almost all notes were collected and not circu- lated, the average condition is excellent.2 Although they were printed and distrib- uted almost exactly 100 years ago, most individual bills feel vivid, crisp and oddly fresh. The small scale and lack of appar- ent aging mean that holding Notgeld is an experience of direct, tactile connection as well as visual engagement. Nothing is under glass or at arm’s length—you and the viewed object are in direct contact. Eye, hand and print fuse together for a moment of pure focus. The most compelling Serienscheine make use of effective strat- egies such as limited colors and flat shapes. Black silhouettes with intricate edges are capable of conveying complex characteristics in compositions such as Detmold’s 50-pfennig note picturing the

12 Art in Print November – December 2019 delivers the image with an abstract in- tensity. In addition to such black-figure, white- ground silhouettes, there are variations in which solid black and white shapes alternate as positive figure elements in the same image. Hege’s 50-pfennig note commemorates a 15th-century siege resolved by a Naumburg school teacher who enlisted his pupils to make an appeal to the besieging army; the striding legs and gaunt head of the teacher intercut the sky at top and the white praying forms of the children at bottom. This spatial intercutting implies a parallel, dynamic uncertainty about what is an object and what is not; there is a perpetual back and forth of roles that never stabilizes. (Hege also designed a very popular series for the town of Freyburg.) Adding a second ink could deepen an image and exploit the subjective power of color—the orange-lit windows of the Neheim factory suggest a bravely hum- bypasses both whimsy and graphic clarity of a 25-pfennig note designed by Egon ming enterprise, while the orange back- with a scratchy, atmospheric rendering of Tschirch (1889–1948) for Bad Doberan drop behind the charging horses of the a small boat setting sail (Fig. 11).) consists almost entirely of the dynami- Frankenhausen battle scene suggests a Modernism is present in Notgeld Serien- cally arranged letters and ciphers spelling sky lit with fire. Crimson rays of sun- scheine not only as a stylistic tendency in out the location and value; the silhouetted light set behind a silhouetted ship and the depiction of figural subjects but also crozier, stag and swan (symbols of the ecstatic, twirling waves in a bill from as an abstract idiom of composition that city) are so stretched and squeezed they Kreis-Norderdithmarschen on the North will in a short time be christened “graphic are almost unrecognizable (Fig. 12). The Sea (Fig. 7). Replacing the white void of design.” In these notes, type, image and one-mark note from Katowitz (modern blank paper with something more dra- shape are flat elements, generated as Katowice, Poland) takes the opposite tack, matic, these stratagems can establish purely graphic events on a surface and con- layering line and pattern in a way that only hierarchies through overlaps, or create figured in dynamic relationships unique slowly resolves into an image of smoke- just enough variation to nudge an image to each individual composition. Color is stacks, machinery and flowers (Fig. 13). toward a less graphic, more atmospheric arbitrary, representation is highly stylized, While virtually all figurative Seriensche- sensibility. The morose brown field and figurative elements are transformed ine notes are framed by text, ornamental behind the searching dog in a note from to their minimal essentials. The design panels or other devices, the modernist the town of Vechta is one example (Fig. 8); or the ghostly blue-gray cloud figure in Crumbach’s 25-pfennig note (Fig. 9). The spectrum of style, design and tech- nical effects in Serienscheine is enormous. Mystery, poetry, absurdity, beauty and simple delight are all present, still ready to puzzle and charm. There are fine examples of straightforward representational draw- ing, as well as quirky images that surprise and sparkle. (In a note designed by silhou- ette artist Elsbeth Forck, curious stick fig- ures argue expressively in a subterranean den (Fig. 10); while a note from Altona

Opposite Page Above: Fig 5. 50-pfennig note issued by Detmold (1921), 8.5 x 6.5 cm. Opposite Page Below: Fig 6. 50-pfennig issued by Naumburg (1921), designed by Walter Hege, 7 x 9.8 cm. This Page Above: Fig 7. 20-pfenning note issued by Norder-Dithmarschen (1921), 8.5 x 6.5 cm. This Page Below: Fig 8. 75-pfenning note issued by Vechta (1922), 6 x 9 cm.

Art in Print November – December 2019 13 Left: Fig 9. 25-pfennig note issued by Crum- bach (1920), 7 x 9.5 cm. Below Left: Fig 10. 50-pfennig note issued by Gollnow (1921), designed by Elsbeth Forck, 7 x 10 cm. Below Right: Fig 11. 40-pfennig note issued by Altona (1921), 9 x 6 cm. Opposite Page Left: Fig 12. 25-pfennig note issued by Bad Doberan (1921), designed by Egon Tschirch, 8.5 x 6.5 cm. Opposite Page Right: Fig 13. 1-mark note issued by Kattowitz (1921), 9 x 7 cm.

series. Only occasionally is the name of an artist or designer visible—notes are more likely to carry the name of the printing company as marginalia. But their combi- nation of small scale, quick production, public distribution, and serial exploration of a thought nonetheless presented an intriguing model for artists. It is worth noting that Lyonel Feininger’s most prolific period of woodcut production occurred in Ger- many between 1918 and 1920, overlap- ping with the height of Serienscheine notes frequently lack any borders. It is a serial number. production. The 237 woodcuts he made revolutionary affirmation of the unity of Notgeld can thus be seen as a form of during this intense printmaking phase the entire visual surface and the object commissioned artist’s print. (The same include numerous distinctly Germanic of the paper itself, side to side and top to might be said of standard paper currencies, views—landscapes, forests and street bottom. but the free-for-all of Weimar-era Notgeld scenes—and there is an affinity between Though Notgeld was usable as negotia- production puts it in a different category.) his idealization of the German landscape ble currency, Serienscheine were usually Like artists’ prints, Notgeld relied on inde- and the Notgeld aim of speaking to a wide released with very brief windows before pendent publishers who arranged the audience in a period of social and eco- their expiration dates, and with limited printing of graphic objects for sale, and nomic crises. Dynamic, radically simpli- geographical validity; they quickly lost also on the desire felt by human beings, fied and often small in scale, Feininger’s their exchange value as money. Many when faced with a series, to “collect them prints suggest the eternal, while unequiv- were printed in limited editions, run- all.” In contrast to the art market, how- ocally proclaiming a new modernist ning from the tens of thousands to over a ever, the identity of Notgeld artists was idiom. The fact that he cut and printed million, with each bill stamped with a not necessarily a factor in the appeal of a so many so quickly indicates an urgency

14 Art in Print November – December 2019 EDWARD T. POLLACK FINE ARTS Prints, Drawings, Photos and Other Works on Paper

Dove – Woodpile Study to produce, to make visual a living idea in Notes: Notgeld its moment. (While is most com- 1. Courtney L. Coffing, World Notgeld 1914–1947 monly translated as “emergency money,” (Iola, WS: Krause Publications, 2000), 5. “Not” also carries the meaning of neces- 2. The Heidelberg “Teitel” platen press, manu- sity or need.) factured in Germany, was introduced in 1914 The end of Serienscheine came with and could print 1,000 copies an hour. Along the German hyperinflation that began with the development of offset lithography in the early 20th century, these innovations made the in 1921. In 1923 Herbert Bayer, then still efficient mass production of high-quality printed a student at the Bauhaus, was commis- material widely accessible. sioned to design a Notgeld series for the state of Thuringia. Where Notgeld printed just two years earlier had denom- inations in pfennigs, Bayer’s—which were losing value even as they were printed— ran from 1,000,000 to 50,000,000 marks. Bayer’s Bauhaus Notgeld were Clare Romano – Eighteen Street El constructed using simple, unadorned ele- ments of typography, color, pattern, scale and orientation in a virtual manifesto for NY SATELLITE PRINT FAIR an emerging modernist graphic design. Booth 17 - Mercantile Annex 37 Today, the Internet offers a global col- 517 West 37th St NYC lector’s market in Notgeld, with seem- October 24-27 ingly limitless online listings. Perhaps www.edpollackfinearts.com one bill in a hundred reaches a threshold www.nysatelliteprintfair.com of visual energy and presence that stops a viewer’s scrolling and sparks that essen- tial pause of interest. In that pause one becomes aware of the levels, obvious and unintended, of pictorial complexity and social meaning that lie waiting to be unwound—the deep looking and think- ing that close the gap between ordinary “printed matter” and “a print,” an artwork in and of itself, by itself and for itself.

David Storey is a painter who makes prints. He lives in New York.

Art in Print November – December 2019 15 Deep Fakes: Ray Beldner Talks with Renée Bott about Making Art With Money and Money With Art

you’re talking about corporate culture, you’re talking about the bottom line. And the bottom line’s always money. So I started using coins and bills as props in installations. I had some friends who were working with money as a mate- rial object, and I started to look at it a little less conceptually and more for its physicality. I’m not unique—there’s a bunch of artists who have worked with money. I started to think: it can be turned into quilts; it could be made into 3-D sculpture.

Bott There’s obviously a huge conceptual component to the body of works you call “Counterfeit,” where you use real money to make fake—

Beldner Fake art—yeah. I backed into the conceptual part when I started to look at money less as this object of currency that has this significance in a capitalist soci- ety, and more as an object for art-making. I realized that money is really interesting. It’s the world’s biggest ongoing print edi- tion. Every bill is unique, and it’s num- bered uniquely. It’s signed by the person that caused it to be made, the Secretary of the Treasury. It’s made from archival materials. It’s 100 percent cotton. It’s beautifully done. So I started to play around with it physically: fold it, bend it, shape it, sew it. I like to manipulate it. It’s really cool to sew because it has this fibrous content. Ray Beldner, Peelavie after Marcel Duchamp’s Fountain (2000), sewn US currency, I was teaching at the same time and 11 x 17 x 20 inches. had gotten fed up with students asking me about cost. I’d show them a slide and or three decades, Bay Area artist Berkeley, about his work with banknotes say: “Here’s Duchamp, and he’s important F Ray Beldner has cast a gimlet eye as a conceptual construct and physical for this reason. And here’s this signifi- over the economic attributes and mate- material. cant piece called Fountain.” And they’d rial jetsam of the contemporary world. respond, “Oh, yeah! I read about that. Working with found material—auction Renée Bott I wanted to talk about your That’s worth $10 million.” I was like, “You catalogues, art books, Google image body of work concerned with money. shouldn’t be impressed because of what it search hits—and drawing on his expe- When did it start? cost. You should be impressed by the idea rience as both a teacher and an art that it signifies.” appraiser, Beldner addresses questions Ray Beldner I started working with I would have people in the studio and of ownership, authenticity and what we money around 1999 or 2000. The prior they’d do the same thing—immediately mean by “value.” He sat down to speak work used men’s business clothing. I go to the question of cost, not value, with master printer and publisher Renée was interested in corporate culture, and which is different. What is the value of Bott, formerly of Paulson Bott Press in money started to creep in because when Duchamp as opposed to what it costs to

16 Art in Print November – December 2019 Left: Ray Beldner, Gelt Suit v.2 after Joseph Beuys’ Felt Suit (2004), sewn US currency, 60 x 34 inches. Right: Ray Beldner, Slave to the Dollar after Shepard Fairey’s OBEY (2014), sewn US currency, 40 x 30 inches. purchase one on the open market? Bott I was going to ask what kind of filler something a bit simpler. I think the next I thought, well, this could be interest- you used—is it lightweight? piece was a tiny Sol LeWitt. Very two- ing. Let’s turn this around. Rather than dimensional . . . No, no—I’m sorry. It was looking at a work of art and asking how Beldner The urinal actually is not filled a Mondrian. That was the next piece that much it costs, what would happen if I at all. In later pieces that are more sculp- I made. made it out of money? We would know tural I did put cotton batting in. But the exactly how much it cost—the number urinal is hollow. Bott This idea of recreating these 20th- of bills that it’s made of. I wanted to tie it But in order to create it I needed a century iconic pieces of art that you had into 20th-century post–World War II art pattern, and in order to make a pattern I been showing your students, explaining because that’s where all the juice in the needed a urinal. So I bought a urinal, put why they have value—did you begin with auction market is. papier-maché over it, and carefully cut it the slides from your class? off into sections to create a flat pattern. Bott What was the spark to create a coun- Then I sewed the money onto material Beldner I got all of the early pieces out terfeit Duchamp or a counterfeit Picasso? and cut it up into the pattern and re- of Gardner’s Art Through the Ages, liter- sewed it. ally taking the pictures out because I had Beldner The whole idea came together all I had a friend who made hats help me, to make patterns. This is pre-Internet at once. I decided to remake one famous and he suggested a brilliant thing: iron- and video projectors—2000, 2001—and work from art history out of money—so ing fusable interfacing onto the back of I would put the cutout pictures on my it’s real money, fake art. And I started the bills so they don’t crumple and won’t overhead projector, blow them up to the with Fountain, Marcel Duchamp’s urinal, tear as easily. Otherwise, if you try to re- size of the actual artwork, trace them which was the hardest thing. If you never sew money, it’s going to fall apart. onto tracing paper, and make patterns have sewn in your life, starting by trying Anyway, I made the urinal, and I out of them. I cut up all my art history to sew a urinal is impossible. thought, whoa, okay, maybe I could do books.

Art in Print November – December 2019 17 Bott Oh my God.

Beldner I have a reverence and an irrever- ence for art history.

Bott You also created a money suit, but that wasn’t based on a preexisting art work, was it?

Beldner That happened when I was in residence at the de Young Museum. I wanted to make a jacket out of money so that when I went to my own art events I’d be wearing money. I figured I had enough sewing skills by then that I could do it. I didn’t. So I hired a seamstress to help me, and we made this beautiful jacket—it was -lined, it had pockets, it had buttons. I wore it to every art event that I went to.

Bott Was it hard to wear?

Beldner Originally it was kind of stiff and thick and hot. But the more I wore it, the more the elbows got crinkly and easy to move. It became very comfortable. It’s funny though—somebody wanted to buy it. I told them it’s not really an art piece and they said, “Really? I thought it was based on the Joseph Beuys felt suit.” And I’m like, “Felt suit, gelt suit—yeah, I can make another suit out of money.” So I made the pants to go with it and it’s called Gelt Suit.

Bott That is so funny.

Beldner I sold it because I needed the money. Then I made a second version Ray Beldner, Bullseye with Four Johns after Jasper Johns’ Target with Four Faces (2004), because I missed my money suit. sewn US currency, wood, ground money dust, plaster, 29 3/4 x 26 x 3 3/4 inches.

Bott Did you ever branch off from recre- and Chris over at Trilliam Graphics help shop and said, “I want to take this paper ating other artist’s pieces? me out. The background in the Pollock material, and I want to grind it up.” is mostly white, and I had to find a way With some of my parts and some of his Beldner No, everything made out of to make it out of money. So I took the parts, we scavenged together this funky money from that body of work is based on white parts of the dollar bill, and I made machine. You would load it like a musket, another artist’s work, at exactly the right a little piece of fabric out of actual bills. but with money. And then you’d set the scale and dimension. I even did a Jackson Then they scanned, cloned it and printed spring and turn it on. Pollock that’s 9 1/2 feet tall by 15 feet wide. it onto canvas. In those days, they could You couldn’t grind fast or it would heat only print about four feet wide, so I sewed up the paper and burn. And you didn’t Bott But the Pollock is significantly dif- together four panels to get the back- want dust flying everywhere, so I made a ferent—it looks like flung paint, but it’s ground. They also printed the Pollock box where all the dust would settle. It was not, right? drips very lightly in a light green color so the perfect flocking dust. I had an outline to go by. Then to recreate I had a team of volunteers to help Beldner This was for the first show I had the drips I took all my money scraps and assemble the piece. Many of them were at Katie’s [Catherine Clark Gallery] and ground them up to make flocking dust. students at San Francisco State. One per- I really, really wanted a big “wow” piece son was responsible for grinding up the when you walked in, so I decided to tackle Bott In what kind of grinder? money, and another for painting on the Pollock. But I couldn’t figure out how to glue and then adding the flocking. sew something that big—and also how do Beldner I made a grinder. My studio Years later the collector who bought you actually do the drips? So I had Noah neighbor is a machinist so I went to his that piece died, and his heirs wanted to

18 Art in Print November – December 2019 sell it. I said I’ll see if I can find a buyer Beldner Not a problem at all. I would go you use it, cut it up, smoke it, or wipe your from some other collectors of mine. to the ATM and pull out $300. Then I’d ass with it. They decommission money all But the piece was rolled, and when we go inside, and ask them to change it into the time because it ends up getting funky. unrolled it, all the shit fell off. So I pro- ones. They used to shred it, and now they burn it. posed cutting it into four sections like the canvas was originally, mount it onto four Bott Do you know how much money was Bott Some of these pieces are so labor- tall panels, and then re-flock it. So two actually used for each item? intensive. For example, cutting out years ago I redid the whole thing—I had George Washington’s face 300 times. Did to grind all that money dust over again Beldner Oh, yeah. The three most com- you get help with that? and re-glue it all. mon questions I get about the work are: Is it real money? Yes. Is it illegal? No. How Beldner I had an assistant for most of Bott Good thing you kept the grinder. much money did you use for each piece? that project, Jackie, who’s a musician Approximately $300. and a visual artist. She got to be better at Beldner I know! And I’m really happy I sewing than I did. But I can do a piece on did. I also ended up using the grinder for Bott It’s legal? my own. I did a Shepard Fairey a couple another body of work called “Items I Have of years ago as a commission. It takes a Stolen From People That I Know.” It’s all Beldner It’s a felony to deface currency couple of weeks. It’s slow. It’s a lot of sew- flocked money on top of stolen things. with the intent to defraud. So, say you ing. It’s a lot faster when I have somebody take a one-dollar bill and you put “hun- to help me. Bott What was it like going to the bank dred” on it—that’s a felony. Or any kind and asking for a thousand one-dollar of counterfeiting, obviously. But the Fed- Bott Sure. Like printmaking. That leads bills? eral Reserve does not really care whether me to your doily prints . . .

Beldner That’s a different series, but it is related. What’s interesting to me about counterfeit work and continues to interest me as an artist is the way that we value— there’s that word “value” again—certain kinds of labor, certain kinds of methods and materials. Things that are crafty, like sewing, don’t have as much value—they’re not as appreciated, and in the market- place they’re not worth as much. So, I collect doilies. We used to go to New every summer to my ex- parents-in-laws’ summer home. We’d go to a lot of barn sales where there are all these doilies. A lot of them are from the 19th-century and are handmade. Talk about labor—holy shit! And I loved them. I just think they’re fascinating. I never knew what to do with them so I just col- lected them. Then I started to scan them and make patterns out of them. I put those patterns on top of some of the money fabric and cut it out by hand, so it’d be a hand-cut money-doily, based on these 19th-century objects. When I was invited by Trilliam to do a project, I showed them my money doilies. They digitized the doilies, then we scanned the presidents’ faces from the bills, and put them together. It was a lot more efficient to do it digitally than by hand. It also gave me the ability to take the images from the money and combine them in a different way. It’s a high-craft/ low-craft kind of thing.

Ray Beldner, How Mao after Andy Warhol’s Mao (2002), sewn US currency, Bott Was that just serendipitous, the 20 x 16 inches. idea of putting the presidents’ faces on

Art in Print November – December 2019 19 Left: Ray Beldner, All the Way to the Bank after Picasso’s Weeping Woman (2003), sewn US currency, 21 3/4 x 17 7/8 inches. Right: Ray Beldner, Koons is a Big Blowhard after Jeff Koons’ Rabbit (2004), sewn US currency, wood, wire, polyester filling, 41 x 19 x 12 inches. the doilies? Or was there another layer of last year Christie’s and Sotheby’s sold I have a new version of the urinal I made meaning? record amounts on the secondary mar- for a dealer who wanted to take it to Art ket. But I just read a great article in Artsy, Basel in Miami. It didn’t sell, and I’m just Beldner No, it wasn’t serendipitous. I saying that even though the art market is going to keep it because it’s the first piece wanted to work with one specific part up, up, up, up, up, in real terms it’s stag- I made. of the bill, the portraits. That was some- nant because the people in the middle thing I could never really do in the other and the lower end—we’re actually doing Bott It’s appropriate that you end and series because the bills were just vehicles worse. So galleries are closing and art- begin with the urinal. for color and value. Lights and darks. ists are struggling, but people on the very Using the Seeing Eye or the presidents’ high end, like the rest of the economy, Beldner It’s all going down the pisser. portraits was never a part of it. The doi- are doing fantastic. Those ideas are still lies gave me the ability to do that. in my mind, the way that we think about Bott Any closing remarks? art, the way it has been monetized and Bott But it’s also presidents. You started commodified. Beldner I like your earlier question. working with money prior to 2001—look- Whenever you do anything for a length ing back, does the work take on a differ- Bott Do you still have some of these of time your relationship to it changes. ent historical meaning, given 9/11, and money pieces in your collection? Part of it is historic events; part of it is our current administration, and the life events because your life changes. whole relationship of art and money? Has Beldner I have sold nearly every single And then just knowing something so that changed for you over the years? piece I’ve ever made. I could’ve kept doing intimately, whether you’re printing, them and that would’ve been my job for- making sculpture, or doing these weird Beldner Well, my understanding evolves. ever. People love them. There’s something mixed-media things, you get to know the But the idea of the conflation of art and about money. I mean we love money, I material and the technique so well that it money, and the critique of the capitalist guess. But I wanted to move on and do allows for different, richer understand- system as it relates to the art world is still other things. ings, more ability to try different things there. It’s stronger now because we’re in I still have the big Pollack piece because out. But I’ve enjoyed this project a lot a period where the disparity between the I’m trying to find someone to take it from because it’s made me realize what kind haves and the have-nots is greater than my client. I have the Shepard Fairey piece, of power we have as artists. We’re alche- ever. The art market it is at a record high: Obey (2014), which never ended up selling. mists. We take base materials—paper,

20 Art in Print November – December 2019 Ray Beldner, Objet de Currency after Meret Oppenheim’s Objet le Déjeuner en Fourrure (2010), collaged US currency on and silver, 5 x 7 inch diameter. ink, glue—and turn them into things that are worth many, many, many times Ray Beldner is a San Francisco-based sculptor and new media artist. the value of the materials. We are literally minting money with our hands. We’re turning valueless things into invaluable Renée Bott is the director of the Bott Collection. objects. And it gives me a lot of pleasure She was a partner and Master Printer of Paulson and hope to know that artists have that Bott Press. ability.

Bott That’s a beautiful thought.

Art in Print November – December 2019 21 Orit Hofshi: Deep Time By Sarah Kirk Hanley

Orit Hofshi, Laver (2019), carved pinewood panels, woodcut, rubbing and ink on handmade Kozo & Abaca paper, 105 x 320 inches. As shown in the installation “Orit Hofshi: Pulse,” Wilfrid Israel Museum, Kibbutz HaZore’a, Israel, 17 May – 26 Oct, 2019. Courtesy the artist and Cade Tompkins Projects, Providence, RI.

rit Hofshi is one of a number of built from a combination of carved wood of human exertion and stormy weather, O contemporary artists who embrace panels and printed woodcuts. In Doubt, they center the viewer’s attention on printmaking processes in the production a blackened bas-relief wood carving is water as a vital resource. of expansive works that are materially placed to the left of a horizontal relief “Pulse” was inspired by the current visceral, politically smart and emotion- print that shows two people navigating a West Bank dispute between Palestinians ally compelling. In the vein of Anselm marshland. In the mammoth Laver, two and Jewish settlers over access to natu- Kiefer, Christiane Baumgartner, Swoon oversized woodcut prints flank 12 carved- ral springs, important water sources in and Nicola López, Hofshi employs the and-inked woodblock panels, altogether an arid place. The subject is local, but as tools and techniques of relief print- depicting a desolate, rock-strewn land- always Hofshi’s aim is to place “difficult making and matrices on an expansive scape with three small springs of water. historical events in a universal human scale, and like them she uses her work (In ancient Israel, a laver was a basin con- context.”2 Hofshi has studied and worked to address the moral and political com- taining water for ritual ablutions.) The in , , , , plexities of her cultural inheritance. For bottom panels, depicting the largest and Ireland and the , and in each Hofshi as an Israeli, this encompasses not most prominent of the pools, jut into the location has found resonance between just ethnic conflict but the fundaments of room at a slope, as if inviting the viewer to local histories and topographies and land, water and time. step into the composition. An audio track those of her homeland. Her landscapes “Pulse,” Hofshi’s recent installation by Roy Yamaguchi, commissioned for the are pictures of nowhere and everywhere, at the Wilfrid Israel Museum,1 included project, filled the space with sounds of amalgams of places she has lived and three large works: Aurora, Laver and footsteps on the earth, a heartbeat, heavy traveled. Doubt, each depicting natural water breathing, clanging and scraping, over- Born in 1959, Hofshi hit her stride sources. While founded in the act of cut- laid with wind, rain, distant thunder and relatively late, completing her master’s ting wood, none is simply “a woodcut.” sonorous bells. All three works demon- degree in 2002 after concentrating on At more than eight feet tall and twelve strate Hofshi’s gift for descriptive draw- raising a family. Her early mature works feet wide, Aurora is the smallest of them. ing with a knife and her predilection for show experimentation with various Lit from behind, the translucent hand- weathered surfaces. (She prefers to print techniques, themes and formats—relief made Kozo and Abaca paper glows with by hand rather than with a press, which prints, monotype, drawing and rubbing, Hofshi’s image of a narrow, dry riverbed allows her more control over the nuances landscape and figuration.3 In a black- with rocky outcroppings on either side. of the image and results in a rough irreg- and-white woodcut/monotype titled The other two works, vast in scale, are ularity.) Together with Yamaguchi’s score Disillusionment (2005), a man crouches

22 Art in Print November – December 2019 crumbled abbey as symbolic of religion’s failure to provide meaningful solace, and considers the overall composition to be an operatic work that “frustrates our expectation of the epic” through its impoverished landscape and single anti- hero.4 Andrea Packard, writing in con- junction with Hofshi’s 2011 exhibition at Swarthmore College, views the potbellied mourner as a peer of William Kentridge’s protagonists, “weighed down by middle age, harsh experiences, and cultural dis- connection.”5 Hofshi herself explains the figure as representing the need for soci- etal groups to assume personal account- ability for tragedy. The man’s posture of reflection struck her: “If we could only point the finger toward ourselves and ask ‘what wrong did we do?’ rather than point it at the other.” Though the funeral was in Ireland, she sees this notion of account- ability as a universal, stretching from 20th-century Germany (Hofshi finds kin- ship with Käthe Kollwitz as well as Kiefer) to 21st-century Israel. The title points us again to the situation of the West Bank, which Hofshi has described as one of “mutual terrorism.”6 In the 17-foot long Terra Incognita (2007), Hofshi abandoned the figure entirely, panning from a mountainous lake to a babbling brook. (Her composi- tions often seem to read from right to left, like Hebrew and Arabic script.) And where the panels of Datum Collectanea and Upon This Bank align in coherent rectangles, Terra Incognita is laid out in an H-formation, with a horizontal center between vertical flanks. The landscape—

Orit Hofshi, Disillusionment (2005), monotype, transfer drawing and woodcut on paper, 50 x 38 a response to visiting Iceland, with volca- inches. Courtesy the artist and Cade Tompkins Projects, Providence, RI. nic rock formations and abundant fresh water—is composed of grease-pencil rub- on desolate ground beneath a dark sky, of rocky coastline, at the edge of which bings from woodcut matrices, an alterna- projecting a nonspecific sense of loss. stands a small cluster of standing people, tive mode of printing the block that she His isolation and oddly hollow appear- perhaps stranded, perhaps lost. has sometimes used. Hofshi sees rub- ance are suggestive of evanescence and The following year she produced a bings as recording the passage of time mortality, while the landscape—printed monumental 24-panel print-and-draw- and labor. The image accrues meaning in heavy, expressive woodblock lines— ing amalgamation, Upon This Bank and through repetitive action: “on the third, appears solid and unchanging. Shoal of Time (2006), picturing a soli- fourth, fifth or sixth round, [my monoto- Though more than four feet tall, Disil- tary man in a sprawling landscape. Its nous] circular movement becomes very lusionment is diminutive compared with pictorial elements derive from materi- visual.”7 She finds a connection to the Hofshi’s work to come, which quickly als gathered during a residency at the conceptual land artist Richard Long, expanded to architectural scale. She also Ballinglen Arts Foundation in County whose documentation of walks through started to include the wood itself in her Mayo, Ireland, in 2004. The male figure nature calls attention to landscape artworks: Datum Collectanea (2005) and was based on a photograph she found in through actions repeated over time. Kairos (2006), for example, were entirely the local newspaper covering a memorial If the Tread is an Echo (2009), shown at composed on wood panels. The for- service for a victim of sectarian violence, Philagrafika in 2010, marks a further dis- mer was a breakthrough work—an ink while the ruined abbey at upper left and ruption of the standard picture plane.8 and acrylic drawing on 18 wood panels, the forest at right come from snapshots She arranged 14 prints, matrices and together more than eight feet high and 35 she took while hiking in the area. The wood panels from earlier compositions feet long. It pictures a cinematic expanse Irish curator Patrick T. Murphy sees the on the wall in a kind of arch emanating

Art in Print November – December 2019 23 Orit Hofshi, Upon this Bank and Shoal of Time (2006), woodcut, ink drawing and watercolors on paper and pine wood panels, 102 x 400 inches. Courtesy the artist and Cade Tompkins Projects, Providence, RI. from the floor, and built a central arma- them. In 2008, she made four woodcuts in Israel,11 which marked her first forays ture that held a bank of carved wood pan- with Druckgrafik Rössler in Leipzig10 into the use of strong color. Hofshi had els away from the wall, allowing viewers (there she met Christiane Baumgartner; previously limited her palette to black, to position themselves in the opening. A the two have maintained a close con- brown, gray and the white of the paper— backlit relief print depicting open water nection). In 2010 she created six etch- a restriction that she felt honored the was suspended from the ceiling and illu- ings at the Gottesman Etching Center history of printmaking and presented a minated, calling attention to the texture of the handmade paper and carved lines of Hofshi’s composition. The blackened wood panels at the center here have since become a common motif in Hofshi’s work. Some are blank, while others are carved and appear printable, though Hof- shi regards them as bas-relief sculptural objects rather than matrices. The Phila- graphika piece is a meditation on print- making itself—the titular “echo” denotes its reproducibility. If the Tread is an Echo was followed by Convergence (2011), Hofshi’s first fully immersive installation piece, which occupied a small room in her exhibition at Swarthmore. In the center of the dark- ened space, Hofshi suspended a four-part woodcut depicting a landslide. Behind it, in the recesses of the room, was a cha- otic topographical scene formed by the blackened printing blocks that had been used to make the images, arranged at random angles to the floor or lying upon it. A small viewing platform allowed only one or two viewers to see the work at any given moment. Four large rectangular reflecting pools below spanned the space between the platform and the woodcut objects, casting the viewer as an actor in this “troubled environment.”9 In both these installations, the wood panels assert themselves as aesthetic objects in their own right, but they also present a conundrum: they call atten- tion to the printing process, even as their presence preempts printmaking’s usual goal—the production of an edition. That said, Hofshi is not averse to the idea of Orit Hofshi, If the Tread is an Echo (2009), woodcut, ink drawing and stone tusche rubbing on carved editions, and she has periodically collab- pine wood panels and handmade Kozo and Abaca papers, 136 x 287 x 36 inches. Courtesy the artist orated with print workshops to produce and Cade Tompkins Projects, Providence, RI.

24 Art in Print November – December 2019 useful challenge. Inspired in part by the prints of Edvard Munch and Helen Fran- kenthaler, however, she experimented with chromatic inking in works such as the cruciform landscape Glade, in which swift black marks are set within a numi- nous blue.12 (The image was also printed in a black-and-white version titled Mist.) Most recently she made a color woodcut, Huddle (2018), at the Guanlan Original Printmaking Base in Shenzhen, China. The works she produces in her stu- dio are nevertheless unique objects, and her inclusion of artifacts of process calls attention to drawing, carving, inking and rubbing as highly indirect and time- consuming ways of producing an image. The usual rationale for this effort is the edition, but Hofshi sees her matrices instead as a means of creating a library of stock images—templates to use again and again, in shifting contexts, similar to the methods of Nancy Spero (whom she cites as an influence) and other art- ists. The two vertical sections of Terra Incognita, for example, reappear in two smaller stand-alone pieces, Telluric and Scoria (both 2007). One can also see such repurposing as reenacting perennial human behaviors. In Israel, Hofshi has often explored Tels—earth mounds con- taining strata of ancient civilizations— and was made conscious of the constant construction and destruction of the built environment. In her 2017 work Time… Thou Cease- less Lackey to Eternity the astute viewer can identify multiple blocks repeated from earlier compositions. There is the young girl, who appears twice, walking with her head down as if searching for something on the ground. The standing woman looking out at us from the cen- ter has been appearing in Hofshi’s work since 2004; the artist describes her as a Above: Orit Hofshi, Convergence (2011), woodcuts, carved pine wood boards, metal basins of oil kind of witness. She is one of a number and wooden viewing platform, 240 x 240 x 140 inches. Installation view at the List Gallery, Swarthmore of stock characters Hofshi has developed College, 8 Sept – 22 Oct, 2011. Courtesy the artist and Cade Tompkins Projects, Providence, RI. Below: Orit Hofshi, Glade (2010), woodcut, photo etching and aquatint, 19 3/4 x 25 5/8 in. Edition of 6. over the years, often inspired by people Printed and published by The Gottesman Etching Center – Kibbutz Cabri, Israel, Courtesy the artist she knows. In Wrestle (2016), for instance, and Cade Tompkins Projects, Providence, RI. this standing woman is paired with the figure of a pointing man, modeled on her friend the artist Daniel Heyman. None of where the printed debris is reiterated on Packard wrote of Hofshi that “address- these, however, are intended as portraits; either side like a stammer. The image ing the prevalence of violence and dislo- they are meant as anonymous represen- was drawn from a 1944 photograph of the cation, she asserts the need for reflection, tations of humanity. The rubble-banked sole remaining wall of the historic New persistence, and understanding.”14 Her building facade at the left of Time… first Synagogue in the Czech town of Holešov, expansive sense of time and her preoccu- appeared in the 2008 woodcut Resilience where Hofshi’s mother was from; the pation with land use reflect the realities (Holešov, 1944), where it stands like a town’s Jewish population was almost of her native land and its millennia of ter- bulwark against surging waves of rubble, entirely annihilated in the Holocaust.13 ritorial struggles; of use and reuse by suc- and again two years later, at the cen- For Hofshi, the standing wall represents cessive peoples. The water dispute that ter of the triptych Steadfastness (2010), not just tragedy but resilience. inspired “Pulse” is a cautionary tale:

Art in Print November – December 2019 25 Orit Hofshi, Time...Thou Ceaseless Lackey to Eternity (2017), woodcut, rubbing, colored pencils and oil sticks on handmade Kozo and Abaca papers, 80 x 166 inches. Courtesy the artist and Cade Tompkins Projects, Providence, RI. while this particular situation is being cat., 8 Sept – 22 Oct, 2011), 12. played out on the fraught stage of the 6. Artist’s talk at Swarthmore College, “Orit West Bank, water rights around the world Hofshi: Resilience,” published online 28 October are increasingly being weaponized as cli- 2011, youtu.be/DeEwBUEsMRE (1:07:21). 7. Seligman, 101–100. mate change destabilizes weather pat- 8. “The Graphic Unconscious,” The Pennsyl- terns. Hofshi’s installation exemplifies vania Academy of the Fine Arts Museum, 29 her aspirations: providing perspective on January–11 April, 2010; Hofshi also received the human suffering, holding a mirror to Distinguished Alumni Award from PAFA in con- those on both sides of a conflict, insisting junction with the exhibition. (She received her undergraduate degree there in 1990.) that natural resources and the built envi- 9. Packard, 28. ronment be shared and protected. “Only 10. Mere, Stack, Untitled, and Amassment. The from a position of humility,” she explains, latter was repurposed in a larger work of the “can a person understand his place, his same title in 2012. relations to other people and the world 11. Glade, Juncture (and variants), Mist, Gloam, Evenfall, and Solus. All photoetchings, some around him. It takes a measure of mod- with woodcut, in editions of 6–50; see cabri- esty and respect for society and the envi- prints.com. ronment.”15 12. This cross-like formation is common to her work, but it holds no religious or symbolic signifi- cance: her use of it is purely aesthetic (meeting Sarah Kirk Hanley is Executive Director of with the author 19 July 2019). Manhattan Graphics Center. 13. For further discussion of the synagogue image see Ofek (106–05), Packard (17–19), and José Roca in Art on Paper 13, no. 2 (November/ December 2008), 78. Notes: 14. Packard, 5. 1. “Orit Hofshi: Pulse” 17 May – 26 Oct, 2019, 15. Seligman, 104. Wilfrid Israel Museum, Kibbutz HaZore’a, Israel. 2. Timna Seligman, “Two Conversations with Orit Hofshi,” in Ruthi Ofek, ed. (in Hebrew, trans. Einat Adi), Orit Hofshi: Ephemeral Passage (Tefen Industrial Park, Israel: Open Museum, 2009), 106. 3. This period is analyzed in depth in Orit Hofshi: Ephemeral Passage, the catalogue for her 2009 survey at the Open Museum. 4. Patrick T. Murphy, “The Situations of Orit Hofshi,” in Ofek, 113. 5. Andrea Packard, “Realism and Resilience in the Art of Orit Hofshi,” in Orit Hofshi: Resilience (Swarthmore College: List Gallery, 2011) (exh.

26 Art in Print November – December 2019 Etcher Sketch: A Conversation with Nadine Orenstein and Freyda Spira about “The Renaissance of Etching” By Catherine Bindman

Albrecht Dürer, Landscape with a Cannon (1518), etching, 8 ½ x 12 5/8 inches. Courtesty of The Metropolitan Museum of Art, New York, The Fletcher Fund, 1919 (19.73.111).

he idea of using acid to incise lines mental period is the subject of the Met- drawings, printing plates and illustrated Tin a printing plate arose in 15th- ropolitan Museum’s current exhibition books from the collections of the Met, century Europe, most probably as an “The Renaissance of Etching,” curated by the Albertina in and other lenders. outgrowth of innovations in the produc- Nadine Orenstein, Drue Heinz Chair of tion of ornamented armor. Despite the Drawings and Prints, Freyda Spira, Asso- Catherine Bindman You have both many technical challenges presented by ciate Curator of Drawings and Prints at worked on major exhibitions incorpo- the chemistry and metallurgy of etching the museum and independent scholar rating lots of etchings in recent years: (noxious fumes, iron plates that rusted, Catherine Jenkins. “The Mysterious Landscapes of Hercu- the unpredictable interactions of materi- A rare, comprehensive examination of les Segers” in 2017; “The Power of Prints: als), artists across the continent took to it, the first 70 years of the etched print, The Legacy of William M. Ivins and A. and in the process changed the way prints from the late-15th to mid-16th centuries, Hyatt Mayor” in 2016; and “Imperial looked and functioned. Drawing through it includes etchings by such major fig- : Renaissance Prints and Draw- an acid-resistant varnish or wax ground ures as Albrecht Dürer, Pieter Bruegel ings, 1475–1540” at the National Gallery allowed for freehand gestures that the Elder and Parmigianino, as well as in 2012, part of which was dedicated to engraving did not. This actively experi- lesser-known artists, alongside related the emergence of etching under Daniel

Art in Print November – December 2019 27 Left: Daniel Hopfer, Design for the Channels of Fluted Armor (ca. 1515), etching, second state of two, 5 7/16 x 3 3/8 inches. Right: Albrecht Dürer, Man of Sorrows (1515), etching on iron, second state of three, 4 3/8 x 2 9/16 inches, The Metropolitan Museum of Art, New York, The Fletcher Fund, 1919 (19.73.24).

Hopfer. How does this new exhibition a third venue. I knew Christof Metzger, holdings of the museum’s Department of relate to those ambitious projects? head of the curatorial department Arms and Armor. there, as we had worked together on the Nadine Orenstein Well, in fact, the new Hopfer show at the Graphische Sam- FS We actually have Hopfer armor from show has been kicking around longer mlung in Munich in 2009 [“Daniel Augsburg with ornamental and fig- than any of them—since at least 2008. Hopfer: Ein Augsburger Meister der ural decoration that mirrors that in his It was Catherine Jenkins’s idea and came Renaissance”]. The Albertina became prints. We also have an etched light- out of her work on Fontainebleau, but she our sole partner, and in many ways they cavalry armor from Milan that shows the left the department to become an inde- are ideal in terms of both expertise and relationship between Northern Italian pendent scholar and the show was post- collections. armorers and those in Southern Ger- poned several times, all for good reasons. many. These things will be in the central Catherine has been fully involved as a NMO It reminds me of Noah’s Ark. They doorway of the exhibition, to reinforce curator-at-large, selecting material, and seem to have two of everything. the point that the same etching tech- writing and editing the catalogue with us. nique that was used to decorate armor FS: And much of this material has not was later used in printing plates. CB The show is produced in collaboration been seen. It gives them the opportunity with the Albertina— to show it to a broad audience. NMO What’s fascinating about the shift from etching on armor to etching on Freyda Spira We were initially in discus- CB Speaking of Hopfer, you are show- paper is that an elite, exclusive item is sion with the Rijksmuseum as a European ing examples of armor since etching is translated into a medium for producing partner. But when Taco Dibbits became believed to have originated in Hopfer’s relatively inexpensive images for a broad, director in 2016 their plans changed. armor-decorating workshop in Augsburg. popular audience. Also, the work of art The Albertina was always supposed to be You do have access to the extraordinary itself became the means of producing art.

28 Art in Print November – December 2019 FS Etching also created a whole new market for artists working in that area.

CB How are the very early days of this transition in the late-15th century repre- sented in the show?

FS First, we will have prints by Hopfer that mirror the images on the armor, including three ornament prints spe- cifically intended for the decoration of armor. The labels discuss how strategies similar to those used for etching armor were used on the earliest plates. Others prints, like Death and the Devil Surprising Two Women (ca. 1500–1510), reveal him experimenting with the medium. And we want to document the transition chron- ologically in the story of etching from Hopfer to Dürer.

CB Dürer made just six etchings, and you’re showing impressions of all of them!

NMO Yes, and we have three impres- sions of his Man of Sorrows (1515), which might help explain why he ultimately abandoned the medium. The successive impressions show how the areas of rust on Dürer’s plate increased as the plate was printed. At that point etching was being done on iron or steel rather than the copper that was used for engrav- ing. But you can see how the plate has rusted. It’s a very small print with a plain background so the rust marks are obvi- ous. In his subsequent etchings, Dürer added a lot of lines to the backgrounds, an approach that had the advantage of making the rust less obvious.

CB In Prints and Visual Communication, William Ivins wrote, “The earliest corpus of etched work, that of the Hopfer family Hans Burgkmair, Venus and Mercury (ca. 1520), etched steel plate, 7 1/4 x 5 1/8 inches. of Augsburg, consists almost entirely of ©The Trustees of the , . rapidly made copies of other men’s work.” Freyda, you wrote your dissertation on which led me to think about materials painting over that area with stopping out Hopfer—what is your take on his status and techniques much more closely. It also varnish to create white details within the as an artist? enabled me to look at his sources and col- black field. Once Dürer gets interested in laborators in a broader way. This opened etching, the Hopfers’ experimental work FS When I was working on my disserta- up a whole new avenue for me in thinking becomes neglected. tion in the early 2000s, all the literature about Hopfer’s technical innovations, not on Hopfer suggested that he was a thiev- just as the inventor of a new printmaking CB Well, yes—once painters take up etch- ing copyist whose main contribution to technique but as an experimental etcher. ing as a site of aesthetic experimentation, printmaking was technical. I was inter- they dominate the narrative. But you ested, however, in investigating his con- NMO Nobody really picks up on the argue that this early period—before the tent and context, and also looking at him interesting technical exploration that painters—has more to offer than the mere as an artist. It was interesting to go back Daniel Hopfer and his sons were carry- commercial utility that Ivins suggested. to Hopfer for this exhibition. This time I ing out—for instance, playing with the was able to examine his etchings in the areas of black and white by scraping away FS Yes. The early examples of etching are conservation department at the museum, the ground to create a dark field and then actually about creativity and experimen-

Art in Print November – December 2019 29 tation. Hopfer’s Angels with the Sudarium was executed first as a pure line etching; then in a second state, he created tone akin to an aquatint by either carefully painting a resist onto the plate with a brush and then exposing it to acid a sec- ond time, or by simply painting the acid directly onto the plate. He only tried this out twice but was obviously interested in testing the limits of the technique.

NMO And the first people using it are really printmakers who are trying to decide how best to use the new tech- nique. Should I use etching to make works that look more like a drawing or more like a print? Dürer used the same kinds of lines he uses in drawings for his etchings. Lucas van Leyden decided to give his etched lines the look of engrav- ing, and combined etching and engraving in prints that were all created in 1520 such as A Fool and A Woman, or The Beggars or Maximilian I. You see him trying to fig- ure etching out, then going back to pure engraving after a year.

CB In the 1520s we also see the develop- ment of pure landscape etching by artists such as —what made etching so well-suited for this?

NMO The freedom of the line is perfect for landscape—you can use it to evoke the fluidity of natural forms.

FS But Altdorfer’s earliest etchings—the two prints of the Regensburg Synagogue (1519), for example—were not that suc- cessful. His densely etched lines made the images too flat. He must have real- ized that if he created more calligraphic drawings on the plate, like those of , he would get a better result. A lot of ideas about landscape at the time also came from Dürer’s iron etching Land- scape with a Cannon (1518). This was his most ambitious etching and incorporated a brilliantly composed landscape, the first etched example. The artists who followed Altdorfer, such as Augustin Hirschvogel and Hanns Lautensack, were working in a spectrum between cartography and ideal landscape. It’s important to remem- ber that etching also allows a lot of pre- cision as well as fluidity: Hirschvogel’s 1543 book of geometrical diagrams, the Geometria, was etched—he knew that he could really control the line. Urs Graf, A Girl Washing Her Feet (1513), etching, 5 1/2 x 2 7/8 inches. Courtesy of Kunstmuseum Basel, Kupferstichkabinett, Donation of Emile Linder, 1860, Inv. X.2293. CB And what about Parmigianino?

30 Art in Print November – December 2019 NMO He really used etching like draw- have the Hans Burgkmair iron plate for Vermeyen joined Emperor Charles V on ing and was very experimental with it. Venus and Mercury (ca. 1520) from the his Conquest of Tunis in 1535 and came He saw it as liberation. There will be a British Museum alongside the earliest back with a lot of ideas. He represented all whole section on him in the exhibition. impression of it, from the Kunstmuseum sorts of unusual subjects, like a portrait Marcantonio Raimondi has always been Basel. And we have borrowed Hirsch- of Mulay Ahmad (ca. 1536), the king of understood as the first Italian etcher, vogel’s six copper plates for his Survey Tunis, in his native costume. I also want but Catherine Jenkins has examined his of Vienna (1547) from the Wien Museum to mention the three prints from the Bib- prints closely and believes that they are to show with an impression of the map liothèque nationale that make up a trip- not actually etchings but engravings. It’s loaned by the Albertina (1552). There tych by Nicolaas Hogenberg, a German honestly hard to see, but the evidence are also the two unique etchings by the artist who ended up in Mechelen, not far is strong enough that we have included Swiss etcher Urs Graf—A Girl Washing from Antwerp. The plates show The Holy only one example in the exhibition for Her Feet and Aristotle and Phyllis, both Trinity, a Group of Saints, and The Patri- comparison. This puts Parmigianino at dated 1519—from the Kunstmuseum archs (1524). Each plate is dated, but we the forefront of early Italian etching. We Basel. realized that the center plate—The Holy present him as the most creative of the Trinity—is engraved, while the two side Italian etchers, trying out things in the NMO Definitely the etchings by Jan Cor- ones are etched. It’s one of the weirder 1530s that we associate with Rembrandt’s nelisz Vermeyen. There are three in the combinations of the two techniques and work a century later. show—Mulay Ahmad (ca. 1536), Virgin and hard to explain. Hogenberg might have Child with the Music-Making Angel (1545) been trying to prove that etching could CB What are the rarities and special and Spanish Woman (Oriental Woman, match engraving. things that we should look out for? 1545)—and I would have liked to put in You have to look at the Sebald many more. He is not well known—a Behams, too. We are showing two from FS There are some amazing loans in addi- surprising and fantastic artist who tried a group of four or five very loose, experi- tion to those from the Albertina. We will to make his etchings look like paintings. mental etchings that he made in 1520.

Left: Albrecht Altdorfer, The Entrance Hall of the Regensburg Synagogue (1519), etching, 6 1/4 x 4 3/8 inches. Courtesy of The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1926 (26.72.68). Right: Hans Sebald Beham, Standard Bearer with a Snake (1520), etching, 4 7/8 x 3 inches. Courtesy of the Rijksmuseum, Amsterdam.

Art in Print November – December 2019 31 In one he shows a really chubby Fortuna, a spin-off of Dürer’s famous Nemesis and in the other a drunken standard bearer entwined suggestively with a snake. They are bawdy and raunchy, and Beham is clearly having fun.

CB The exhibition ends around 1560, just as the technique was becoming professionalized under publishers such as Hieronymus Cock in Antwerp and Lafreri in Rome.

NMO There is a huge development over the course of our show, from early experi- mentation to professionalization. By the time you get to publishers like Cock, they are hiring etchers to make reproductive prints. The advantage of etching is obvi- ous: Cock could issue bigger prints and pay the printmakers less because they could work faster. With greater profes- sionalization we begin to see a split form- ing between the peintre-graveur and the professional etcher. Cock published huge numbers of reproductive prints after art- ists such as Bruegel and Floris, as well as a few original etchings by them. Peeter van der Borcht created many single-sheet etchings in the 1550s and later he created an enormous number of book illustra- tions for the Antwerp publisher Christo- pher Plantin. In his reproductive prints, he came up with a precise and consis- tent style with a regularized system of hatching that did not evoke the work of the original painters but effectively com- municated the image. By the end of the show the etchings are much bigger and the range of subject matter expands as well. Once they had figured out how to etch reliably on copper by the 1540s, Parmigianino, The Lovers (1527–1530), etching, second state of two, 5 7/8 x 4 1/8 inches. big ambitious etchings like van der The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1926 (26.70.3(102)). Borcht’s Large Peasant Festival (1553), Hogenberg’s Wagon of Hay (1559) and Hoefnagel’s Allegory of the Spanish Tyr- in a huge number of early etchings in anny (1570) became possible. beautiful impressions that have rarely, if ever, been seen before in this country. FS This early period in the history of etching was a rich moment for innova- tion. But it is interesting to note that etching is basically still used in the same Nadine M. Orenstein is Drue Heinz Curator way today by artists, although many of in charge of the Department of Drawings and the materials have changed. These days Prints at the Metropolitan Museum of Art. we are faced with new techniques for reproducing images all the time. But this Freyda Spira is Associate Curator in the is the beginning. People had to figure out Department of Drawings and Prints at the what to do with the possibilities. Metropolitan Museum of Art.

NMO And nobody has pulled all this Catherine Bindman is an editor material together before. We are bringing and art critic.

32 Art in Print November – December 2019 NEW EDITION REVIEW A Study in Light: New Prints by Chris Ofili By Re'al Christian

Othello (2018) Lochs (2018) Portfolios of 10 etchings each with title page and colophon in a portfolio box. 14 7/8 x 11 1/4 inches each. Editions of 20 each. Printed and published by Two Palms, New York.

lthough most of the works on view A in Chris Ofili’s recent exhibition at David Zwirner’s Upper East Side gal- lery were bright and glittering allusions to the Homeric sea nymph Calypso, one wall featured instead a grid of ten- ebrous, expressive etchings portraying Shakespeare’s tragic hero Othello.1 The show’s title, “Dangerous Liaisons,” was a reference to René Magritte’s epony- mous 1935 painting of an optically impos- sible, self-reflecting nude woman. The overlapping themes of desire, seduction and deception clearly link the stories of Calypso, who distracted Odysseus from his homeward journey for seven years, and Othello, tricked by a jealous under- ling into murdering his innocent beloved. Ofili’s Othello prints, however, share their origins with another body of work—the artist’s etching portfolio Lochs, also recently published by Two Palms. Both series arose during a trip Ofili made through Scotland in the summer of 2018. Carrying 20 prepared copper etch- ing plates, he drove from loch to loch, stopping at each body of water to draw on the plates en plein air, and creating a kind of abstracted visual travel diary. (The plates were later sent back to Two Palms for processing.) While on the road, Chris Ofili, Loch Lomond (2018), etching, 14 7/8 x 11 1/4 inches. Edition of 20. From a suite of he listened to an audiobook of Othello, an 10 with title page and colophon in a portfolio box. Courtesy of the artist and Two Palms. experience that led to the second group of etchings. The two series are like day of materials—such as resin, glitter and scenes and landscapes, as well as in the and night: one light and radiant, with (infamously) elephant dung—and for elusive deep blues and blacks of his Blue crisp black lines on bright white paper; his ethereal, kaleidoscopic composi- Rider paintings and Black Shunga etchings the other somber and brooding, the lines tions that teeter between abstraction [see Art in Print Sep-Oct 2018]. “Night and printed in white ink on paper coated with and figuration. Born to Nigerian parents twilight here [in the Caribbean] enhances black mica. in Manchester, he has lived and worked the imagination,” he has said. “It’s a dif- Ofili, who won the Turner Prize in primarily in Trinidad since 2005. The ferent level of consciousness that is less 1998 just before his thirtieth birthday, island’s atmosphere is reflected in the familiar to me, and stimulating through became famous for his evocative use bright, airy contentment of his figurative a degree of fear and mystery.”2

Art in Print November – December 2019 33 Left: Chris Ofili, Loch Torridon (2018), etching, 14 7/8 x 11 1/4 inches. Right: Chris Ofili, Loch Ness (2018), etching, 14 7/8 x 11 1/4 inches. Editions of 20. From a suite of 10 with title page and colophon in a portfolio box. Courtesy of the artist and Two Palms.

A similar dichotomy between light late the subtle fluctuations of light, wind dark, obfuscating shimmer. and dark, visibility and inscrutability, and flora on the surface of water. Some- Ofili gives Othello the curly hair, plays out in the Lochs and Othello prints— what comically, they are oriented as por- round lips, broad nose, furrowed brow, one capturing the summer light of the traits rather than landscapes. and upturned eyes that evoke European Highlands and the other ruminating on a The Othello prints also employ deli- notions of African features—a visual ste- fallen hero. In Ofili’s rendering, each loch cate lines and a mix of geometric and reotype that Ofili often satirizes in his appears as a field of tessellated triangles, organic forms, though to very different work. It is a rendering that calls attention disrupted by curves, loops and meander- ends. In each print a loose linear sketch to Othello’s rarity as black hero in clas- ing organic forms. The mix of interlock- of Othello’s face fills the page, its expres- sical literature. Shakespeare’s character ing linear geometry and biomorphism sion changing from print to print as the probably has roots in a number of his- recalls Ruth Asawa’s wire sculptures, narrative unfolds. The drawings are torical figures, but their lived complex- along with Ofili’s black-and-white pho- quick and gestural; wispy calligraphic ity—and often the scripted complexity of tographs of chain-link fences in Trini- flourishes subtly convey the tilt of an eye the role—has regularly been interpreted dad. The photos juxtapose the innocuous or the furrowing of a brow. The doodley in ways that are crudely reductive or mis- regularity of the wire structure and the quality of Ofili’s line supplies endless leading (until recently he was frequently natural beauty of the environment seen visual variety, while cascading teardrops portrayed by white actors in blackface). through and around it. In a similar man- offer a unifying motif. On the blank slate Ofili’s Othello is a powerful figure, equally ner, the linked triangles of the etchings of Othello’s forehead, Ofili provides quick capable of devoted love and of jealous rage. derive a regular order from an irregular figurative summaries of scenes from the These tender images show the tragedy and topography. play: the general’s elopement with the beauty of this duality, projected on the The location and the date of each beautiful Desdemona, his deployment to face of black masculinity. drawing is marked in the lower left cor- , his betrayal by Iago, the resulting Both print series—the brightly lit ner. In Loch Ness, drawn on 2 August, an murder of Desdemona, and finally Othel- Lochs, beaming with energy, and the organic white flourish cuts diagonally lo’s suicide. These elements, printed in brooding, glittering Othellos—offer across a lattice. In Loch Lomond, from white ink, pop against the black-mica- entrancing surfaces along with the 9 August, two narrow rivulets curve in coated paper—a treatment inspired by knowledge of something larger and less from the right and meet where a horizon the opalescent metallic surface of Black readily understandable below. Such com- line bisects the image. Ofili’s Lochs emu- Shunga—grounding each drawing in a plexity is also seen and felt in Ofili’s

34 Art in Print November – December 2019 Left: Chris Ofili, Jealousy (2019), etching with aquatint, black mica and white ink, 14 7/8 x 11 1/4 inches. Right: Chris Ofili, Murder (2019), etching with aquatint, black mica and white ink, 14 7/8 x 11 1/4 inches. Editions of 20. Courtesy of the artist and Two Palms.

Caribbean works and his fascination with the mysterious forms that manifest in the liminal space between day and night, night and day. These enigmas may be difficult to perceive in the artist’s work—as Ofili has said, it is a process that requires slow looking.

Re’al Christian is a New York City-based writer and art historian.

Notes: 1. Ofili’s Othello prints are reproduced as illus- trations in the publication William Shakespeare x Chris Ofili: Othello as the first installment in the series Seeing Shakespeare, produced by David Zwirner Books (October 2019). 2 Chris Ofili, “In search of the real me: Chris Ofili,” Christy Lange, Tate Etc 18 (Spring 2010).

Below Right: Chris Ofili, Courtship (2019) etching with aquatint, black mica and white ink, 14 7/8 x 11 1/4 inches. Edition of 20. Courtesy of the artist and Two Palms.

Art in Print November – December 2019 35 EXHIBITION REVIEW Slicing Modern Life: Grosvenor School Linocuts By David Trigg

“Cutting Edge: Modernist British Printmaking” , London 19 June 2019 – 8 September 2019

Cutting Edge: Modernist British Printmaking By Gordon Samuel, Hana Leaper, Tracey Lock and Philip Vann Philip Wilson Publishers, London, 2019 192 pages, 150 illustrations £25

emarkably, “Cutting Edge” is the R first major museum exhibition of work by artists from the Grosvenor School to be held in Britain. Presented in the dis- tinguished setting of London’s Dulwich Picture Gallery and curated by Gordon Samuel, it comes 90 years after organized the “First Exhibition of British Linocuts” at the Redfern Gallery in London. That 1929 exhibition show- cased Flight’s own linoleum block prints alongside those of , and others who benefited from his tutelage at the Grosvenor School of (1925–1940). Championing the humble linocut as a democratic medium, Flight and his small band of followers became renowned for their vibrant, colorful and modestly sized designs, which drew on , Vor- ticism and to depict the energy and speed of modernity in Britain and beyond. The Grosvenor School artists fell from fashion during the postwar years and it was not until the mid-1970s, when the London dealer Michael Parkin spear- Cyril Power, Whence and Whither (1932), linoleum cut, 13 3/4 x 11 3/8 inches. ©The Estate of Cyril headed a revival of their prints, that the Power. All Rights Reserved, [2019] / Bridgeman Images. Photo: Osborne Samuel Gallery, London. movement’s significant contribution to modern printmaking began to be recog- ter, Samuel has organized the 120 prints, a thoroughly compelling show that dem- nized. Yet until now the most important drawings and posters in this long overdue onstrates the extraordinary versatility exhibitions have occurred beyond British survey into six thematic sections. Indeed, of linocut while providing fascinating shores: “Grosvenor School: British Lin- at times “Cutting Edge” closely resembles insights into life and culture during the ocuts Between the Wars” (RISD Museum, the Boston show, with similarly titled . 1988); “Claude Flight and His Follow- rooms focusing on sport, labor, enter- Surprisingly, in an exhibition celebrat- ers” (Australian National Gallery, 1992); tainment and urban life. Where the exhi- ing linocut, several different mediums and, more recently, “Rhythms of Modern bition departs, however, is in the welcome are represented in the first room. Here, Life: British Prints 1914–1939” (Boston inclusion of rarely seen works by Flight’s a cluster of British avant-garde prints MFA and Metropolitan Museum, 2008). Australian students , Ethel demonstrates the artistic influences Ostensibly taking his cue from the lat- Spowers and Eveline Syme. The result is assimilated by Flight and his followers.

36 Art in Print November – December 2019 Several works relate to World War I, such as Paul Nash’s bleak, Vorticist-inflected lithograph Void of War (1918), showing the devastated landscape of the West- ern Front. Nearby, a platoon of French soldiers marches in a flurry of frag- mented limbs and weaponry in C.R.W. Nevinson’s Futurist-inspired drypoint Returning to the Trenches (1916). Domi- nating the room is Edward McKnight Kauffer’s color lithograph Soaring to Suc- cess! Daily Herald—the Early Bird (1918–19), a huge poster advertising that newspa- per. The striking black, white and yellow design is adapted from the artist’s earlier woodcut Flight (1917), a geometric rep- resentation of soaring birds that hangs adjacent. Echoes of these works permeate the Grosvenor School prints, including the first selection, which reflects Flight’s belief in linocut as the ideal vehicle for interpreting modern city life. Among these genteel urban scenes is William Greengrass’s quintessentially English Tea Under Umbrellas (1934), featuring tea drinkers relaxing in the sun. A similar scene appears in Parisian Cafe (1939) by Swiss artist Lill Tschudi. Rendered with a limited palette of red and black, the bold print shows figures reading newspapers and sipping drinks; despite being pro- duced as World War II loomed, it offers no indication of the turmoil that was sweeping the continent. More newspaper readers populate Spowers’s Special Edition (1936), while in her Gust of Wind (1930–31) a figure grapples with sheets of news- print blown into the air. With its delicate lines and subtle colors, this skillful print recalls Katsushika Hokusai’s windy scene Ejiri in Suruga Province (Sunshū Ejiri) from his celebrated Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei; ca.1830–32). Its inclusion highlights not just the simi- larities, but also the differences between Japanese woodblock prints and linocuts. Both, of course, rely on the gouging of designs before sheets are inked and impressed onto paper but, as evidenced by Spowers’s works and others, the soft- ness of the linoleum matrix allows for a wider range of marks—one of the reasons Above: , Wet Afternoon (1930), linoleum cut, 14 x 9 inches. Photo: Osborne Samuel for Flight’s promotion of the medium. Gallery, London. ©The Estate of Ethel Spowers. Below: Cyril Power, Speed Trial (1932), linoleum cut, In the next room leisure is pitted 10 1/16 x 17 5/16 inches. Photo: Osborne Samuel Gallery, London. ©The Estate of Cyril Power. All against work as images of labor jostle Rights Reserved, [2019] / Bridgeman Images. with those of concert halls, circus rings and fairground rides. In Tschudi’s French Washing (ca. 1925) and Spowers’s Flower display a strong sense of movement and Porters (1935) and Cleaning a Sail (1934) we Girls (1934) are among several portray- action. Even Power’s The Exam Room see burly Frenchmen working up a sweat, als of female labor. Whether illustrating (1929) manages to imbue a hall full of while Flight’s semi-abstract Women and work or play, the majority of these prints scholars with unlikely levels of energy

Art in Print November – December 2019 37 Left: Andrew Power, Lord’s, Oval (1934), lithograph, 7 5/8 x 11 5/8 inches. ©The Estate of Cyril Power. All Rights Reserved, [2019] / Bridgeman Images/ ©The Estate of Sybil Andrews ©TfL from the Collection. Right: Sybil Andrews, Concert Hall (1929), linoleum cut, 14 x 12 1/2 inches. ©The Estate of Sybil Andrews. Photo: Osborne Samuel Gallery, London.

and verve. A similar liveliness is seen was largely ignored by other modern in an advertisement for Wimbledon, on the opposite wall in Greengrass’s artists. This section is by far the most while two stretching cricketers—pro- Jazz Musicians (ca. 1930), whose visual dynamic and features some of Power’s moting matches at The Oval and Lord’s rhythms effectively capture the excite- best-known works, including his famous cricket grounds—reveal the influence ment and vitality of the jazz age. picture of rowers, The Eight (1930), pro- of Andrews. Other posters encourage The show’s attempt to draw together duced after witnessing racing crews spectatorship at Epsom Racecourse, the a body of works inspired by the pastoral practicing on the Thames near his Ham- Wembley Empire Pool and London’s foot- landscape is less successful. A few prints mersmith studio. Elsewhere, Tennis (ca. ball stadiums. fit the bill, such as Syme’sOutskirts of Siena 1933) brilliantly captures the dynamism of Power was especially captivated by (1930–1) depicting a rolling Tuscan vista, the game; its twisting figures—inspired mass transit. Among his many prints of and Andrews’s agricultural landscape, by the acrobatic contortions of French stations and trains Fall of the Leaf (1934). But several tenuous champion Jean Borotra—makes the sim- is the claustrophobic The Tube Train (ca. inclusions disrupt the flow. Greengrass’s plified linear players of Edith Lawrence’s 1934), which was inspired by rush hour The Village (1935), for example, is more a The Cricket Match (1929) appear static and experiences. Aside from the top hats and study of architectural forms than natural dull by comparison. Andrews’s prints vintage decor, the scene is familiar to ones; and ’s winsome are characterized by velocity and loco- contemporary Londoners. Despite being Garden of Eden (1933) is dominated by the motion: Racing (1934) depicts galloping nearly a century old, there is a strange nude half-length figures of Adam and horses rounding Tottenham Corner in a air of contemporaneity also around the Eve. Biblical themes continue in three dynamic flow of color and speed, while hordes of faceless commuters riding an prints by Andrews inspired by the Passion Speedway (1934), an image that was origi- escalator in Whence and Whither? (ca. of Christ: Golgotha (1931), Via Dolorosa nally conceived for a London Transport 1930), which is accompanied by several (1935) and the much later Surrexit (1957). poster but never used, depicts a thrilling studies and proofs showing the develop- The wall text argument for “a connection motorbike race. ment of Power’s design. or corollary between the burden of Christ Andrews shared a studio with Power, The exhibition is further augmented carrying the heavy wooden cross and and the two collaborated on a series of by a selection of Power’s sketchbooks, the labours of man working the pastoral posters for London Underground adver- displayed alongside materials such as landscape of the artist’s native ” is tising sporting and leisure activities that Flight’s linocutting manuals and vintage not entirely convincing. could be reached via the capital’s bur- lino cutters. These objects provide some If the quietude of landscape did not geoning tube network. Working under useful context, although both the exhibi- excite the Grosvenor School artists, sport the moniker Andrew-Power, the pair tion and the catalogue would have ben- certainly did. The next room offers a created eight posters, seven of which efited from further information about cohesive grouping of prints, created at a are included here. The elastic tennis printing methods. The book is lavishly time when the mass popularity of sport players from Power’s linocut reappear illustrated and offers a general introduc-

38 Art in Print November – December 2019 Cyril Power, The Tube Station (1932), linoleum cut, 12 5/8 x 13 5/8 inches. ©The Estate of Cyril Power. All Rights Reserved, [2019] / Bridgeman Images. Photo: Osborne Samuel Gallery, London. tion to the printmakers of the Grosvenor looming world war. As Samuel has School. If it does little to draw out the previously written, their prints “exist as a themes of the exhibition in any great reminder of a time when there was a gen- depth, Tracey Lock’s insightful and illu- uine excitement for the possibilities of minating essay on Flight’s Australian stu- the modern age and optimism for the dents is an important contribution, with future.”1 In our own pessimistic and original archival research that reveals uncertain times, the Grosvenor School their role in advancing modern art in has much to show us. after returning home. As a superb overview of Grosvenor School printmaking, “Cutting Edge” will David Trigg is an independent art historian, introduce these dynamic works to a new writer and critic living in Bristol, UK. generation. Beyond these artists’ techni- cal proficiency, what is most striking is their boundless enthusiasm for modern Notes: 1. Gordon Samuel, The Cutting Edge of Modern- life in the face of economic depression, ity: Linocuts of the Grosvenor School (London: the rise of political extremism and a Lund Humphries, 2002), 58.

Art in Print November – December 2019 39 EXHIBITION REVIEW Brooklyn Boom By Faye Hirsch

Installation shot of “Pulled in Brooklyn,”at IPCNY featuring Jackie Saccoccio, Untitled (2017), etching, aquatint, scraping and embossing, 22 x 27 inches, edition of 10. Courtesy Jennifer Melby Editions. Jackie Saccoccio, copper plate for Untitled (2017), etching, aquatint, scraping and embossing, 15 3/4 x 21 1/4 inches. Courtesy Jennifer Melby Editions. Photo: Elisabeth Berezansky.

“Pulled in Brooklyn: 26 Printshops, tan—now priced out of reach entirely. In and other equipment along the way. Brad 101 Artists” Brooklyn today there remain industrial Ewing, for example, was given boxes of IPCNY, New York spaces that attract not only artists look- lead type by Leslie Miller (Grenfell Press) 4 April – 15 June 2019 ing for studios but printmakers eager to in Manhattan, which formed the basis for establish communities in which to share Marginal Editions (now expanded from Pulled in Brooklyn: 26 Printshops, resources and ideas. Over the past 20 letterpress and woodcut to screenprint). 101 Artists years or so, they have founded dozens of “People will give you stuff if you’re will- Essays by Luther Davis and Samantha workshops, mainly in the western and ing to show up,” says artist Rob Swainston Rippner and Roberta Waddell northern sections of the borough, in ex- of Prints of Darkness in a video posted to IPCNY, New York warehouse spaces along the East River the IPCNY website. Calling “some friends 66 pages and the Gowanus Canal as well as the who got a bunch of trucks,” Swainston interior of Williamsburg and Bushwick “rescued a litho shop in Chinatown” alk to most MFA students these days bordering Queens. whose owner had passed away, moving T and chances are they will express a A few of these workshops have relo- its equipment to his loft in Williams- desire to move to Brooklyn. Despite ris- cated from earlier homes in Manhattan burg. Prints of Darkness now resides in ing costs for housing, the borough still (Jungle Press, Purgatory Pie Press, Dieu Long Island City in Queens—“Brooklyn attracts the sort of young, hip crowd that Donné...), but most of them began and adjacent,” as it were—and has produced decades ago might have gravitated to the remain in Brooklyn, sometimes moving editions by, among others, Charline von sketchier neighborhoods of Manhat- from place to place, and acquiring presses Heyl and Dana Schutz.

40 Art in Print November – December 2019 Installation shot of “Pulled in Brooklyn,” at IPCNY featuring Mel Bochner, Crazy (with background noise) (2018), screenprint with black enamel, 21 5/8 x 23 5/8 inches, edition of 30 unique variants. Courtesy friends of IPCNY. Photo: Elisabeth Berezansky.

I suppose there is some irony that larly at various shops and occasionally designed by the Swiss architects Herzog the high spirited “Pulled in Brooklyn,” mounts field trips. This community’s goal & de Meuron, part of a phalanx of facili- curated by Roberta Waddell and Saman- of accessibility is manifest in the afford- ties for artists working in craft-based tha Rippner, was mounted not in Brook- able editions produced at Cannonball and practices—or in the current nomen- lyn but in Manhattan, at the IPCNY in Kayrock presses, the latter of which pro- clature, “makers.” Davis’s own handiwork Chelsea, which temporarily expanded to duced a benefit portfolio for the show. was evident in some 18 works by, among a large space next door to accommodate The screenprint wizard Luther Davis others, Mel Bochner (a jittery screen- 164 works by 101 artists. Waddell and served as a consultant to Waddell and print and black-enamel word piece from Rippner visited nearly 30 printmaking Rippner, and figures repeatedly through- 2018 aptly titled Crazy (with Background studios in Brooklyn, and their excellent out the exhibition. Formerly master Noise), published by Two Palms Press, and selection, covering all print media and printer at Axelle Editions, Davis also Baldridge (two prints from the spooky formats, revealed a scene of impressive spent a decade codirecting the publisher scratch-off screenprint series Lucky Sev- scale and variety. The exhibition’s slim Forth Editions with the artist Glen Bal- ens [2008] with images appropriated from catalogue should prove useful for years, dridge, and seems to know everyone. ads for coffins). Davis also contributed an with summaries of material facts about (His influence is cited by many young essay to the catalogue. each of the shops, a map and background printers in the videos produced for the Most of the works on view dated to information about the founders. The last show, which include footage of shops, the past decade. The exceptions might helps give a sense of lineage, conveying interviews with proprietors, and panels be familiar to those who follow con- the ongoing vitality of printmaking in the of artists and printers; one, titled “Build temporary prints: a 1996 book by Lesley U.S. Often young and refreshingly open, Your Own Printshop,” is a must-see for Dill illustrating poems by Emily Dick- not hoarding secrets but sharing materi- the aspiring.) Davis is now director of the inson, printed at Peter Kruty Editions; als and know-how, the Brooklynites have newly formed Powerhouse Arts Print- 1998 etchings with spindly characters even founded a club they dubbed “Print- shop (formerly BRT Printshop), set to by Nicola Tyson, from Jennifer Melby; makers Anonymous” that meets irregu- open next year in Gowanus headquarters a 1992 colored woodcut by Sol LeWitt

Art in Print November – December 2019 41 42 Art in Print November – December 2019 Installation shot of “Pulled in Brooklyn,” at IPCNY. Opposite Page: Andy Yoder, Poison Ivy Chair from the project In the Steps of Folly Cove (2018), linocut on Belgian linen upholstered over a maple frame, block 12 x 16 inches, chair 33 x 24 x 24 inches. Courtesy Russell Janis Projects. Photos: Elisabeth Berezansky. pulled by his printer of choice, Jo Wata- pebbled abstract surface (printed by Jen- and drypoint in images riffing on Picabia’s nabe, a Brooklyn pioneer who has since nifer Melby). late portraits. Eisenman also worked with retired to his native . Watanabe, Melby, who opened her printshop in Andrew Mockler at Jungle Press Editions, Janis Stemmermann of Russell Janis, and Manhattan in 1980 and moved to the which contributed a dozen prints, all Robbin Ami Silverberg of Dobbin Books Cobble Hill neighborhood of Brooklyn in striking, including large woodcuts by Jac- were among the first to open in Brook- 1995, was represented by some 29 prints, queline Humphreys (2013), a diaphanous, lyn, in the late 1980s. While the majority dating from the late 1990s to 2018, with abstract color lithograph by Melissa Meyer of works were single-sheet prints, there vibrant color aquatints by such artists (2018), and three eye-popping, op-inspired was some adventurous bookmaking on as Tom Burckhardt, Joanne Greenbaum black-and-white woodcut and litho com- view in cases, including an elegant laser- and Andy Spence. In addition to Davis binations by Katia Santibañez (2017). cut book with abstract imagery by Dan and Melby, Marina Ancona’s Ten Grand Though it is tempting to condense Walsh, printed at Keigo Prints by Keigo Press, founded in 1999 and presently large group shows into a “best of” list, it Takahashi, who apprenticed with Wata- located in Crown Heights and Santa Fe, would be especially unfair in this con- nabe; and, from Small Editions, Bikini NM, was a strong presence. Once special- text—the sheer diversity of production Girls (2018) by Isabelle Schipper, a riso- izing in monotype, Ancona is now mul- makes generalizing difficult. “Pulled in graph book with removable parts that tipurpose, and brings to her workshop Brooklyn” argues that if there is one allow the stylized nude within to strip, a mainly female stable: works by Carrie locality where the erstwhile “U.S. Print literally. Moyer, Nicola López, Angela Dufresne Renaissance” is experiencing a resur- Among the less expected objects on and Nicole Eisenman were among some gence, it is here. The curators character- view were Andy Yoder’s Poison Ivy Chair two dozen examples in the show. Ancona ize a love of collective problem solving as (2018), upholstered in linocut-printed fab- is distinctive for allowing artists to cre- the essence of collaborative printmaking, ric with the menacing plant in rash-red on ate unique variations, though that side of and demonstrate how this impulse suf- white (produced by Janice Stemmermann production was difficult to foreground in a fuses an entire community and is ener- at Russell Janis), and the striking matrix group show of this size. Particularly note- gizing a generation. for Jackie Saccoccio’s Untitled (2017)—a worthy were Eisenman’s prints in various copper plate whose deep etch shows up in media, including her 2018 Picabia Filter Faye Hirsch is Visiting Associate Professor of the gorgeous black-and-white print as a suite, which layers photo-based intaglio Art + Design at SUNY Purchase.

Art in Print November – December 2019 43 EXHIBITION REVIEW Genesis in Black and Red: Miró at MoMA By Nicole Meily

“Joan Miró: Birth of the World” The New York 24 February 2019 – 15 June 2019

n Joan Miró’s large canvas The Birth of I the World (1925), a handful of solid shapes gambol against a dun back- ground—a red circle trailing a yellow line suggests an escaped balloon, a black triangle dangles amid loose framework, a stepped polygon rests below like an anchor. The painting lent its name to a recent exhibition at MoMA that posi- tioned the dreamlike composition as, in Miró’s words, “a sort of genesis” for the artist’s signature style, spawning a visual language that would spill across his paintings, prints and livres d’artistes for decades to come. Curated by Anne Umland, the exhibition followed Miró’s embrace of an abstract, surrealist mode of representation. Among other key works from the 1920s to the early 1950s were prints from the artist’s Black and Red Series (1938), Barcelona Series (1944) and examples of his book illustrations. The first gallery showed Miró’s turn toward abstraction. Two early still lifes, The Table (1920–21) and Glove and News- paper (1921), rather tamely attempt to incorporate well-trodden technical de- velopments of modernism, rendering objects naturalistically but within a fractured space. In The Hunter (1923–24), however, we see him abandon such natu- ralism and half-hearted recapitulations Joan Miró, The Birth of the World (1925), oil on canvas, 8 feet 2 3/4 inches x 6 feet 6 3/4 inches. of other modernists. Line and form take Acquired through an anonymous fund, the Mr. and Mrs. Joseph Slifka and Armand G. Erpf Funds, and on a life beyond mimesis as simple geo- by gift of the artist. ©2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris. metrics and curvy lines replace figura- tion; the hunter’s head is a triangle, his long vitrine of livres d’artistes attested as the nib of an ink pen, which seems to arms an undulating black stroke; whis- to Miró’s fascination with print tech- have written the word mort (death) above. kery lines suggest a rabbit, a narrow cone niques—etching, drypoint, pochoir and The word echoes the startling end of the the barrel of a gun. The Birth of the World, lithography—and to his involvement with poem on the facing page, about a depres- which hung in the corner of the gallery, the surrealist literary milieu of interwar sive magpie who goes out riding on a liberates shape and line further, offering France. An intimate relationship between mouse, returns ill, and dies in her bed. no clear reference to people, animals or words and images is visible in works influences were visible in Miró’s things. It reads like the formal announce- such as a pochoir that accompanied Lise prints for Tristan Tzara’s Le Désespéranto ment of Miró’s new pictorial language. Hirtz’s Il était une petite pie (Once There from l’Antitête (The Anti-Head) (1947– The remainder of the exhibition Was a Little Magpie) (1927–28): a wander- 49). The four illustrations that were on showed how this new language unfolded ing elliptical line loosely outlines a float- display combine pochoir, drypoint and over the course of three decades. A ing mouse and a bird whose head doubles etching, and employ the same basic

44 Art in Print November – December 2019 shapes in different arrangements: circles, zigzags, triangles, stars and scribbles. Miró’s Black and Red Series (1938) begins with two single-plate etchings, inked in black: a vertical one scattered with swirling line segments and biomor- Purchase phic blobs, and a horizontal one featur- ing similar forms alongside abstracted Back Issues figures whose body language ranges from totally obscured ambiguity to a terrified, of Art in Print. hair-raising scream. The other six prints in the series were made by rotating and superposing the first two plates, and ink- ing them in different permutations of black and red. Each recombination offers new dynamic interactions. The 50 lithographs of the Barcelona Series (1944) offers a similar farrago of form and figure, adrift in a flattened picture plane. But the clutter in these smudgy prints is mostly contained within the figures. Less abstract than The Birth of the World, these print series bring his geometric motifs in contact with a type of figuration legible in Miró’s nonnatu- ralistic world. While the exhibition’s minimal wall texts allowed ample space for viewing, they did little to convey to viewers the context in which Miró was working. His relationships with Dada and Surrealist artists in Paris, for example, as well as with the writers whose works he so deftly visualized are visible in the works but were left unexplained to those lacking Did you know you can prior knowledge. This spare presenta- purchase any issue of tion, however, had the benefit of encour- Art in Print? aging careful looking, through which the viewer could internalize Miró’s idiosyn- cratic visual vocabulary as it developed. Miss the New Editions issue? The occasion to view such a wealth of treasures from the museum’s extraordi- Need the Stanley William nary book and print collections should Hayter issue for your never be squandered. library?

Nicole Meily is the Graduate Programs Manager Want to give the Details issue in the Department of Art History and Archaeology to a friend? at Columbia University. All issues of Art in Print are available on MagCloud at www.magcloud.com/user/ established-2011.

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Art in Print November – December 2019 45 Prix de Print N0. 38 PRIX THOUSANDS PROTEST TRUMP FAMILY BRITISH VACATION de from The Linotype Daily project PRINT by Dan Wood

Juried by Catherine Bindman

This iteration of the Art in Print Prix de incorporating etching and site-specific German-born Ottmar Mergenthaler in Print has been judged by Catherine Bind- installation. The subjects ranged from the 1880s. Casting complete lines of type man. The Prix de Print is a bimonthly traditional landscape to the environmen- from a typewriter-like interface, it revo- competition, open to all subscribers, tal transformations and political turmoil lutionized typesetting, making the pro- in which a single work is selected by an of the current world. duction of newspapers and other printed outside juror to be the subject of a brief “Turmoil” barely begins to describe it matter speedier and more efficient, and essay. really. Many of the entries—like much, helping to usher in the modern informa- if not most, of the art appearing in gal- tion age. Mergenthaler became known leries now—addressed politics one way as the “second Gutenberg.” The advent Dan Wood or another, but Dan Wood’s The Linotype of photographic, and then digital type- THOUSANDS PROTEST Daily was especially distinctive. Wood, setting made them redundant, and now TRUMP FAMILY BRITISH VACATION who won the 25th iteration of this compe- superannuated. (Wood says, “I have been from The Linotype Daily project (2019) tition exactly two years ago with his let- told that having one Linotype machine Letterpress, 8 1/8 x 5 1/2 inches. terpress print Emmanuel 9 (2017; see Art makes you certifiably crazy, so I don’t Edition of 100. in Print Nov–Dec 2017), is the founder of know what having two must mean.”) Printed and published by the artist, DWRI Letterpress in Providence, Rhode Certainly vintage linotype devices can be Providence, RI. Island, where he teaches part-time at the unreliable—“MACHINE STUCK,” reads $5.00. Rhode Island School of Design, and pro- the print for 24 June 2019. Perhaps, how- duces his own work, including his Lino- ever, it was channeling our own dismay. type Daily project. The 24 June text continues: “Will not In this year-long print project, Wood allow me to cast VP Mike Pence’s lies creates a new print each day, casting sin- about asylum seekers or climate change. gle lines of type from brass matrices using It knows!” hile I could not but be discour- two vintage machines: either the 1950 or Nonetheless, they usually enable Waged by the fact that this is the 1954 Model 31 Mergenthaler Linotype Wood to deploy archaic printing technol- last Prix de Print competition before machine (for the small body type) and a ogy to create broadsheets that address the demise of our beloved journal, the 1961 Ludlow Model L Typograph (for the our dystopian political moment with experience of looking through the 73 big display type). He then proofs it, prints exquisite, potent austerity. Wood’s sim- works dispelled the gloom somewhat. It it in a letterpress edition of 100 copies ple texts speak volumes. In the example affirmed that, as Dan Wood put it ina and posts images of it on Instagram and shown here, dated 4 June 2019, large broadsheet he made in response to the Twitter. The project is an attempt to capital letters in a chaste sans serif type- news, “ART IN PRINT, NOT DEAD!” (see record, often in no more than a sentence face spell out: “THOUSANDS PROTEST p. 3). The submissions made it clear that or phrase, one of the day’s key events. In TRUMP FAMILY BRITISH VACATION.” printmaking remains as robust a site for its modest way it proves, if we need proof, But, characteristically, Wood counter- artistic investigation and experimenta- that political art need not feature sturdy points the big themes of this headline— tion as ever. I looked at woodcuts printed striding peasants or posturing dictators, the teeming crowds of protestors and from plywood and from walnut blocks, or be indisputably worthy but aestheti- the Trump proclivity for diverting public at monoprints, a stone lithograph, moku- cally dismal. funds to private —with softly hanga (Japanese woodblock printing) The first Linotype machine was eloquent observations. One of three sub- with digital photo collage, and a project invented in the United States by the headlines here states: “Queen Gives U.S.

46 Art in Print November – December 2019 Dan Wood, THOUSANDS PROTEST TRUMP FAMILY BRITISH VACATION from The Linotype Daily project, June 4, 2019.

President a Book.” (The book was, many artist himself: “Man Rushes out to Pick Catherine Bindman is an editor noted, the later, abridged version of Win- Up Vegetables! That’s Me!” and art critic. ston Churchill’s definitive four-volume In the face of Trump’s Diet Coke king- history of World War II.) Possibly imitat- dom, a toxic political realm of shameless ing the Queen herself, Wood alludes to inhumanity and grasping vulgarity, the president’s apparent near illiteracy Wood visually and verbally champions and disdain for the written word. The the moral primacy of another, quieter, following line makes note of one of the more humane world of routine activities, several presidential cronies on his way to dodgy old machines, lost keys, considered the slammer. And, as often in this proj- artistic practice, books and vegetables ect, the text closes with a mention of the (which, as far as we know, the president quotidian concerns of the typesetting does not eat).

Art in Print November – December 2019 47 Simon Attwood, Point of Disorder (2019) Ann Conner, Ironwood 2 (2019) News of the Hand-printed lithograph, 64 x 85 cm. Edition Woodcut printed from walnut and oak blocks, of 25. Printed by Mark Attwood and published 18 x 18 inches. Edition of 16. Printed by Brad Print World by The Artists’ Press, White River, South Africa. Ewing and published at Grenfell Press, New York, $270. NY $900.

Selected New Editions

Maja Maljević, Winter File 16 (2019) Drypoint, chine collé, soft and hardground etch- ing, surface roll, linocut, monotype, collage and handwork on paper, 9 1/8 x 14 1/8 inches. Unique image. Printed by David Krut Workshop, Johan- nesburg and published by David Krut Projects, New York. $525.

Simon Attwood, Point of Disorder (2019). Ann Conner, Ironwood 2 (2019). Glen Baldridge, Dream Burner (2019) Six-color screenprint (from the six screenprint Joan Dix Blair, Oakle Drypoint #5 (2019) “Pulled in Brooklyn” Benefit Print Portfolio), Drypoint etching from a suite of 9 prints, image 21 x 18 inches. Edition of 60 + 7 APs and 3 PPs. 12 x 9 inches, sheet 22 x 15 inches. Edition of 3. Printed by Kayrock Screenprinting, New York, Printed by Peter Pettengill and published by the and published by International Print Center New artist, Williamstown, MA. $500. York, New York. $1,500.

Maja Maljević, Winter File 16 (2019).

J.L. Abraham, Attachment (2019) Woodcut, 39 x 26 x 3 in. Edition of 5. Printed and published by the artist. $2,000.

J.L. Abraham, Attachment (2019). Joan Dix Blair, Oakle Drypoint #5 (2019).

Derrick Adams, Self Portrait on Float (2019) Alex Dodge, Fashionable Scarves for Woodblock, gold leaf and collage, 40 x 40 Glen Baldridge, Dream Burner (2019). Any Occasion (2019) inches. Edition of 50. Printed and published by Three-color screenprint (from the six screenprint Tandem Press, Madison WI. $7,500. Ann Chernow, The Office Part (2018) “Pulled in Brooklyn” Benefit Print Portfolio), Lithography from one stone, 10 x 12 inches. 29 x 21 inches. Edition of 60 + 7 APs and 3 PPs. Edition of 10. Printed and published in Bridge- Printed by Kayrock Screenprinting, New York, port, CT. $350. and published by International Print Center New York, New York. $1,500.

Derrick Adams, Self Portrait on Float (2019). Ann Chernow, The Office Part (2018).

Alex Dodge, Fashionable Scarves for Any Occasion (2019).

48 Art in Print November – December 2019 Lya Finston, Lunar Animals & Other Objects Martha Ives, Little Blue (2019) (2018) Multi-plate and reduction linocut, 6 1/2 x 7 Lithograph and screenrpint, 10 1/2 x 14 1/2 inches. inches. Edition of 9. Printed and published by Edition of 24. Printed and published by the artist, Martha Ives, New York, NY. $200. Chicago, IL. Price on request.

Martha Ives, Little Blue (2019).

Nicola López, BK (2019) Four-color screenprint (from the six screenprint “Pulled in Brooklyn” Benefit Print Portfolio), Lya Finston, Lunar Animals & Other 30 x 22 inches. Edition of 60 + 7 APs and 3 PPs. Andrew Spence Objects (2018). Printed by Kayrock Screenprinting, New York, Dots and published by International Print Center New Jeffrey Gibson, IF I RULED THE WORLD (2019) York, New York. $1,500. Color aquatint Digital print, screenprint, collage, gloss varnish Image size:14½” x 11" and custom color frame, 38 x 34 inches. Edition Paper size: 21" x 16" of 30. Printed by Lower East Side Printshop, New Edition of 15 York, and published by Sikkema Jenkins & Co., New York. $18,000. JENNIFER MELBY EDITIONS Tom Burckhardt

Nicola López, BK (2019). Joanne Greenbaum Red Grooms Jill Moser, Benibana, Cinnabar, Gamboge, Jeffrey Gibson, IF I RULED THE WORLD (2019). Tyre, Verdigris and Violets from the suite Chroma Six (2019) Judith Linhares Color aquatints, image 17 x 13 1/2 inches; sheet Anita S. Hunt, Winter Stick Pile (2019) 23 1/2 x 20 inches each. Editions of 20 each. Paul Mogensen Etching, gampi chine collé, plate 9 x 6 inches, Printed and published by Manneken Press, sheet 15 x 11 inches. Edition of 7. Printed and Bloomington, IL. Price on request. Robert Moskowitz published by the artist, Colrain, MA. $400. Jackie Saccoccio Andrew Spence Craig Taylor Nicola Tyson

Jennifer Melby 110 Wyckoff Street Brooklyn, NY 11201 www.jennifermelby.com [email protected] Jill Moser, Benibana (2019). Anita S. Hunt, Winter Stick Pile (2019).

Art in Print November – December 2019 49 Sheryl Oppenheim, Full of Surprises (2019) Paula Schuette Kraemer, Telling Tales (2019) Four-color screenprint (from the six screenprint Drypoint, monotype, etching and chine collé, “Pulled in Brooklyn” Benefit Print Portfolio), 17 1/2 x 21 inches. Edition of 20. Printed and pub- 30 x 22 inches. Edition of 60 + 7 APs and 3 PPs. lished by the artist at Open Gate Press, Madison, Printed by Kayrock Screenprinting, New York, WI. $750. and published by International Print Center New York, New York. $1,500.

Paula Schuette Kraemer, Telling Tales (2019).

Terry Schupbach-Gordon, Infirm (2019) Intaglio, woodcut, letterpress and collage, 22 x 22 inches. Unique image. Printed and published by Catbird Press, Tobaccoville, NC. Sheryl Oppenheim, Full of Surprises (2019). $2,000.

Endi Poskovic, Oblak: Sacrifice of Zuleikha (2019) Nine-color woodcut, four sheets, 55 x 30 inches each. Edition of 3. Printed by the artist and Emily Legleitner and published by the artist in Ann Arbor, MI. Available from Stewart & Stewart, Bloomfield Hills, MI. $6,000.

Terry Schupbach-Gordon, Infirm (2019).

Nomi Silverman, Diaspora 3 (2018) Intaglio, 18 x 24 inches. Edition of 10. Printed by Endi Poskovic, Oblak: Sacrifice of Zuleikha James Reed/ Milestone Graphics, Bridgeport, CT, (2019). and published by the Artist, Glenville, CT. $800.

Conrad Ross, New Land 4 (2018) Relief, intaglio, lithography, chine collé, 15 x 20 inches. Edition of 10. Printed and published the artist, Auburn, AL. $400.

Nomi Silverman, Diaspora 3 (2018).

Conrad Ross, New Land 4 (2018).

50 Art in Print November – December 2019 Sarah Sipling, Deteriorate (2018) Hester Stinnett, Sunday Shoe Strings (2019) Lithograph, 30 x 22 inches. Unique image. Table legs with engraving, monoprint, 30 x 22 1/2 Printed and published by the artist, Saint Joseph, inches. Unique image. Printed and published by MO. $250. the artist. $1,000.

Hester Stinnett, Sunday Shoe Strings (2019). Sarah Sipling, Deteriorate (2018). Dyani White Hawk, Lead / Wówahokuŋkiya

Christine Koch Monotype and Relief Prints christinekoch.com St. John’s, Newfoundland & Labrador Ruby Sky Stiler, Pink Figures (2019) (2019) Four-color screenprint (from the six screenprint Screenprint, 55 1/2 x 32 inches. Edition of 15. “Pulled in Brooklyn” Benefit Print Portfolio), Printed and published by Highpoint Editions, 21 1/4 x 18 inches. Edition of 60 + 7 APs and 3 PPs. Minneapolis, MN. $2,700. Printed by Kayrock Screenprinting, New York, and published by International Print Center New York, New York. $1,500.

Ruby Sky Stiler, Pink Figures (2019). Dyani White Hawk, Lead / Wówahokuŋkiya (2019). Ryan Standfest, Post Truth Feed (2017) Three-color screen print, graphite, plastic flies, Patty deGrandpre, Hidden in Plain Sight (2019) plexiglass, frame, 28 x 22 inches. Edition of Block printing ink on photo paper with digital 50. Printed and published by Ryan Standfast, inkjet addition, 19 x 13 inches. Unique image. Detroit, MI. $650. Printed and published by the artist in Beverly, MA. $800. Sea Ice Study III, 2019, linocut print, 6.5 x 22.25" (image size)

Ryan Standfest, Post Truth Feed (2017). Patty deGrandpre, Hidden in Plain Sight (2019). Christine Koch,

Art in Print November – December 2019 51 Charline von Heyl, Zonzamas (2019) COLUMBUS, OH Three-color screenprint (from the six screenprint “News from Golgonooza; “Pulled in Brooklyn” Benefit Print Portfolio), Æthelred Eldridge and Instructions 24 x 19 inches. Edition of 60 + 7 APs and 3 PPs. for Imaginative Living” Printed by Kayrock Screenprinting, New York, 19 September 2019 – 24 November 2019 and published by International Print Center New Columbus Printed Arts Center York, New York. $1,500. columbusprintedarts.org

DUBLIN “Bauhaus 100: The Print Portfolios” 20 July 2019 – 1 December 2019 National Gallery of Ireland www.nationalgallery.ie

EUGENE, OR “Saints and Spirits in Early Modern Europe” 30 March 2019 – 10 November 2019 Jordan Schnitzer Museum of Art jsma.uoregon.edu

LONDON “William Blake: The Artist” 11 September 2019 – 2 February 2020 Charline von Heyl, Zonzamas (2019). Tate Britain www.tate.org.uk

Exhibitions of Note LOS ANGELES “Every Living Thing: AMHERST, MA Animals in Japanese Art” “Leonardo Drew: Cycles” 22 September 2019 – 8 December 2019 20 September 2019 – 8 December 2019 Los Angeles County Museum of Art UMass Amherst University Museum www.lacma.org of Contemporary Art www.umass.edu/umca MARLBOROUGH, UK “Emma Stibbon: AUSTIN, TX Territories of Printmaking” “Print Austin” 9 November 2019 – 21 December 2019 15 January 2020 – 15 February 2020 Rabley Drawing Centre Austin, TX www.rableygallery.com https://printaustin.org MILWAUKEE, WI BERLIN “Word and Image” “Huma Bhabha” 24 July 2019 – 2 December 2019 7 September 2019 – 2 November 2019 www.marquette.edu/haggerty Borch Editions http://nielsborchjensen.com/berlin-gallery/ “Ben Shahn: For the Sake of a Single Verse” BOSTON 16 August 2019 – 15 December 2019 “Women Take the Floor” Haggerty Museum of Art 13 September 2019 – 3 May 2021 www.marquette.edu/haggerty Museum of Fine Arts Boston mfa.org MINNEAPOLIS, MN “Picasso Cuts the Bull” CAMBRIDGE, MA 6 April 2019 – 19 January 2020 “Winslow Homer: Eyewitness” Minneapolis Institute of Art 31 August 2019 – 5 January 2020 new.artsmia.org

“Critical Printing” NASHVILLE, tn 31 August 2019 – 5 January 2020 “Symbols and Archetypes: Two Millenia Harvard Art Museums of Recurring Visions in Art” www.harvardartmuseums.org 26 September 2019 – 14 December 2019 Jean & Alexander Heard Libraries CHICAGO Fine Arts Gallery “Andy Warhol—From A to B www.library.vanderbilt.edu and Back Again” 20 October 2019 – 26 January 2020 NEW YORK “Vija Celmins” “One Hundred Views of Tokyo: 24 September 2019 – 12 January 2020 Message to the 21st Century” Met Breuer 21 September 2019 – 8 December 2019 https://www.metmuseum.org/ Art Institute of Chicago www.artic.edu

52 Art in Print November – December 2019 “The Renaissance of Etching” SANTA FE, NM 23 October 2019 – 20 January 2020 “Experimental exPRESSion: Printmaking at IAIA, 1963–1980” “Selections from the Department 29 July 2019 – 11 July 2021 of Drawings and Prints: Brewster & Co.” IAIA Museum of Contemporary Native Arts 30 July 2019 – 13 November 2019 https://iaia.edu/mocna/ Metropolitan Museum of Art www.metmuseum.org SPOKANE, OR “Polly Apfelbaum: “The Legends of Black Girl’s Window” Atomic Pinwheels and Other Mysteries” 21 October 2018 – 1 January 2020 27 August 2019 – 14 March 2020 Museum of Modern Art Jordan Schnitzer Museum of Art at WSU https://www.moma.org https://museum.wsu.edu/

“Order and Ornament: WASHINGTON, DC Roy Lichtenstein’s Entablatures” “Votes for Women: 27 September 2019 – 2020 An American Awakening, 1840–1920” Whitney Museum of American Art 31 March 2019 – 5 January 2020 whitney.org Smithsonian National Portrait Gallery http://npg.si.edu/ NORTHAMPTON, MA “Defiant Vision: Prints & Poetry by Munio Makuuchi” 23 August 2019 – 8 December 2019 Fairs Smith College Museum of Art smith.edu/artmuseum CHICAGO “Chicago Printers Guild Publishers Fair” Paris 9 November 2019 “Charles-Elie Delprat: Constellation Voyages Ordinaires” http://www.chicagoprintersguild.org/fair/ Galerie Documents 15 https://www.galeriedocuments15.com/

PASADENA, CA “AIR LAND SEA: A Lithographic Suite by William Crutchfield” 19 July 2019 – 4 November 2019 Norton Simon Museum www.nortonsimon.org

ROANOKE, VA “POP Power from Warhol to Koons” 28 September 2019 – 8 March 2020 Taubman Museum of Art https://www.taubmanmuseum.org/

RAVEN CHACON (Diné) For Zitkála Šá Series (For Laura Ortman) For Zitkála Šá Series (For Carmina Escobar) lithographs, 11” x 8.5”, editions of 20 hand printed & published by Crow’s Shadow Press

NYC October 24-27

Artist-in-Residence Program | Fine Print Studio & Gallery | Non-Profit | Pendleton, OR | 541-276-3954

CROWSSHADOW.ORG

Art in Print November – December 2019 53 BEATRIZ MILHAZES

Dovetail | 2019 | Woodblock, Screenprint, Gold Leaf, and Hand Painting | 33 7/8 x 72 7/8 inches (86 x 185.1 cm)

DURHAM PRESS DURHAM, PA | NEW YORK, NY | WWW.DURHAMPRESS.COM

54 Art in Print November – December 2019 BARBARA TAKENAGA NEW LITHOGRAPH

Detail of “Small Springs (backsplash)” (2019) SHARK’S INK. color lithograph with hand coloring / pearlescent powder, 24 x 19½ inches, edition of 25 sharksink.com

ANN CONNER NEW WOODCUTS

Ironwood 2019 Suite of 4 woodcuts on Mitsumata paper 18 x 18 inches each, Editions of 16 Printed by Brad Ewing Grenfell Press 116 W 29th Street New York, NY 10001

Art in Print November – December 2019 55 MATINA MARKI TILLMAN Humanography: Shifts and Variations Washington Printmakers Gallery, Washington DC, October 31 – November 24, 2019

Greek artist Matina Marki Tillman exhibits her new series of Humanography, direct etchings of her charcoal and pencil drawings onto Solarplates. This show presents individual, self-as-a-subject, double and multiple portrayals of the human, most created and arranged with a sequential character. In her etchings, Tillman focuses on the importance of the motion (or lack of motion), and the weight of the instant. Using both light and serious tones, her anthropocentric imagery is built around implicit questions: Is a slight shift in our physical position or attitude enough to mark essential changes within or around us? Are shifts and variations interrelated? Is there a single faithful portrait of us, or are we the sum of our shifts and variations?

Drawing and etching out of accidental selfies, created personas, storyboarded poses of models and forgotten snapshots, Tillman’s consistent goal remains the exploration of the mood, state of mind, and response (both physical and psychological) of the human to life’s events. Particularly in this new Humanography, the artist observes and reports back reflections on our internal journey shaped by slight shifts and variations – changes on our way that could change the way itself.

“Humanography: Shifts and Variations” will be on display at the Washington Printmakers Gallery, 1641 Wisconsin Ave., Washington, DC from Oct. 31 – Nov. 24, 2019. Opening reception November 2nd, 3-5pm.

56 Art in Print November – December 2019 Mary Prince The New York Satellite Print Fair 24-27 October 2019 Hudson Mercantile Annex 37 , 2019, archival pigment print, ed: 25, sh: 22” x 30” 517 West 37th Street New York NY 10018 (1/2 block from the Javits Center Schoodic Point between 10th & 11th Avenue)

SteStewartwart & StewartStewart Printer/Publisher & Dealer of Fine Prints Since 1980 248.626.5248 • [email protected]

www.StewartStewart.com MEMBER

Wildwood Press Mary Judge | Rose Window Series Relief from Steel Plates on Handmade Paper Eight Unique Prints 24"x24" 2008

wildwoodpress.us ifpda artnet.com

Art in Print November – December 2019 57 30 YEARS AT DURHAM PRESS

JANUARY 19 THROUGH MAY 3, 2020

The first major exhibition and catalogue to explore Durham Press’s thirty years of innovative and experimental printmaking. Beatriz Milhazes (Brazilian, b. 1960), Sal (Salt), 2009–2010, woodblock and screen print. © Beatriz Milhazes, 2019.

AllentownArtMuseum.org

Editions & Works on Paper Auction 25 October 2019 New York

Public viewing 17 - 25 October at 450 Park Avenue or at phillips.com

Enquiries [email protected] +1 212 940 1220

M.C. Escher Eye (B./K./L./W. 344), 1946 Mezzotint M.C. Escher’s “Eye”© 2019 The M.C. Escher Company- The . All rights reserved. www.mcescher.com

Visit us at phillips.com

58 Art in Print November – December 2019 24-27 OCTOBER THE RIVER PAVILION JAVITS CENTER NEW YORK

Osborne Samuel are delighted to be participating again in the annual IFPDA Fine Art Print Fair. We will be exhibiting Modern British Prints including linocuts of the Grosvenor School.

For more information please email: [email protected]

Image: Cyril Power (British, 1872-1951) The Merry-Go-Round, c.1930. Linocut printed from 2 blocks 12 x 12 inches

23 Dering Street, London W1S 1AW Tel: 020 7493 7939 www.osbornesamuel.com

THE BOTTB COLLECTION

Christopher Brown: Flag, 1994 Christopher Brown: Continental, 1994

Renee Bott Fine Art Prints & Multiples www.thebottcollection.com

Art in Print November – December 2019 59 Open Gate Press

www.opengatepress.com

On the Path - drypoint monoprint, monotype, ed. 20, 48” x 36”, 2019

new edition

Mira Dancy Blue Omen

Three plate aquatint etching Edition of 25 plate size 15 x 16 inches paper size 21.375 x 22 inches

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

60 Art in Print November – December 2019 Art in Print November – December 2019 61

Edvard Munch: Løsrivelse II / Separation II (Woll 78), 1896, Lithograph on Japanese paper, image: 16 3/16 x 24 5/8 inches, sheet: 21 x 30 9/16 inches

Find us at For inquiries, please contact [email protected] ; Tel (212)219-8300 Booth 115 Art in Print in collaboration with JSTOR is pleased to announce that subscribing members now have access to all issues of The Print Collector’s Newsletter (1970–1996) On Paper (1996–1998) Art on Paper (1998–2009) in addition to back issues of Art in Print (2011–present) Simply click on the JSTOR link on the Art in Print Member Homepage PNC Photo: Kevin Weil TRAVELING SEMINAR FOR CURATORS OF CONTEMPORARY PRINTS April 6 to 10, 2020

Deadline to apply: October 31, 2019

Artist Jonathan Lyndon Chase (center) with Brodsky Center at PAFA Master Printer Peter Haarz (right) and PAFA Educator Stephen Coleman (left) editing the artist’s new editions in The Julie Jensen Bryan and Robert Bryan Printmaking Studio, Philadelphia, May 2019.

The Brodsky Center at the Pennsylvania Academy of the Fine Arts (PAFA), Philadelphia, announces a traveling seminar designed to deepen the understanding of techniques in the print discipline employed by contemporary artists. Ten national and two international curators will be selected to travel to organiza- tions in Philadelphia and New York that support the creation, collection, and interpretation of contemporary artworks in the print medium, including the Conservation Center for Art & Historic Artifacts, New York Public Library, Museum of Modern Art, Two Palms, and Prints of Darkness, among others, and attend demonstra- tions and lectures in printmaking, and caring for, exhibiting, conserving, and publishing prints.

Funded through a grant to PAFA from the Getty Foundation through The Paper Project initiative focused on training and professional development for early- to mid-career curators of prints and drawings, the seminar covers all travel, lodging, meals, entrance fees, and session expenses. Please visit https://brodsky center.com for more information, or contact Julita Waddell at [email protected]. Cristea Roberts Gallery at IFPDA Fine Art Print Fair Jacob K. Javits Center, New York Booth 207 23 – 27 October 2019

Jordan Schnitzer Family Foundation Lecture: Jim Dine in conversation with Ruth Lingen and Julia D’Amario 12pm Saturday 26 October 2019

Cristea Roberts Gallery

43 Pall Mall, London SW1Y 5JG +44 (0)20 7439 1866 [email protected] www.cristearoberts.com

Jim Dine; Detail from Asleep with his Tools, Jim Dreams, 2018 Cristea Roberts Gallery at IFPDA Fine Art Print Fair Jacob K. Javits Center, New York Booth 207 23 – 27 October 2019

Jordan Schnitzer Family Foundation Lecture: Jim Dine in conversation with Ruth Lingen and Julia D’Amario 12pm Saturday 26 October 2019

Cristea Roberts Gallery

43 Pall Mall, London SW1Y 5JG +44 (0)20 7439 1866 [email protected] www.cristearoberts.com Melissa Meyer, Chicago Series watercolor monotypes 2019 JUNGLE PRESS EDITIONS

232 THIRD STREET, #B302 THE OLD AMERICAN CAN FACTORY, BROOKLYN, NY 11215 WWW.JUNGLEPRESS.COM PH 718-222-9122 Jim Dine; Detail from Asleep with his Tools, Jim Dreams, 2018 December 4 - December 8, 2019 Modern and Contemporary works on Paper Suites of Dorchester 1850 Collins Ave (19th St.) Miami Beach, Florida 33139

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BOOTH 105 JAVITS CENTER, NEW YORK CITY

LUCHITA HURTADO, UNTITLED (BIRTH PRINT), 2019 © LUCHITA HURTADO

King Phillip Came Over From Germany Stoned New Etchings by Gay Outlaw

3X3, 2019. Color soft ground etching with aquatint and drypoint on orange gampi paper chine collé. Image size: 23 x 21”; paper size: 33 x 30¾”. Edition 20.

20 Hawthorne Street, San Francisco, CA 94105 (415) 974-6273 crownpoint.com/magical-secrets.com Dolan/Maxwell

Pierre Alechinsky Fred Becker Anders Bergstrom Morris Blackburn Robert Blackburn Michael Canning Elizabeth Catlett Ed Clark Minna Citron Dorothy Dehner Steven Ford Amze Emmons Sam Gilliam Terry Haass Stanley William Hayter Nona Hershey Alice Trumbull Mason Andre Masson Norma Morgan Joan Miro Gabor Peterdi Helen Phillips Amze Emmons, Personal Baggage 2002, etching with hand coloring, edition of 6, 17 3/8 x 23 1/8” Krishna Reddy Judith Rothschild Helen Phillips Betye Saar Rachel Selekman Donald Teskey Shelley Thorstensen Dox Thrash Pennerton West

Visit us at Booth 407 Dolan/Maxwell at the IFPDA Fine Art Print Fair. 2046 Rittenhouse Square Philadelphia, Pennsylvania 19103 And THANK YOU Art in Print! 215.732.7787 www.DolanMaxwell.com Stanley William Hayter, Amazon 1945 (Black/Moorhead 165), engraving, soft-ground etching, gauffrage, [email protected] edition of 50, image 24 1/4 x 15 3/4”; sheet 29 3/4 x 20 5/8” by appointment please

M F A PRINTMEDIA

Expand the definition of contemporary print while acknowledging its rich history and tradition. Work across disciplines to create prints, artists’ books, three-dimensional objects, installations, new media, and time-based art. Nuria Montiel (MFA 2017), Repeat, 2017 but Change (II)

Learn more: saic.edu/printmedia

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SAIC GRADUATE ADMISSIONS | 312.629.6100 | saic.edu/gr | [email protected] JUDY CHICAGO

M F A PRINTMEDIA

Expand the definition of contemporary print while acknowledging its rich history and tradition. Work across disciplines to create prints, artists’ books, three-dimensional objects, installations, new media, and time-based art. Nuria Montiel (MFA 2017), Repeat, 2017 but Change (II)

Learn more:

saic.edu/printmedia 22 x 18 inches on light blue Pescia, lithograph eleven-color Dogs , 2019, Prairie of In Praise

APPLY BY JANUARY 10 Contact Tamarind about subscription

. opportunities for new releases tamarind.unm.edu | [email protected]

SAIC GRADUATE ADMISSIONS | 312.629.6100 | saic.edu/gr | [email protected] Contributors to this Issue SHORE PUBLISHING 233 NY-17, Tuxedo Park, NY shorepublishingny.com

Editions/Artists’ Book Fair The Caldwell Factory, NYC October 24- 27, 2019 Ray Beldner is a San Francisco-based sculptor and new media artist whose work has been exhibited both nationally and internationally.

Catherine Bindman is an editor and art critic who has written extensively on both Old Master and contemporary prints. She was Deputy Editor at Art on Paper magazine and lives in New York.

Renée Bott was a partner and Master Printer of Paulson Bott Press, publishing over 500 editions with artists such as Martin Puryear, Kerry James Marshall and Tauba Auerbach. In 2015, the archive of Paulson Bott Press was acquired by the de Young Museum in San Francisco.

Re’al Christian is a New York City-based writer and art historian. Her work has been published by Art Papers, Art in America and the Studio Museum in Harlem.

Sarah Kirk Hanley is the newly-appointed Executive Director of the Manhattan Graphics Center. For ten years prior, she was an independent consulting expert and critic in the greater NYC area, writing extensively for Art21 Magazine and these pages, among others.

Faye Hirsch is Visiting Associate Professor of Art + Design at SUNY Purchase.

Nicole Meily is the Graduate Programs Manager in the Department of Art History and Archaeology at Columbia University.

Nadine M. Orenstein is the Drue Heinz Curator in Charge of the Department of Drawings and Prints at the Metropolitan Museum of Art.

Freyda Spira is a curator in the Department of Drawings and Prints at the Metropolitan Museum of Art.

Rachel Stella is the producer and co-author of the television documentary L’Almanach d’Henri et Marinette: Regarder avec les Cueco.

David Storey is a painter who makes prints. He lives in New York and teaches at Fordham University.

David Trigg is an independent art historian, writer and critic living in Bristol, UK.

Dan Wood is an artist and printer living in Providence, Rhode Island. He founded DWRI Letterpress in 2002 to work collaboratively with other artists, designers and businesses. A critic at Rhode Island School of Design, his own work can be found in private and public collections including Wheaton College, The New York Public Library and the RISD Museum of Art.

Susan Tallman is the Editor-in-Chief of Art in Print.

78 Art in Print November – December 2019 Back Issues of Art in Print

Volume 1, Number 6

Volume 2, Number 6

Volume 1, Number 5

Volume 2, Number 5

Volume 1, Number 4

Volume 2, Number 4

Volume 1, Number 3 Volume 3, Number 6

Volume 2, Number 3 Volume 4, Number 6

Volume 1, Number 2 Volume 3, Number 5

Volume 2, Number 2 Volume 4, Number 5

Volume 1, Number 1 Volume 3, Number 4

Volume 2, Number 1 Volume 4, Number 4

Volume 3, Number 3

Volume 5, Number 6

Volume 4, Number 3

Volume 3, Number 2 Volume 6, Number 6 Volume 5, Number 5

Volume 4, Number 2

Volume 3, Number 1 Volume 6, Number 5 Volume 5, Number 4

Volume 4, Number 1

Volume 6, Number 4 Volume 5, Number 3 Volume 7, Number 6

Volume 6, Number 3 Volume 5, Number 2 Volume 7, Number 5

Volume 8, Number 6 Volume 6, Number 2 Volume 5, Number 1 Volume 7, Number 4

Volume 8, Number 5 Volume 6, Number 1 Volume 7, Number 3

Volume 8, Number 4

Volume 7, Number 2

Volume 8, Number 3 Complete your library now! Volume 7, Number 1 Purchase digital or print versions of all back issues from MagCloud, Volume 8, Number 2 Volume 9, Number 3 our print-on-demand service at www.magcloud.com/user/established-2011.

Volume 8, Number 1 Volume 9, Number 2

Volume 9, Number 1 Albrecht Dürer, Nativity – Weihnacht, 1504, engraving

Thank youART IN PRINT for having shared our belief that prints do matter!

526 West 26th Street, rm 304 New York, NY 10001 212-772-7330 www.cgboerner.com Understanding The Form, 2019. 2-run, 5-color hard ground etching with drypoint and aquatint printed a la poupée with chine collé, 30 1/2 x 24 inches, Edition: 50 Albrecht Dürer, Nativity – Weihnacht, 1504, engraving

Thank youART IN PRINT for having shared our belief that prints do matter! Jason Middlebrook

GRAPHICSTUDIO.USF.EDU GRAPHICSTUDIO | Institute for Research in Art (813) 974-3503 3702 Spectrum Blvd. Suite 100, Tampa, FL 33612 526 West 26th Street, rm 304 New York, NY 10001 212-772-7330 www.cgboerner.com MFA BOOK ARTS & PRINTMAKING

Carrie Moyer, Untitled, 16-color lithograph with screenprint and monotype, 30 x 21.5 inches, edition of 30, 2019

The MFA Book Arts & Printmaking Program at University of the Arts in Philadelphia is pleased to announce the release of a new edition by renowned artist Carrie Moyer.

Visit us at the 2019 EDITIONS/ARTISTS’ BOOKS FAIR at the Caldwell Factory, 547 W. 26 St., New York, NY, Oct. 24–27, 2019.