US $25 The Global Journal of Prints and Ideas January – February 2014 Volume 3, Number 5 New Editions 2013: Reviews and Listings of Recent Prints and Editions from Around the World Dasha Shishkin • Crown Point Press • Fanoon: Center for Print Research • IMPACT8 • Prix de Print • ≤100 • News international fi ne ifpda print dealers association 2014 Calendar Los Angeles IFPDA Fine Print Fair January 15–19 laartshow.com/fi ne-print-fair San Francisco Fine Print Fair January 24–26 Details at sanfrancisco-fi neprintfair.com IFPDA Foundation Deadline for Grant Applications April 30 Guidelines at ifpda.org IFPDA Book Award Submissions due June 30 Guidelines at ifpda.org IFPDA Print Fair November 5– 9 Park Avenue Armory, New York City More at PrintFair.com Ink Miami Art Fair December 3–7 inkartfair.com For IFPDA News & Events Visit What’s On at ifpda.org or Subscribe to our monthly events e-blast Both at ifpda.org You can also follow us on Facebook, Twitter and Instagram! The World’s Leading Experts www.ifpda.org 250 W. 26th St., Suite 405, New York, NY 10001-6737 | Tel: 212.674.6095 | [email protected] Art in Print 2014.indd 1 12/6/13 4:22 PM January – February 2014 In This Issue Volume 3, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Being There Associate Publisher Kate McCrickard 4 Julie Bernatz Welcome to the Jungle: Violence Behind the Lines in Three Suites of Prints by Managing Editor Dasha Shishkin Dana Johnson New Editions 2013 Reviews A–Z 10 News Editor Isabella Kendrick Prix de Print, No. 3 22 Andrew Raftery Manuscript Editor James S. Janecek: J.X.E. 358 Prudence Crowther Treasures from the Vault 24 Online Columnist Sarah Kirk Hanley Aprile Gallant Munio Makuuchi: On Boy’s Day I Design Director “I.D.” with Rocky Mountain Skip Langer Salmon…/...So where’s the Salmon? Editorial Associate Reviews Michael Ferut Susan Tallman 27 Crown Point Press: Yes, No, Maybe Jason Urban 32 Fanoon Center for Print Research Carrie Ida Edinger 36 Interdisciplinary Approaches at IMPACT8 <100 38 News of the Print World 41 Guide to Back Issues 58 Contributors 60 Online: Sarah Kirk Hanley / The INK Blog Ephemera on the Mind: Part 2 On the Cover: Nicola López, detail of Big Eye (2013), woodcut, 43 1/2 x 39 1/2 inches. Edition of 14. Printed by Andy Rubin, Madison, WI. Published by Tandem Press, Madison, WI. This Page: Caetano de Almeida, detail of Untitled II (WHE-CA 2013.52) (2013), monotype printed with lithograpic inks, 28 x 20 inches each. Printed by the artist and Derriere L’Etoile Studios, New York. Published by World House Editions, Middlebury, CT. The series “Treasures from the Vault” Art in Print was made possible with the generous 3500 N. Lake Shore Drive support of the IFPDA Foundation. Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. On Being There By Susan Tallman ow do you see new prints?... It’s west and employed for much of his career nical information along with an artist’s H a simple enough question, though in Nigeria. statement, but the names of artists, print- the answer is often complicated. Galler- Makuuchi died in 2000, before the ers and publishers are expunged.) In the ies that can afford to devote wall space Internet reached its current status as art- end Andrew settled on a work that turned to prints are fewer in number every year. ists’ most effective calling card. The Inter- out to be by James S. Janecek. Janacek Museums organize great print exhibi- net itself, of course, is a mixed blessing. lives in Providence. Sometimes the party tions but are rarely able to show the most Surely the most efficient tool for gaining is next door. recent work. Visits to artists’ studios a broad overview of contemporary art and and printshops are an option, but only if print activity, it is also the world’s great- Susan Tallman is the Editor-in-Chief of you are well-connected and sufficiently est host of misunderstanding. (As I write, Art in Print. endowed with time and frequent-flier post offices around the world are heav- miles. Fairs provide essential opportuni- ing with holiday purchases returning ties to see many things from many places home because the thing in question was efficiently, though they are not ideal envi- not quite what was imagined from the ronments for aesthetic contemplation. online image.) For Art in Print’s third annual New At Art in Print we rely on the efficacy Editions issue, our contributors relied on of digital reproduction while acknowl- all these strategies. Asked to select recent edging its limitations and attempting, prints of interest, they searched galleries through words, to compensate readers and not-for-profit spaces, visited studios for all those specific physical qualities and workshops and scoured art fairs in lost in facsimile. Our rule is that reviews London, New York and Miami. Their can be written only about things the reviews, beginning on page 10, cover author has seen in person; they must be some two-dozen projects, from self-pub- responses to physical encounters with lished editions by independent printmak- the work. The New Editions listings, on ers to collaborations between prominent the other hand, include work sent to us artists and distinguished printers. In a digitally, and the Prix de Print is awarded longer essay, Paris-based artist and writer on the basis of digital reproductions. In Kate McCrickard introduces the visu- a perfect world, our juror would be able ally loquacious fantasies of the Russian- to sift through piles of actual prints, com- American painter and etcher Dasha ing to understand the paper, the scale, the Shishkin. These artworks testify to the texture and the presence of each work. In continued vitality of print as medium, the real world, JPEGs make it economi- artifact and logic in contemporary cul- cally feasible for an artist in Australia ture. The problem for viewers is not lack to submit work to the Art in Print office of good art but lack of access to it. in North America and have it judged in The remarkable drive of artists to Europe (and whatever their failings, most create venues for the discussion and pro- JPEGs are far more faithful to their sub- duction of prints is demonstrated in Car- jects than the 35mm slides that were used rie Ida Edinger’s account of the IMPACT8 to judge art a decade ago). We make these Notes on the Editions: conference in Dundee and in Jason pragmatic accommodations in the belief Urban’s report on the new Fanoon Centre that some knowledge is better than none. All prices are subject to change. for Printmedia Research in Qatar. The thing to remember is that the Though prints are built for travel, get- reproduction—online or in the pages of As currency conversion rates are ting writers and prints in the same place this journal—is the invitation, not the also subject to change, we list at the same time is still a challenge, and party. It may be that the print itself is prices in the currency provided artists and printers working outside of a inaccessible, locked away in a vault or on by the publisher. handful of urban centers remain at a dis- the other side of the world. The invita- advantage. This issue’s “Treasures from tion may be as close as most of us can get. All prices are for unframed works the Vault” essay, by Smith College cura- Or not. unless otherwise noted. tor Aprile Gallant, examines the under- Jurying this issue’s Prix de Print, recognized work of Munio Makuuchi, a Andrew Raftery sat in Providence, Rhode UK and South African prices do Japanese-American artist raised in the Island, scanning dozens of anonymous not include VAT. Pacific Northwest, interned in Idaho dur- images. (The competition is done blind; ing World War II, educated in the Mid- each entry is identified by title and tech- 2 Art in Print January – February 2014 HERNAN BAS Hernan Bas: Ennui, 2013 NEW ETCHINGS 2390 4th street berkeley, ca. 94710 p. 510-559-2088 WWW.paulSoNboTTprESS.Com [email protected] bas ad option 3.indd 1 12/3/2013 12:48:48 PM Welcome to the Jungle: Violence Behind the Lines in Three Suites of Prints by Dasha Shishkin By Kate McCrickard Dasha Shishkin, Equal Opportunity or Men Who Love Dragons Too Much (2005), etching and aquatint, 16 x 24 inches. Printed by Kupferdruckerei Willi Jesse, Berlin. Published by Griffelkunst, Hamburg. e are looking at a scene of chaos: Shishkin, born in 1977, emigrated to Doctor Seuss’s illustrative conciseness. Wa giant uprooted tree crashes to New York as a teenager. In Russia, her She admits her application of color is ran- the right and its roots rear up to reveal father had been artistic director of the dom, unmixed, “as God intended, out of a an armless nymph in a bathing cap. She Moscow Puppet Theatre, and perhaps can.”1 For all their formal resonance with kneels next to a larger female swim- this early context contributed to Shish- the world of childhood, however, Shish- mer keeping vigil over what looks like kin’s sensibilities—her art evinces an kin’s images are the stuff of adult night- an exhumation of pint-sized mandrake imagination as fizzy as Hecate’s caul- mares: her tangled line describes a world roots. Behind them, a line of dark Dicken- dron and a quick hand that seems made of superficial beauty, calculated violence, sian figures rail against a storm, cloaks for etching.