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 http://www.tandempress.wisc.edu [email protected] 201 South Dickinson Street Madison, Wisconsin, 53703 Phone: 608.263.3437 Fax:608.265.2356 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. 2 Art in Print March – April 2012 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 stu- dent 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 codi- ces—accordion-folded artist’s books made with lithography, woodcut, let- terpress, and occasional collaged ele- ments 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.