Enrique Chagoya • Punk Aesthetics and the Xerox Machine • German

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March – April 2012 Volume 1, Number 6

Enrique Chagoya • Punk Aesthetics and the Xerox Machine • German Romantic Prints • IPCNY / Autumn 2011 Annesas Appel • Printmaking in Southern California • Alex Katz • Renaissance Prints • News • Directory TANDEM PRESS www.tandempress.wisc.edu

Doric a recent print by Sean Scully

Sean Scully Doric, 2011 Etching and aquatint, ed. 40 30 1/4 by 40 inches

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image© Sean Scully March – April 2012 In This Issue Volume 1, Number 6

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

Managing Editor Sarah Kirk Hanley 3 Julie Bernatz Visual Culture of the Nacirema: Enrique Chagoya’s Printed Codices Associate Editor Annkathrin Murray David Ensminger 17 The Allure of the Instant: Postscripts Journal Design from the Fading Age of Xerography Julie Bernatz Catherine Bindman 25 Looking Back at Looking Back: Annual Subscriptions Collecting German Romantic Prints Art in Print is available in both digital and print form. Our annual membership Exhibition Reviews 30 categories are listed below. For complete descriptions, please visit our website at M. Brian Tichenor & Raun Thorp Proof: The Rise of Printmaking in http://artinprint.org/index.php/magazine/ Southern California subscribe. You can also print or copy the Membership Subscription Form (page 63 Susan Tallman in this Journal) and send it with payment IPCNY New Prints 2011 / Autumn in US dollars to the address shown on the form. Editions Review 38 Sarah Andress Subscriptions Annesas Appel Basic Digital $38 Book Reviews 40 Alex Katz Prints Basic Print + Digital Altered and Adorned: Using (US, UK and Canada) Renaissance Prints in Daily Life $98 News of the Print World 47 Basic Print + Digital International (Worldwide) Directory 57 $138 Index to Volume 1 61 Library Digital (IP Recognition) Contributors 62 $300 Membership Subscription Form 63 Library Print + Digital (IP Recognition) $400 Subscribe through us or through your subscription management agency.

Professional Print + Digital (Includes advertising) $350 Cover Image: Enrique Chagoya, detail of New Illegal Alien’s Guide to Critical Theory (2008). ©Courtesy Art in Print of the artist and George Adams Gallery, New 3500 N. Lake Shore Drive York. Photo: Adam Reich. Suite 10A Chicago, IL 60657-1927 This Page: www.artinprint.org Lucas van Leyden, detail of Portrait of a [email protected] Young Man with a Skull (c. 1519), engraving on ivory laid paper, 18.3 x 14.4 cm. The Art No part of this periodical may be published Institute of Chicago, Clarence Buckingham without the written consent of the publisher. Collection, 1940.1314. Art in Print March – April 2012

On Anarchy By Susan Tallman

years ago, in fourteen-hun- promisingly divergent in their aspira- color frequency in covers—to gener- 520 dred and ninety-two Colum- tions: they can be cheap and tawdry, ate visuals that describe the data while bus sailed the ocean blue and failed to prissy and pretentious, spectacular, poetically missing the point. The start- wrap his way around the globe. Ten years intricate, rude, informative or mer- ing point of Enrique Chagoya’s codices, later, on his fourth try, he got as far as cantile. They are used to make money analyzed by Sarah Kirk Hanley (p. 3) is a Central America (with disastrous con- (both literally and metonymically), and lost library—the thousands upon thou- sequences for its resident civilizations), to express the mysteries of existence. sands of books once scattered over the failed yet again to find a passage to India, They offer an archive of anarchy. In this Central American landmass that Ferdi- and effectively proved to his 13-year-old issue of Art in Print—the last number nand Columbus visited so briefly. Most son, Ferdinand, that the world is full of of our first year—writers and artists perished in Spanish bonfires; a few were surprises. examine various slivers of this archive, preserved, in collections very much like Ferdinand himself would later try to and ask questions about its uses. Columbus’ own. The question Chagoya circumscribe the world in his own way, asks is, what if it had all played out dif- through a vast library and an encyclo- ferently? What if it had been Columbus’ pedic collection of prints. Ferdinand’s library that got plundered, its remnants famous print collection is now lost, turning up as prize possessions of King but his astonishingly precise inventory, Nezahualcóyotl? with its descriptions and complex tax- The German Romantic prints that onomies, remains, allowing scholars Catherine Bindman writes about (p. 25) to reconstruct his ambitious endeavor. belong to Charles Booth-Clibborn, the Prints, like books, offered Ferdinand a contemporary print publisher. Booth- dream of completeness. With paintings Clibborn’s collection is both massive and other unique objects, existence in and unexpected—German Roman- one place dictates absence everywhere tic prints might be considered a fairly else. One has to accept lacunae. But the Carl Wilhelm Kolbe, detail of Der Verdamm- sleepy corner of the universal archive, tensturz (The Fall of the Damned) (1800), multiplicity of the print makes it imag- etching and aquatint, 44.9 x 33.9 cm, collection far from the kicks of contemporary art. inable—or did in 1520—that one could of Charles Booth-Clibborn. But look at Carl Wilhelm Kolbe’s 1801 Et actually have a copy of everything. in Arcadia Ego: an elegantly intertwined It may seem that not much has David Ensminger (p. 17) has col- half-clad couple, turned away from us changed over the past half-millenni- lected more than 2000 band flyers in in reverie, within a jungle of cabbage um. As Deborah Wye observed in the an online archive of punk productiv- leaves the size of elephants and grasses first issue of this publication, speak- ity. Most of these works lie on the very the height of a bungalow. It is a hybrid ing about the Museum of Modern Art: periphery of what can be considered of Poussin and the Borrowers, and it “the philosophy of print collecting is to “the artist’s print”—they were created should be ridiculous. But it is unexpect- acquire as much as you can, to amass for a practical purpose, were meant to edly touching: Kolbe has taken all the a library of images.” But unlike Ferdi- be ephemeral, and harbored no con- longing and loss and restiveness implic- nand, we don’t expect that library of scious ambition to be seen as Art. In it in the idea of Arcadia, and placed not images to reveal a cogent plan. Ferdi- this they differ profoundly from the in some vague dream of Italy, but down nand’s thousands of prints represented terse, formal, eloquent prints of Alex at the bottom of the garden. There is the cacophony of the creation, but his Katz collected in the catalogue raison- something inherently printy about it— taxonomy was a statement of faith in an né reviewed on p. 40, and not much at the small becoming large; the abstract orderly universe. In our post-quantum, all from the Renaissance printed head- and grandiose being given form in post-Heisenberg universe, we have less gear, DIY sundials, and board games something particular and accessible; trust in the idea that completion is pos- discussed in the Altered and Adorned and the crazy, abrupt and unexpected sible or even desirable. Ours is a culture catalogue reviewed on p. 42. confrontation of unlikely things. of calculus, of derivatives and differen- Annesas Appel, whose new edi- Anarchy in Arcadia. tials. tions are reviewed on pages 38-39, uses For us, prints represent the world statistical data derived from her own Susan Tallman is the Editor-in-Chief of precisely because they are so uncom- library—letter frequency in book titles, Art in Print.

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Visual Culture of the Nacirema: Enrique Chagoya’s Printed Codices By Sarah Kirk Hanley

nrique Chagoya describes himself E as both a painter and a printmaker, and indeed, an understanding of his prints is essential to any meaningful discussion of his work. His interest in the graphic arts began when he first saw Goya’s etchings as a teenager; he illustrated books and drew political car- toons while studying political econom- ics at the Universidad Nacional Autóno- ma de México in the 70s; and he made his first suite of prints as an art student at the San Francisco Art Institute (SFAI) and the University of California, Berkeley in the 80s (Homage to Goya II: Disasters of War (2003)).1 In the decades since, Chagoya has worked with more than a dozen printshops, producing some 16 monotypes, ten lithographs, 15 individual intaglio prints and three suites of 3 to10 prints each, five digital prints, and 17 books.2 Most distinctive- ly, he has made eleven editioned codices—accordion-folded artist’s books made with lithography, woodcut, letterpress, and occasional collaged elements on the bark-based paper used by the ancient Aztec, Maya and Mixtec. These codices are the most intricate and sustained articulation of Chagoya’s Fig. 6b. core concept of “reverse anthropology;” Enrique Chagoya, detail of The Ghost of Liberty (2004). ©Enrique Chagoya 2004. they are documents of an alternate world in which the Spanish conquest of Patricia Hickson in Enrique Chagoya: but while Eleanor Heartney and Faye the New World failed, and the norma- Borderlandia and Shifra Goldman in Hirsch wrote analytical pieces placing tive culture of the 21st century is Meso- Locked in Paradise).3 Chagoya’s 2003 it in context, the Loveland event has American rather than Anglo-American. codex The Misadventures of the Romantic tended to overshadow critical discus- Monographs on Chagoya, however, Cannibals (Figs. 9a, 9b) made headlines sion of Chagoya’s art itself.4 A thorough have devoted surprisingly little space when it was destroyed by a religious assessment of his printed work is long to his editioned work (exceptions are zealot in Loveland, Colorado last year, overdue. The complexity of his imag-

Fig. 6a. Enrique Chagoya, The Ghost of Liberty (2004), accordion-folded artist’s book, thirteen-color lithograph on amate paper, 11 1/2 x 85 inches overall. Edition of 30. Published and printed by Shark’s Ink, Lyons, CO. ©Enrique Chagoya 2004. Photo: Bud Shark.

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Fig. 1a. Enrique Chagoya, Tales from the Conquest/Codex (1992), color xerox transfer, lacquer, acrylic, and ink on amate paper, 31.75 cm x 300.36 cm x 10.16 cm. San Francisco Museum of Modern Art, Accessions Committee Fund: gift of Susan and Robert Green, Christine and Pierre Lamond, Madeleine H. Russell, and Judy C. Webb. ©Enrique Chagoya. ery, however, makes this a daunting Europe as curiosities. The extensive intent and laborious layering. The con- task, and too lengthy for a single article. libraries of the Maya suffered a similar tent unfolds in surreal pastiches from This essay will therefore focus on the fate. These books were made of animal pre-Columbian sources, Catholic ico- codices—a form that Hickson identifies skin or amatl (amate in Spanish)—a nography, Mexican Colonial book illus- as “the culmination of Chagoya’s artis- paper made from the bark of the wild tration, and pan-American pop-culture. tic practice,” and Robert Storr describes fig —coated in white lime and then The opening spread derives from a as “a conceptual breakthrough.”5 painted with colorful images and text 16th-century depiction of the massa- The codex form—a book with mul- in the indigenous glyph-based writing cre in the Main Temple, Tenochtitlán, tiple pages either bound or joined—is system. on May 10, 1520—an event that marked shared by Christian-era Europeans Chagoya’s interest in the artifacts of the beginning of the Aztec-Spanish and pre-Columbian Mesoamericans, these “lost” civilizations is longstand- war—which Chagoya has updated with but Chagoya has chosen to mimic the ing. As a child in Mexico City, he spent a tank, a burning Madonna and a cruci- manuscripts that the Spanish found Sundays with his family at the ruins of fixion scene.10 The second page appro- when they first landed in what is now Teotihuacán where he would “sit on the priates page 29 of the Codex Borgia, Mexico. 16th-century accounts tell of pyramids and… try to imagine how it one of the finest remaining pre- the vast library of King Nezahualcóyotl, was.”7 At university he was exposed to Columbian manuscripts, to which the established only a few decades before anthropological and historical studies artist has added a panel from an early the Spanish arrived, containing thou- such as Miguel León-Portilla’s 1959 The Superman comic book (Fig. 1b).11 “IT’S sands of books on religious, scientific, Broken Spears: the Aztec Account of the A DIMENSIONAL BRIDGE-- AND I’M governmental, and secular subjects.6 Conquest of Mexico. At SFAI (BFA, 1984) CROSSING IT-- RIGHT NOW!” the Nearly all were burned and of the few and at Berkeley (MFA, 1987), Chagoya superhero declares, setting a stage for that survived, most were shipped to read further works by León-Portilla as the mind-bending temporal and con- well as theoretical analyses of Meso- american writing systems, and he studied the surviving pre-Columbian manuscripts and post-Conquest codices about native cultures, which the Span- ish had commissioned from indigenous artists (tlacuilolli).8 Feeling “the need to see more of those books,”9 Chagoya chose the year 1992—the quincentenary of Columbus’ voyage to the New World—to begin making his own. Tales from the Con- quest/Codex (Figs. 1a–1f) is a unique work made with ink, acrylic, lacquer and color photocopy transfers. Like its Mesoamerican predecessors, the book reads from right to left, is printed on amate paper, folded accordion-style, and paginated with the Maya numerical system of dots and dashes. Its surface appears to be ancient, weathered and stained. This is partly due to the paper, Fig. 1b. Fig. 1c. Enrique Chagoya, detail of Tales which is handmade and dried on planks Enrique Chagoya, detail of Tales from from the Conquest/Codex (1992). ©Enrique the Conquest/Codex (1992). ©Enrique Chagoya. in the sun, but is also a product of artful Chagoya.

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ceptual juxtapositions that follow. flow of cultural influence. Chagoya Oswald de Andrade’s 1928 Manifesto Later on we find a group of Catholic dubbed this an art-world manifestation Antropófago.16 The word antropófagia priests with hatchets embedded in their of reverse anthropology “reverse mod- means ‘man-eating,’ and de Andrade heads; Olive Oyl looks on complacently ernism,” and explains it as: argued that Brazilian artists should though Mickey Mouse seems agitated. “cannibalize” European art to make it ... doing the exact opposite of what The book concludes with overlapping their own. This cannibalization alluded Picasso did with African masks. images: Aztec tax collectors from the to the Tupí people who had a tradition When he appropriated the African Codex Mendoza, Superman assisting of ingesting their enemies after combat masks to develop his cubist paint- a Mexican boy who confesses, “As my in the belief that they would absorb ings… [he said] he didn’t care about father lay dying, he told me to come their abilities—a practice assiduously the content or the context of where to the U.S.A. for a better life…,” and repressed by the Jesuit priests who the masks were from; he was only Don Catarino, a Mexican comic strip came to convert them in the 16th cen- interested in the form. So by the character, shooting a gun loaded with tury. Thus cannibalization was tied to same token, I’m trying to appropri- “Kryptonite from Oaxaca” at the man national identity and anti-colonialist ate European art, pretending I’m of steel. These abrupt unions of past impulses; for the Antropofágos, the only not interested in the content of the and present, indigenous and imperial, way to establish a quintessentially Bra- European art or the context of it, sacred and profane, are at the heart of zilian art was to reverse the historical but rather just the form.15 Chagoya’s project—they are the tools of flow in which the art of former colonies reverse anthropology. Chagoya’s inquiry into the possibili- was always a tributary, and instead to Chagoya is acutely aware of the pow- ties of an indigenous aesthetic led him “ingest” the art of Europe.17 er wielded by the dominant culture to to the Brazilian avant-garde of the 50s With this in mind, Chagoya began set norms and terms of debate. History, and 60s, then to the Antropofágia move- to play with notions of cannibalism in he notes, is “an ideological construction ment of the 20s and 30s, and finally to his 1994 painting The Governor’s Night- made by those who win wars. This goes across cultures and time… for every history told there is a history untold.”12 The Codex’s pseudo-pre-Columbian affect and quixotic content is strategic, suggesting a “lost document” from a parallel universe; like several of the subsequent codices, it posits one possible answer to Chagoya’s question, “what would have happened, if the Aztecs had conquered Europe[?]”13 Superman is a symbol of U.S. (or European) hege- mony, but Superman’s supremacy is in question—we can see green pellets of Oaxacan Kryptonite en route to his chest.14 On page nine we see an indigenous artist at work in his studio (Fig. 1d), oblivious to the paintings beside him: Picasso’s Les Demoiselles d’Avignon (1907) and Dalí’s The Persistence of Memory (1931). His disinterest in these canonical works of European modern art points to an inversion of the usual Fig. 1d. Enrique Chagoya, detail of Tales from the Conquest/Codex (1992). ©Enrique Chagoya.

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Fig. 1f. Enrique Chagoya, detail of Tales from the Conquest/Codex (1992). ©Enrique Chagoya.

Fig. 1e. Anonymous (Pre-Columbian, probably Nahuatl), detail of page 56 of the Codex Borgia (1898 facsimile edition).

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mare. Inspired by a scene of human sac- rifice in the Codex Magliabechiano, the painting shows indigenous Mesoameri- cans dining peacefully on human body parts while an Aztec god salivates over a bound and panicked Mickey Mouse. (The title alludes to California Gov- ernor Pete Wilson, whose re-election campaign played to anti-immigration sentiment.) The same image appears in several subsequent printed works: the opening spread of the 1995 monotype codex Insulae Canibalium (CannibalIs- land) (Fig. 2); the trade-edition book Friendly Cannibals (1996), with collages by Chagoya and drawings and a short story by Guillermo Gómez-Peña; and Codex Espangliensis: From Columbus to the Border Patrol (Fig. 3a), a collaborative project with Gómez-Peña and book artist Felicia Rice.18 Having grown up entirely in Mexico, Fig. 2. Chagoya does not particularly iden- Enrique Chagoya, detail of opening page of Insulae Canibalium (Cannibal Island) (1995), accordion-folded artist’s book, monotype with photocopy transfers and hand-additions on amate 19 tify as Chicano, but he is alert to the paper, 11 3/4 x 96 inches overall. Published and printed by Segura Publishing Company, Tempe, difficulties of cross-cultural identi- AZ. Collection of the Arizona State University Art Museum, gift of Friends of Mexican Art. ties. “Espangliensis” is a made-up word ©Courtesy of the artist and George Adams Gallery, New York. meant to approximate the Latin for “Spanglish,” and Chagoya’s double- downs on illegal crossings. In the open- Zouche-Nuttall. Designed, produced, page collages combine with poetic/per- ing spread, a Posada engraving of hell and published by Rice, the codex fol- formance texts by Gómez-Peña to toy spawns a devilishly red Superman (Fig. lowed the format of Tales from the Con- with Mexican-American border politics 3b) who flies into battle with three Mix- quest: printed on amate paper, accor- of the late 90s, from NAFTA to crack- tec warriors borrowed from the Codex dion folded, and reading from right to left. Like The Governor’s Nightmare, this book was particularly topical in Califor- nia, where Wilson had proposed and/ or enacted a number of laws restricting the rights of immigrants. After Codex Expangliensis, Chagoya moved away from collaborative projects in favor of fully conceived artist’s books. Ten of these (as well as one monotype codex) have been produced with Bud Shark of Shark’s Ink, a master printer who approached Chagoya and was willing to take on the technical challenges of this eccentric form. (Among other difficulties, printing onamate is exceed- ingly difficult as it “stretches as much as 1/4 to 5/8 inches” when put through the press multiple times; Chagoya’s layered images usually require eight to ten passes.)20 El Regreso del Caníbal Macrobiótico Fig. 3a. Enrique Chagoya, Guillermo Gómez-Peña, and Felicia Rice, Codex Espangliensis: From (Fig. 4a), the first codex done with Columbus to the Border Patrol (1998), artist’s book, letterpress in black and red on amate paper, Shark, introduces the figure of the accordion folded and encased in portfolio box, 9 inches x 31 feet (extended). Edition of 50, including five deluxe hand-painted editions in roman numerals (pictured). Moving Parts Press, Santa “utopian cannibal” or “un-noble sav- Cruz, California. Image courtesy Moving Parts Press, Santa Cruz, CA. age.” The character first appeared in

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Fig. 3b. Enrique Chagoya, Guillermo Gómez-Peña, and Felicia Rice, detail of Codex Espangliensis: From Columbus to the Border Patrol (1998), artist’s book, letterpress in black and red on amate paper, accordion folded and encased in portfolio box, 9 inches x 31 feet (extended). Edition of 50 (pictured), including five deluxe hand-painted editions in roman numerals. Moving Parts Press, Santa Cruz, California. Image courtesy Moving Parts Press, Santa Cruz, CA.

1998 in a La Coqueta, one in a series of members of the dominant culture, to suspect that a certain amount of works in which Chagoya painted over toying with icons of the dispossessed sadism is involved... most of the pop- pages removed from a 19th-century art underclass—Mickey Mouse or Jesus or ulation shows definite masochistic history book found at a flea market.21 Picasso. Sometimes they literally ingest tendencies. It was to these that Pro- In both images, a head borrowed from their “inferiors;” at other times they fessor Linton referred in discussing a page 56 of the Codex Borgia is attached treat them with the carelessness of the distinctive part of the daily body rit- to a hand-drawn male body clothed in privileged; more often than not, they ual which is performed only by men. authority: a blue business suit in one, a merely engage the “other” in fruitless This part of the rite involves scraping lab coat in the other (Fig. 4b), a tie and and confused interactions. and lacerating the surface of the face white shirt in both. In their provocative intent, Cha- with a sharp instrument.22 This figure becomes regular pres- goya’s codices can be seen as visual par- ence in Chagoya’s codices—an indige- allels to Horace Miner’s famous 1956 Turning the tables between the nous trickster who takes various guises mock-paper, “Body Ritual Among the subject and the observer, between the and “cannibalizes” European culture Nacirema,” which described American describer and the described, Miner laid in the same fashion that Mesoameri- personal hygiene through the distanced bare the privileged vantage point from can culture has been haphazardly sub- language and purported objectivity of which Euro-American culture implic- sumed into artifacts of contemporary anthropology. Here is Miner on den- itly argues all other cultures are to be life, from Virgin of Guadalupe window tistry and shaving: understood. Anthropology, Chagoya stickers to Taco salads. These cannibals One has but to watch the gleam in observes, arose “in England as a way (both male and female) romp through the eye of a holy-mouth-man, as he to better understand the British colo- an alternate reality in which they are jabs an awl into an exposed nerve, nies.”23 Like history, it is not an objec-

Fig. 4a. Enrique Chagoya, El Regreso del Caníbal Macrobiótico (The Return of the Macrobiotic Cannibal) (1998), accordion-folded artist’s book, sixteen-color lithograph and woodcut on amate paper and chine collé, 7 1/2 x 92 inches overall. Edition of 30. Published and printed by Shark’s Ink, Lyons, CO, ©Enrique Chagoya 1998. Photo: Bud Shark.

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tive and disinterested description of Columbian texts on his work,26 and human behavior, but is determined by having presented a letter from LACMA the power relationships between victor as well as his credentials as a profes- and vanquished. sor at Stanford, he was surprised to Chagoya is clear, however, that find the request denied on the grounds no group can claim the moral high that a Mexican national had stolen a ground. He notes how Mesoamerican Mesoamerican codex from the collec- peoples warred amongst themselves tion some years earlier.27 Though Cha- and believes that, had they triumphed, goya was in fact a U.S. citizen, repeated they would have been equally ruthless appeals proved fruitless. He channeled in their subjugation of Europeans: his frustration into Les Adventures des Cannibales Modernistes, which includes So perhaps, all of the questioning I run-ins between North American (both do with my work is about the mis- U.S. and Mexican) and French pop- use of power... Why don’t we use the culture figures: the last page shows the power, all the power we have, to our Mexican comic heroine Adelita duking advantage for a better humanity’s it out with two officers who distinctly life and existence and a better inter- resemble French gendarmes. action with nature? That sounds UtopianCannibal.org, a work from very utopian.24 2000 that addressed the growth of the Chagoya’s cannibal is “utopian” in internet and the attendant Y2K scare, that he/she works to alert viewers to followed Les Adventures. The next year, their complicity in systems of empow- Chagoya created Abenteuer der Kanni- Fig. 4b. Enrique Chagoya. detail of El Regreso erment and oppression. His savage is balen Bioethicists (Fig. 5a). a codex pep- del Caníbal Macrobiótico (The Return of “un-noble” since, as Hickson explains, pered with references to art of all kinds the Macrobiotic Cannibal) (1998), ©Enrique it represents “the antithesis of the ste- with no discernable pecking order: a Chagoya 1998. Photo: Bud Shark. reotype of the noble savage as a morally stereotypical Native American head and superior human uncorrupted by the an equally clichéd Roman head face off bodies. In one, his head is attached to influences of civilization.”25 stoically on page three, while on page a reclining, scantily-clad female body These works of the 90s were con- seven the comic strip character Nancy whose inner thigh is being licked by a cerned primarily with Mexican/Ameri- offers a Kunst Lektion to her dog on man (behind them is the Spanish word can cultural and historical conflicts, but the subject of Mesoamerican writing. orgasmo). This was the image that at the turn of the millennium Chagoya On pages 16-18, Chagoya appropriates prompted a woman truck driver to began to employ a more global frame Warhol’s famous Campbell’s soup cans, smuggle a crowbar into the Loveland of reference, in part due to time spent re-labeling their contents ‘CREAM OF Museum/Gallery and destroy the book. in Europe. In 1999 while on sabbatical DEALER,’ ‘ARTIST’S BRAINS,’ ‘MUSE- While certainly provocative, the image Paris, Chagoya made a request to see UM DIRECTOR’S TRIPE,’ etc.28 (Fig. 5b). was also willfully absurd. As art histo- the Paris Codex, one of the very few The Misadventures of the Romantic rian Jennifer González points out, Cha- surviving Maya manuscripts, which is Cannibals on the other hand, addressed goya frequently takes “an artist’s lib- housed at the Bibliothèque nationale. the pedophilia scandals in the Catholic erty with many sacred sign systems.”30 He was researching an essay for the Church.29 The figure of Jesus appears These systems include those of high art Los Angeles County Museum of Art throughout the book, though he is and national identity as well as religion. (LACMA) about the influence of pre- incarnated in a variety of incongruous They are, the artist explains, “my way

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Fig. 5a. Enrique Chagoya, Abenteuer der Kannibalen Bioethicists (Adventures of the Bioethicist Cannibals) (2001), accordion-folded artist’s book, nine-color lithograph and woodcut with applied “wiggle eyes” on amate paper on various chines collé, 7 1/2 x 92 inches overall. Edition of 30. Published and printed by Shark’s Ink, Lyons, CO. ©Enrique Chagoya 2001. Photo: Bud Shark. of dealing with ideas and stereotypes… ton, which echoed Guston’s Nixonian prints; reverse anthropology, he says, people project themselves into a reli- Poor Richard series from 1971, which in “works better in my codices.”33 Over gious icon, but also, people have a hard turn drew its title from Ben Franklin.32 the past few years Chagoya has become time understanding someone else’s More recent codices have addressed the more experimental with the codex icon and making a bridge.”31 global economic collapse: Illegal Alien’s form. This began with minor touches, The Ghost of Liberty and Double Guide to the Concept of Relative Surplus such as adding plastic wiggly eyes to Trouble (Anthropology of the Clone) Value; and Escape from Fantasylandia: Double Trouble (Anthropology of the addressed the wars in Iraq and Afghani- An Illegal Alien’s Survival Guide [see Art Clone) and Abenteuer der Kannibalen stan. Art historical, political, and his- in Print Vol. 1, no. 5: 6-7]. Bioethicists and playing with variable torical references are layered deep in Like all good artists, Chagoya dimensions for each page in The Ghost images like that of George W. Bush in exploits specific forms for specific pur- of Liberty. For the monotype codex En The Ghost of Liberty: the 2004 draw- poses. The social satire that is one of el Jardín de los Miserables (Fig. 6), Cha- ing is derived from the artist’s charcoal his chief occupations finds expression goya chose to print only in black and drawings Poor George after Philip Gus- in his drawings and his free-standing include only images drawn by hand in a fluid, gestural style—departing from his usual colorful collages to explore “monochromatic cohesion.”34 In New Illegal Alien’s Guide to Critical Theory (Figs. 7a, 7b), Chagoya radically re-imagined the codex format, preserv- ing the linear stretch of narrative and the amate paper substrate, but aban- doning the page-turning sequence of spreads in favor of layered elements sandwiched in Plexiglas. Produced with Magnolia Editions, it was released in a “series” rather than an “edition” since each example constitutes a unique variant. In one iteration, a digital pigment print on amate is fused to Plexi- glas, which is covered with two additional layers of printed Plexiglas; the artist then painted additions in white acrylic over the whole. The various strata interact in the manner of an old- fashioned animation cell. The theme is again reverse modernism—the utopian cannibal in the opening spread asks, “Habla Aramaic? Tu connais Gustave Fig. 5b. Enrique Chagoya, detail of Abenteuer der Kannibalen Bioethicists (Adventures of the Moreau?,” standing before a wall plas- Bioethicist Cannibals) (2001), accordion-folded artist’s book, nine-color lithograph and woodcut with applied “wiggle eyes” on amate paper on various chines collé, 7 1/2 x 92 inches overall. Edi- tered with a Campbell’s soup can of tion of 30. Published and printed by Shark’s Ink, Lyons, CO. ©Enrique Chagoya 2001. Photo: Bud “Pop Art.” The wall continues for eight Shark. feet, right to left, hung with borrowings

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from ancient Egypt, Colonial Mexico, too pretentious to think that art David Itzoff, “Woman Arrested in Colorado af- and antebellum America (Fig. 7c). changes people’s consciousness, but ter Destroying Artwork,” The New York Times, Dissecting Chagoya’s work like this, you could arrive to a point where October 7, 2010: http://artsbeat.blogs.nytimes. com/2010/10/07/woman-arrested-in-colora; and one can identify sources and concepts your art is a departure for thinking, Dan Frosch, “Provocative Image of Christ Sets that seem to offer a path through his and the world changes through oth- Off a Debate Punctuated With a Crowbar,” The world of conflated and incongruous er actions. That’s my only hope with New York Times, October 10, 2010: http://www. nytimes.com/2010/10/11/us/11loveland.htm and my work.39 signifiers, but it is not his intent to pres- October 11, 2011 (in print). ent clear narratives. Most scholars have 5. Hickson, “Borderlandia Unbound,” 18; and Robert Storr, “Stratagies,” in Enrique Chagoya: wisely chosen to emphasize the work’s Sarah Kirk Hanley is a frequent contributor to Borderlandia, 31. open-ended and free-associative quali- Art in Print. 6. Enrique Chagoya, “A Lost Continent: Writings ties,35 but it is important to acknowl- without an Alphabet” in Virginia M. Fields and edge that Chagoya’s iconography is also Victor Zamudio-Taylor. The Road to Aztlan: Art meant to prompt the search for mean- Notes: from a Mythic Homeland. (Los Angeles: Los An- geles County Museum of Art, 2001), 264. ing, as he made clear in this exchange 1. “Enrique Chagoya: Borderlandia” 2007 exhi- 7. Chagoya and Karlstrom. with Paul Karlstrom: bition text (http://www.tfaoi.com/aa/7aa/7aa840. 8. Elizabeth Hill Boone and Walter D. Mignolo. htm) and Susan Seligson, “CFA Hosts En- Writing without Words: Alternative Literacies in PK So I guess my question is this. If rique Chagoya,” Arts and Entertainment, BU Mesoamerica and the Andes (Durham: Duke I’m looking at this and really strug- Today online, 12/16/2011 (http://www.bu.edu/ University Press, 1994). See also Chagoya gling to try to give it meaning, you today/2011/cfa-hosts-enrique-chagoya/); En- and Karlstrom. In “A Lost Continent,” Chagoya rique Chagoya and Karlstrom, “Oral history states there are 22 pre-Columbian codices and say that it’s okay that I do this, right? interview with Enrique Chagoya,” 2001 July 54 post-Conquest codices and provides his own 25-Aug. 6, Archives of American Art, Smithson- overview, citing Léon-Portilla (262-73). Other 36 EC Right. ian Institution, http://www.aaa.si.edu/collections/ sources differ, and the authenticity of the Codex The codices offer viewers both the oral-history-interview-enrique-chagoya-12495); Grolier is in question.The artist has studied most Patricia Hickson, “Borderlandia Unbound: An comfort of recognition (one will always Abbreviated Guide to the Visual Anthropology of find something familiar) and the dis- Enrique Chagoya” in Patricia Hickson, ed. En- comfort of cognitive dissonance. Hick- rique Chagoya: Borderlandia (Des Moines: Des Moines Art Center, 2007), 14-15. son notes that “most of us do not have 2. Printshops with whom Chagoya has worked the education, cultural background, or include: Made in California, Oakland, CA; Se- equipment to read the specific ancient gura Publishing Company, Tempe, AZ; Moving Parts Press, Santa Cruz, CA; Smith Andersen Mayan and Aztec symbols.”37 Chagoya Editions, Palo Alto, CA; Crown Point Press, San thus places us on the same uneven Francisco; Landfall Press, Chicago, IL (now footing with respect to our own cul- Santa Fe, NM); Shark’s Ink, Lyons, CO; Hui- ture that we have in relationship to Press, Makawao (Maui), HI; Magnolia Editions, Oakland, CA, and ULAE, Bay Shore, NY. Mesoamerican culture, which is only 3. Hickson, “Borderlandia Unbound,” and Shi- partially understood due to the pau- fra M. Goldman,“The Subversive Vocabulary of city of surviving information. As he has Enrique Chagoya,” in Enrique Chagoya: Locked frequently noted, his compositions are in Paradise (Reno, NV: Nevada Museum of Art, 2000). assembled instinctively and his “aim [is] 4. Eleanor Heartney,“The Global Culture War,” to create a kind of tension, a dialogue Art in America 99, no. 9 (October 2011): 118- between different cultures.”38 The 123; and Faye Hirsch,“The Print and the Pas- tor,” News & Opinion, Art in America online, struggle itself is where the meaning lies: 3/01/2011: http://www.artinamericamagazine. com/news-opinion/finer-things/2011-03-01/en- I don’t have solutions for the rique-chagoya-jonathan-wiggins/. problems of the world… it would be For reporting of the original incident, see

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Fig. 7a. Enrique Chagoya, New Illegal Alien’s Guide to Critical Theory (2008), pigment and acrylic on amate paper and three layers of Plexiglas, 13 1/4 x 92 1/8 inches. Variable Edition. Printed and published by Magnolia Editions, Oakland, CA. ©Courtesy of the artist and George Adams Gallery, New York. Photo: Adam Reich.

of these codices in facsimile and has been able Yale University Press and Houston: The Muse- 22. Horace Mitchell Miner, “Body Ritual Among to see the Codex Madrid (coll. Museo de las um of Fine Arts, Houston, 2004), 57-61. the Nacirema” American Anthropologist 58, no. Americas, Madrid, Spain) in person. 18. The original collages form the unique book 3 (June 1956): 503-507. The original text can 9. Chagoya and Karlstrom. Orbis Canibalium (coll. Dr. Milton Schaefer and be viewed on the website of Michigan State Uni- 10. The source is El Lienza de Tlaxcala (History Scott Plakum, San Francisco); see illustrations versity (reprinted with permission): https://www. of Tlaxcala), c. 1550-85 (University of Glasgow and checklist in Shifra M. Goldman and Diane msu.edu/~jdowell/miner.html?pagewanted=al. Library, Special Collections). The text at upper M. Deming, Enrique Chagoya: Locked in Para- 23. Email interview with the author. left, “Yepeuq’yaoyotl ycha ciuco má,” translates dise (Reno: Nevada Museum of Art, 2000), 41, 24. Chagoya and Karlstrom. to “Massacre at the Fiesta.” 44, 45, 76. Chagoya describes Friendly Canni- 25. Hickson, “Borderlandia Unbound,” 16. 11. The Codex Borgia is in the Apostolic Library bals as a “blind collaboration… Neither one of us 26. Chagoya, “A Lost Continent,” 262-273. of the Vatican. Images of each page are avail- knew the other’s work until it was published and 27. In 1982 the Codex Tonalamatl Aubin was able online at Wikimedia commons: http://com- edited by Anne MacDonald who commissioned taken from the Bibliothèque nationale by the mons.wikimedia.org. both works, the one of a kind codex, and Guill- Mexican journalist José Luis Castañeda, act- 12. Diane M. Deming, “Interview with Enrique ermo’s short story” (email with the author). ing on nationalist convictions; he then gave it Chagoya,” in Enrique Chagoya: Locked in Para- 19. He observes that Chicanos growing up in the to the Instituto National de Antropología e His- dise, 67. States had “no information about their own cul- toria (INAH). See José Rabasa, Tell Me the 13. Chagoya and Karlstrom. ture when they were going to school. So there Story of How I Conquered You: Elsewheres 14. For discussion of Chagoya’s use of pop- was this thirsty feeling for whatever was com- and Ethnosuicide in the Colonial Mesoameri- culture icons such as Mickey Mouse and Super- ing out of Mexico—anywhere from the Virgin can World (Austin: University of Texas Press, man, see Goldman, 9-12. of Guadalupe to Zapata and Villa… So it was 2011), 209, note 1. As of 2009, the INAH and 15. Chagoya and Karlstrom, Oral History Inter- a little difficult for me to understand in the begin- the Biblothèque nationale were working on an view, 2001. ning… the Virgin of Guadalupe was something agreement, which would allow the book to re- 16. He was particularly interested in the Neo- we didn’t care much about.” (Chagoya and Karl- main on “permanent loan” to the INAH. Concretists Lygia Clark and Hélio Oiticica and strom.) 28. This concept was also realized in his mul- the “anti-colonial and colorful stories” in films 20. Anticipating this in later editions, the paper tiples The Enlightened Savage, 2002 (ed. 30, such as Terra em Transe (1967) and Antonio is now calendared or pre-stretched, but it is still Trillium Press, Brisbane, CA); and Pyramid das Mortes (1969) by Glauber Rocha, and Os highly sensitive to changes in humidity (Shark Scheme, 2009 (ed. 40, Electric Works, San Fuzis (1964) by Ruy Guerra. The manifesto was email to the author). The history and traditional Francisco, CA). inspired by the painting Abaporu (The Man that uses of the paper are important to Chagoya, see 29. Susan Seligson. Eats) by Tarsila do Amaral, now considered a Chagoya, “A Lost Continent,” 265 and Chagoya 30. Jennifer González, “Introduction” in Codex masterpiece of Brazilian modernism. and Karlstom. For further discussion of printing Espangliensis: From Columbus to the Border 17. Benedito Nunes, “Anthropophagic Uto- problems, see Rice’s statement in Codex Es- Patrol, 2000, unpaginated. pia: Barbarian Metaphysics” in Mari Carmen pangliensis, 2000, unpaginated. 31. Chagoya and Karlstrom. Ramírez and Héctor Olea, Inverted Utopias: 21. The series began in 1997 and is ongoing; 32. Discussed in Hickson, 15; see also George Avant-Garde Art in Latin America (New Haven: see Hickson, Borderlandia Unbound,” 16. Adams Gallery, New York (“Big and Little Draw-

Fig. 6. Enrique Chagoya. En el Jardín de los Miserables (2010), accordion-folded artist’s book, monotype on amate paper, 12 1/4 x 84 inches overall. Unique. Collection of the Faulconer Gallery, Grinnell College, Grinnell, IA, Marie-Louise and Samuel R. Rosenthal Fund. Published and printed by Shark’s Ink, Lyons, CO. ©Enrique Chagoya 2010. Photo: Bud Shark.

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ings,” May 20 - Jul 2, 2004) http://www.george- adamsgallery.com/exhibitions/exhibitions_past_ ins.php3?exhib=11. 33. For further discussion of these two distinct categories, see Hickson, “Borderlandia Unbound,” 14 and 15-16. The artist also says “editorial cartooning… expresses itself better in some of my charcoal drawings” (Seligson). 34. Email interview with the author. 35. After some detailed but incomplete discussion, Goldman concludes her essay rather abruptly with an apology that “there has not been space enough to do justice to Chagoya’s immersion in Catholic imagery” and summarily categorizes his work as an embodiment of La- tino liberation theology without further elabora- tion (“Subversive Vocabulary,” 22). Hickman’s essay is couched as an “abbreviated guide” and concludes that “Chagoya seems to locate the otherworldly place where…fantasy worlds collide” (“Borderlandia Unbound,” 16). Storr’s essay focuses on the heterogeneous nature of Chagoya’s work and its “purposely playful spirit” (“Stratagies,” 32). Perez discusses the work in terms of history, analyzing the forgotten or overlooked truths revealed in his imagery, and concludes “Perhaps he is unable to suggest a completely new mapping of the world…but while exposing the overbearingly exotic and stereotypical, he certainly undermines it” (“Simultane- ous Dimensions,” 41). 36. Chagoya and Karlstrom. 37. Hickson, “Borderlandia Unbound,” 18. 38. Deming, “Interview with Enrique Chagoya.” 39. Chagoya and Karlstrom.

Fig. 7b. Enrique Chagoya, detail of New Illegal Alien’s Guide to Critical Theory (2008), pigment and acrylic on amate paper and three layers of Plexiglas, 13 1/4 x 92 1/8 inches. Variable Edition. Printed and published by Magnolia Editions, Oakland, CA. ©Courtesy of the artist and George Adams Gallery, New York. Photo: Adam Reich.

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Fig. 8. Enrique Chagoya, Histoire Naturelle des Espécies: Illegal Alien’s Manuscript (2008), accordion-folded artist’s book, twelve-color lithograph on amate paper, 11 1/2 x 74 1/4 inches overall. Edition of 30. Published and printed by Shark’s Ink, Lyons, CO. ©Enrique Chagoya, 2008. Photo: Bud Shark.

11 3/4 x 96 inches unfolded pencil by the artist. Checklist of Unique work Printed and published by Shark’s Ink, Printed by Segura Publishing Company, Lyons, CO Enrique Chagoya’s Tempe, AZ Collection Arizona State University Art 7. Les Adventures des Cannibales Modern- Printed Books Museum, Tempe, AZ istes (1999) Accordion-folded book: thirteen-color litho- 4. Friendly Cannibals (1996) graph and woodcut (8 plates and 1 wood- and Codices Trade hardcover book with illustrations by block) on joined sheets of handmade ivory Enrique Chagoya and fiction by Guillermo Papel de Amate paper and white Thai mul- Gómez-Peña. berry chine collé. 8.2 x 6.3 x 0.4 inches 7 1/2 x 92 inches unfolded Unlimited edition (out of print) Edition of 30, plus 5 artist’s proofs, 2 printer’s 1. Mr. Sugar Came to Town/La Visita del Published by Artspace Books, proofs, 3 workshop proofs, 1 archive impres- Sr. Azúcar (1989) San Francisco, CA sion, 1 B.A.T, 2 trial proofs and 4 patron’s Trade hardcover book with illustrations by ISBN: 0-9631095-7X impressions, each signed and numbered in Enrique Chagoya and text adapted by Har- pencil by the artist. riet Rohmer and Cruz Gomez. 5a. Codex Espangliensis: F rom Columbus Printed and published by Shark’s Ink, Lyons, 9.6 x 8.6 inches to the Border Patrol (1998) (Figs. 3a, 3b) CO Unlimited edition (out of print) Book with reproduced collages by Enrique Published by Children’s Book Press, Chagoya, text by Guillermo Gómez-Peña, 8. UtopianCannibal.org (2000) San Francisco, CA overall design by Felicia Rice. Accordion Accordion-folded book: thirteen-color litho- ISBN-10: 0-89239-045-X / OCLC: 657062944 folded, letterpress in black and red on hand- graph and woodcut (9 plates and 1 wood- made Papel de Amate paper, in portfolio box. block) on joined sheets of handmade ivory 2. The Bread of Days: Eleven Mexican Poets 9 x 11.5 inches folded; 31 feet long unfolded Papel de Amate paper and white Thai mul- (1994) Edition of 50 plus 5 hand-painted impressions berry chine collé. Book with 12 color etchings by Enrique Cha- numbered in roman numerals. 7 1/2 x 92 inches unfolded goya and poems by Bernardo de Balbuena, Printed by Felicia Rice, published by Edition of 30, plus 6 artist’s proofs, 2 printer’s Luis de Sandoval y Zapata, Sor Juana Inés de Moving Parts Press, Santa Cruz, CA proofs, 3 workshop proofs, 1 archive impres- la Cruz, Ignacio Rodríguez Galván, Salvador ISBN: 0-939952-22 sion, 1 B.A.T, 2 trial proofs and 4 patron’s Díaz Mirón, Amado Nervo, José Juan Tabla- impressions, each signed and numbered in da, Enrique González Martínez, Ramón 5b. Codex Espangliensis: F rom Columbus pencil by the artist. López Velarde, and Alfonso Reyes, transla- to the Border Patrol (2000) Printed and published by Shark’s Ink, tions by Samuel Beckett. Trade hardcover book, reproduction of 5a Lyons, CO 14 x 11 inches (above), with new introduction by Jennifer Edition of 141; numbers 1 to 85 enclosed in Gonzalez. 9. Abenteuer der Kannibal en Bioethicists slipcase; A to X with one unbound print and 7.2 x 9.2 inches folded (2001) (Figs. 5a, 5b) enclosed in slipcase; roman numerals I to XII Unlimited edition Accordion-folded book: nine-color litho- with a suite of twelve unbound prints and Published by City Lights Books, graph and woodcut (7 plates and 1 wood- enclosed in box; twenty reserved for the press San Francisco, CA block) with applied “wiggle eyes” on joined and the artist. ISBN-10: 0872863670 sheets of \handmade ivory Papel de Amate Published by Yolla Bolly Press, Covelo, CA. ISBN-13: 978-0872863675 paper; and white Thai mulberry, white Seki- OCLC: 31598898 shu and blue-green Yatsuo chine collé. Letterpress text with 12 etchings in colors, 6. El Regreso del Caní bal Macrobiótico 7 1/2 x 92 inches unfolded each dated and initialed in pencil (hors- (1998) (Figs. 4a, 4b) Edition of 30, plus 6 artist’s proofs, 2 printer’s texte, tipped), signed by Paz, Weinberger, Accordion-folded book: sixteen-color litho- proofs, 3 workshop proofs, 1 archive impres- and Chagoya on the colophon. (The text was graph and woodcut (9 plates and 1 wood- sion, 1 B.A.T, 2 trial proofs and 4 patron’s originally published as Anthology of Mexican block) on joined sheets of handmade ivory impressions, each signed and numbered in Poetry, Bloomington, IN: University of Indi- Papel de Amate paper and white Thai mul- pencil by the artist. ana Press, 1958). berry chine collé. Printed and published by Shark’s Ink, 7 1/2 x 92 inches unfolded Lyons, CO 3. Insulae Canibalium (1995) (Fig. 2) Edition of 30, plus 6 artist’s proofs, 2 printer’s Accordion-folded book; seven panels, mono- proofs, 3 workshop proofs, 1 archive impres- 10. The Misadventures of the R omantic type with photocopy transfers and hand- sion, 1 B.A.T, 2 trial proofs and 4 patron’s Cannibals (2003) (Figs. 9a, 9b) additions on handmade Papel de Amate paper. impressions, each signed and numbered in Accordion-folded book: thirteen-color litho-

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graph and woodcut (7 plates and 1 wood- proofs, 3 workshop proofs, 1 archive impres- 17. Escape from F antasylandia: An I llegal block) on joined sheets of handmade ivory sion, 1 B.A.T, 2 trial proofs and 4 patron’s Alien’s Survival Guide (2011) Papel de Amate paper. impressions, each signed and numbered in Accordion-folded book: ten-color litho- 7 1/2 x 90 inches unfolded pencil by the artist graph (9 plates) with gold metallic powder Edition of 30, plus 6 artist’s proofs, 2 printer’s Printed and published by Shark’s Ink, on joined sheets of handmade ivory Papel de proofs, 3 workshop proofs, 1 archive impres- Lyons, CO Amate paper. sion, 1 B.A.T, 2 trial proofs and 4 patron’s 9 1/2 x 80 inches unfolded impressions, each signed and numbered in 15. Illegal Alien’s Guide to the C oncept of Edition of 30, plus 6 artist’s proofs, 2 printer’s pencil by the artist. Relative Surplus Value (2009) proofs, 3 workshop proofs, 1 archive impres- Printed and published by Shark’s Ink, Accordion-folded book: thirteen-color litho- sion, 1 B.A.T, 2 trial proofs and 4 patron’s Lyons, CO graph (10 plates) on joined sheets of hand- impressions, each signed and numbered in made ivory Papel de Amate paper. pencil by the artist 11. The Ghost of Liberty (2004) (Figs. 6a, 6b) 15 x 80 inches unfolded Printed and published by Shark’s Ink, Accordion-folded book: thirteen-color litho- Edition of 30, plus 6 artist’s proofs, 2 printer’s Lyons, CO graph (10 plates) on joined sheets of hand- proofs, 3 workshop proofs, 1 archive impres- made ivory Papel de Amate paper. sion, 1 B.A.T, 2 trial proofs and 4 patron’s 11 1/2 x 85 inches unfolded impressions, each signed and numbered in Edition of 30, plus 6 artist’s proofs, 2 printer’s pencil by the artist proofs, 3 workshop proofs, 1 archive impres- Printed and published by Shark’s Ink, sion, 1 B.A.T, 2 trial proofs and 4 patron’s Lyons, CO impressions, each signed and numbered in pencil by the artist. 16. En el Jardín de los Miserables (English) Printed and published by Shark’s Ink, (2010) (Fig. 6) Lyons, CO Accordion-folded monotype book on Papel de Amate paper. 12. Double Trouble (Anthropology of the 12 1/4 x 84 inches unfolded Clone) (2005) Unique work Accordion-folded book: thirteen-color litho- Printed at Shark’s Ink,Holualoa, HI; published graph (11 plates) with applied “wiggle eyes” by Shark’s Ink, Lyons, CO on joined sheets of handmade ivory Papel de Collection Faulconer Gallery, Grinnell College, Amate paper. Grinnell, IA 11 1/2 x 75 1/4 inches unfolded Edition of 30, plus 6 artist’s proofs, 2 printer’s proofs, 3 workshop proofs, 1 archive impression, 1 B.A.T, 2 trial proofs and 4 patron’s impressions, each signed and numbered in pencil by the artist. Printed and published by Shark’s Ink, Lyons, CO

13. New Illegal Alien’s Guide to C ritical Theory (2008) (Figs. 7a, 7b) Scroll-format book: inkjet and pigment prints on Papel de Amate and mulberry papers and Plexiglas with hand additions in acrylic paint. 13 1/4 x 92 1/8 inches Variable edition of less than 8 Printed and published by Magnolia Editions, Oakland, CA

14. Histoire Naturelle des Espécies: I llegal Alien’s Manuscript (2008) (Fig. 8) Accordion-folded book: twelve-color lithograph (12 plates) on joined sheets of handmade ivory Papel de Amate paper. 11 1/2 x 74 1/4 in. unfolded Fig. 9b. Enrique Chagoya, The Misadventures of the Romantic Cannibals (2003) (destroyed). Edition of 30, plus 6 artist’s proofs, 2 printer’s Collection Loveland Art Museum ©Enrique Chagoya 2003. Photo: Bud Shark.

Fig. 9a. Enrique Chagoya, The Misadventures of the Romantic Cannibals (2003), color lithograph/woodcut on handmade amate paper, 7½ x 90 inches. Edition of 30. Printed and published by Shark’s Ink., Lyons, CO. Collection Loveland Art Museum ©Enrique Chagoya 2003. Photo: Bud Shark.

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Fig. 5. Artist unknown, flyer for The Avengers, The Controllers and the Urge at 330 Grove St., San Francisco, CA (May 18, 1979), xerox, 8 1/2 X 11 inches.

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The Allure of the Instant: Postscripts from the Fading Age of Xerography By David Ensminger

Fig. 1. Visual Vitriol flyer exhibit at Chemiefabrik nightclub, Dresden, Germany (June 2010). Photo: David Ensminger.

alking into a photocopy shop dusty, remnants of a bygone era. The distributed through an ad-hoc under- W with my arms stuffed with cut’n’ age of “Xerography,” the once blossom- ground network, not only promoted paste material, glue sticks and felt tip ing domain of avant-garde, punk and concerts but also served as trade items, markers, I teem with anticipation, conceptual artists, has been eclipsed by correspondence and art objects. To pre- ready to hear the whir of the photocopy design programs “For Dummies.” serve the blitzkrieg of photocopied art machine and inhale the sharp smell of The ethos of punk art, as it emerged that defined the punk aesthetic and the paper shifting through rollers and in the mid-to-late 1970s, was in large methodology of my generation, as well toner, landing perfectly stacked on the part centered on hand-made, vernacu- as to promote Do-It-Yourself, vernacu- end of the plastic tray, where my hub of lar objects such as fanzines, clothes, lar street art practices, I have collected, “instant” art emerges. I feel invigorated posters, or record covers. Thousands studied, and scanned well over 2,000 and… lonely, when I scan the room of untrained “artists,” armed with lit- gig flyers from the past four decades, where most people huddle around PCs tle more than energy and access to a making them available online and in and Macs as the copiers sit idle and Xerox machine, churned out flyers that, book form.1

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These flyers sport a variety of styles: resented a diverse and democratic field of competing technologies appeared some offer sardonic political illustra- of folk art practitioners who spoke to throughout the 1950s and early 60s: tions that meld the grotesqueries of punk’s amateur underbelly, its desire RCA produced the Electrofax, which Francisco Goya with Zap Comix, or mix to be less polished and closer-to-the- required specially-coated paper and liq- up George Grosz with Bill Campbell of ground than professional design. Their uid toner; Kodak produced the photo- The Weird-Ohs; others feature ransom- aesthetic, never entirely spelled out, chemical based Verifax; 3M made the note motifs brimming with shredded evoked transgressive tendencies and Thermofax, which used infrared energy newspaper or Dada-style collage (Fig. 5); acted like the famous “slap in the face and special heat-sensitive papers; and while still others appropriate drawing of public taste” promised by Russian Apeco debuted the Electro-Stat “elec- styles as stark as German Expression- Futurism.2 tronically dry” machine in 1963. But it ism or as Pop as Roy Lichtenstein. Most Sex Pistols manager Malcolm was Xerox that became a verb. From are photocopied 8 ½ x 11 or A4 sheets McClaren described punk posters as 1959 when the company introduced that contrast pointedly with larger, “a declaration of war against art.” He the Xerox 914, offering fast, cheap, dry professionally printed, lithographic or continued, “these posters screamed copying on plain paper, it effectively screenprinted rock posters of the 1960s ugliness all across town—designs dominated the market.5 Color copying and early 70s, such as the iconic psyche- made to address an army of disaffect- did not become practical until the end delia of Wes Wilson, with its optically ed youth. These were the rats’ ears of of the 1960s with the introduction of ornate allusions to Surrealism, Op-art, the city fighting the consumerist ide- 3M’s Color-in-Color copier. and Art Nouveau. ology of the mainstream.”3 Yet even These machines entered the work- Punk flyers document the move- punk art’s most overtly anti-artisanal place at the same moment that art- ment’s fleeting psycho-geography of visual technique—the exploitation ists were beginning to investigate the scenes, the sense of place and politics of the photocopy, with its reproduc- culture of mass image production and tied to particular underground music tive imperfections, and its democratic replication. Andy Warhol acquired a scenes in San Francisco or Austin, Lon- accessibility—had roots in avant-garde Thermofax machine in 1964 when he don or New York. Somewhat ironically, “high art” of the 60s and 70s. was working on the Death and Disas- digital archives preserve such work, The photocopier did not become ter screenprint paintings. It was put to most of which was meant to be short- a feature of office life until the 1960s. use by Gerard Melanga in works such lived, made by artists who chose to Though the first patent for a system as The Young Mod (1964), in which the remain anonymous. These artists rep- using electrical photoconductivity was photograph of a car crash was copied registered by Chester Carlson4 in 1938, and a poem by Malanga was typed onto it was not until 1947 that the Haloid the Thermofax sheet, creating a poem- Corporation enlisted Carlson to devel- image hybrid in the tradition of Tristan op an office machine, and more than a Tzara.6 In 1969, Warhol leased a Xerox decade later that the first high-volume machine and set up a copy room at the machines became commonplace. By Factory. Some years later Liz Carpenter that time, Haloid had changed its name would press Warhol, “When are you to Xerox, from Carlson’s neologism going to Xerox me, darling?”7 xerography, or “dry writing.” A variety “Xerox” quickly became synonymous with superficiality and consumerism: in 1967 poet Richard Brautigan bemoaned the “Xerox Candy Bar” (“you’re just a copy/of all the candy bars/I’ve ever eat- en”) in his seminal collection Trout Fish- ing in America. For Warhol, the machine was another facet of the modern, high- speed lifestyle: “I know I love to live fast because all my favorite things are the fastest—the new Polaroid Super 8 movie camera, the Roy Rogers Family Style Restaurants, pushbutton telephones, Xerox machines…”8 The photocopy also represented a radical retreat from precious materials and the artist’s hand, as well as an alternative system of production and Fig. 1. Bruno Munari, image from Original Xerography (2007). The original photography and the effect produced by sliding it horizontally. ©Bruno Munari 1977, Maurizio Corraini s.r.l. All rights distribution. 1968 was a bellwether year reserved. for photocopied art: Ian Burn published

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his Xerox Book in Australia; Seth Siege- laub and John W. Wendler produced the catalogue commonly known as The Xerox Book, a conceptual cornerstone featuring photocopied process pieces by Carl Andre and Sol Lewitt, among others;9 and in April of the same year, Ray Johnson inaugurated the New York Correspondence School, an institution comprised of coin-operated public- library photocopy machines and the U.S. Postal Service, through which Johnson circulated his “personalized art-and-wordplay messages to friends and acquaintances around the world.” Each ‘correspondent’ was asked to add something to the work and then pass it along to someone else in the ‘school.’10 Johnson’s ‘Correspondence School’ pre- saged not just the Mail Art movement but also the later punk community’s international network of pen pals, fan- Fig. 2. Sonia Landy Sheridan, Portrait of Sonia Sheridan (c. 1970s), paper print made using the zines, and mail art enthusiasts. The copier “Haloid” by Xerox, 22 x 28 cm. The Daniel Langlois Foundation for Art, Science and Technol- photocopier became synonymous with ogy, Sonia Landy Sheridan fonds, 0501-165. an important ethos: it was an easily manipulated tool with which anyone could work and it offered the potential she took part in the Jewish Museum’s ity, color capacities, perspectives, and to level the playing field between artist SOFTWARE exhibition. The following material limitations.”15 Sheridan did and audience. year she curated the Mail-In Mail-Out not merely pursue copies: she pursued In 1970, Bruno Munari installed a Xerox art show, which combined mail inchoate creativity and an interface Rank Xerox machine at the 35th Ven- art and photocopies and employed both with the mechanics of reproduction. ice Biennale to be used by visitors. For a Thermo-Fax and a Xerox machine. Around the world, artists like Sheri- Munari, the machine was both a social Like Munari, Sheridan was concerned dan focused on the photocopier as an tool and a personally expressive medi- with the interactive space of people and expressive medium: Christian Rigal um: in Original Xerographies (1977), he machines: during the exhibition, parti- organized workshops, exhibitions, and described his “methodical studies per- cipants hugged the sides and leaned a museum in Cuenca, Spain, around formed on an electrostatic copier”— over the glass plate on top of a 3M Col- what he dubbed “Electrography,” while moving the paper around on the platen or-in-Color machine, and watched as in Brazil, Luiz Guimaraes Monforte glass, making art out of photocopy instant artwork rolled out the machine. promoted “Electrografia.” Lieve Prins errors (Fig. 1). The Xerox 914 copier Sheridan recalls that participants mixed color copies with video instal- with which he worked produced a tonal were ready and willing, acting as if the lations and performance artist Jürgen quality entirely distinct from gelatin- machine was a “personal possession,” O. Olbrich used Xeroxes throughout silver photographic prints—higher in as they bypassed her, the person who his multimedia work. In Spain, Marisa contrast and characterized by the dis- had “programmed the color, the tone Gonzalez developed a “Basic Tech- tinctive surface texture that results and the quality of the images.”12 As the niques” system16 based on Sheridan’s from the interaction of static electricity first artist-in-residence at 3M, Sheridan Generative Systems; the “First Interna- and toner.10 In Electroworks, Marilyn worked closely with the inventor of the tional Biennial of Copy Art” was orga- McCray describes Munari’s use of the Color-in-Color, Dr. Douglas Dybvig, nized in Barcelona in 1985.17 “machine like a pencil for a new type of to render it more flexible for artists’ By the late 1970s, when punk erupt- drawing”11 (pg. 11). use, more open to the manipulation of ed as an identifiable subculture, pho- Sonia Sheridan (Fig. 2) established image parameters, to altering “code rela- tocopying was well integrated into the the innovative and influential “Gen- tionships, values, and density at will.”13 art world, but was also seen as a tool erative Systems” program at the School She was fascinated by “patterns of for bypassing the gallery system. The of the Art Institute of Chicago as an change,”14 “metamorphosis”—stretch- Xerox was a double-edged sword—it outgrowth of photocopy technology. ing images—and image degeneration, evoked both the corporate world and Sheridan was working with high-speed effectively employing photocopiers “as the potentially subversive release of copy machines as early as 1969, when cameras, exploring their light sensitiv- information, both the commonplace

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ties of photocopies echoed the underly- ing social currents of punk: “the most distinctive thing about the Color Xerox, part from its smell, is the harsh, noctur- nal effect of its colours. It is particularly well-suited to images of urban alien- ation, council flats, barbed wire... Its main advantages are that it is relatively cheap, accessible and unmistakably youthful.”21 (Not everyone concurred: Beat Generation icon and abstract painter Brion Gysin denigrated much Xerox art as “decorative garbage” akin to “painting with numbers,” roller skating through an “air-conditioned super- market of the arts,” and “programmed creativity” meant to sell “electronic equipment… to an over-affluent society of idle housewives.”)22 While bands such as the Clash, Buzzcocks, and the Sex Pistols signed contracts with corporate record labels that housed their own design departments, thousands of smaller acts around the globe heeded loose-knit punk principles and opted for more cost-effective and democratic styles — copy machine aesthetics for the age of rupture and dissent. Yet, as with the Fig. 3. Jamie Reid, God Save the Queen (1977), Sex Pistols 45 rpm record sleeve, music industry itself, the line between 7 x 7 1/4 inches, Virgin Records. Collection Nicolas Collins. professional and amateur in punk visual culture was often muddy. and the visionary, the utilitarian and art, not unlike Basquiat’s work, tended In the UK, Gee Vaucher and Penny the conceptual. In 1979, Keith Har- to be more immediate, haphazard, Rimbaud were art-school-trained social ing was posting photocopies of his unruly, and raw than anything done by activists who formed the nucleus of collages, which “recycled established Warhol: “There was a feeling that you Crass, a vociferous second-wave punk forms of public address (such as news- didn’t need any special training to cre- band in the late-1970s that merged paper headlines) in order to provoke a ate a project if you had a good idea to social and political action with immer- reaction in the viewer and make him/ express… One of these outlets was for sive environments incorporating sound her think about his/her political situ- a band member or a friend to create a and visuals. The band produced pho- atedness and context.”18 Jean Michel different poster for each performance,” tocopied gig flyers, agit-prop stencils Basquiat embraced Xerography as well, recalled East Bay Ray, the guitarist of for nuclear disarmament, and record integrating photocopies into paintings the Dead Kennedys. “It didn’t matter designs featuring large fold-out sleeves, such as Natchez (1985). Both artists were whether a punker had art training or such as the Feeding of the 5000. Vaucher closely involved with the downtown not—DIY, “do it yourself,” was in the also designed and published her own club scene, where music and art con- air… Objets d’art were being made by publication, International Anthem, cerns overlapped. Haring put together people with very little capital.”20 Pho- whose masthead declared, “A nihilist the “Xerox Art” exhibition,19 featuring tocopy shops became workshop spaces newspaper for the living.” artists such as Richard Kurtz and Paul and community hives; late night loiter- Artists such as Vaucher, Jamie Reid, C. Smith, at Club 57 in the East Village, ing, and perhaps the theft of toner and and Winston Smith employed the ground zero for the New York punk paper, became a modus operandi. photocopier and/or cut’n’paste style to scene. The photocopy offered both a cost- reproduce and remix collage elements Artists like Warhol, Sheridan and effective way to reach an audience and stolen from pop culture’s plethora of Haring had extended fine arts practices visual properties that easily aligned ready-made images. Reid created the into the realm of new technologies, but with a punk view of the world. In iconic Sex Pistols graphic of Queen punk’s emphasis was on amateurism; 1982, The Guardian art critic Waldemar Elizabeth gagged and blindfolded with hence, its insurgent xerographic folk Januszcak noted how the formal quali- a ransom-note spelling out “God Save

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the Queen.” (Fig. 3) Vaucher’s more nuanced collages came to be identified with pacifism-meets-Dada urges: Wel- come Home featured a returning Ameri- can G.I. with exposed facial skull frag- ment hugging an otherwise pleasantly perfect family. Smith borrowed style elements and impulses from Dadaist artists such as Raoul Hausmann, creating eye-engulfing photo-collages for Bay Area bands such as the Dead Ken- nedys and Green Day. In Los Angeles in the late 70s, Ray- mond Pettibon provided literary- minded, darkly humorous, and often disturbing hand-drawn black and white illustrations for ‘hardcore punk’ bands, most notably Black Flag (Fig. 4), which featured Pettibon’s brother Gregg Ginn on guitar. Pettibon’s drawings were transformed into photocopied gig flyers posted by band members, fans, and helpers—sometimes hundreds at a time—throughout greater Los Ange- les. These works on paper, artifacts of the easy access of whirring photocopy machines and late-night postering binges, were soon worn and torn in the heat and avidly collected by punk youth. Other punk artists with fine art skill sets included Jaime Hernandez, illus- trator for the popular underground comic Love and Rockets; Pushead, who designed graphics for bands like the Meatmen and Metallica; Victor Gas- telum, an artist who penned flyers for Sluglord Productions, became a chief designer for SST Records, and later worked for Americana bands like Calex- ico; Randy “Biscuit” Turner, singer for the Big Boys whose mixed-media work drew from sources as diverse as Salva- dor Dalí and Day-Glo; Brian Walsby, who turned his candid illustrated jour- nals into Manchild, a cantankerous Fig. 4. Raymond Pettibon, flyer for Black Flag, Middle Class, Social Distortion, The Adolescents multi-volume graphic novel of sorts; and China White at The Starwood, West Hollywood, CA (Jan. 6–7, 1981), offset press, 8 1/2 x 11 inches. and Shawn Kerri, who designed iconic images and album covers for D.O.A., Circle Jerks (Fig. 5) and The Germs. store walls were naïve and distressed, wide-open public access enabled by the The Seattle-based graphic designer Art the images produced by these artists photocopier and the artist-audience Chantry created posters for Nirvana and were more polished, deft, and fluid. cross-over pursued by artists in the 60s the Sonics and compiled the first book They constituted a bridge between the and 70s—formed an essential part of a of punk rock flyers and posters, Instant cooked and the raw, between commer- core punk ethos, stirring culture from Litter: Concert Posters from Seattle Punk cial art and the rank amateurs of the below with dirty, disheveled, frenetic in 1985. While most of the DIY flyers Xerox nation. hands. The act of posting them, often covering telephone poles and record The cheap punk flyer—born of the furtively and sometimes illegally, can

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Fig. 5. Trish Herrera, Mydolls at the Ale House, Houston, TX (1983), xerox, 8 1/2 x 11 inches.

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be understood as a way of “invading” the physical terrain of cities and claim- ing contested space. Today’s digital processes, with their attendant visual styles and social functions, have largely eclipsed and replaced photocopying as a tool for image creation and distribution. Today’s armchair rebels use Adobe Photoshop and send digital flyers via Facebook. As paper products give way to social-media platforms, fliers posted on light poles seem so “last century,” as do their vernacular and deeply democratic rituals. Gee Vaucher argues that photocopying—the pursuit of making, using, and distributing works on paper—appealed to a set of tactile sensibilities currently lost in the age of digitized communi- Fig. 6. Scranny, flyer forCircle Jerks and cation: “there’s no tactile quality with Wasted Youth at the Whisky A Go Go, Los emails, there’s no smell. When all those Angeles, CA (Aug. 3,1981), xerox, 8 1/2 x 11 fanzines arrived you’d get something inches. Fig. 7. David Ensminger, flyer for Mydolls, sensuous, the smell of Xerox or ink Hickoids, AK-47, Anarchitex and Biscuit Bombs at The Mink, Houston, TX (Aug. 1, or whatever, some cup of tea that had these artists, including the desire to 2009), xerox, 8 1/2 x 11 inches. been spilt on the paper. It wouldn’t be operate as margin walkers outside or trimmed or stapled very well, but it beyond traditional institutions, to was made by somebody who wanted engage everyone as potential “creators”, 2. David Burliuk, Alexander Kruchenykh, Vlad- mir Mayakovsky, Victor Khlebnikov. A Slap in the to share something, and I think that’s and to court ephemerality and improvi- Face of Public Taste, 1913. very important.”23 Those immersive satory tools-at-hand in meaningful 3. Ensminger, p. 8. qualities become no more than tropes ways, remain critical to large swaths of 4. Carlson was an interesting figure: he never bought a car, he attempted to travel third class and conceits, a wistful yearning for ver- contemporary art and music communi- in Europe, and gave much of his wealth away nacular craft, in the current digital age. ties. In 1988, Sonia Sheridan wrote, to groups working for world peace and civil Nonetheless, the ideals motivating “There is no greater joy than traveling rights. He purchased and integrated residen- from past, to present, to future and back tial buildings in New York City and Washington D.C., supported the United Negro College Fund again through our old, new, and yet-to- and provided the bulk of funding for the Center be vehicles of transportation and com- for the Study of Democratic Institutions, which munication… I hope I will live long invited leftist speakers such as Aldous Huxley, Cesar Chavez, and Upton Sinclair. See Owen, enough to voyage with other systems David. “Making Copies.” Smithsonian. (Aug. and other minds.” (“Four Kind,” 1988). 2004): 91-96. The age of Xerography reminds us that 5. These machines work through electrostatics: such tools never stay static, never the document is exposed to a drum coated with photoconductive material; the dark bits remain become fossilized. They become part of negatively charged and the light bits become the flux of the cutting edge, of the avant- positively charged. When the drum comes into garde, not simply discarded but rein- contact with positively charged toner, the toner sticks to the negatively charged areas of the vented, re-tooled, and re-imagined. drum. From there the toner is transferred to paper and fused with heat and pressure. 6. Wolf, Reva. Andy Warhol, Poetry, and Gossip David Ensminger is the author of Visual Vitriol: in the 1960s. University of Chicago Press, 1997, pp. 73, 75, 77. The Street Art and Subcultures of the Punk and 7. Warhol, Andy, and Pat Hackett. The Andy Hardcore Generation. Warhol Diaries. Random House, 1991. 8. Nocenti, Annie, and Ruth Baldwin. The High Times Reader. Nation Books, 2004, page 108. Notes: 9. Ironically, it proved too expensive to produce 1. Ensminger, David. Visual Vitriol: The Street the book in an edition of 1000 by photocopying, Art and Subcultures of the Punk and Hardcore so while the “original” works were made by pho- Fig. 8. David Ensminger, flyer forSuper Happy Generation, University Press of Mississippi, tocopy, they are reproduced in the catalogue by Funland from the two-night Visual Vitriol punk 2011. http://www.sanfranpunk.wordpress.com, offset lithography. festival, Houston, TX (Jan. 2012), xerox, http://austinpunk.wordpress.com,http://nyc- 10. Hurt III, Harry. “A Performance-Art Death.” 11 x 17 inches. punkandhardcore.wordpress.com New York. 6 March 1995, pp. 24 – 25.

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Fig. 9. Flyer for The Energy and Born Liars @ Mango’s, Houston, TX (2010). Photo: David Ensminger.

11. McCray, Marilyn. Electroworks. International 20. Quoted in Visual Vitriol, page 9. Originally Andy Warhol Interviews: 1962-1987. Da Museum of Photography at George published in Fucked Up and Photocopied: Capo, 2004. Eastman House, 1979, p. 8. Instant Art of the Punk Rock Movement. Eds. Mulholland, Neil. The Cultural Devolution: Art in 12. Sheridan, Sonia. “Four Kinds of Using Time: Bryan Turcotte and Christopher Miller. Gingko Britain in the Late Twentieth Century. Ashgate Using Brush, Camera, Copier, and Computer.” Press, 1999. Pub. Ltd., 2003. Leonardo 21.2 (1988): 111-113. MIT Press, p. 21. Januszcak, Waldemar. “Zen and the Art of Munari, Bruno. Original Xerographies. Reprint. 112. Color Xerography.” New Scientist, Dec 2. 1982, Edizioni Corraini. 2008. 13. Copyart: The First Complete Guide to the p. 590. Schwartz, Hillel. The Culture of the Copy: Strik- Copy Machine. Eds. Patrick Firpo, Lester Alex- 22. Wilson, Terry. Brion Gysin: Here to Go. Lon- ing Likenesses, Unreasonable Facsimiles. ander, and Claudia Katayanagi, Horseguard don: Creation Books, 2001. Zone. 1998. Lane Productions, 1978, p. 11. 23. Capper, Andy. “In Our Decadence People Sheridan, Sonia. “Four Kinds of Using Time: 14. Kirkpatrick, Diane. “Sonia Landy Sheridan.” Die: A Collection of Crass Fanzines.” Vice. Using Brush, Camera, Copier, and Compu- Woman’s Art Journal. 1.1 (1980): 56-59, p. 57. http://www.vice.com/read/in-all-our-decadence- ter.” Leonardo. 21.2 (1988): 111-113. MIT 15. Kirkpatrick, Diane, Mary Flanagan, and people-die. Press. Sonia Sheridan. The Art of Sonia Landy Sheri- Smith, Winston, and Ralph Steadman. All Riot dan. Hood Museum of Art, Dartmouth, 2009. on the Western Front. Last Gasp, 2004. 16. The system consisted of five parts: Painting Steenstra, Sytze. Song and Circumstance: the with Light, Direct Screen Work, Image Decom- Works Cited: Work of David Byrne from the Talking Heads position, Degeneration, and Finger Painting. Dalton, Trinie. “Munari Star Chart.” X-Tra Con- to the Present. Continuum International Pub 17. Gonzalez, Maria. “Copiers, Motion and temporary Art Quarterly. http://www.x-tra lishing Group, 2010. Metamorphosis.” Leonardo. 23. 2/3. (1990): online.org/past_articles.php?articleID=408. 295-300. MIT Press. Hooten, Josh. We Owe You Nothing: Punk Plant 18. Cruz-Malavé, Arnaldo. Queer Latino Testi- The Collected Interviews. Ed Daniel Sinker. monio, Keith Haring, and Juanito Xtrava-ganza: Akashic, 2001. Hard Tails. Palgrave Macmillan, 2007, p. 68. Eds. Kenneth Goldsmith, Reva Wolf, Wayne 19. Also known as “The Xerox Show.” Koestenbaum. I’ll Be Your Mirror: The Selected

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Looking Back at Looking Back: Collecting German Romantic Prints By Catherine Bindman

he British have traditionally had T little time for German Romantic art on the whole. If German literature, music and philosophy of this period have always been held in high esteem abroad, Caspar David Friedrich is probably the only German Romantic artist to have received any kind of international recognition—and this only in the past few decades. In her preface to the recently published catalogue of selected works from the German Romantic prints and drawings collection of the English print publisher Charles Booth- Clibborn, Giulia Bartram points out that while Prince Albert introduced German art to Queen Victoria, and while the English Pre-Raphaelites based some of their artistic ideals on those of the German Nazarenes, the taste never really caught on more widely. Indeed, English private collectors of the 19th century tended to favor the English watercolor. And museums in Britain, with the obvious exception of the Brit- ish Museum, have rarely focused on this material. The best of the German Romantic prints and drawings that came on the market in the latter part of the 20th century were purchased chiefly by American museums and by Ger- man collectors loyal to their country’s artistic heritage. British resistance in modern times to works of art that in some instances Fig. 3. Ferdinand Ruscheweyh after Peter Cornelius, Witch Scene with Faust and Mephistopheles had become icons of Teutonic iden- Ascending the Brocken from Bilder zu Goethe’s Faust (1816), engraving, 45 x 37 cm. Collection of Charles Booth-Clibborn, part of a portfolio acquired in 2001. tity, redolent of emerging nationalis- tic tendencies that in hindsight began to feel very creepy indeed, is entirely tic artist Friedrich Overbeck on a trip Ladislaw insists to his German artist understandable. It can also be attrib- to Rome in 1860. Her initial response friend Adolf Naumann (modeled partly uted to longstanding differences in to what she saw as the heavy-handed on Overbeck) “I do not think that all cultural sensibility. George Eliot sug- symbolism and over-ripe spirituality in the universe is straining towards the gested something of this in Middle- contemporary German art is mirrored obscure significance of your pictures” march (1871–72) in which she represents at first by her heroine Dorothea, a “girl (see Frances Carey’s chapter on “The her experiences of visits to Germany fed on meagre protestant histories and Reinvention of the Past: Testaments in 1854–55 and again in 1858 as well as on art chiefly of the hand-screen sort.” of Friendship and of Faith,” p. 49). a studio visit to the German Roman- Or as Dorothea’s cousin-in-law Will Gradually, however, after Naumann’s

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Fig. 5. Karl Wilhelm Kolbe, Auch ich war in Arkadien (I too was in Arcadia) (1801), etching, 40.9 x 52.7 cm. Collection of Charles Booth-Clibborn. explanations, “Some things which had vate collection) not only provide a the- German and non-German art in the seemed monstrous to [Dorothea] were matic study of the history of German Nineteenth Century”—in those distant gathering intelligibility and even a nat- Romantic drawing and printmaking, days such connections evidently had to ural meaning.”(p. 50) but also emphasize the English cultural be carefully explained.) Will Vaughan’s Charles Booth-Clibborn says he relationship to it. It is safe to say that German Romanticism and English Art has around 1500 prints and about 300 the catalogue represents a landmark (1979) expanded on the theme and his drawings in a collection that continues publication in English in the field of seminal German Romantic Painting was to expand. This is, in fact, the first time German Romantic Art. When, in 1970, published in 1980. that an English collector has established Kermit and Kate Champa produced But if little has been written in Eng- such a large and important collection their catalogue of German Painting lish on German Romanticism in gener- of German Romantic works on paper in the Nineteenth Century for the Yale al, there has been even less on German (and in this case over the course of only University Art Gallery, they noted the Romantic works on paper. The British about twelve years). The eight scholarly lack of American scholarly interest Museum was responsible for an essen- essays in the catalogue of the exhibition in the field: “Rejecting for a moment tial development in this field with the (confusingly the show, on view through such American social subpsychoses as 1994 exhibition, from its own holdings, April 1, 2012, has a different title from anglophilia, we seem actually to resist of “German Printmaking in the Age of the catalogue—“Landscape, heroes and dealing with more than ‘ours’ and ‘the Goethe,” the first of its kind ever held in folktales: German Romantic prints and French.’” (The published papers of a Britain. Organized by curators Frances drawings”—one that also obscures the symposium accompanying the exhibi- Carey and Antony Griffiths, the exhi- fact that the material comes from a pri- tion were titled “Correlations between bition itself received only one review

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at the time (unsurprisingly by Will abundantly illustrated in the catalogue, they worked” (p. 7). Vaughan in the Burlington Magazine) too). It nonetheless has a distinguished This catalogue, however, is very dif- and was not widely publicized; its cata- English provenance in the collection ferent from its predecessor—it aims logue, as notable for its preface replete of John Talbot, in addition to being less at an overview of major and minor with modest disclaimers based on con- an important record of the reverence printmakers of the period and focuses straints of time and resources as for its with which the Italian master was held instead on highlights from the collec- groundbreaking study of printmaking in German intellectual circles. Booth- tion as well as detailed scholarly stud- and the mechanics of the print business Clibborn, presumably with an eye to ies of aspects of the art and culture of in Germany during this period, quickly the future, has also focused on mater- the period. While some of the essential became an essential handbook for both ial not in the museum’s collection. As images here also, inevitably, appeared private collectors and curators in the curator Antony Griffiths generously in the 1994 show, in many cases those in English-speaking world. (Even German notes in the foreword to the new cata- Booth-Clibborn’s collection are in finer scholars will admit that they find it logue, “It must be a rare experience for impressions, or from complete origi- invaluable: while, of course, there is any curators to find that one of their shows nal sets not in the museum’s holdings. number of works on German Romantic has given birth to another collection in Notable among these are a number of artists, most are regional in emphasis, the same area that is stronger and more the iconic Kolbes and Olivier’s Views of and an overview of this kind is still lack- impressive than the one with which Salzburg. The 1994 exhibition presented ing in the German literature.) Charles Booth-Clibborn, the found- er of Paragon Press, best known for publishing prints by British artists such as Damien Hirst, Jake and Dinos Chapman and Anish Kapoor, was first shown the Kräuterblätter (herb sheets) of Carl Wilhelm Kolbe in 1993 by the print dealer Simon Theobald. He had never heard of the artist. What he saw in “German Printmaking in the Age of Goethe” at the British Museum the following year further inspired him to begin collecting this material. His first major purchase, in 1999, from the Ger- man dealer Jörg Maaß, was a collection of 220 Kolbe prints that had belonged to Dr. Karl Henning Schmidt; in 2000, Booth-Clibborn acquired the collection of Ewald Barth, making his holdings of Kolbe’s prints and drawings the most comprehensive outside Germany. He now owns almost all of Kolbe’s printed oeuvre—314 etchings, some in different states, as well as a group of drawn figure studies. His collection further incorpo- rates all the major artists of the period, among them Philipp Otto Runge, Cas- par David Friedrich, Johann Heinrich Wilhelm Tischbein (Fig. 1), Ferdinand Olivier, Friedrich Overbeck and Julius Schnorr von Carolsfeld as well as many lesser-known figures. Booth-Clibborn has also attempted to obtain works associated with a history of British collecting in this field wherever possible. Johannes Riepenhausen’s album Vita di Raffaele da Urbino (The Life of Rafael)

(etching and watercolor, 1832, cat. no. 16) Fig. 1. Johann Heinrich Wilhelm Tischbein, An idealized woodland scene near Naples (1796), is undeniably a rather lifeless thing (and etching, 45.2 x 35.1 cm. Collection of Charles Booth-Clibborn, part of an album acquired in 2000.

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while he ultimately turned against the Nazarenes, his drama Faust became the subject of the earliest major work of Nazarene printmaking, Witch scene with Faust and Mephistopheles ascending the Brocken (Fig. 3) by Ferdinand Rus- cheweyh after Peter Cornelius (engraving, 1816, p. 107, no. 25). The fairytales collected by the brothers Grimm provided a further important source for artists, some of whom, like Moritz von Schwind, made their reputations with illustrations for them. However, by the time Julius Thaeter and Carl Heinrich Hermann published their ambitious History of the German People in 1852 (cat. no. 28), a series of fifteen engraved plates illustrating a history of the Ger- man people from their pagan orgins until 1847, this kind of detailed illustra- tional work was beginning to look more than a little dull and static, especially in light of the emerging realism seen from the 1840s in the work of artists like Adolf Menzel. The works in the catalogue also document a new relationship among Ger- Fig. 2. Johann Anton Ramboux, Double Portrait of the painter Konrad Eberhard and his brother man artists to landscape and nature. Franz (1822), lithograph with a tint stone, 31.6 x 34.5 cm. Collection of Charles Booth-Clibborn, acquired in 2001. The four prints that record Runge’s ambitious Tageszeiten (Times of Day) a mismatched set of the nine Olivier bourgeoisie that began to supplement project (engraving and etching, 1807, plates from four different sources, for traditional aristocratic patronage. This cat. nos. 1-4), an uncompleted scheme example; this exhibition shows one had an enormous impact on the sale for mural decorations for a chapel, of Booth-Clibborn’s complete sets as of prints and other modest works of reflect an iconography based on the originally issued, a rare deluxe version art, which emanated from Dresden, spiritual symbolism of flowers defined in its original tooled cardboard portfo- Berlin and Vienna as well as the book by the austere linear style of Flaxman lio. Further, the museum has only one centers of Leipzig and Frankfurt. Kun- and the antique grotesques in the Vati- of the four engravings after Runge’s stvereine, membership societies that can loggiae. Nonetheless they do little Times of the Day, while Booth-Clibborn raised funds for the purchase of works to support Will Vaughan’s view (in his owns all four. And, until he donated of art and support of public decorative chapter on “Philipp Otto Runge: ’Every- one recently, the museum did not own schemes, stimulated a new audience thing tends towards landscape…’,” p. 31) an impression of Ramboux’s iconic por- for art, even if it tended to be on the that they are “the greatest of all Ger- trait of the brothers Eberhard (Fig. 2) conservative side (as the rather folksy man Romantic prints” (and, of course (one remains in Booth-Clibborn’s own imagery of Adrian Ludwig Richter in they are after rather than by Runge, as collection). At the same time, the pres- Dresden illustrates). As Giulia Bartram the catalogue indicates); there is some- ent show and its catalogue, appropri- describes in her chapter on “History, thing disturbingly saccharine about ately designed to showcase Booth-Clib- Myths and Folk tales: a new approach them. Booth-Clibborn’s extensive hold- born’s collection, are both somewhat for a new public,” the championing of ings of the work of Tischbein, Olivier freed from the institutional responsi- an “historic” German art, one based on and Schnorr (mainly late drawings in bility to be all-encompassing. a fantasy notion of the Middle Ages as the case of Schnorr), show how classical As Will Vaughan points out in his an era distinguished by national unity landscape, long seen as the only accept- excellent and detailed introduction and spirituality, was reflected in images able form of an inferior genre, was grad- to the catalogue, after the Napoleonic relating to a vast proliferation of litera- ually pushed aside during this period wars, the long-established print indus- ture and poems based on early German in favor of works recording the native try in Germany took a new lease on life folksongs and fairytales. Goethe’s writ- countryside, images that also served under the influence of an increasingly ings also had an enormous influence on as expressions of national sentiment. affluent and unusually highly educated artists of this period, and, as she notes, Scientific and pseudo-scientific devel-

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Maximilien’s Prayerbook (p. 101, fig. 24) is with three cows (etching, 1793, cat. no. an early example. Lithography had the 54) are highly finished compositions in particular advantage of allowing the which the figures are typically dwarfed reproduction of the delicate lines of alt- by foliage and distinguished by Kolbe’s deutsch draftsmanship that continued humorous etched sketches in the mar- to preoccupy German artists at a time gins. There are also fine examples of when British printmakers were experi- the Kräuterblätter, a discrete group menting with such illusionistic meth- of 28 curious etchings showing giant ods as mezzotint, stipple engraving vegetation, as well as the fantasy land- and aquatint (much disdained by their scapes. Like the 1994 exhibition, this German counterparts). Among the one includes Kolbe’s masterpiece, Auch exceptional lithographs presented here ich war in Arkadien (I too was in Arcadia) are Karl Friedrich Schinkel’s famous (1801, etching, cat. no. 63) (Fig. 5 and cat- Gotische Kirche im Eichenhain (Gothic alogue cover), in which embracing lov- church behind trees) (1810, cat. no. 76), a ers contemplate a momento mori—a sar- masterwork published by Georg Jakob cophagus inscribed with the words Et Decker’s lithographic press in Berlin in Ar[cadia e]go. and the artist’s Schloss Predjama in Crein The only small regret of this writer is (Fig. 4) (cat. no. 77), printed in 1816 in that such a large and lavishly produced the press of Decker’s student, Fried- publication did not allow for a more rich Klinsmann. Carl Blechen’s Church comprehensive record of this impor- Fig. 4. Karl Friedrich Schinkel, Schloss Pred- and graveyard in snow with the ghost tant private collection, if only in the jama in Crein, 12 hours from Trieste (1816), appearing to Don Giovanni (1827, cat. form of an additional appendix or lithograph, 39.5 x 31.8 cm. Collection of Charles no. 81) is dramatic and, with its slivery checklist. It is, nonetheless, an extraor- Booth-Clibborn, acquired from C. G. Boerner, tones, almost photographic in effect. dinarily ambitious scholarly achieve- Düsseldorf, in 2007. Ferdinand Olivier’s Views of Salzburg ment in a field that remains a source of (1823, cat. nos. 69A–I), a series of seven revelation in the English-speaking opments also influenced the German exquisitely refined landscapes and two lands. response to natural phenomena. Tisch- additional sheets comprising a religious bein’s dedication to Lavater’s theories allegory of daily life inspired by the art- Catherine Bindman is a frequent contributor to of human physiognomy and its rela- ist’s expedition to Salzburg in the sum- Art in Print. tionship to temperament, for example, mer of 1817, is thought of as perhaps the inspired his portraits and animal stud- finest set of lithographs ever made. It ies. The animal drawings are, however, appropriately absorbs an entire chapter the least interesting of his works and it of the catalogue (Ute Kuhlemann, “An is not clear why quite so many plates artistic confession: Ferdinand Olivier’s have been dedicated to them here. His landscape views of Salzburg,” pp. 216– lively printed portraits of Salvator Rosa 277). (etching, before 1800, cat. no. 34) and Carl Wilhelm Kolbe is in some ways Niccolò Sale (etching, before 1800, cat. the odd man out in all this; his ideal- no. 35) and especially the ravishing fan- ized landscapes and Kräuterblätter are tasy landscape An idealized woodland products largely of his imagination, scene near Naples (etching, 1796, cat. no. reflecting his passionate and idiosyn- 32) provide a much better sense of what cratic relationship to nature as a “place the artist was capable of. to roam containing my purest and most The Booth-Clibborn collection is pleasurable sensations” (see Anna Schul- rich in prints that demonstrate how tz’s chapter, “’Trees have turned me into lithography began to be used as an an artist;’ The graphic work of Carl independent artistic medium quite Wilhelm Kolbe (1759–1835),” p. 176). For early in its history and often to extraor- me, his prints are the great glory of the dinary effect. Early native practitioners collection here. Schultz’s essay follows German Romantic prints and drawings of lithography, invented in Germany the full trajectory of the artist’s career from an English private collection by Alois Senefelder in 1798, had prin- and a handful of sublime examples are Edited by Giulia Bartrum cipally deployed it for reproductive illustrated. The artist’s Woodland pool 336 pp, 200 color illustrations, £30. purposes: Johann Nepomuk Strixner’s with a man fishing and a bystander(etch - Contemporary Editions in association 1808 publication of reproductions of ing, ca. 1793, cat. no. 53) and his Wood- with The British Museum Press Dürer’s marginal drawings to Emperor land glade with a herdsman and woman London: The British Museum Press, 2011

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Proof: The Rise of Printmaking in Southern California By M. Brian Tichenor and Raun Thorp

Fig. 1. Edward Ruscha, Anchovy (1969), lithograph, 48.6 x 71.8 cm. Printed by Serge Lozingot, published by the Tamarind Lithography Workshop. Norton Simon Museum, anonymous gift. ©Edward Ruscha.

acific Standard Time,” an unprece- collection, celebrate the astonishing There is a long history of fine art P dented collaboration among more contributions of a remarkable gen- printmaking in the Los Angeles area, as than 60 cultural institutions, has Los eration of Southern California artists is illustrated by a somewhat mad flow Angeles and environs reveling in a myr- using print. chart detailing the web of influences iad of exhibitions and events focused As in most of the “Pacific Standard and players, which greets viewers at on the coming of age of the arts in Time” exhibitions, the thrust of “Proof” the start of the exhibition. Initially an post-WWII Southern California. The is to solidify the history of the period adjunct to the Plein Air school of paint- initiative was spearheaded by the Getty from roughly 1945 to 1980. In the Nor- ers mostly concentrated in the Pasadena Foundation and the Getty Research ton Simon’s case there is almost an Arroyo, printmaking was integral to the Institute, but one of the highlights is embarrassment of riches from which fabric of art production in the region the Norton Simon Museum’s contribu- to draw; the exhibition includes more from the early 20th century onward. As tion, “Proof: The Rise of Printmaking than 125 prints, but there is the strong the first glimmer of modernism began in Southern California.” The works in sense that, with more space, the show to manifest itself in the 30s, printmak- this exhibition, largely drawn from the could have easily been three or four ing was eagerly and enthusiastically Norton Simon’s extensive permanent times larger. deployed for investigations of the new

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aesthetics. This is partly a byproduct of of the artists represented. Consider caviar? Of course. Robert Rauschenberg the populist tendencies of those same the careers of John Baldessari, Billy Al (Fig. 3) and John Baldessari challenged artists, as well as an outgrowth of a Bengston, Vija Celmins, Bruce Con- the accepted methods of production deeply rooted regional artisan sensi- ner, Richard Diebenkorn, Sam Francis, and of presentation with their impossi- bility. The presence of printers such as David Hockney, Ellsworth Kelly, Ed bly large and irregularly shaped prints. Lynton Kistler, with his finely honed Moses, Lee Mullican, Claes Oldenberg, Claes Oldenburg created inventive and lithographic skills, prepared the ground Robert Rauschenberg or Ed Ruscha: all utterly unexpected reliefs in new mate- for a subsequent explosion of print- are represented. For all these artists, rials. The master printers responded to ers and workshops who, through their printmaking became an integral part of these challenges in kind, and matched proselytizing efforts, helped to make the artistic process, and their involve- the inspirations of these artists with the print central to contemporary art. ment both re-defined and elevated the perfectly executed editions. While this remarkable workshop medium. If there is any complaint about this culture has many intriguing anteced- It is also fascinating to track the way exhibition, it is that despite the multi- ents, the core of this exhibition centers in which, with the growing confidence tude of blue-chip artists represented on the emergence and the staggering of the region’s artists, their editions here, there is an almost choppy qual- influence of Tamarind Lithography moved further and further from the ity to the way the show is presented Workshop. Founded in Hollywood in traditional constraints of the “print.” in the museum’s galleries. This issue 1960 by artist June Wayne, Tamarind The artists’ adventurism was matched is endemic to many of the PST shows; generated the DNA for the reemergence by the corresponding courage of mas- illustrating a history does not always of stone lithography as a prominent ter printmakers: some multiples, par- make for the most coherent exhibition artistic medium and for the burgeon- ticularly as we approach 1970, might design. The brilliance of the works pre- ing of lithographic workshops around reasonably be thought of as elaborate sented here, however, more than com- the world. This was achieved through dares. Ed Kienholz wants to make an pensates for this discontinuity: we can the application of rigorous standards edition of a hundred car doors with only suggest that one spends a bit more of training and production, which lay illustrated windows? No problem. Ed time with each of the extraordinary at the core of Tamarind’s organiza- Ruscha wants to print an iconic Holly- pieces here, taking into consideration tion. The key concept was that the art- wood sign in Pepto-Bismol and crushed that virtually every print is a single ist and the printer should work closely together to realize the artist’s vision: not a new idea, but one that would be of fundamental importance as the breadth and materiality of contemporary art expanded almost exponentially. [This can be seen in early Tamarind publications such as Bruce Conner’s Cancella- tion (1965) or Louise Nevelson’s Untitled (1967) (Fig. 2).] Tamarind was emphatically not interested in being the only shop around: through education and training, coupled with the production of significant editions sold and distributed to major art museums, Tamarind’s intention was to lead by example. The other two major print workshops in Los Angeles, Cirrus Editions and Gemini G.E.L., both amply represented here, were direct outgrowths of Tamarind. The draw of these three ateliers was so great, and their production standards so high, that the American art world came to Southern California to print. It is exhilarating to see the rise and increasing sophistication of print processes illustrated in this show; it is also Fig. 2. Louise Nevelson, Untitled (1967), lithograph, 109.2 x 116.8 cm. Printed by Anthony Ko, a surprise to realize just how closely published by the Tamarind Lithography Workshop. Norton Simon Museum, anonymous gift, 1969. we associate printmaking with many ©2011 Estate of Louise Nevelson/Artists Rights Society (ARS), New York.

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representative of a separate vast body of remarkable work. The print work of Hockney, Ruscha or Celmins could each fill the entirety of these galleries without redundancy. All told, “Proof: The Rise of Print- making in Southern California” drives home just how pivotal the artists and artisans of Los Angeles were in the renaissance of the artist’s print in the second half of the 20th century, dra- matically and permanently expanding the definition of what a “print” could be. Leah Lehmbeck, the Associate Cura- tor at the Norton Simon Museum, curated the exhibition. “Proof” runs until 2 April 2012.

M. Brian Tichenor and Raun Thorp are by turns architects, artists, designers and print collectors. They live and work in Los Angeles.

Fig. 3. Robert Rauschenberg, Cardbird II (1971), collage print with corrugated cardboard, tape, steel staples, photo offset lithograph, and screenprint, 137.2 x 101.6 cm. Printed by Kenneth Tyler, published by Gemini, G.E.L. Norton Simon Museum, anonymous gift. ©Estate of Robert Rauschenberg, licensed by VAGA, New York, NY.

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Benefit Edition by Enrique Chagoya

Now available, with all proceeds benefiting IPCNY’s programs.

Return to Goya No. 9, 2010 Intaglio with letterpress Edition of 50, 10 Artist’s Proofs, 4 Printer’s Proofs Signed and numbered by the artist 8 1/2 x 6 inches, plate size 14 5/8 x 11 inches, paper size Published by Universal Limited Art Editions $950 (Price subject to change) For inquiries, contact [email protected] or call 212-989-5090 IPCNY is grateful to the artist and to ULAE for the generous gift of this edition in celebration of our 10th Anniversary Season.

INTERNATIONAL PRINT CENTER NEW YORK A non-profit institution celebrating the fine art print 508 West 26th Street 5th Floor NYC 10001 through innovative exhibitions and programs. 212-989-5090 • www.ipcny.org • Tues-Sat, 11-6

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IPCNY New Prints 2011 / Autumn By Susan Tallman

Fig. 6. Preeti Sood, Patriarchy (2011), laser engraving and etching on enhanced matte paper, 14 x 17 1/2 inches. Edition of 10. Printed and published by the artist.

allery walls are often discoura- surprising is that out of this maelstrom Stac an Armin off the Scottish coast) to G gingly homogenous places—not of images, cogent and intriguing shows current graduate students. Alex Katz, just in terms of race, gender, or politi- arise. Jurors dutifully trawl through the Joan Snyder and William Kentridge all cal leanings of the artists whose work entries, like admissions officers at an contributed impeccable, professionally congregates there, but also in terms of elite college, looking not only for the printed works, but most things were renown. There are precious few places individual stars, but also for how the printed and published by the artists where the work of yet-to-be recognized parts relate to the whole, for works that themselves. Brooklyn was well repre- artists gets to rub shoulders with its speak individually of each artist and sented, but so was Lawrence, Kansas blue chip cousins, so the International collectively for a moment in time. and suburban Detroit, as well as Poland, Print Center New York‘s regular New The “New Prints 2011 / Autumn” Australia, and the UK. Prints exhibitions often constitute a exhibition, which opened during New The uniting factor, across conti- breath of fresh air. With the reward of York’s Print Week in early November, nents and generations, appeared to be an exhibition at a prestigious venue in included the work of some 51 artists, an acute awareness of prints, not as Chelsea, it is not surprising that these from the eminent Royal Academician the disembodied free-floating images open call, juried exhibitions are flooded Norman Ackroyd (a beautiful, atmo- of Walter Benjamin’s theorizing, but with thousands of submissions. What is spheric etching of the looming rocks of as physically present, even demanding,

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Fig. 1a. Shawn Bitters, Nature Shadows Him Fig. 1b. Detail of Nature Shadows Him (2011). (2011), screenprint on handmade paper, 96 x 52 x 12 inches. Edition unique. Printed and published by the artist. entities. These were works that were invited participatory handling by the tongues, waiting to be fiddled with. substantively different in person from owner (if not by the gallery visitor). Elaine Chow’s Year of Oxalis 1 Furoshiki the images you see on a screen (though There were artists’ books that would lay (Fig. 3), is an ink print on fabric, meant IPCNY does everyone the immense neatly between forefinger and thumb to be wrapped around the box it comes favor of posting a complete, illustrated such as Tomi Um’s accordion folded in, an homage to traditional Japanese checklist online). They are not simply Little Opera or Anne LaFond’s etched gift packaging (it comes with instruc- printed, but also embossed, burned, Advance, and others that exploded out tions). In works like these the printed stitched, painted, cut and folded; they onto the wall (Jane Kent’s Skating). picture is just the starting point, a set tumbled off the walls and hung from The five printed rectangles of Terry of guidelines for interaction between the ceiling. Conrad’s Manipulatives (Fig. 2) stick people and things. The woodcut-printed strips of paper out of their display box like decorative Even within the frames on the wall, and ribbon of Libby Hague’s My One and Only Life So Far (2011), for example, meandered across the wall and gath- ered in bunches that shimmered with passing drafts. In Shawn Bitters’ Nature Shadows Him (Fig. 1), myriad printed flakes (too floppy to be crystals, too angular for leaves) colonized patches of wall like lichen. Jarrod Beck bypassed paper altogether, applying etching plates to plaster slabs that jutted out from the wall like disoriented calcite. Figurative prints climbed out of the frame to lay claim to mass and volume: John Himmelfarb’s woodcut was similar in subject matter to his recent truck prints, but at enormous scale and lami- nated onto wood shapes that were put together in an oversized approximation of a toy crane. S.V. Medaris adhered life- size woodcuts of sides of beef to slabs of insulation board and hung them from Fig. 2. Terry Conrad, Manipulatives (2011), woodblock, silkscreen, plastic, paper, and wood. meat hooks. 6 x 9 1/2 x 10 inches. Edition of 5. Printed by the artist at Frans Masereel Centrum, published Several works went further and by the artist.

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Fig. 5. Trevor Banthorpe, Palmhouse 1 (2010), Fig. 4. Marie Yoho Dorsey, Starry Night (2010), etching with Sashiko style hand embroidery on woodblock on kozo paper, 29 1/2 x 23 1/4 Japanese Gampi, 15 x 21 inches. Edition of 4. Printed and published by Bleu Acier, Inc. inches. Edition of 5. Printed and published by the artist. materiality and making asserted them- sional world packed into a tiny space. This push to give disembodied selves as subjects. Michael Loderstedt’s To make his delicate and distressing images substance and specificity is, screenprint is cut and folded; Susan prints, Miguel Aragon uses lasers to cut of course, not entirely new, a point Goethel Campell’s woodcut is perfo- templates that he prints without ink, brought home by the latest iteration rated with small holes that allow light so the final image consists of a tracery of Ed Ruscha’s Standard Station (Fig. 8). to pass through; Marie Yoho Dorsey’s of charred edges (Fig. 7). It is only after Since its first, grainy photo-offset incar- Starry Night (2010) (Fig. 4) is an etching looking for some time that they resolve nation in 26 Gasoline Stations, the Stan- that is also embroidered by hand. into documents of the Mexican drug dard Station has undergone many meta- It would be a mistake to view this wars—newspaper photos of tortured morphoses—the majestic 1966 canvas, emphasis on materiality as a resurgence corpses shifting in and out of visibility. the famous rainbow roll screenprint, its of “craft” or an assertion of some ata- vistic artisanal approach to the image. In fact, many of these works are rooted in the live-wired photo-mechanical pandemonium of the contemporary visual world. Trevor Banthorpe’s mag- isterial prints begin with perhaps the most disposable, least substantial image there is—photographs taken on his cell phone. He breaks these down into the four colors of the commercial CMYK print process, cuts woodblocks for each color, and prints them by hand (Fig. 5). This investment of time, labor, muscle and material transforms the ephemeral snapshot: the realism of the image is compromised while the reality of the object is celebrated. Preeti Sood’s gem- like Patriarchy (Fig. 6) is a dense distilla- tion of the visual flotsam of the urban street, rendered through laser engrav- Fig. 7. Miguel Aragon, Paramedicos (2011), burnt residue embossing, 24 3/4 x 32 1/4 inches. ing and etching, a layered and dimen- Edition unique. Printed and published by the artist.

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Fig. 8. Edward Ruscha, Ghost Station (2011), Mixografia® print on handmade paper, 30 x 49 inches. Edition of 85. Printed and published by Mixografia®. many variously flavored descendents. The new print, called Ghost Station, made at Mixografia, is an inkless white relief, just substance and shadow. The presence of the Ruscha under- scores the fact that exhibitions like this are possible because of the multiplicity of the print. The Ruscha makes sense here, in the downtown context of new art that deals with the issues of image, meaning, and matter that have been Ruscha’s stock-in-trade for fifty years. But it also makes sense uptown at the Armory, where it was simultaneously on view during the IFPDA Print Fair, amongst the Dürers and Goyas and Cyril Powers, with whom it had a quite different conversation. Prints, by virtue of their multiplicity, can be extrava- gantly social. IPCNY New Prints shows are crowded, cacophonous affairs. These prints don’t get twenty square feet of pristine (and expensive) wall space to work their magic in quiet isola- tion. It’s what makes them great. Fig. 3. Elaine Chow, Year of Oxalis 1 Furoshiki (2011), inkprint on chirimen fabric via katagami stencil, ink and gouache on paper, photograph, 13 x 13 inches (unfolded fabric), 3 ½ x 3 ½ x 3 ½ inches (box). Printed and published by the artist, courtesy of the artist.

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New Editions: Annesas Appel By Sarah Andress

Fig. 2a. Annesas Appel, 1, 2, 3, 4 and 5 from 429 Titles of Books (2011).

429 Titles of Books (2011) utch artist Annesas Appel is in Piezoprint on White Velvet 270 g paper, D the process of re-envisioning the edition of 60 prints, each printed a covers of the 429 books that comprise different color, derived from Colours_a her personal library. In one project she is mathematical tale (2011), 34 x 86 cm organizing them according to color and each, printed by Bernard Ruijgrok, in the other by the letters in their titles. Amsterdam, published by the artist and For the work Colours_a mathematical de Hallen, Haarlem, available through tale (Fig. 1), Appel has scanned the cov- Johan Deumens Gallery, Amsterdam, ers of her books and broken them down $135 each. according to the CMYK color print- Fig. 2b. Annesas Appel, detail of 2 from 429 ing system. Every printed color can be Titles of Books (2011). Colours_a mathematical tale (2011) described in percentages of four basic become legible letters or images. Set of 40 piezoprints on Photo Rag colors: Cyan, Magenta, Yellow, and 429 Titles of Books (Figs. 2a, 2b) is a 310g paper, 40 x 131 cm each, edition “Key” (black). She transposed the results related project, designed in conjunc- of 4, three sets will be broken up and to grids—four (one for each of the basic tion with her current exhibition at de one complete selection of all 40 prints colors) for each print, arranged verti- Hallen in Haarlem, for which she has will be available, printed by Bernard cally. Each grid is comprised of 100 broken down the titles of her books Ruijgrok, Amsterdam, published by small squares, representing 1%-100% and grouped their comprising letters the artist, Haarlem, available through of C, M, Y or K. One clearly sees how in the order in which they appear on a Johan Deumens Gallery, Amsterdam, this is a mathematical endeavor, but computer keyboard, the arrangement $550 each. it is a narrative one as well—an explo- looking at times like concrete poetry ration of alternate ways to read one’s and elsewhere like computer code. library. Despite their rigid formulation, The edition totals 60 prints, each in a the prints are wonderfully animated, unique color derived from the Colours appearing to be pixels arranging them- project. In both works, books have been selves on a screen as though about to stripped of their text, but the viewer’s

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Fig. 1. Annesas Appel, 19_b d eeeeee ii j nnn o p rr s t -2, 28_aa d e e kk n rr s t u w-2 and 64_ee k l from Colours_a mathematical tale (2011). compulsion to read, or at least inter- isolating them in order to invert, con- ent complexities, Appel’s tactic is more pret, remains. Playing with that com- vert, distort, or otherwise render them earnest. In her meditative process—a pulsion, Appel has given us an alternate other than their original selves (an laborious one laid bare in the works exercise that is nonetheless linguistic: upcoming exhibition at MoMA, “Ecstat- themselves—she is realizing a new way though the original syntax has been ic Alphabets/Heaps of Language,” to go about the storied, Benjaminian blown apart, an order and even a form showcases artists’ historic and contem- task of unpacking our libraries. of legibility is still imposed. porary endeavors with this). However, Other artists are parsing words and whereas many others are taking a satiri- texts out in a somewhat similar manner, cal approach towards language’s inher- Sarah Andress is a New-York based writer.

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NEW BOOKS Among deeply respected contempo- all-over composition, but the rowboat rary artists, Alex Katz is distinguished is distinctly un-Pollock. For a couple of by a quality of stasis, not just in terms years he continued to experiment with of his subject matter—frozen figures, linocuts and stencils, which seemed to frozen landscapes, frozen light—but in offer a path toward a purer kind of flat- terms of his stylistic development. After ness. Once he found a way to produce a brief experimentation with more ges- that flatness in painting, however, he tural modes, Katz hit his stride in the stopped making prints almost entirely mid-1960s, and has changed almost for a decade. nothing fundamental about his pro- By the time he returned in 1965 with cess, interests, or visual style since. In the screenprint Luna Park (Fig. 2), the most art careers, this would be evidence gesture and visible process of 1950s of a thinness of ambition or inventive prints was gone, replaced by large, genius, but in Katz’s case it denotes a blank swathes of color. Like almost all purposeful trajectory of ever-more- the prints to follow, Luna Park is based refined precision. To Katz’ detractors, on a painting (Luna Park, 1960). At the this confirms his status as a stylish but time, and to some extent still, this was a ultimately decorative chronicler of a no-no for “original” prints—real artist’s certain kind of privileged American life; prints did not reproduce prior work, to his supporters it marks him as a pro- they were new compositions, new Alex Katz Prints: Catalogue Raisonné Edited by Marietta Mautner Markhof, found investigator of perception and ideas, born of the specific interaction Gunhild Bauer and Klaus Albrecht Schröder, the emotional resonance of form—Ells- of plate and artist’s hand. Katz viewed with texts by Gunhild Bauer, Vivian Bittten- worth Kelly with figures. For those who it differently: in the interview with Rat- court, Vincent Katz, Marietta Mautner have yet to stake a position, the Alber- cliff he explains: tina catalogue, covering 64 years and Markhof and Carter Ratcliff “I was trying to make prints that 304 pp, 615 color illustrations, €98. including many of Katz’ most famous would take the place of ordinary Vienna: The Albertina and Ostfildern: images, offers a profusion of material reproductions. A reproduction never Hatje Kantz, 2011 that will encourage a decision. has the energy of a print. So I was The Albertina in Vienna owns a using prints as genuine reproduc- number of important paintings by this tions, so to speak—surrogate paint- Still Water: distinctly American artist, and it was to the Albertina that Katz gave his archive The Prints of Alex Katz of prints, the basis for this impeccably By Susan Tallman produced catalogue. Nearly 500 works made between 1947 and 2011 are listed and reproduced, in addition to an oward the end of the Albertina’s appendix of 31 further publications of T beautiful new catalogue raisonné “reproduction graphics,” (mainly books of Alex Katz prints there is a simple of poetry with images by the artist.) The image, just orange ink on white paper book also contains essays on Katz’ col- framing the silhouette of a rowboat on laborative relationship with printers (by still water, glimpsed between narrow Vivien Bittencourt) and poets (by Vin- tree trunks. Maine Landscape 2 (Fig. 1) cent Katz), and two interviews—one a is classic Katz—elegantly reductive, for- reprint of a 1983 conversation between mally rigorous, slightly wistful in flavor. Katz and the poet and art critic Carter A closer look reveals that the edges are Ratcliff, the other conducted by the somewhat rougher, the line a bit chop- catalogue authors Marietta Mautner pier, the whole a bit cruder than the Markhof and Gunhild Bauer. other prints reproduced on the page. The catalogue itself opens with two In fact, Maine Landscape 2 (cat #433) is cartoonish drypoints from the late a replica of a linocut Katz made more 1940s when Katz, still a student at Coo- than 50 years earlier (Maine Landscape, per Union, received some printmak- 1951/52, cat #3), now recast as a helio- ing tips from Bob Blackburn. By the relief woodcut.1 The remarkable thing, third print, the 1951 Maine Landscape, Fig. 1. Alex Katz, Maine Landscape 2 (2005), however, is not how the replica differs the rudiments of Katz’ mature style heliorelief woodcut, torn edges, image 16.6 from Katz’ late work, but how almost x 9.9 cm, sheet 19 x 12 cm. Edition of 100. are already in place. Katz describes the Printed by Tom Pruitt, published by Graphic- seamlessly it fits in. linocut as his attempt at Pollock-esque studio, Tampa, FL.

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colors demarcated with precise and eloquent edges. Prints offer Katz a field of play quite different from the one-off, hit-or-miss stakes of a painting. A single painting will spark multiple printed offspring. He plays with color variants and different croppings, he adds and removes type. Brisk Day (1990) (Fig. 3), for example, appears in woodblock, aquatint and screenprint versions. Maine Landscape is not the only work to reappear, years after its first iteration, in a new form. Katz also has a canny awareness of the print’s social role: the fact that paintings stay put while prints travel, that many more people can own them, that his reputation has been largely formed by the visibility of his prints. Printmak- ing, he observes, is: “a more international medium than painting because the standards are more objective, not so local… Four- teen people or fourteen institutions, can say this is the best print Picasso ever did, this is the second best, etcet- era, and you get a surprising amount of agreement on these judgments. There’s a standard at work, whereas paintings and drawings are a little more elusive.” The prints are thus both reductions and extensions of the paintings. The colors are reduced in number (often to two) and the space they inhabit shrinks. To compensate, the image has to become tauter and more universal. As Katz puts it: Fig. 2. Alex Katz, Luna Park 1 (1965), screenprint in six colors (tusche) on Becket Cover Stock paper, cut edges, image 91.4 x 75.8 cm, paper 103.8 x 79.8 cm. Edition of 30. Printed by Steven “printmaking is a matter of produc- Francis Poleskie, Chiron Press, New York, published by Fischbach Gallery, New York. ing the same image over and over, and the image able to stand up to ings. It seemed to me like a valid idea. The painting part itself often takes less that treatment isn’t easy to come I really don’t like printmaking for than a day. The print is simply the next, by. So if a printmaker is serious, the printmaking’s sake.” logical transformation. medium is going to get him away Flipping through the print catalogue from doodling.” Katz’ argument neatly reset the raisonné is thus something like roaming terms of “the original print” by separat- through a career retrospective: there Luna Park was done as a screen- ing reproduction (mechanical and life- are the quiet, summery landscapes and print—the obvious way to get the broad less) from repetition (the remaking and big bright splashy flowers of the late flat color shapes of his paintings—but refining of an earlier image). In fact, 60s, followed by the famous portrait Katz quickly moved to lithography Katz’ whole process for making art pro- heads of the 70s, close-cropped and and etching, with their very different gresses through a series of replications therefore seemingly enormous even at luminosities and surface properties. and distillations: a thought or obser- print-on-paper scale. Couples appear Over the course of the 1970s we watch vation takes form as a sketch, which is in the 80s, and a spate of waterscapes as his approach to prints moves from refined and enlarged into a big cartoon, in the 90s. All are depicted through pragmatic to masterful. By 1982, he was which becomes the guide for a painting. resolutely reduced means: a handful of making 5-foot tall multi-color aquatints

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cessful people with nice accessories can seem annoyingly smug. When viewed en masse in a catalogue, the insularity of the enterprise stands out more than it does in the presence of the actual artwork: we see the same people again and again—the artist, his wife Ada, their son and their daughter-in-law (who contributed the two essays to the catalogue), their friends. The women are all pretty, the men are mostly poets, and everything is offered up without irony, critique, or psychological complexity. It’s like a Gatsby summer in which the fall (in both senses) never comes. The question is not whether these images are superficial—they are—it is whether that superficiality serves some larger purpose or not. Katz is not unaware of the potential pitfalls of his manner. At one point he observes, “the distinctions between illustration and painting are muddy. Fig. 4. Alex Katz, Black Shoes (1987), aquatint and vernis mou (five colors and four plates) on And the edges between decoration and Somerset Satin paper, deckle edge top, torn edges sides and bottom, plate 30.1 x 42.9 cm, paper 57.2 x 73.3 cm. Edition of 60. Printed by Doris Simmelink, assisted by Chris Sukimoto, Mark Callen beauty are not clear either, because all and Pam Paulson, published by Crown Point Press. beautiful things are a little decorative.” Note that he does not deny either beau- that look neither like his paintings nor ton on Katz’ technical adventurism as ty or decoration. like any prints made before. well as his perfectionism.) Technically In the interviews, Katz discusses I don’t believe the absolute quality of and visually, the best of these prints are hundreds of individual prints specifi- Katz’ prints qua prints is under serious simply spectacular. What bothers Katz’s cally and by name. This is a welcome dispute. He has worked with some of critics is the purposefully superficial change from the generic recall that fre- the best printers on earth, and knows handling of a purposefully limited sub- quently causes such efforts to read like how to get what he wants from them. ject matter. post-game interviews (“You can never (Bittencourt quotes Doris Simmilink, Let’s be honest—this cleanly limned know what can happen when you get Tom Pruitt, Chris Creyts, and Bob Blan- world of waterfront leisure and suc- in there with the press, but we went in

Fig. 3. Alex Katz, Brisk Day (Woodblock), Brisk Day (Aquatint), and Brisk Day (Screenprint) (all 1990), sheet size for each ca. 36 x 29 inches, editions of 150 each. Woodblock printed by Takanaka, Kyoto; aquatint printed by Simmelink / Sukimoto Editions; screenprint printed by Styria Studio, Inc., New York. All published by Gjon Inc., Kyoto.

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feeling confident and the printers really been closely involved with poets and came together and worked hard, and we poetry, especially that of the New York were able to do really well…”.) He hap- School, with its characteristic careen- pily goes into print-geek depth on color ing between the offhand and the pro- separations or the use of litho crayon to found. It’s a quality that is also found create a soft edge for an aquatint block. in Ukiyo-e woodblocks—the everyday He is enthusiastic (exclamation points world made harder, brighter, more abound!) and strongly opinionated numinous, while remaining seemingly about things like the beveled inden- effortless and circumstantial. Katz is tation made by the edges of intaglio particularly drawn to Utamaro, the plates: “the artiness of the gutter, the quintessential chronicler of domestic sensuality of the gutter, and the mate- glamour: “Utamaro… is bohemian; he Alex Katz, The Swimmer (1974), aquatint rialism of the gutter always offended lives in the same world I do.” It’s an apt on German Etching paper, torn edges, 71.3 me.” He is generous in acknowledg- comparison: we do not look to Utama- x 91.4 cm. Edition of 84. Printed by Prawat ing the contributions of printers (Aldo ro for a sense of the psychological life of Laucheron, New York, co-published by Brooke Crommelynck, Simmelink, Chris Erick- his sitters; we don’t expect social com- Alexander, Inc., New York, and Marlborough Graphics, Inc., New York. son, Tadashi Toda, among others), and mentary on the Tokugawa shogunate. his conversation is riddled with art his- We look to Utamaro for the pleasure of torical allusions: Velasquez’ difficulties a perfectly artful composition depicting black with a scattering of midnight blue with horse anatomy; the tightness of some quite ordinary event. And that is where the night sky peeks through the Veronese drawing; Giacometti’s sense a quality that Katz achieves again and canopy of leaves; the third is pale gold of scale; the chromatic power of Piero again throughout these pages in images with two diamonds of dappled light at della Francesca. as simple as Black Shoes (Fig. 4), a per- the top, reflecting off the surface of the In other words, the how of repre- fect small observation, polished and water. The information supplied is so sentation—color, weight, surface, scale, presented as if in a locket for all eterni- thin it is almost absent, but it is every- process—are topics of lengthy disquisi- ty, and it’s enough to break your heart. thing you need to know to recognize tion. But the what being represented If there is something profound about the moment. “It is all about light,” Katz is never discussed. When mentioned Katz’s art, it boils down to this quality says. “Eternity only exists in the imme- at all, subject matter is cited not for of time. Three of the most reductive, diate present, right? That’s my idea, its inherent meaning but for its role as most minimal prints of Katz’s career anyway.” the opening gambit in a visual chess were made in 1992 as the woodcut trip- game. The subsequent moves are what tych Northern Landscape: Fog, Night, interest Katz, how he can use color and Bright Light (Fig. 5). In the first, three Notes: shape to manipulate the way the mind orange rectangles shine out of the 1. “Heliorelief” is a photomechanical method for making a woodcut, in which a photo-sensitized fills in and alters perceptual data. gray—cabin windows deep in the block is exposed to a negative, developed, and Throughout his career, Katz has woods; the second is almost entirely then cut.

Fig. 5. Alex Katz, Triptych: Northern Landscape—Fog, Night, Bright Light (1992), color woodcut on Hosho paper, handtorn, image 45.5 x 35.3 cm, paper 50.7 x 40.4 cm. Edition of 100. Printed by John C. Erickson, New York, published by Chalk and Vermilion Fine Arts, Greenwich, CT.

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NEW BOOKS prints—and prints through the past. examples of wallpaper, a printed prod- The title is taken from the cata- uct that served many purposes, from logue’s introductory essay and neatly protection against cold and mold to sums up the focus of this “unusual” imaginary travel. There are so many exhibition: “Renaissance prints were applications for the printed image, it frequently used in ways that variously seems each section in the book could altered, misused, adorned and adored easily be expanded into a volume of its them…” Rarely tucked safely away, own. these prints and printed materials were Karr Schmidt and Nichols provide meant to be part of everyday life. “It is eight richly illustrated chapters includ- precisely their wormholes, tears, stains ing “Using Renaissance Prints,” “Single- and other damage that aid in under- and Multi-Sheet Prints,” “Prints and standing many of these prints.” Books,” “Applied Prints,” “Religious The works discussed have been Prints as Substitute Objects,” “Print- selected from a variety of sources: The ed Scientific Objects,” “Affixed and Art Institute’s own rich inventory, as Ordered Printmaking” and the last on well as other collections in Chicago “Physical Qualities of Early Prints,” an that are perhaps rarely tapped for such in-depth study of early Modern print fragile treasures, including the Loyola and paper techniques by Ms. Nichols. University Museum of Art, the Adler Indeed the subject is vast [as can be Planetarium and Northwestern Univer- seen in Susan Dackerman’s exhibition sity’s Feinberg School of Medicine. “Prints and the Pursuit of Knowledge in Altered and Adorned: Using Throughout the catalogue’s many Early Modern Europe,” which appeared Renaissance Prints in Daily Life essays, physical traces of human actions at Harvard this fall and is currently By Suzanne Karr Schmidt are described in detail. Dents, scrapes, at Northwestern University’s Block with Kimberly Nichols incisions, hand-coloring, collage and Museum.] 112 pp, 98 images, $35. subtle graffiti constitute strong evi- The chapter “Single- and Multi-Sheet The Art Institute of Chicago, 2011 dence of what Walter Benjamin would Prints” features works by Albrecht Dür- later call “aura”: “the essence of all er and his studio, including The Men’s that is transmissible from the object’s Bath from 1496/1497 in an impression Print Renaissance beginning, ranging from its substantive so pristine that it appears as if it were By Julie Bernatz duration to its testimony to the history pulled from the press yesterday—its which it has experienced.”1 Though protected state is perhaps an indication they were originally mass-produced, ltered and Adorned: Using Renais- individual histories and human aspira- A sance Prints in Daily Life is the tions have become embedded in these elegant companion to last summer’s objects. In other words, these works exhibition of the same name at The Art have soul. Institute of Chicago. Thoughtfully and “Materiality” has become a hot topic cleverly assembled, the show revealed in the visual arts, reflecting the impor- unexpected uses for prints of the tance of the viewer’s interaction with 15th and 16th centuries. The catalogue actual/tangible objects rather than with carries on this work and helps to illu- the pixellated distortions we have come minate the ephemeral qualities of print, to accept from the digital world. Altered as well as the more lasting concepts and Adorned reminds us that these that printed multiples can convey to a printed images were objects first, and it broader, contemporary audience. explores the jobs they performed, from Author Suzanne Karr Schmidt has a science and education to decoration comprehensive command of the sub- and devotion. ject, and her delight in the curious lore The interior lid of a leather cof- of each object is evident. As the Andrew fer from 1490 reveals a stencil-colored W. Mellon Curatorial Fellow in Prints woodcut in its rare original context. and Drawings at The Art Institute of Inside a pigskin-bound volume is a Chicago, she and her colleague Kim- printed paper sundial with a mov- berly Nichols (Associate Paper Con- ing brass arm. A printed piece of Ital- Fig. 4. Johann Melchior Gutwein, Schlück- bilder (Edible Prints) (c. 1749), etching on servator in Prints and Drawings) offer ian linen predates woodblock print- light greenish blue laid paper, image 7.9 x 6 inventive ways to see the past through ing on paper. The book also illustrates cm, sheet 9.1 x 8.7 cm. Private collection.

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comparable to the intricate incised metalwork of armor (Fig. 2). (It is likely that engravings printed on paper were an outgrowth of such metalwork.) While it is of obvious interests to historians and specialists in the field, the book is also a wealth of inspiration for artists and printmakers. There are printed playing cards, a “Candyland- style” military game-board, cut-and- paste astrolabes, book plates, sewing patterns, etched steel armor, wearable ornaments (Fig. 3), edible art (Fig. 4), unique engraved matrices, descriptions of techniques and exquisite detail everywhere. All confirm the remark made in the introduction that “the ver- satile printed image belonged to the fabric of ordinary existence at every level of society. Altered and Adorned offers a chance to rediscover the limit- less possibilities of this most pervasive and powerful medium.” There is some irony to the task of reviewing a catalogue of reproductions that emphasize the material presence of the originals. In person, you have a sense of the dimensionality and actu- ality of these “things as things,” qualities that cannot be reproduced. But the book—with its images enlarged and contrast adjusted—allows us to see things we cannot see in person. Under- standing and enjoyment are maximized

Fig. 1. Lucas van Leyden, Portrait of a Young Man with a Skull (c. 1519), engraving on ivory laid paper, 18.3 x 14.4 cm. The Art Institute of Chicago, Clarence Buckingham Collection, 1940.1314. of its value from the start. The book illustrations reveal the personality and provides a sharp, near full-size repro- skill of the artist reflected in the expres- duction to help viewers appreciate the sions and gestures of the characters. narrative details that Karr Schmidt The catalogue also features the great points out. twelve-panel woodblock after Titian, Other highlights of the catalogue The Submersion of Pharaoh’s Army in the are The Art Institute’s three recently Red Sea, published by Domenico dalle acquired lift-the-flap anatomical prints Greche (designed in 1515 and printed in by Lucas Kilian (1613) [see Karr Schmidt, 1549), and the Equestrian Portrait of the “Printed Bodies,” Art in Print, Vol. 1, No. Emperor Maximilian I, an “experimen- 1]. In these complex prints, layer upon tal” woodcut printed in black and gold layer of flaps reveal the inner workings ink by Hans Burgkmair the Elder (1508). of the human body and a profound Lucas van Leyden’s Portrait of a Young appreciation of nature. Details are Man with a Skull (Fig. 1) is mentioned for Fig. 2. Attributed to Wolfgang Grosschedel, pulled out to illuminate various mark- its printed hatpin, but it is an arresting detail of left greave with sabaton and spur making and assembly techniques. At image on its own, with surfaces made (c. 1550), acid-etched steel with blacken- ing and gilding, 48 x 35 cm, weight 2 1/2 bs. the same time, the book’s finely printed up of delicate whorls and undulations, George F. Harding Collection, 1982.2695.

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when we toggle between the two. The exhibition and book emphasize the critical importance of museums in the conservation and preservation of physical artifacts that would normally (and quickly) turn to dust. The book just might encourage modern viewers to attend these types of exhibitions and to visit print departments to experience these “rare survivors” first hand.

Notes: 1. Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction.” From Illu- minations, Essays and Reflections, New York: Schocken Books, a Division of Random House (1968; reprinted 2007), p. 221.

Julie Bernatz is the Managing Editor of Art in Print.

Fig. 3 Agostino Carracci, Headpiece in the Form of a Fan (c. 1589), engraving on ivory laid paper, meant to be cut out and worn, with interchangeable oval vignettes, image/sheet (cut within plate mark), 37 x 24.8 cm. Joseph Brooks Fair Collection, 1942.250.

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images what people do to nature: adore it, News of the use it, try to understand it, change it for our own purposes.

Print World Hung Liu, Butterfly Dreams (2011) A suite of five color lithographs, as follows: Selections from the Member Newsfeed from Butterfly Dreams: Working the past two months. For up-to-the-minute Six-color lithograph with gold leaf and chine news, check the Member Site at www.artin- collé, 30 x 44 inches. Edition of 20. $4000. print.org—updated daily. Butterfly Dreams: Thinking Ten-color lithograph with gold leaf and chine collé. 44 x 30 inches. Edition of 20. $4000. Carlos Garaicoa, Terrasse St. Denis Butterfly Dreams: Waiting (2011) , photogravure with hand-cut pop-up Six-color lithograph with gold leaf and chine elements. New Editions collé. 44 x 30 inches. Edition of 20. $4000. A 19th-century French engraving of fanci- Butterfly Dreams: Blue Nun Tauba Auerbach, Fold/Slice Topo 1 (2011) ful garden follies, from the artist’s collection, Five-color lithograph with gold leaf and chine Color aquatint etching, image 36 x 27 inches, was the inspiration for this pop-up photo- collé. 30 x 22 inches. Edition of 10. $1800. paper 45 x 35 inches. Edition of 35. Published gravure. One plate reproduces the engraved Butterfly Dreams: Purple Nun, a five-color by Paulson Bott Press, Berkeley, CA, $6000. lines of the original image, the other, the fox- lithograph with gold leaf and chine collé. ing and stains on the antique paper. These 30 x 22 inches. Edition of 10, $1800. Pablo Bronstein, Important façade (2011) are supported by heavy black paper cutouts Collaborating printers: Alex Kirillov, Bill Hand-coloured etching, image 27.5 x 117.5 like shadows of concrete. Lagattuta , and Asa Wentzel-Fisher. Printed cm, paper 56.5 x 147 cm. Edition of 7. Pub- and published by Tamarind Institute, Albu- lished by Christophe Daviet-Thery, Livres et Mark Hearld , Hat Box Squirrels (2012) querque, NM. Editions d’Artistes, Paris, €3500. Six-color lithograph, 56 x 81 cm. Edition of 95. Printed and published by Curwen Stu- Ian Davenport, Prismatic Diptych (2011) dios, Cambridge, UK, £275. Color etching, paper 199.5 x 193 cm, image 181.5 x 177 cm. Edition of 15. Printed at Jasper Johns, Untitled (2011) Thumbprint Editions. Published by Alan Intaglio in 11 colors on Kupferdruck etch- Cristea Gallery, London, £7500. ing paper, 110.49 x 85.41 cm. Edition of 60. Printed and published by ULAE, Bayshore, Tacita Dean, More or Less (2011) NY, $50,000. Set of five photogravures, 198 x 133 cm each, ca. 22.5 x 77.5 cm framed. Edition of 8. Pub- Michael Kvium, As Simple as Life (2011) lished by Niels Borch Jensen, Berlin. and God’s Hand (2011) Two lithographs on 250g Velin d´Arches paper, 33 x 33 cm each. Edition of 130 each. Mark Hearld , Hat Box Squirrels (2012) Carlos Garaicoa, Terrasse St. Denis (2011) Printed and published by Edition Copenha- six-color lithograph. Photogravure with hand-cut pop-up ele- gen, Copenhagen, Denmark, €525 each. ments, 17 3/8 x 14 1/4 x 5 3/16 inches. Edi- Edition Copenhagen has released two new Emil Lukas, Center Hum East and West (2011) tion of 6. Printed and published by Graphic lithographs by Danish artist Michael Kvium, Two screenprints, 37 1/2 × 29 inches. Edi- studio, Tampa, FL, $10,000. with whom they have worked for over 15 tion of 25. Printed and published by Durham years. Kvium’s graphic, dystopic vision takes Press, Durham, PA, $2500 each. the form here of a ghoul-masked ballerina and a grisly Cardinal getting a shoulder tap Ged Quinn, Utopia Dystopia (2011) from the Grim Reaper. Bright, colorful, and A series of seven etchings with hand-color- enough to give anyone bad dreams. ing and lithographic overlays. 52 x 60 cm each. Edition of 48. Published by Paragon Dominique Labauvie, PIERRE TERRE EAU Press, London. BOIS / ROCK WOOD WATER EARTH (2011) Individual titles: Hans, Are You Alive?, Suite of ten photogravure and woodcut Jonestown Radio, The Fall, Things Are Exactly prints on Kitakata chine collé to Somerset As They Seem, Honor Thy Superiors, Martha, paper with a text by Jonathan Goodman, Are You Among The Ruins?, The Present Never paper 15 x 11 inches, horizontal image size Exists There. 6 5/8 x 9 inches, vertical image size 9 x 6 5/8 inches, clamshell box 16 1/2 x 12 x 1 1/2 Peter Sutherland, Solar Flares (2011) inches closed. Edition of 10. Printed by Erika Portfolio of eight color digital prints, 12 x 8 Greenberg-Schneider at Bleu Acier. Pub- inches each. Edition of 100. (Printed Matter lished by Bleu Acier, Tampa, FL, $3500, until Benefit Edition 2011). Published by Printed May 1st, then $4500. Matter, New York, $150 the set. Meditation on the relations between These eight prints are based in images nature and culture: the gravures derive from found when the artist went back through photographs taken during the artist’s 2009 his photo archive and found that hundreds visit to the Sequoia National and Pfeiffer of shots had been taken facing into the sun, National Parks in California. Each gravure causing lens flare. The images were cropped Tauba Auerbach, Fold/Slice Topo 1 (2011), is overlaid with “a response” in woodcut, down to near abstraction, and formulated as color aquatint etching. abstract organic forms that do to the gravure a series housed in a black debossed portfolio.

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posters before: Andy Warhol did a speed- gsm Somerset White Satin paper, 76 x 60 skater for the 1984 Sarajevo Winter Games; cm. Edition of 350. £1,000. David Hockney contributed designs to both the 1972 Munich Games and 1984 summer Martin Creed, Work No. 1273 (2011) games in Los Angeles (both, not surpris- Lithograph on 300 gsm Somerset White Tub ingly, involved pools.) But recent years have sized paper, 76 x 60 cm. Edition of 250. £490. seen tighter branding of the Olympic identity, which may have contributed to a reluc- Rachel Whiteread, LOndOn 2O12 (2011) tance to engage with serious contemporary Six color screen print on 410gsm Som- art. (Ai Weiwei’s involvement in the Beijing erset Satin paper, 76 x 60 cm. Edition of Olympics proved to be both a triumph and 250. Printed by Coriander Studios, Lon- a calamity.) So kudos to the organizers of don, £900. the Cultural Olympiad for commissioning a group of artists who offer not only visual Michael Craig-Martin, GO (2011) punch but some degree of analytic inquiry Six color screen print on 410gsm Som- into the role of such posters in the contem- erset Satin paper, 76 x 60 cm. Edition of porary cultural landscape. 250. Printed by Coriander Studios, Lon- don, £490. London 2012 Poster Editions: Gary Hume, Capital (2011) Tobias Till, U for Underground from London Anthea Hamilton, Divers (2011) Thirteen color screen print on 400 Velin A–Z (2012) , one of twenty-seven linocut prints. Thirteen-color screen print on 410 gsm Arches paper, 76 x 60 cm. Edition of Somerset Tub sized paper, 76 x 60 cm. Edi- 250. Printed by Coriander Studios, Lon- tion of 150. Printed by Coriander Studios, don, £490. Tobias Till, London A–Z (2012) London, £475. Twenty-seven linocut prints on Somerset Bob and Roberta Smith, Love (2011) satin 250 gsm paper, 41.5 x 37.5 cm. Edition Chris Ofili, For the Unknown Runner (2011) Six color screen print on 350 gsm Magnani of 75. Printed by the artist. Published by TAG Lithograph on Somerset 300 gsm Soft Litho paper, 76 x 60 cm. Edition of 150. Pro- Fine Arts, London, £3,000. White Velvet paper, 76 x 60 cm. Edition of duced by K2 Screen, London, £390. Over the course of 2011, Tobias Till cre- 300. Printed by Paupers Press, London, £590. ated a set of 27 linocuts showing different Fiona Banner, Superhuman Nude (2011) views of the capital; one for each letter of Howard Hodgkin, Swimming (2011) Inkjet print with one color screen print and the alphabet, from the Albert Memorial to Twelve colour screen print using ‘L. Corne- one glaze on 300 gsm Somerset Photosatin London Zoo (plus title page). The standard lisson’ ground light-fast pigments on 300 paper, 76 x 60 cm. Edition of 150. £475. London street guide, of course, is the A–Z, though there are other prototypes as well, Tracey Emin, Birds 2012 (2011) like Robert Cottingham’s recently com- Lithograph on 300gsm Somerset Soft pleted American Alphabet. Till’s abecedary White Velvet paper, 76 x 60 cm. Edition locations cover the waterfront, from tourist of 300. Printed by Paupers Press, Lon- strongholds like Piccadilly Circus to actual don, £1,050. strongholds like Wormwood Scrubs prison, (though unlike Whistler, he does not cover Sarah Morris, Big Ben 2012 (2011) the actual waterfront itself). Till’s timing is Six color screen print with one glaze on fortuitous, given the boosterish run-up to 410 gsm Somerset Tub sized paper, 76 x 60 the London 2012 Olympics, but the prints cm. Edition of 200. £700. are both charming and trenchant (the tod- dler pointing to the rats in U for Underground Bridget Riley, Rose Rose (2011) is a nice touch), and carry a useful reminder Fifteen color screen print on 300 gsm Fab- that sometimes it’s okay to love your subject riano 5 paper, 87 x 69.5 cm. Edition of matter. Stanley Whitney, Yellow Changing (2011) , 250. Printed by Artizan Editions, Hove, UK. aquatint. Mauro Vallejo, Conflicto de intereses (Conflict of interests)(2011) Photogravure on 310 gms Incisioni paper, 71 x 172 cm, Edition of 20. Published by Ogami Press, Madrid, £1000.

Stanley Whitney, Yellow Changing (2011) Aquatint on Hahnemühle bright white, paper 18 1/4 x 19 1/2 inches, image 7 5/8 x 9 3/8 inches. Edition of 25. Printed and published by Harlan & Weaver, New York, $1,000.

London 2012 Posters As we announced back in July, the London 2012 summer Olympic Games are being celebrated with posters commissioned from a dozen contemporary British artists. Eminent contemporary artists have designed Olympic Mauro Vallejo, Conflicto de intereses (Conflict of interests) (2011) , photogravure

48 Art in Print March – April 2012

BALTIMORE Print-by-Print The Baltimore Museum of Art’s expansive exhibition of prints in series “Print by Print: Series from Dürer to Lichtenstein ” is garnering great press: The Washington Post described it as “...an exuberant reintroduc- tion to the power of the print...” The show features nearly 30 complete series of prints— more than 350 individual prints, from the 15th-century playing cards through sets by Dürer, Picasso, Canaletto, Klinger, Lichten- stein, Duchamp, Delaunay, and on to contemporary artists such as Julie Mehretu and Andrew Raftery. The show is also remarkable in pedagogical terms: the works and themes were selected by students from Johns Hopkins from the museum’s mammoth collection of nearly 60,000 prints. They worked with Rena Hoisington, the museum’s cura- Gerhard Richter, Elizabeth II (1966). tor of Prints, Drawings & Photographs. A well-designed website offers highlights from the exhibition, interviews, and a section on printmaking techniques. The real exhibition Artists’ Books will be on view, for free, at the Baltimore Museum until 25 March. Prism Book Number 1: Yamamoto Masao 120 duo-tone plates with a tinted varnish, wrapped in Twinrocker handmade paper, HAMBURG 12 1/2 x 12 1/2 inches. Includes one of four Paul Wunderlich loose platinum prints, each in an edition of The Hamburger Kunsthalle is presenting 70. Edition of 280. $750. an exhibition of the early lithographs of Paul Wunderlich, 5 February–27 May 2012. Prism Book Number 2: Mitch Dobrowner Wunderlich began printmaking while a 64 oversized duo-tones wrapped in Twin- student at the Hamburg Academy of Visual rocker handmade paper, 12 1/2 x 12 1/2 inch- Arts, subsequently printed for Emil Nolde es. Includes one of four loose silver-gelatin and Oskar Kokoschka, and apparently also contact prints, each in an edition of 70. Edi- introduced his colleague Horst Janssen to tion of 280. $750. etching. In 1960 his lithograph series qui s’explique became a succès de scandale when Prism Book Number 3: Jack Spencer it was seized by the Hamburg prosecutor for 95 four-color images wrapped in Twinrock- obscenity. This exhibition concentrates on er handmade paper, 12 1/2 x 12 1/2 inches. lithographs created prior to 1976, charting Includes one of four loose and varnished the development of Wunderlich’s signature pigment ink prints, each in an edition of figurative style, and includes all the artist’s 70. Edition of 280. $750. most significant early series, notably qui s’explique and 20 July 1944. All published by 21st Editions, South Dennis, MA. LOS ANGELES Ellsworth Kelly at LACMA The Los Angeles County Museum of Art Current Exhibitions of Note has announced a retrospective exhibition of more than 100 works on paper by Ellsworth BERLIN Kelly, running from 22 January–22 April. Gerhard Richter at me Collectors Room The show, which coincides with a forth- Coinciding with Gerhard Richter’s 80th coming, newly revised catalogue raisonné birthday celebrations and with his painting of Kelly’s prints, will be the first overview of retrospective at the Neue Nationalgalerie Kelly’s print activity since the late 80s. Orga- in Berlin, me Collectors Room is present- nized in terms of Kelly’s signature formal ing “Gerhard Richter Editions 1965–2011,” motifs—curves, contrast and grids—it will 12 February–13 May 2012. The 150 works on also include major paintings, emphasizing view include prints, photographs, multiples, the degree to which the various aspects of editioned paintings (the series of unique Kelly’s oeuvre are interdependent. According paintings that Richter has released as “edi- to co-curator Stephanie Barron, the exhibitions”), artist’s books and posters. Iconic tion aims to show “the consistency of Kelly’s prints such as Mao, Elizabeth I and II, Canary print practice, and how the formal hall- Landscapes and the color field works are marks of his paintings and drawings have an included as are numerous multiples. important place in his graphic work.”

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survey by former Chief Curator Deborah (drawing from the work of resident artist MAASTRICHT Wye, which came 16 years after “Printed James Siena). Kōgyo at the Bonnefantenmuseum Art,” the essential statement of then Chief • Become a member of the NSK State in In collaboration with the Japanmuseum Curator Riva Castleman. (Is there a word for Time at IRWIN’s NSK Passport Office, New SieboldHuis, Leiden, the Bonnefanten events occurring once every sixteen years? A York. museum in Maastricht (NL) will be hosting hexadecitennial?) Each has had its own fla- “The Beauty of Silence,” an exhibition of 50 vor: “Printed Art” was a parade of important, NEW YORK prints by Tsukioka Kōgyo through 8 April. masterful works of contemporary art which IPCNY New Prints 2012 / Winter One of the most important Japanese print just happened to be prints; “Thinking Print” The latest juried exhibition at the Interna- artists at the turn of the 19th–20th centu- engaged more fully the social role of printed tional Print Center New York opened 28 Jan- ries, Kōgyo is particularly known for his images without ever losing touch with their uary and will be on view until 24 March. The depictions of Noh theater. Noh experienced potential for sheer gorgeousness. In “Print/ 86 prints were selected from over 2,300 sub- a revival in the Meiji period as Japan both Out,” Cherix is juggling a variety of themes, missions by a committee consisting of Glen moved toward modernization and sought most of them to do with what “print” means Baldridge (Forth Estate Editions), Barbara to emphasize distinctly Japanese cultural in the age of control—there is a number Baruch (Director, Brooke Alexander Edi- forms. Kōgyo’s style minimized the strong of distinct shows within the show: P. Sara tions), Claire Gilman (Curator, The Drawing black lines and flat patterns of earlier Ukiyo- Suzuki has organized “Printin’” with art- Center), Peter Friedland (Private Collector), e prints in favor of more naturalistic spaces ist Ellen Gallagher, and another subsection Cary Leibowitz (Director of Contemporary and figures, and tonal shifts that give the features printer and publisher Jacob Samuel. Editions, Phillips de Pury & Company), and appearance of ink washes. The presentation of the main show is either Pari Stave (Vice President of Art Advisory, diverse-and-adventurous or annoyingly AXA Equitable). The IPCNY New Prints Pro- cacophonous, depending on your druthers, gram features prints made within the past but is undoubtedly a must-see. On view twelve months by artists at all stages of their through 14 May. careers.The artists included this time around are: Romeo Alaeff, BJ Alumbaugh, Brian Print Studio is an interactive addendum Anderson, Ida Applebroog, Anne Beresford, to Print/Out. Print Studio offers hands-on Judy Bergman Hochberg, Kit Boyce, Paige activities and workshops, as well as lectures Bradley, Tom Burckhardt, James Carroll, Saul and events. Topics include digital and man- Chernick, Lindsey Clark-Ryan, John Cobb, ual printing processes, recycled materials, Tamar Cohen, Sara Conde, Ann Conner, and the history of publication. Print Studio John Robert Craft, Bernice Cross, Thorsten events include: Dennerline, Sandra C. Fernandez, Rachel • Respond through print to a task put forth Frank, Beth Ganz, Ioanna Gouma, Alexis by members of the Collective Task project, Granwell, Joseph Hart, Anna Hutchings, re-imagined for the Studio’s context. William Kentridge, Kakyoung Lee, Eddie Vita Castro, Candelabro, Oaxaca, date un- • Build altered books with artist Katerina Martinez, Artem Mirolevich, Mark Mullin, known, linoleum cut. Lanfranco. Michael Neff, Alice O’Neill, Ardan Ozmeno- • Examine the recent history of publish- glu, Jill Parisi, Matt Rich, Moses Ros-Suárez, ing and generate a publication with Triple Ryan Rusinski, Sara Sanders, Phyllis Seltzer, Canopy. Kiki Smith, Dan Steeves, William Waitzman, MADISON, WI • Make paper with Dieu Donné Papermill Matthew Wilson and Jing Yu. Revolution and Mexican Modernism “¡Tierra y Libertad! Revolution and the Modernist Mexican Print,” is on view at The Madison Museum of Contemporary Art (Madison, WI), and features more than 60 prints, running from pre-Revolutionary agitation to post-Revolutionary attempts to build a new society. Mexican artists used prints—as they did murals—as a public and populist medium. Madison has a particularly strong collection acquired in 1968 through a bequest of Rudolph and Louise Langer. The show includes works by José Clemente Oro- zco, Diego Rivera and David Alfaro Siqueiros as well as a broad array of prints produced by the Taller de Gráfica Popular (TGP). The exhibition will be on view through 15 April.

NEW YORK Print/Out at MoMA Anyone who is in New York in the next three months and is even remotely interested in the life of the printed image is obliged to visit MoMA’s massive exhibition “Print/Out.” Organized by the museum’s new Chief Curator of Prints and Illustrated Books, Christophe Cherix, it follows by 16 years “Thinking Print,” the well-received Installation view of Print/Out, Museum of Modern Art, New York (2012).

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its Benefit Party, Exhibition and Silent Auction on 17 April 2012 at the Bohemian National Hall. Everyone who attends will go home with a print; a lottery will determine who gets first dibs of more than 200 works donated for the occasion. There will also be a silent auction of works by James Siena, Mary Frank, Jane Kent, David Storey, Phong Bui, Pamela Sztybel, Paul Taylor, Renee Stout, Frederick Mershimer, Elizabeth Murray and others. For more information, visit the Man- hattan Graphics Center website.

NEW YORK Lower East Side Printshop Benefit The Lower East Side Printshop (LESP) will hold its 2012 Benefit and Silent Auction on Wednesday, 29 February, 6-9pm. The proceeds with support studio residencies for artists and the event will honor Enoc Perez [see Art in Print, Vol 1, No. 5]. Artists whose works will be available include: Vito Acco- nci, Manuel Acevedo, Ida Applebroog, Don- ald Baechler, Firelei Báez, Jackie Battenfield, Sara Conde, Thinking of Cercedilla (2010), woodblock with watercolor, graphite, markers, Mildred Beltré, Sonya Blesofsky, Zana Briski, ball-point pen and acrylic. ©IPCNY. Patty Chang, Cecile Chong, Cammi Climaco, Rob Fischer, Glenn Goldberg, April Gornik, Mary Heilmann, Ryan Humphrey, Amy Kao, RICHMOND, VA of the printshop’s newsletter “Overview” Darina Karpov, Fawad Khan, David Kramer, Joan Snyder at the University of Richmond is devoted to Kathan Brown’s memories of Chris Martin, Carrie Moyer, Emilio Perez, The Joan Snyder print retrospective “Danc- Cage in the shop, and is well worth a read. Chloe Piene, Felix Plaza, WIlliam Powhida, ing with the Dark,” organized by the Zim- The exhibition is on view through 31 March. Duke Riley, Michael Schall, James Siena, merli Art Museum at Rutgers [see Art in Amy Sillman and Jef Scharf, Philip Taaffe, Print’s review of the accompanying cata- WILLIAMSTOWN, MA Alison Elizabeth Taylor, Fred Wilson and logue, Vol. 1, No. 4] has moved on to the Joel “Copycat” at the Clark Institute Su-en Wong. There will be a free preview and Lila Harnett Museum of Art at the Uni- “Copycat: Reproducing Works of Art,” an reception at the Printshop, Wednesday, 15 versity of Richmond. The first serious exam- exhibition that surveys copying practices February, 6-8pm. The auction bidding will ination of Snyder’s print work as a whole, the over the course of four centuries, is current- be done by BidPal—the wireless hand held exhibition features more than sixty works ly running at the Sterling and Francis Clark device will let you bid from anywhere in the created between 1963 and 2010, from early Institute of Art in Williamstown MA. It room; absentee and phone bidding will also figurative works to her iconic 1980s slash- includes everything from Raimondi’s unau- be available. and-burn Expressionist woodcuts, to her thorized copies of Dürer (which sparked a more recent layered and nuanced mono- proto-copyright suit) to Manet’s reproduc- NEW YORK types. On view through 22 April. tions of Manet’s paintings (which did not.) IPCNY Benefit Announced The Snyder show happily coincides with Given our own legal and aesthetic confusion The International Print Center New York has “Idea to Image: Process, States and Proofs” about what constitutes an “original” work of announced its annual benefit event, which also at the Harnett Museum. Drawing on the art, the ideas here are very timely. It will be will take place on 23 May 2012 and will honor museum’s substantial print collection, the on view 29 January–1 April 2012. artist Claes Oldenburg, publisher Sidney exhibition includes works over the range of Felsen and curator Barry Walker. For more print history, examining the stages through WORCESTER, MA information contact [email protected]. which the artist arrives at a final image. The American Lithography to 1860 press release dares to breathe the word “con- With a French Accent: “American Lithogra- NEW YORK noisseurship.” On view through 1 April. phy to 1860” will open at The Davis Museum Armory Show Announces Exhibitors at Wellesley College on 14 March. The exhi- The Armory Show, which will run from 8 SAN FRANCISCO bition of 50 French and American popular March–11 March, has published its list of John Cage at Crown Point Press prints is drawn from the collection of the exhibitors for 2012, a list both smaller (by Crown Point Press is celebrating the cen- American Antiquarian Society, an indepen- 25%) and more “curated” than in previous tenary of John Cage with an exhibition of dent research library in Worcester, MA, with years. The fair’s managing director, Noah prints the composer made there in the 80s collections of books, pamphlets, newspa- Horowitz, explains the change strategi- and 90s. While Cage’s music remains “dif- pers, periodicals, broadsides, and graphic cally: “Art fairs have a tendency to go bigger ficult” for many listeners, Cage’s desire to arts from the Colonial period through and bigger, but our new mission is to make relinquish certain kinds of aesthetic control, Reconstruction. it more boutique, and give the galleries a his embrace of collaboration and chance larger footprint.” Several print galleries and events, and his aspirations for art as an aid to publishers will be present, including at Pier help us “wake up to the very life we’re living,” Upcoming Events 94: Durham Press, Durham, NC, Mixografia, proved profoundly influential in late 20th- Los Angeles, Carolina Nitsch, New York, Par- century art. It is also true that his prints are NEW YORK kett Publishers, New York, Poligrafa, Bar- often as viscerally beautiful as his music is Manhattan Graphics Center Benefit celona, Mary Ryan Gallery, New York, Two conceptually rigorous. The current issue The Manhattan Graphics Center will hold Palms, New York, Tyler Print Institute, Sin-

51 Art in Print March – April 2012

gapore, Universal Limited Art Editions, Bay Shore. At Pier 92: Alan Cristea Gallery, Lon- don, Pace Prints, New York, Senior & Shop- maker Gallery, New York, Susan Sheehan Gallery, New York, Sims Reed, London, John Szoke Editions, New York.

New Books

What is a Print? Selections from the Museum of Modern Art By Sarah Suzuki 168 pp, 151 illus., hardcover, $35. New York: The Museum of Modern Art, 2011. This book grew out of The Museum of Mod- ern Art’s interactive “What is a Print?” website, which offered tutorials on the practical and technical aspects of basic printing techniques using examples from MoMA’s collection. The book expands on the website, and Christian Marclay, spread from the book Christian Marclay: Cyanotypes (2011). goes deeper into the history and cultural context of printmaking. Specially commissioned works by four contemporary artists— cyanotypes produced by Christian Marclay The ghostly tangles that result are lovely Christiane Baumgartner, Julian Opie, José in collaboration with Graphicstudio. The messes of lost meaning—the tapes will never Antonio Suárez Londoño, and Terry Win- cyanotype is a proto-photographic method, be played again—part Jackson Pollock, part ters—play a crucial role in demonstrating the first developed in the 1840s, in which objects Miss Havisham’s parlour. traditional printmaking techniques of wood- are placed directly onto a photosensitive sur- cut, intaglio, lithography and screenprint, face, resulting in a silhouetted image against Proof: The Rise of Printmaking in and provide a connection between historical a distinctive Prussian blue blackground. In Southern California masterpieces and contemporary prints. the 19th century it was used famously by Edited by Leah Lehmbeck the botanist Anna Atkins, and later became Essays by David Acton, Jennifer Anderson, Christian Marclay: Cyanotypes common as architectural “blue prints.” Rob- Karin Breuer, Cynthia Burlingham, Damon Edited by David Louis Norr ert Rauschenberg experimented with the Willick and Tom Norris Texts by Noam M. Elcott and technique in the 1950s, producing full body 260 pp, 200 color illus., hardcover, $60. Margaret A. Miller prints by exposure to the sun. In 2010 Mar- Published by Getty Publications and the 144 pp, 100 color illus., softcover, $55. clay made several series of large unique cya- Norton Simon Museum, 2011 Published by Graphicstudio, Tampa, FL, notypes (up to 100 x 51 inches) at Graphic- with JRP|Ringier Books, Zurich, 2011 studio draping unspooled cassette tape over The Beauty of Silence— This book documents six distinct series of the light-sensitive paper before exposure. Japanese Nō & Nature Prints by Tsukioka Kōgyo (1869-1927) By Robert Schaap and J. Thomas Riemer. 192 pp, 400 color illus., hardcover, $112. Published by Hotei Publishing/Brill, 2010 The Beauty of Silence illustrates Kōgyo’s works on a variety of subjects, including landscapes, and includes his biography, historical information on the Nō, a detailed analysis of the prints, and information on each of the Nō plays pictured. The appen- dices include listings of more than a hundred artist-seals used by Kōgyo, an index of Nō plays and illustrations of all 120 prints belonging to Kōgyo’s famous print series Nōgaku hyakuban (One Hundred Nō Plays).

Andrew Raftery: Open House Introduction by Aimee Marcereau de Galan Essay by Jonathan Weinberg 36 pp, 42 illus., including 5 fold-outs, $12. Published by the Fleming Museum of Art, University of Vermont, Burlington, VT, 2011

Stanley William Hayter: Le Peintre / The Paintings By Pierre-François Albert and François Albert 224 pp, numerous color illus., $90. Andrew Raftery, Scene three (kitchen) from the book Open House (2008). Published by Gourcuff Gradenigo, Paris, 2012

52 Art in Print March – April 2012

Stanley William Hayter (1901-1988) is best Market News known for his engravings and the profound impact of his studio, Atelier 17, on mid-20th century art in both Europe and America. Is this the Future? This bilingual (French and English) volume, Late 2011 saw the launch of S[edition], an however, focuses on Hayter’s lesser-known online gallery cum social-networking site paintings. In includes more than 200 repro- selling limited editions of digital artwork– ductions, the majority of Surrealist and not “giclée” prints, but digital files you Expressionist canvases from the 30s and 40s. download to your phone, iPad, or computer. The project comes with a fair amount of Dokumentation der Verluste: art world credibility. Its founders are Harry Band 8, Kupferstichkabinett Blain, a principal in Haunch of Venison, 152 pp, numerous b/w illus., €15. and Robert Norton, the former CEO of Saa- Berlin: Staatliche Museen zu Berlin, 2011 tchi Online. S[edition] describes itself as “a A catalogue of absence sounds like a post- new way to collect, store, share and distrib- modern poetic conceit, the makings of a ute limited edition art for your digital life. Granta or McSweeney’s issue, but in the Working with some of the world’s leading case of Berlin museum collections these artists such as Damien Hirst and Bill Viola, catalogues are a matter of utilitarian re- S[edition] enables you to buy digital versions cord. Over the past 16 years, eight volumes of the world’s most desirable contemporary of Dokumentation der Verluste (Documenta- art. The company will launch with exclu- tion of Losses) have been published by various sive art for use on smart phones, monitors, branches of the the State Museums of Ber- TVs and other digital displays. Each original lin: the painting gallery, the museum of In- artwork will come with its own certificate dian art, the antiquities collection, and most of authenticity that can be traded when the recently the Kupferstichkabinett, whose first edition is sold out.” volume of losses was published last spring. It It is not clear how “digital versions” and catalogues some 1000 German and Nether- “original artwork” connect. For $800, Hirst landish drawings from the 15th to 18th cen- is offering a video of his diamond-encrusted turies formerly, but no longer, in the Kupfer- skull rotating slowly (edition of 2000); Matt stichkabinett. Each work is described, and Collishaw is represented by images (edition where possible, illustrated. The museums of 10,000) from his Insecticide series, which acknowledge that they do not know how had a prior existence as photographs and many of these things have been destroyed; photogravures. Both works look pretty good the hope is obviously that some might still on a screen. Are the photogravures more be out there somewhere, waiting to come sensational? Absolutely, but they also cost home. 152 pages long, the catalogue costs a good deal more than the $8 S[edition] is Gert & Uwe Tobias €15 and can be ordered from the museum charging for the Collishaw JPEG. The found- shop. If the main goal was the identification ers have one very good point: art lovers who and return of works, one wonders whether are not swimming in cash have been shut an online database might have been a more out of the market for works by well-known efficient way to get the word out. Perhaps, contemporary artists. While artists’ prints however, the friability of a database is not are more affordable than paintings, the use concrete enough for the publication’s other of the word “affordable” to describe a piece purpose: in addition to facilitating returns, of paper costing $10,000 is an affront to the museum directorate explains, “the cata- most people. logue exposes the often painful gaps that ap- The idea of works of art by famous art- peared in the Kupferstichkabinett’s original ists that could actually be owned by regu- collection.” Pain and absence, perfect bound. lar folks is an appealing one, but it sparks some questions: how many people want to buy non-physical works of art? There is an estimate floating around the internet that “virtual goods” will constitute a $2.1 billion business this year in the U.S. alone, but that estimate is based on looking at online gam- ing transactions. The question for S[edition] is to what extent the art audience and the Farmville audience overlap, and to what extent do they think of the two activities in Edition Jacob Samuel the same light. S[edition] promises to “make art collecting instant, affordable, social and www.editionjs.com enjoyable.” Traditionally, art collecting has been driven in large part by the fact that it is not “instant” and it is not “affordable,” and therefore feels more like an achievement. One wonders whether owning a digital file shared with several thousand other people Shepard Fairey, detail of Mandala (2010), still will really feel like ownership? Even if it from video, available online from S[edition]. comes with the certificate of authenticity,

53 Art in Print March – April 2012

there is a difference between a physically locatable thing, with its singular material history in the world, and a batch of digital data. It’s the difference between LPs (for which there is a large collector’s market) and MP3s. Thinking about the MP3 suggests another potential problem. How effectively can these editions actually be limited? Wired Maga- zine argues they cannot: “despite the digital watermarking of the artworks and a few other cosmetic nods to security, it’s not going to take a rocket scientist to copy a JPEG or video file… it would be an identical copy of the original—so it’s ridiculous to even talk about limited-edition digital artworks.” Thus the real value lies in the certificate, not the work of art, as many artists from Duch- amp onward have argued. Wonderful works of art from Marcel Broodthaers’ Signature (1971) to Caleb Larsen’s A Tool to Deceive and Slaughter (2009) have been created to illuminate this particular corner of human habits and values. In the end, it may be that the most interesting thing about S[edition] is not the artwork that it sells, but the artwork that it is.

Interview with LESP’s Dusica Kirjakovic Lucian Freud, Eli (2002). The Art Dossier Blog has published an extensive interview with Lower Eastside Printshop Director Dusica Kirjakovic. LESP has been (New York) on 20 January for $7.9 million Mae Weems and Kara Walker, but several around since the late 60s (let’s put it this to an American collector bidding by phone. of these works were bought in, and a large way, their URL is “printshop.org”) but in the The estimate had been $7 million to $10 mil- number of works sold under estimate. last decade it has emerged as the city’s most lion. Another first edition copy had sold at visible and productive non-profit printshop, Sotheby’s (London) in December 2010 for and like IPCNY (International Print Center $11.5 million, making it the most expensive Lucian Freud Prints at Christie’s and/or New York) continues to serve both emerging printed book sold at auction. According to the Museum of Mankind artists and those fully out of the shell. Christie’s, this example was “presumably It is becoming harder and harder to tell the purchased sometime after 1838 as a bound difference between museums and galleries, 7.9 Million for Audubon complete set” by William Henry Cavendish- and between curatorial concerns and com- A first edition of the four-volume, “double Scott-Bentinck, 4th Duke of Portland, and is mercial ones: in February, the Museum of elephant” version of John James Audubon’s being sold by his heirs. It will be accompa- Mankind (London) hosted “The Collector “The Birds of America,” sold at Christie’s nied by a complete first edition five-volume Exhibition,” which was actually three exhibi- set of Audubon’s “Ornithological Biography.” tions put together by Christie’s and featuring The work’s extraordinary size (each page is works about to go on the block. Of particu- 3 1/2 feet tall) is a result of Audubon’s com- lar interest to print people was “The Printer’s mitment to representing the birds at life size Proof: Etchings by Lucian Freud.” The 45 and in their natural habitat. He is thought to etchings in the show-slash-sale were created have made 200 copies of the books between over the course of Freud’s 25 year collabora- 1827 and 1838, though only 120 are known tion with master printer Magar Balakjian. today. Just 13 of those remain in private col- The lots, which included the familiar por- lections. traits and nudes as well as landscapes and studies borrowed from Chardin and Consta- African-American Prints at Swann ble, all came from Balakjian’s own collection. Sales were mixes at Swann Galleries’ 16 Feb- Given Freud’s recent death and the prove- ruary auction of African-American art which nance and quality of the works on the block, featured more than 75 prints produced over the sale would probably have been a success the course of a century, from Henry Ossawa even without the museum imprimatur, but Tanner‘s 1905 etching of a Tangier gateway a success it was, with most lots selling near (which went well over its $2000-3000 esti- or above the upper estimate, with 86% of the mate, selling for $5400) to Fred Wilson’s lots sold. Three of the standouts (hammer 2003 digital print produced for the Venice prices) were: Kai (1991-1992) (£76,000); Gar- Biennale at which Wilson represented the den in Winter (1997-99) (£66,000); Woman United States ($1500-2500). The sale includ- with an Arm Tattoo (1996) (£101,000). The ed works by famous chroniclers of the black dog portrait Eli (2002) established a record experience in American, including Jacob for a print by Freud, with a hammer price Lawrence, Romare Bearden, Dox Thrash, of £121,000, or £145,250 ($228,833) including Elizabeth Catlett, David Hammons, Carrie buyer’s premium.

54 Art in Print March – April 2012

Hockney Sale at Christie’s oἀsets from 1959, and a Candy Box screenprint of 83. Its title, “The Unabashedly Beautiful Christie’s February sale of David Hockney from 1983), along with a variety of more con- Prints of Helen Frankethaler” is an indica- works on paper featured 150 of the art- temporary pieces. tion of where Hanley comes down in the ist’s prints, ranging from very early student end, as she charts Frankenthaler’s trajectory work (a self-portrait lithograph made when from the early, slightly awkward ULAE lith- he was 17 years old) through the late 1990s. New Online ographs through the transformative grace As with the Lucian Freud sale two days ear- of her Tyler graphics woodcuts. As Hanley lier, the one-artist focus of the show was Sarah Kirk Hanley on points out, Frankenthaler “continued to informative—a form of loose, wide-ranging Xu Bing’s Tobacco Project make inroads in [prints] and garner critical retrospective—and offered a gauge of the Sarah Kirk Hanley’s INK blog at PBS/Art 21 attention for her editions even after con- market. 80% of the lots sold, most of those this month reviews Xu Bing’s Tobacco Project temporary taste had relegated her painting within or above estimate. Some of the works at the Aldrich Museum. Xu has been work- to the margins.” that significantly surpassed their estimates ing on aspects of a material and signifier were: Rue de Seine (1971), etching (£25,000); since 1999, and regards the project as “an Panama Hat (1972), lithograph (£17,000); examination of inherently human issues Blue Guitar (1976-77), complete portfolio of and weaknesses through an exploration 20 etchings (£26,000); The Tree (1986), set of of the extensive, tangled relationship that eight handmade photocopies (£49,000). exists between human beings and tobacco.” As with most of Xu’s work, print and paper Modern and Contemporary Editions are a leitmotif running in unexpected ways through the whole. at Phillips Phillips de Pury & Company offered 269 lots Online Gemini Catalogue Raisonné of modern and contemporary prints and Expanded multiples on 25 January, in a sale that did well The National Gallery of Art (Washington, by volume (85% of lots sold) though many of DC) has announced a newly updated and those sales were toward the low end of the expanded version of the Gemini G.E.L. Online e stimate. Sales results (hammer price, not Catalogue Raisonné, which was first launched William Blake, Christ Placed on the Pinnacle including commissions) included: Andy War- in 2001. The Gemini archive has been at the of the Temple (c. 1816–1818), custom printed hol: Flash–November 22 (1963); the complete National Gallery since 1981. With the addi- mug available from Fitzwilliam on Demand. portfolio sold toward the low end of its esti- tion of 333 new works produced between mate for $42,000 (est. $40,000-60,000), though early 1997 and late 2005, the online catalogue Print the Fitzwilliam on Demand Warhol’s Liz (1964) went at twice the high esti- now includes some 2,069 editions, from the The Fitzwilliam Museum at Cambridge mate, for $18,000. Other works that went high workshop’s founding in 1966 through 2005. University, which has been an innovator were: Marcel Duchamp, Coeurs Volants (1936) Editions added to the newly expanded cata- in online exhibitions (including a number ($13,000); Roy Lichtenstein, Seascape (I) on logue include those by Ellsworth Kelly, Bruce of print exhibitions), is now offering an Rowlux plastic from New York Ten portfolio Nauman, and Richard Serra, all of whom had online custom print service—http://www. (1964-65) ($11,000); L ichtenstein, Cow Trip- worked earlier with Gemini, as well as Kevin fitzwilliamprints.com/. Reproductions of over tych (1982) ($14,000); R ichard Serra, Weight Appel, Ross Bleckner, Cecily Brown, Chris 500 works in the museum’s collection can and Measure (1993) ($14,000); C hristopher Burden, Frank Gehry, Allen Ginsberg, Robert be ordered in the form of as digital prints Wool, My House II, ( 2000) ($14,000); a nd Gober, Ann Hamilton, Toba Khedoori, Brice on paper or canvas (framed or unframed), Martin Lewis, Quarter of Nine, Saturday’s Chil- Marden, and Darryl Pottorf. The updated greeting cards, postcards and “even bespoke dren (1929) ($18,000). On the other hand, Paul online catalogue also features revised and mugs. Available images run from Ancient Klee’s iconic Der Seiltänzer (Tightrope Walker) expanded essays. Gemini remains an active Egyptian stelae to a Gwen John painting (1923) went unsold, as did two eccentric War- producer of prints and editions, and the from 1924 (contemporary art is of course hols (an incomplete set of the Wild Raspberries Online Catalogue Raisonné will continue to mooted by copyright concerns). Prices range be updated in the future. It can be accessed from £1.67 for a greeting card to £160 for at www.nga.gov/gemini. one-meter square framed images. A Melen- cholia mug will set you back £10. The website The Hands of Jasper Johns offers a very nifty interface that allows you The contemporary art space Foundation de to test the appearance of the selected image 11 Lijnen in Oudenburg, Belgium, has orga- in multiple formats, and tilt it this way and nized an exhibition of Jasper Johns prints that. What would Walter Benjamin say? focusing on the artist’s use of his hands as matrix. Beginning in 1962 with the Study for The Warhol App Skin drawings, Johns has pressed his hands The Warhol Museum has announced the and arms onto surfaces and templates. As launch of the Warhol Art App for iPhone, with so many Johnsian motifs, it has been iPod Touch, iPad and Android mobile repeated down the years, muddying the devices ($2.99 for smartphones and $3.99 semiotic distinction between index, icon for tablets). The app allows users access to and symbol in intriguing and meaningful images of Warhol’s work, as well as archi- ways. The exhibition is on view until 11 Feb- val materials, letters, source images, audio, ruary. and video and film clips, including one of the inflated mylar Silver Clouds (1966) INK / The Prints of Helen Frankenthaler bouncing lazily about. Fifty Warhol works Sarah Kirk Hanley’s INK blog on the PBS are treated in depth, including Sleep (1963), Art:21 site this month is devoted to an Mao (1972), The Last Supper (1986) and Self- appraisal of the printed work of Helen Frank- Portrait (1986). The Warhol explains: “with David Hockney, Rue de Seine (1971), etching. enthaler, who died last month at the age this app, visitors will be able to stand in front

55 Art in Print March – April 2012

of one of Warhol’s Mao paintings and view the gift in memory of his father, Major Hor- a video of Warhol painting a Mao, listen to ace Parker, observing, “although it might be curator’s insights, view related works, and going too far to suggest that he was a fan of read in-depth information. We think this is Picasso, he was certainly a fan of the Brit- a very meaningful use of technology in the ish Museum, especially anything involving museum environment that enhances experi- education and enlightenment… To have this encing the real art object.” For a video of the set in such close proximity to the Elgin mar- app in action, go to http://www.youtube.com/ bles would be a particular delight to him.” watch?v=HcM0ewCZtG0. The suite will go on view in gallery 90 next summer in a free exhibition running from Poster App from Imperial War Museum 3 May–2 September. It will be the first time A new, free app from The Imperial War the full set has been shown in the UK in half Museums illuminates British Posters from a century. World War II. The app offers information on 30 posters—stories behind their creation, Audubon Page a Day historical context, and zoomable images. One of the most vexing issues for museum It also allows users to share posters with collections is the display of illustrated books. friends via Facebook, Twitter and email. Looking at a single spread of an open book inside a glass vitrine, the viewer gets little sense of the book as a whole. Allowing Other News visitors to flip through the pages of fragile and delicate volumes is obviously not Guilty Plea in Hirst Forgery Case an option. The most up-to-date solution Richard Silver, a real estate broker and occa- is to scan the pages so that visitors can flip through it virtually with a touchscreen, AMy WiLson sional art dealer, pled guilty to misdemean- I Knew Instantly…, 2010 or forgery and false-filing charges for having while the real volume remains in the case etching, hand coloring, 8 x 6 ¾, ed: 10 doctored appraisals of prints purportedly— below. The Academy of Natural Sciences in but not actually—by Damien Hirst. Silver Philadelphia, however, has reverted to an paid about $40,000 in 2006 for what he older model for the display of its five double believed to be Hirst’s Lysergic Acid Diethyl- elephant volumes of John James Audubon’s amide (LSD), Opium and Valium. The seller, Birds of America: every weekday at 3:15 a Recent editions By: Vincent Lopreto in Irvine, CA. Lopreto was white-gloved member of the staff comes and arrested in 2008 for creating fraudulent cer- turns one giant page, a ritual that encour- tificates of authenticity for the prints, and ages slow looking and an understanding of idA APPLeBRooG is now serving time. Silver says he believed the actual physical presence of the thing. For the prints to be real when he resold them those who want to follow the process from a JoAnne GReenBAUM for around $84,000, and when he later had distance, the Academy posts each day’s page some of the prints appraised for shipping online. insurance and altered the documents to Red GRooMs match the other examples. Silver also failed The Floating World Under Water to report profits from the transactions on his Amongst the other valuables left onboard PAUL HenRy RAMiReZ state tax return. the ill-fated Costa Concordia when the ship sank was a set of Hokusai prints, according to Vollard Suite for the British Museum AP reports. The phrase “a series of 300-year- JoAn snydeR The British Museum is the recipient of a old Japanese woodprints by Hokusai” has rare complete set of Picasso’s Vollard Suite, been repeated in numerous stories about the MicHeLLe stUARt a gift of Hamish Parker (Mondrian Invest- “abandoned treasure” left on the ship, which ment Partners). The 100 etchings, made salvage divers are apparently anxious to get at. The fact that Hokusai wasn’t yet born 300 nicoLA tyson between 1930 and 1937, are widely considered Picasso’s most important set of prints. years ago or that works on paper in a sunken This particular set, furthermore, comes with ship are unlikely to be worth a great deal does not seem to get in the way of a good AMy WiLson impeccable provenance: it was purchased from the heirs of Henri Petiet, the dealer tale. There is some poignancy, however, to who acquired most of the suites upon Vol- the idea of the work of Hokusai, the creator lard’s death. Parker, who paid £1,000,000 of the most famous Ukiyo-e print of all, The for the prints, was attending an event for Great Wave Off Kanagawa, would itself be DIANE VILLANI friends of the museum’s Prints and Draw- swamped by water. editions ings collection, where the museum showed the handful of prints from the suite that it New Location for Gemini G.E.L. at Joni Weyl 285 lafayette street currently owned. Stephen Coppel, the muse- The New York arm of the Los Angeles print shop and publisher Gemini G.E.L. has a new new york new york 10012 um’s curator of modern prints and drawings address, 535 W. 24th Street, 3rd floor. by appointment [and mastermind behind last summer’s Aus- tralia show], had attached a label describing tel: 212.925.1075 the museum’s ambition to own the complete If you would like to be included in Art fax: 212.966.8411 set one day. Coppel told the Guardian of his surprise: “little did I know that this had in Print’s News of the Prin t World, email: [email protected] dropped a seed in Hamish Parker’s head and please submit announcemen ts and web: www.villanieditions.com I was astonished when on 26 April I received other news to [email protected]. an email,” explaining the gift. Parker made

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Artists represented: Assig Baselitz Bellange space for David Krut’s galleries, print work- International Bonnard Cassatt Dürer Ensor Goya Kent shops and David Krut Publishing in Johan- Klengel Manet Meckenem Nanteuil Ostade nesburg and Cape Town, David Krut pro- Piranesi Rembrandt Reinhart Schongauer motes visual literacy and long term careers Directory Tuttle Vuillard Whistler Würth Zingg. in the arts in South Africa. C.G. Boerner is one of the leading dealers in The International Directory is a listing of old master prints. Founded in Leipzig in 1826 Diane Villani Editions Professional Members of the Art in Print we now have galleries in Düsseldorf and New 285 Lafayette Street community. York. In addition to prints of all periods and New York, NY 10012 schools we specialize in German drawings of www.villanieditions.com the 18th and 19th centuries and regularly or- Artists represented: Ida Applebroog, Mel Baron/Boisante Editions & ganize exhibitions with contemporary artists. Bochner, Melissa Brown, Tony Fitzpatrick, Om from India Red Grooms, Alison Saar, Sean Scully, Paul 421 Hudson Street #419 Clay Street Press, Inc. Henry Ramirez, Fred Sandback, Fatimah New York, NY 10014 1312 Clay St. Tuggar, Julia Jacquette, Suzanne McClelland, www.baronboisante.com Cincinnati, OH 45202 Nicola Tyson, Amy Wilson. Artists represented: Curtis Anderson, Don- www.patsfallgraphics.com Diane Villani is a contemporary publisher ald Baechler, Brian Belott, Jennifer Bolande, Artists represented: Vito Acconci, William and private dealer in prints and editions. The Louise Bourgeois, Michael Byron, Sandrine Allen, Andrew Au, Richard Bitting, Carmel business is concentrated on contemporary Guerin, Dan McCarthy, Sigmar Polke, Salva- Buckley, Jay Bolotin, Radha Chandrashek- art and primarily prints. In 1972 she joined tore Scarpitta, Rosemarie Trockel, Not Vital. aran, Mark Fox, Mark Harris, Peter Hut- the Martha Jackson Gallery and in 1980 Baron/Boisante Editions has been a pub- tinger, Chris Johanson, Ik-Joong Kang, she founded Diane Villani Editions, a move lisher of prints and multiples since 1985. Om Werner Kernebeck, Tony Luensman, Tim which enabled her to work more closely from India deals in 19th- and early 20th-cen- McMichael, Matt Mullican, Joel Otter- with artists and to commission new works tury Hindu Mythological lithographs with son, Nam June Paik, Ben Patterson, Rm. as a publisher of prints. Diane Villani Edi- one of the worlds most important and com- Palaniappan, Bern Porter, Kay Rosen, Jochen tions has been a member of the IFPDA since prehensive collections of early Hindu God Saueracker, Carolee Schneemann, Peter 1990. She has chaired the IFPDA’s Print Fair and Goddess prints. Voshevski, Julia Wachtel, Hannah Wilke. Committee which sponsors the Association’s Clay Street Press was founded in 1981 and in Annual Print Fair in New York, was one of Bleu Acier Inc. 1986 moved to the historic “Over the Rhine” the organizing dealers for the Ink Miami Art 109 West Columbus Drive district in Cincinnati. We specialize in the Fair and served as president of the IFPDA Tampa, Florida 33602 printing of small edition, hand-pulled prints from 2007 to 2009. She now serves as a direc- www.bleuacier.com in a number of media including lithography, tor on the Board of the newly formed IFPDA Artists represented: Vicky Colombet, Hervé etching, woodcut and silkscreen. The gal- Foundation, which was created to expand DiRosa, Marie Yoho Dorsey, Sylvie Eyberg, lery opened in 2004. Recent publications the Association’s grants and educational Joe Fyfe, Dominique Labauvie, Michel include editions with the Korean artist Ik- programs. She also serves on the Board of Leonardi,Pierre Mabille, Steve McClure, Joong Kang, Mark Fox, Tim McMichael, Directors for the Fred Sandback Foundation Max Neumann, Claudia Ryan, Francoise Peter Voshevski and Mark Harris. In 2000 and is a member of ArtTable, a professional Saur, Paula Scher, Jovi Schnell, Peter Soria- we printed the portfolio of six lithographs organization for women in the arts. no, Bernar Venet, Voshardt/Humphrey. by Chris Johanson Relationistism, published Bleu Acier is a fine art print publisher and a by RareArt Properties. In 1993 we printed Edition Jacob Samuel collaborative and contract atelier owned and seven of the artist editions in the Whitney 2025 Sixth Street operated by Erika Greenberg-Schneider. We Museum of American Art Biennial Portfolio. Santa Monica, CA 90405 specialize in small hand-printed editions in Co-publishing with Nam June Paik we print- www.editionjs.com intaglio, photogravure, direct gravure, stone ed The Fluxfax Portfolio, a collection of 35 Artists represented: Marina Abramovic, John lithography, relief and monotype. Moving lithographs and silkscreens of original faxed Baldessari, Miroslaw Balka, Chris Burden, back to the U.S., Erika opened her atelier artwork by Fluxus artists. Other projects Dan Graham, Mona Hatoum, Arturo Her- in 2003 after living in France for 22 years. include two recent portfolios of woodcuts by rera, Rebecca Horn, Anish Kapoor, Jannis As a publisher, Bleu Acier collaborates with William Allen, Seven Seas and Seven Wonders. Kounellis, Guillermo Kuitca, Cristina Igle- artists on limited editions and multiples sias, Jonathan Lasker, Barry Le Va, Josiah that possess the strength and drive of their David Krut Projects McElheny, Barry McGee, Meredith Monk, work in other media. These often very rare New York / Johannesburg / Cape Town Matt Mullican, Wangechi Mutu, Gabriel editions integrate the overall vision of the 526 W 26th St #816 Orozco,, Giuseppe Penone, Ed Ruscha, artist’s oeuvre. As a collaborative Master New York, NY 10001 Robert Therrein, Gert & Uwe Tobias, Juan Printer, Erika has worked with artists such www.davidkrut.com Usle’, James Welling, Christopher Wool and as Roberto Matta, Jean Dubuffet, Eduardo Artists represented: William Kentridge, Andrea Zittel. Arroyo, Pierre Alechinsky, Dominique Diane Victor, Chakaia Booker, Gary Schnei- Jacob Samuel has been printing etchings for Labauvie, Max Neumann, Bernar Venet, der, Ryan and Trevor Oakes, Joseph Hart, 38 years. Since founding his own imprint in Beverly Pepper, Georg Baselitz, Chuck Close, Christopher Cozier, Nnenna Okore, Debo- 1986 he has published editions by over 50 Paula Scher, Tom Antista, Alex Kanevsky rah Bell, William Boshoff, Friedrich Dan- artists. and Robert Sanchez. In 2011 Erika Green- ielis, Sandile Goje, Maja Maljevic, Colbert berg-Schneider received the honor of being Mashile, Whitney McVeigh, Phil Sanders, Emanuel von Baeyer named Chevalier of the Order of Arts and Senzo Shabangu, Penny Siopis, Paul Stop- 130-132 Hamilton Terrace Letters by the French Minister of Culture. forth, Mary Wafer, Alastair Whitton. London, NW8 9UU, UK David Krut Projects is a space devoted to the www.evbaeyer-cabinet.com C.G. Boerner promotion of contemporary South African Emanuel von Baeyer London was founded in 23 East 73rd Street art, along with the development of collabor- 1998 and has since been firmly established as New York, NY 10021 ative projects with emerging and established a leading representative of the younger gen- www.cgboerner.com international artists. Acting as a satellite eration of old master dealers. Emanuel von

57 Art in Print March – April 2012

Baeyer deals principally in fine European We are currently working with important 22-carat gold leaf and coloured foils. In the drawings, rare prints and selected paintings contemporary artists who we believe are Apocalypse series of prints we fired bullets from the 15th to the 19th centuries. But also relevant to our time. Generally, these are through the prints and collaged bank notes hold an interest in Modern and Contem- artists whose paintings, drawings, vintage within the printing. We have produced porary art as well as artist autographs and prints and sculptures have become unattain- limited editions using up to 96 separately manuscripts. Emanuel von Baeyer Cabinet able due to the high prices of their works on printed colours per print. We are meticu- is a platform for online exhibitions in addi- the primary and secondary art markets. The lous giclée printmakers, and we use our own tion to Emanuel von Baeyer London regular practice of graphic arts today is consistent in-house digital 5x4 camera which enables activities. Every other month this section with the utopian and generous notion of art paintings to be photographed and proofed profiles different aspects of our extensive that was expressed in the 1960s and 1970s in a matter of hours (see section on fine art inventory. Our wide client base contains a by advanced artists such as Andy Warhol, Giclee printmaking). Of paramount impor- broad variety of interests, some very special- Marcel Broodthaers and Joseph Beuys, and tance to us has always been quality and artis- ized, and we hope that this initiative will give remains accessible to a broad group of art tic integrity. We welcome artists and print collectors and museum curators the oppor- lovers. buyers to phone and discuss our work and tunity to complement their holdings in a visit our studio in Newhaven and offer art- specific area and maybe introduce them to Harlan & Weaver ists the opportunity to oversee their prints new fields of interest and artists. 83 Canal Street in the studio. New York, NY 10002 Frederick Mulder www.harlanandweaver.com I.C. Editions, Inc. / Susan Inglett 83 Belsize Park Gardens Artists represented: Richard Artschwager, 522 West 24 Street London NW34NJ William Bailey, Louise Bourgeois, Robert New York, NY 10011 www.frederickmulder.com Cottingham, Steve DiBenedetto, Carroll www.icedtions.com Artists represented Pablo Picasso, Edvard Dunham, Joanne Greenbaum, Joey Kötting, Artists represented: Barbara Bloom, Bruce Munch, Henri Matisse, Hans Bellmer, Chris Martin, Thomas Nozkowski, Michelle High Quality Foundation, Bruce Conner, Honore Daumier, Albrecht Durer, Kathe Segre, James Siena, Kiki Smith, Mark Strand, Jessica Diamond, Marcel Dzama, Anna Kollwitz, Israhel van Meckenem, Charles Stanley Whitney. Gaskell, Barbara Kruger, Annette Lemieux, Meryon, Edvard Munch, Pablo Picasso, Harlan & Weaver is a fine art print publisher Sol LeWitt, Allan McCollum, Paul Noble, Karl Schmidt-Rottulff, Giovanni Domenico and collaborative workshop that specializes Claes Oldenburg, Catherine Opie, Robyn Tiepolo, Jacques Villon. in etching and other forms of intaglio print- O’Neil, Raymond Pettibon, Rona Pondick, Dr. Frederick Mulder CBE has been a private making. The studio encourages an artist’s Richard Prince, Erika Rothenberg, Allen art dealer since 1971 in London, dealing in direct engagement with the intaglio process Ruppersberg, Simone Shubuck, Aaron Span- original prints from the 15th to 20th centu- in all its forms, offering artists flexibility in gler, Jessica Stockholder, Philip Taaffe, Fred ries. We deal in a wide range of prints, but concept and scale while providing the facili- Tomaselli, Lawrence Weiner, Terry Winters, our speciality is Picasso and in particular ties and technical guidance for a successful Andrea Zittel. the linocuts he made between 1951 and 1965. project. Felix Harlan and Carol Weaver start- I.C. Editions, Inc. was established by Susan Our holdings of Picasso’s linocuts are prob- ed their workshop in 1984, and have been Inglett in 1991 to publish the work of both ably among the most extensive in the world. located in the Lower East Side since 1985, young and mid-career artists and to height- Dr. Mulder is considered to be one of the one of a small group of fine art print shops en awareness of the medium. To date she world’s experts in the field of 19th- and 20th- in business today. Though they continue a has published prints and multiples by a wide century European prints. His clients include tradition of craft begun in the 15th century, range of artists including Barbara Bloom, most of the major museums: Metropoli- they strive to keep the process contemporary Bruce Conner, Allan McCollum, Paul Noble, tan Museum and Museum of Modern Art, by eliminating preconceived ideas about Claes Oldenburg, Catherine Opie, Richard New York; National Gallery of Art, Wash- what can and cannot be done. As publish- Prince, Terry Winters and Andrea Zittel. ington; Art Institute of Chicago; National ers, they support an artist’s experimentation In 1994 Susan Inglett Gallery was founded Museum of Western Art, Tokyo; Art Gallery and freedom with the printmaking process, to exhibit these publications as well as the of Ontario, Canada; Australian National advocating results that are a continuation unique work of emerging and established Gallery, Canberra, and National Gallery of of the themes and concerns of the artist’s artists. Activities in the gallery have ranged Victoria, Melbourne; British Museum, Lon- work in other mediums. Artists are invited from print demonstrations and lectures, don; Victoria and Albert Museum, London; to the shop specifically to make an intaglio to early realizations of the Editions/Art- National Gallery of Scotland, Edinburgh; print, a process that can take a few days or ists’ Book Fair, to exhibitions of the artist’s Rijksmuseum, Amsterdam. Frederick Mul- a few months, depending on the artist and editions within the larger context of their der has been a member of the International techniques used. unique work. Inglett has also been respon- Fine Print Dealers Association (IFPDA) since sible for the organization of a number of it was founded, and a member of the Cham- Harwood King Fine Art Printmakers exhibitions seen locally and nationally bre Syndicale de l’Estampe, du Dessin et du Unit 8, E-Plan Estate New Road focusing on the print and multiple medium. Tableau, Paris for more than 25 years. Newhaven, East Sussex, Bn9 0ex, UK In November 1998 Susan Inglett, in coopera- www.harwoodking.eu tion with Printed Matter and Brooke Alex- Graphic Matter Artists represented: David Spiller, Crawfurd ander Editions, organized the first Editions/ Peter Ruyffelaere Adamson, Georita Harriot, Belinda Eaton, Artists’ Book Fair which continues today. Leguit 23 Jake Wood Evans, Andrew McAttee, Carne 2000 Antwerp, Belgium Griffiths, Alex Dipple, Johnathan Darby, International Fine Print Dealers www.graphicmatter.be/en Colin Brown. Association (IFPDA) Artists represented: Luc Tuymans, Thierry Harwood King Fine Arts, studio, silkscreen, 250 W. 26th St., Suite 405 De Cordier, Raoul De Keyser, Panamarenko, woodcut and giclée specialists, have been New York, NY 10001 Roger Raveel and Hellen Van Meene. printmakers for more than 30 years. We have www.ifpda.org Graphic Matter is a recently founded pub- produced limited edition prints for artists The International Fine Print Dealers Asso- lishing company of prints and artists’ edi- and galleries from all over the world. In Slip- ciation (IFPDA) is a non-profit organization tions. Artists’ editions are works of art, stream by Dan Baldwin we combined giclée, of leading art dealers, galleries, and publish- produced as multiples, in limited editions. silkscreen and hand-embellished areas using ers with expertise in the field of fine prints.

58 Art in Print March – April 2012

International Print Center New York to create a home for artists and artistic ac- and European limited-edition prints and 508 West 26th St., 5th Floor tivity in Jerusalem as well as an educational multiple objects. Kornelia Tamm has been New York, NY 10001 center that will combine the preservation dealing with art since 1986, with a ten year www.ipcny.org of traditional techniques alongside the de- hiatus between 1990 and 2000. Kornelia International Print Center New York was velopment of new technologies, and which started the business in Germany and moved established in Chelsea in September 2000 would thus ensure the direct continuation permanently to New York City in January as the first and only non-profit institution of the splendid tradition of Hebrew print- 1988. In 2000 Kornelia started again. This devoted solely to the exhibition and under- making in Jerusalem and in Israel. time on the internet with Sothebys.com. The standing of fine art prints. IPCNY fosters success was unexpected and in November a climate for enjoyment, examination and Johan Deumens Gallery 2003 Kornelia continued on the internet serious study of artists’ prints from the old Amsterdam & Leipzig with her own web site and for the last years master to the contemporary. IPCNY nur- Gabriel Metsustraat 8 in Santa Fe, New Mexico. In the summer of tures the growth of new audiences for the Amsterdam, The Netherlands 2011, Kornelia Tamm Fine Arts moved back visual arts while serving the print commu- www.johandeumens.com to Rhinebeck, New York. nity through exhibitions, publications, and The Johan Deumens Gallery was originally established in 1989 as Artists Books Johan educational programs. Currently on view: Lower East Side Printshop Deumens, Amsterdam, dedicated to a pro- “New Prints 2012 / Winter,” 28 January–24 306 West 37th Street, 6th Floor gram of conceptual artists books. In 1995 the March 2012. A juried exhibition of contem- New York, NY 10018 gallery started a long-term relationship with porary printmaking selected from a pool of www.printshop.org Edition Jacob Samuel, Santa Monica; serial 2,300 submissions from the US and abroad. Artists represented: Kiki Smith, Nancy works on paper by international renowned Upcoming: “Coming Attraction: Cuban Spero and Leon Golub, Philip Taaffe, Robert artists became a major focus. In 2007 the Movie Posters,” 5 April–12 May 2012. Longo, Barbara Kruger, Juan Sanchez, and gallery was renamed Johan Deumens Gallery Tomie Arai, and groups such as Colab, to stress our artists approach in representing Group Material, PAD/D, Anti Utopia, Bullet Island Press works on paper, books and photography. We Space, Ghada Amer, Sebastiaan Bremer, Sam Fox School of Design and Visual Art opened a gallery in Haarlem and in 2010 a Zana Briski, Paul Chan, Amy Cutler, Joanne Washington University second gallery at the Spinnerei in Leipzig. Greenbaum, Arturo Herrera, Glenn Ligon, Campus Box 1213 Today, we are relocating our main office to Ryan McGinness, Matthew Day Jackson, One Brookings Drive Amsterdam. The gallery represents the work Chris Martin, Carrie Moyer, Sheila Pepe, St. Louis, MO 63130 of both established and emerging artists, and Enoc Perez, Chloe Piene, Dread Scott, Kate http://samfoxschool.wustl.edu/artarch/ the exquisite program of serial works, pub- Shepherd, Jean Shin, James Siena, Amy Sill- research/island_press lished by Edition Jacob Samuel. We attach man, Lynne Yamamoto, and Kara Walker. Artists represented: Chris Duncan, Willie importance to present works in different Lower East Side Printshop, founded in 1968, Cole, Ann Hamilton, Greely Myatt, Squeak ways: through direct communication with is a not-for-profit studio in New York City Carnwath, Hung Liu, Juane Quick-to-see- public, private and corporate collections, that helps contemporary artists create new Smith, Juan Sanchez, Chakaia Booker. gallery exhibitions, off-site projects, art fairs, artwork and advance their careers. Island Press is a research-based printmak- and this website. ing workshop at Washington University in St. Louis that is committed to creating and Jungle Press Ribuoli Digital publishing innovative prints and multiples, 1166 Manhattan Avenue 526 W. 26th Street #1021 educating students and the broader commu- Brooklyn, NY 11222 New York, NY 10001 nity about print media, and advancing the www.junglepress.com www.ribuolidigital.com printmaking field. Artists represented: Richard Baker, Rudy Artists represented: Joe Andoe, Angelo Filo- Burckhardt, Diana Cooper, Elizabeth meno, Jean-Pierre Hébert, Annette Lemieux, Jennifer Melby Cooper, Jane Fine, Mary Frank, Yoshishige David Shapiro. 110 Wyckoff Street Furukawa, Mary Heilman, Jacqueline Founded in 2009, Ribuoli Digital is a col- Brooklyn, NY 11201 Humphries laborative fine art studio in New York City www.jennifermelby.com Jungle Press Editions is dedicated to pub- specializing in creating original artists’ proj- Artists represented: Tom Burckhardt, Joanne lishing work by outstanding contemporary ects and editions utilizing digital technology Greenbaum, Robert Moskowitz, Andy Spen- artists. In collaboration with master printer along with traditional printmaking tech- ce, Craig Taylor, Nicola Tyson. Andrew Mockler, each artist develops a niques. Partners Andre Ribuoli and Jenni- A collaborative studio specializing in intaglio project that builds upon his notion of his fer Mahlman bring specialized professional printmaking and offering artists and pub- own work and expands the nature of the skills and fine craftsmanship to the collabor- lishers facilities for a full range of platemak- print medium itself. Because Jungle Press ative and production processes. The studio ing, proofing and editioning services. is both a publisher and a workshop, we are offers a wide variety of digital and traditional able to oversee a project from its inception, printing techniques and services. Digital Jerusalem Print Workshop through all phases of its production, and processes offered including large-format 38 Shivtei Israel St. finally to its placement in important collec- inkjet printing, Iris printing, plotting in ink Jerusalem, Israel tions. At Jungle Press, we are committed to and graphite, CNC cutting/engraving/mill- www.jerusalemprintworkshop.org/ hand processes: lithogrography, etching and ing in a variety of materials, 3-D laser scan- Artists represented: Maya Schindler, Yehiel relief printing, but at the same time feel ex- ning and embroidery. Traditional printmak- Shemi, Gran Margo, David Ben-Shaul et al. cited about the advances of computer-based ing techniques offered including polymer The Jerusalem Print Workshop is dedicated design and photographic techniques. photogravure, intaglio, relief, lithography, to the advancement and fostering of the art screenprinting, monoprinting and artist’s of printmaking. The workshop was founded Kornelia Tamm Fine Arts book construction. Ribuoli Digital offers artin 1974 by Arik Kilemnik – winner of the 187 East Market Street, Suite P-101 ist the opportunity to utilize and combine 2001 Teddy Kollek Jerusalem Foundation Rhinebeck, NY 12572 a wide range of media and techniques to Prize – as a non-profit organization for the www.tammfinearts.com create unique original works and editions. benefit of the public. Kilemnik’s vision was Print art dealer. Contemporary American Ribuoli Digital acts as a contract studio in

59 Art in Print March – April 2012

creating projects for artists, galleries and goya, Bernard Cohen, Evan Colbert, Roy De Artists represented: Ahmed Alsoudani, Den- other studios and has started a publishing Forest, Donna Dennis, Rafael Ferrer, Dian- nis Ashbaugh, Gideon Bok, Louise Bour- program featuring original print editions by na Frid, Elliott Green, Red Grooms, Susan geois, Meghan Brady, Ambreen Butt, John select artists. Hall, Jane Hammond, Don Ed Hardy, Ana Cage, Walton Ford, Dana Frankfort, Karen Maria Hernando, Robert Hudson, Yvonne Gelardi, John Gibson, Lise Lemeland, Sol Mary Ryan Gallery Jacquette, Luis Jiménez, Roberto Juarez, Lewitt, Jiha Moon, Aaron Noble, Matt Phil- 527 West 26 St. Susanne Kühn, Robert Kushner, Li Lin Lee, lips, Richard Ryan, Robert Ryman, Robert New York, NY 10001 Hung Liu, Kara Maria, Hiroki Morinoue, Stackhouse, Neil Welliver, Joel Werring. www.maryryangallery.com Miho Morinoue, John Newman, Manuel Wingate Studio is a professional printmak- Artists and estates represented: Sybil An- Ocampo, Janis Provisor, Jeera Rattanang- ing studio specializing in intaglio printmak- drews, Peter Blake, Bradley Castellanos, koon, Rex Ray, Jim Ringley, Peter Saul, Italo ing. Founded in 1985 by Peter Pettengill, Seong Chun, Christopher Cook, Laurent Scanga, Hollis Sigler, Stacey Steers, James Wingate publishes and editions original de Brunhoff, Josh Dorman, David Hockney, Surls, Barbara Takenaga, Emmi Whitehorse, etchings, monotypes and relief prints in col- Sangbin IM, Yvonne Jacquette, Willem de William T. Wiley, Betty Woodman, Thomas laboration with contemporary artists and Kooning, Blanche Lazzell, Kakyoung Lee, Woodruff. print publishers. The prints published and Sol Lewitt, RobertLongo, Louis Lozowick, Since 1976, when Shark’s Lithography printed at Wingate are in the collections of: Michael Mazur, Joan Mitchell, Jiha Moon, opened as a contract print shop, through the The Museum of Modern Art, The Metropoli- Andrew Raftery, Dieter Rehm, David Schorr, last 35 years of publishing prints as Shark’s tan Museum of Art, The Whitney Museum Peter Sis, Sandy Skoglund, May Stevens, Katy Ink, Master Printer Bud Shark has collabo- of American Art, The Library of Congress, Stone, Donald Sultan, Wayne Thiebaud, rated with a distinguished group of more The Fogg Museum, The Smith College John Wilson. than 150 artists and produced thousands of Museum of Art, The Mead Art Museum, The Mary Ryan Gallery, Inc. was established in prints. This eclectic body of work often chal- Danforth Museum of Art and private collec- New York City in 1981. For thirty years the lenges the assumptions and limitations of tions internationally. gallery has represented an international ros- printmaking. Processes used in the studio ter of contemporary artists working in all have included lithography; monotype, using media, including painting, drawing, print- watercolor, oil pastels and other materials; making, photography and sculpture. We are metal leaf, chine collé, embossing and col- dedicated to developing the careers of the lage, as well as innumerable innovations for artists we represent through placement in cutting and printing woodblocks and other prestigious public, private and museum col- relief prints; and the engineering and con- lections, international exposure through par- struction of three-dimensional lithographs. ticipation in Art Fairs and garnering media Bud Shark has devised unique methods attention. In addition to representing artists, and materials for realizing the challenging the gallery is active on the secondary market, projects artists propose. Prints published by focusing on works on paper by such artists Shark’s Ink. are included in numerous pri- as Willem de Kooning, Richard diebenkorn, vate and public collections including MoMA, David Hockney, Donald Judd, Sol Lewitt, NY; The Whitney Museum of American Art, Joan Mitchell and Wayne Thiebaud, as well NY; The Metropolitan Museum of Art, NY; as early 20th-century British and American Yale University Art Gallery, CT; The New Modernist works by artisits such as Sybil An- York Public Library, NY; The Library of Con- drews, Blanche Lazzell, Louis Lozowick and gress, DC; The Art Institute of Chicago, IL; Cyril Power. Mary Ryan Gallery is a member The Hirshhorn Museum, Smithsonian Insti- of the Art Dealers Association of America tution, DC, The Philadelphia Museum of (ADAA) and the International Fine Print Art, PA, and many others. Dealers Association (IFPDA).

Paupers Press Tandem Press 45 Coronet St. 201 South Dickinson Street London, N1 6HD Madison, WI 53703 United Kingdom www.tandempress.wisc.edu www.pauperspublications.com Artists represented: Richard Bosman, Artists represented: Mat Collishaw, Stephen Suzanne Caporael, Squeak Carnwath, Chambers, Charles Avery, Christopher Le Robert Cottingham, Jim Dine, Benjamin Brun, Bob & Roberta Smith, Brian Illsley & Edwards, Sam Gilliam, Al Held, José Lerma, Rosie Snell. Nicola López, David Lynch, Cameron Mar- Paupers Press, established in 1986, is a fine tin, David Nash, Dennis Nechvatal, Judy art print and publishing studio working with Pfaff, Sam Richardson, David Shapiro. many of the United Kingdoms leading con- Tandem Press, a publisher of contemporary temporary artists, publishers and galleries fine art prints is a self-supporting unit of the as well as commissioning projects under its Art Department at the University of Wiscon- own imprint. sin/Madison. Founded in 1987 Tandem Press was designed to foster research, collabora- Shark’s Ink tion, experimentation and innovation in the 550 Blue Mountain Road field of printmaking. Lyons, CO 80540 If you would like to be included in the www.sharksink.com Wingate Studio Art in Prin t International Directory, Artists represented: Laurie Anderson, Phyl- 941 Northfield Rd please submit announcemen ts and lis Bramson, Brad Brown, John Buck, Tom Hinsdale, NH 03451 other news to [email protected]. Burckhardt, Kathy Butterly, Enrique Cha- www.wingatestudio.com

60 Art in Print March – April 2012

Index to Volume 1 — 2011 / 2012

Volume 1 / Number 1 Volume 1 / Number 2 Volume 1 / Number 3

In This Issue: In This Issue In This Issue Susan Tallman / On Art in Print Susan Tallman / On Substance Susan Tallman / On the Corner Paul Coldwell / Christiane Baumgartner Catherine Bindman / Odilon Redon: Gill Saunders / Street Art: Prints and Between States Prince of Dreams (1840–1916) Precedents Deborah Wye (interview) / Embracing Susan Tallman / Dreaming in Company: Charles Schultz / A Matrix You Can the Whole Story: ἀ irty-One Years at the Redon and Bresdin Move In: Prints and Installation Art Museum of Modern Art Andrew Raftery / Drawing and its Heather Hess / Changing Impressions: Adam Lowe / Messing About With Master- Double: Selections from the Istituto Wiener Werkstätte Prints and Textiles pieces: New Work by Giambattista Piranesi Nazionale per la Grafica, Rome Jay Clarke / The Politics of Geography Suzanne Karr Schmidt / Printed Bodies Susan Tallman / Jane Kent and Richard and Process: Impressions from South Africa, and the Materiality of Early Modern Prints Ford Go Skating 1965 to Now Book Reviews: John Ganz / Sturm and Drang on 53rd St. Book Reviews: - Out of Australia Kristyna Comer / Christopher Cozier and Nancy Princenthal / It is Almost That: - Philagrafika 2010: The Graphic Printmaking: Investigating the In-Between A Collection of Image+Text Work by Unconscious Charles Schultz / Nicola López: Women Artists & Writers Structural Detours Susan Tallman / Gauguin’s Paradise Book Reviews: Remembered - The Prints of Terry Frost - Impressions from South Africa 1965 to Now: Prints from the Museum of Modern Art

Volume 1 / Number 4 Volume 1 / Number 5 Volume 1 / Number 6

In This Issue In This Issue In This Issue Susan Tallman / On Partisanship Susan Tallman / On Plenty Susan Tallman / On Anarchy Getting the Joke: Historical Satire in Print New Editions / 50 Reviews A – Z Sarah Kirk Hanley / Visual Culture of the Constance C. McPhee / How Katrina Andry • Polly Apfelbaum • Ida Applebroog • Nacirema: Enrique Chagoya’s Printed Codices Napoleon Became an Emblem Birk & Pignolet • Chakaia Booker • Enrique Chagoya David Ensminger / The Allure of the Instant: Nadine M. Orenstein / Two Mysteries— • Robert Cottingham • Dorothy Cross • Amy Cutler • Postscripts from the Fading Age of Xerography One Solved Richard Deacon • Carroll Dunham • R.M. Fischer • Tony Catherine Bindman / Looking Back at Looking Kristina Volke / Serving the Cat: Fitzpatrick • Mark Francis • Anne-Karn Furunes • Frank Back: Collecting German Romantic Prints Traditional Woodcut Printing in Modern Gehry • Adriane Herman • Daniel Heyman • Carsten Exhibition Reviews: Vietnamese Society Höller • Jasper Johns • Jacob Kassay • Kakyoung Lee • M. Brian Tichenor & Raun Thorp Jill Bugajski / Artful Coercion: ἀ e Christian Marclay • Chris Martin • Josiah McElheny Proof: The Rise of Printmaking in Aesthetic Extremes of Stencil in Wartime • Julie Mehretu • Annette Messager • Dave Muller • Southern California Charles Schultz / Sigmar Polke: Chunwoo Nam • Enoc Pérez • David Shapiro • Stan Susan Tallman Photoworks 1964–2000 Shellabarger • Kiki Smith • Bob & Roberta Smith • Tom IPCNY New Prints 2011 / Autumn Book Reviews: Spleth • Superimpose portfolio • Wayne Thiebaud • Editions Review: Suzanne Karr Schmidt / English Carolyn Thompson • Rirkrit Tiravanija • Diane Victor • Sarah Andress Prints: Looking Over the Overlooked Rachel Whiteread • Terry Winters • Karl Wirsum • Jonas Annesas Appel Susan Tallman / Dancing with the Wood • Richard Woods • Zachary Wollard • Witho Book Reviews: Dark: Joan Snyder Prints 1963–2010 Worms • Anton Würth - Alex Katz Prints Book Reviews: - Altered and Adorned: Using Renaissance Annkathrin Murray / On the Wall Prints in Daily Life Britany Salsbury / The Book As Instrument News of the Print World Directory Index to Volume 1

All back issues can be purchased on our website at www.artinprint.org. Members can also view, download and print from PDF files available on the website.

61 Art in Print March – April 2012

Contributors to this Issue

Sarah Andress is the former Managing Editor of Art on Paper magazine. Before that, she was in the exhibitions department of Independent Curators International. She earned an MA in Art History from the Courtauld Institute in London and has contributed articles to FlashArt, TimeOut London, and artlog.

Julie Bernatz Julie Bernatz is Managing Editor of Art in Print. She also designs and produces the Art in Print Journal. She received her MFA in Printmedia from the Art Institute of Chicago in 2010. Prior to this she was the director of production for a range of print and digital publishing endeavors in New York, San Francisco and Los Angeles. She lives and works in Chicago.

Catherine Bindman Catherine Bindman is an art critic and editor specializing in museum catalogues. She was Deputy Editor at Art on Paper magazine and lives in New York.

David Ensminger David Ensminger received a MA from the City College of New York in English and a MS from the Folklore Program at the University of Oregon. He teaches at Lee College in Baytown, TX, and contributes to Popmatters, Maximum Rock’n’Roll, Houston Press, M/C Journal, Journal of Popular Music Studies, Artcore, and Postmodern Culture. He is a longtime archivist of vernacular culture whose book Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generation was released by the University Press of Mississippi in 2011. In Fall 2012, PM Press will publish Left of the Dial, a collection of his interviews.

Sarah Kirk Hanley Sarah Kirk Hanley is a print curator, writer and appraiser. She writes the monthly column Ink: Notes for the Art21 blog and teaches at the School of Continuing and Professional Studies at New York University. Hanley has held positions at Christie’s, the Milwaukee Art Museum, and the Lower East Side Printshop.

M. Brian Tichenor M. Brian Tichenor is an artist and partner in Tichenor & Thorp Architects, Inc., a widely published firm in Los Angeles. He holds a M. Arch from UCLA, and BFA from UC Santa Barbara, with a concentration in Lithography. He currently teaches in the Graduate School of Architecture at the University of Southern California.

Raun Thorp Raun Thorp is a Los Angeles-based architect, designer and collector of works on paper. She is a partner in Tichenor & Thorp Architects, Inc., and holds degrees from Bryn Mawr College and UCLA School of Architecture and Urban Planning.

Susan Tallman Susan Tallman is Editor-in-Chief of Art in Print. She has written extensively about prints, issues of multiplicity and authenticity, and other aspects of contemporary art. Her publications include The Collections of Barbara Bloom, 2008 (with Barbara Bloom and Dave Hickey) and The Contemporary Print from PrePop to Postmodern, 1996. She currently teaches at the School of the Art Institute of Chicago.