US $30 The Global Journal of Prints and Ideas November – December 2019 Volume 9, Number 4 On Money • Coopérative des Malassis • German Notgeld • Ray Beldner on Art and Cash • Orit Hofshi • Chris Ofili The Renaissance of Etching • Brooklyn 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 banknotes 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 Kent 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 fine art prints.