Rauschenberg & Robbe-Grillet • Comics and Art After the Graphic Novel • Jürgen Partenheimer S

Home , Anke Feuchtenberger, Carroll Dunham, Donald Farnsworth, Don Martin (cartoonist), George Herriman, Guy Diehl

March – April 2013 Volume 2, Number 6

Image and Text in Crisis: Rauschenberg & Robbe-Grillet • Comics and Art after the Graphic Novel • Jürgen Partenheimer Stephen Chambers • Louise Bourgeois Between the Lines • David Musgrave • <100 • International Directory • Reviews • News History. Analysis. Criticism. Reviews. News.

Art in Print. In print and online. www.artinprint.org

Subscribe to Art in Print. March – April 2013 In This Issue Volume 2, Number 6

Editor-in-Chief Susan Tallman 2 Susan Tallman On Words and Pictures

Associate Publisher Mark L. Smith 3 Julie Bernatz Image and Text in Crisis: Rauschenberg’s and Robbe-Grillet’s Managing Editor Annkathrin Murray Traces suspectes en surface

Associate Editor Amy Peltz 8 Amelia Ishmael The Visual Turn: Comics and Art after the Graphic Novel Design Director Skip Langer Exhibition Reviews Manuscript Editor Paul Coldwell 15 Prudence Crowther Stephen Chambers: The Big Country

Christina von Rotenhan 18 Louise Bourgeois: Between the Lines

Edition Reviews Catherine Bindman 20 Jürgen Partenheimer: Folded Spirits M. Brian Tichenor & Raun Thorp 23 David Musgrave Amelia Ishmael 25 Eva Bovenzi Onsmith & Nudd Maru Rojas 27 The WITH Collective Elleree Erdos 28 Willie Cole

Book Reviews Susan Tallman 29 Gert and Uwe Tobias: Dresdener Paraphrasen / Dresden Paraphrases

<100 32

International Directory 2013 33

News of the Print World 38 Jürgen Partenheimer, cover of the artist book Folded Spirits (2012). Edition of 15. Co-published Contributors 48 by the artist and David Krut Projects, Johannesburg, Cape Town & New York. Guide to Back Issues 49

Deb Sokolow, detail of You tell people you’re Membership Subscription Form 50 working really hard on things these days (2010), graphite, charcoal, ink, and acrylic on paper, mounted on panel, 7 × 25 feet.

Art in Print 3500 N. Lake Shore Drive 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 Words and Pictures By Susan Tallman

Detail of The [Cha]mpion; or Even[ing] Adver[tiser] by Capt Hercules Binegar, of Pall-mall (1744), etching and engraving with stipple and roulette, 28.9 x 35.9 cm. Published by George Bickham the Younger. ©The Trustees of the British Museum

his issue marks the second full year word-and-image form that has been fight- Bourgeois’ many word-and-image prints T of Art in Print. Some of the issues we ing for space since the 1960s. Its current (reviewed p. 18) and a number of Gert and have published in that time were planned territory is a kind of art-world Kurdistan, Uwe Tobias’ Dresdener Paraphrasen wood- around particular themes—the legacy of bounded by literature on one side, street cuts (reviewed p. 29) employ words and Stanley William Hayter (Vol. 2, No. 3) or culture on another and the museum on a images as allies rather than adversaries, the materiality of early modern prints third. While the recent embrace of graphic fiddling with the design of each to pro- (Vol. 2, No. 4)—others reflect the vibrant novels by English departments around the duce meanings independently available to miscellany of endeavor that is printed art, world suggests a rapprochement on the neither on its own. mixing contemporary and old masters, literary front, Peltz suggests that younger This issue also includes reviews of art- historical analysis and on-the-ground artists are leaning toward greater visual works that sport no words, like Willie Cole’s reporting. Sometimes, however, a theme invention and looking for a different kind Beauties (p. 28) and David Musgrave’s Golems arises serendipitously, as it did for this issue, of future. (p. 23), in which image and object form a when a number of authors approached us Mark L. Smith, meanwhile, looks back self-sufficient entity…and yet, the purpose with different subjects that all touched at Traces suspectes en surface (1972-78), the of Art in Print is to add words—words that upon the troubled marriage of word and provocative and under-recognized col- fill in background information, that dem- image in printed matter. laboration between Robert Rauschenberg onstrate how that image caught and stuck It is a marriage that goes as far back as and the French Nouvelle Vague novelist in the writer’s mind, that describe what it print itself, though until the invention of Alain Robbe-Grillet. This unconventional, was like to be in the presence of the real moveable type it was more like the relation- unbound book manifests a desire to set thing (as opposed to just the reproduction). ship between conjoined twins than between words and images at odds, allowing each to Words and pictures carry distinct meanings spouses. Even after Gutenberg, when they operate as a goad to the other, and leaving that do not add up neatly like two columns were no longer forced to share the same the viewer/reader to sort it all out. of numbers joined in a single sum. As the template, words and images continued to More blithe in spirit, Stephen Cham- essays here make clear, sometimes they reit- divvy up space on the page in illustrated bers’ architecturally scaled print The Big erate, sometimes they elaborate on, and books and livres d’artistes, in the inscribed Country (reviewed p. 15) mimics the ambig- sometimes they contradict each other. That copperplates of engravings, the graphic uous ambitions, at once decorative and complexity is one of the greatest assets of engineering of fin de siècle posters, and pedagogic, of map labels and illustrations, art in print. more recently, in all the photographs, paint- while the WITH Collective’s new publication (reviewed p. 27) attempts to do away ings and installations that have arisen from Susan Tallman is the Editor-in-Chief of the Postmodern desire to throw sticks in with the image altogether, leaving the text Art in Print. the spokes of accepted meaning. embedded in the physical object it produced. In the pages that follow, Amy Peltz looks Finally, Jürgen Partenheimer’s recent at the current state of alternative comics, a livre d’artiste (reviewed p. 20), Louise

2 Art in Print March – April 2013 Image and Text in Crisis: Rauschenberg’s and Robbe-Grillet’s Traces suspectes en surface By Mark L. Smith

n 1983, the French novelist Alain Robbe- I Grillet described his vision of the ideal relationship between image and text:

…the work that contains both an image and a text is going to be not an illustrated text, but an ensemble of contra- dictions in which the text and the images are going to play antagonistic roles. In short, the role of the text is to put the image in a state of crisis.1

Robert Rauschenberg, he said, had been “the first painter to accept the game…of confronting images and text.”2 Rauschen- berg and Robbe-Grillet collaborated just once, on the deluxe artist’s book Traces suspectes en surface (1972-78), a work whose words and images overlap, echo, double back, and refuse to adapt to expectation. In its final form and in the process used to reach that form, Traces suspectes manifests the penchant for discontinuity and multiplicity that was so essential to both artists and that made them both so representative of their time. Despite the singular importance of this collaboration, however, Traces suspectes has (like many artists’ book projects) been largely overlooked in discus- sions of both artists’ oeuvres. Robbe-Grillet observed that, “for someone who might like to make a careful study of the work, it really is a surprising ensemble.”3 This essay seeks to elucidate that surprise. The oeuvre of Alain Robbe-Grillet was a keystone of the French nouveau roman literary movement.4 Dispensing with standard chronologies and descriptions of the protagonist’s psychological experience, they concentrate on narrative fragments and detailed poetic descriptions of environ ments and characters in the urban world. For Robbe-Grillet, the significance of the objects he described resided in their mate- Robert Rauschenberg, page 11 from Traces suspectes en surface (1972-78), lithograph, sheet 40 1/4 x 27 1/4 inches. Edition of 36. Published by ULAE, West Islip, NY. Harry Ransom Center, The University of riality, not in their ability to signify some Texas at Austin. Art ©Robert Rauschenberg Foundation/Licensed by VAGA, New York, NY. larger truth. He pointedly observed, “the world is neither meaningful nor absurd. It simply is.”5 Robert Rauschenberg, meanwhile, had about…if you can recognize something, In its fracturing of narrative conven- been employing found materials and col- then it has distinction. It has uniqueness. tions and its ennobling embrace of banal laborative strategies since the 1950s. He Anything that has uniqueness deserves subjects, the nouveau roman can be seen to aimed to “work in the gap between art and respect.”8 His abiding interest in collab- echo both Cubism and Pop Art (or its French life,” like Robbe-Grillet, creating poetic orative processes had led him to work with cousin, nouveau réalisme).6 Robbe-Grillet, a objects out of the seemingly banal detritus musicians, dancers, engineers and—most former painter, was particularly interested of the urban environment.7 Rauschenberg productively—print shops. In 1962 he began in the interaction of art and literature. said that objects were what “my work is all working in lithography at Universal Limited

Art in Print March – April 2013 3 Art Editions in West Islip, NY, at the invita- his earlier work (indeed, portions of the with the signatures of artist and author, and tion of the print shop’s visionary founder, text had been published in his 1976 book, signed by both in pencil. The images and Tatyana Grosman, and by the early 1970s Topologie d’une cité fantome) and that text are printed together on the right half of was widely acknowledged as one of the most Robbe-Grillet had taken an “aristocratic each open page. important printmakers of the 20th century. role in art.”15 Grosman and Rauschenberg Robbe-Grillet’s contribution came Grosman, who had originally founded joked about the pretentiousness of Robbe- to four chapters of hand-written poetic the shop with the idea of working with Grillet’s practice of retiring to a Louis XV prose,20 spread out over 26 pages. The text artists and writers together, was intrigued writing desk in his French château to write runs through and around the images, which by the similarity she perceived between the text. Rauschenberg’s dissatisfaction Rauschenberg collaged from magazine clip- Rauschenberg’s art and Robbe-Grillet’s with Robbe-Grillet’s contribution encour- pings (mostly from European publications) writing. In April 1972 she attended a lecture aged him to push the project into “a state and transferred onto lithographic stones. by Robbe-Grillet at New York University’s of crisis” by using images unrelated to the Though ULAE printers had developed a Maison Française, and when the novelist text.16 The intent was not always subtle: method to transfer photographic images mentioned Rauschenberg’s work of his own he added the image of a bull to page 15 more sleekly, Rauschenberg opted for a accord, Grosman invited him to West Islip because he felt that Robbe-Grillet’s writing simpler method that resulted in reduced to meet the artist, who was working on lith- was, in Texas vernacular, “bullshit, so far.”17 clarity and tonal range, and conveyed ographs in the ULAE studio. The decision (Robbe-Grillet then gamely incorporated a the effect of having been used before and to collaborate was made that day.9 bull into the text.) kicked around.21 Traces suspectes en surface would eventu- In the fall of 1974, it was Rauschenberg Turning the pages, the reader moves ally take six years to complete. Offset litho alone who collated the images and texts; he between text-with-image (19 pages), image- plates were sent to Paris for Robbe-Grillet to then selected the colors during several late- only (6), and text-only pages (11). The bal- inscribe by hand in small batches that would night sessions, one of which Robbe-Grillet ance between text and image shifts: page 8, be shipped back to West Islip to be proofed attended. Rauschenberg again worked with its auto dashboard and curving train and translated by Grosman. Rauschenberg alone to complete the final color proofing tracks, is dominated by densely packed would read the text, add images, and proofs in 1975, and the edition was printed in late photo-transfer collages; page 29, with its would be dispatched back to Paris for the April 1977. When in 1978, after six years of single vertical line over the text, is simple, next round.10 The slow pace of this transat- sporadic work, Traces suspectes en surface even restrained in composition. Rauschen- lantic process was frustrating to Rauschen- was finally published, Rauschenberg and berg’s images are more assertive in the first berg, who commented that when working Robbe-Grillet visited ULAE separately to half of the book, respectfully allowing the in a European tradition, one may take as sign the prints.18 text to dominate the second half so that long as one pleases, “but I don’t please to These difficulties aside, Traces suspectes at the end the reader’s attention is brought take too much time.”11 Though Robbe- en surface remains in the best tradition of back to the quiet power of the word, the Grillet claimed that after reading each tex- the modern livre d’artiste.19 It is not a book initial generator.22 The total effect is sym- tual installment Rauschenberg introduced in the traditional sense, but 36 unbound phonic, with rhythmic alterations of word a “second generator” in the form of images, folded sheets contained in a brilliant red- and image, orchestrated changes in the many of the pictorial elements originated cloth-covered box that, when open, occupies graphic volume, and instrumental layers of with Rauschenberg, and were then used some 7 1/2 square feet of table space. The text, image, line and white space. by Robbe-Grillet to generate passages of color red is a frequent motif in Robbe-Grill- While most of Rauschenberg’s images text.12 Rauschenberg described the process et’s writing; the big-as-Texas scale is quint- were collaged from found material, on five this way: essentially Rauschenberg. Each folded sheet pages Rauschenberg limited his contribu- is inklessly “blind” embossed with the page tion to thin lines in color: the lower parts There was a one-to-one confrontation number and the ULAE chop, watermarked of pages 5 and 30 are occupied with parallel between two disparate personalities who were going to try to challenge the situa- tion in images, verses, words, and both of us agreed that they were important to each other and dependent. The original agreement was that as he was from France he could make the first statement: then I would respond to him in images that he would have the obliga- tion to read and pick up from there.13

Rauschenberg’s allusion to “disparate personalities” testifies to the unease of their working together, despite a shared interest in restructuring the relationship between art and life. In her catalogue rai- sonné of ULAE Esther Sparks wrote, “it soon became clear that Robbe-Grillet was not working in the spirit of sympathetic collaboration but providing a massive text that presented great problems in page design.”14 There were times during the collaboration Robert Rauschenberg, page 23 from Traces suspectes en surface (1972-78), lithograph, spread 40 1/4 when Rauschenberg felt that Robbe-Grillet x 57 1/2 inches. Edition of 36. Published by ULAE, West Islip, NY. Harry Ransom Center, The University of was simply offering a facile repetition of Texas at Austin. Art ©Robert Rauschenberg Foundation/Licensed by VAGA, New York, NY.

4 Art in Print March – April 2013 but freely ruled horizontal red lines; the set of ruled ochre lines on page 3 is unique in being vertical and superimposed over the text; two other pages carry a single hand- drawn line, one blue and one orange, wan- dering vertically down the page. In addition to enriching the graphic vocabulary, these lines can be linked to motifs that occur in Robbe-Grillet’s text: on page 22, preceding an image-only page divided by Rauschen- berg’s meandering vertical line, Robbe- Grillet described the long, gold hair of a doll, lying “motionless in scattered strands” on the beach.23 Another passage, in which Robbe-Grillet describes ocean waves as “a whole moving network of more or less parallel lines,” may have been prompted by Rauschenberg’s freely drawn parallel lines on page 5. There were strategic color choices with regard to the text as well: in addition to black and graphite-gray, several passages were printed red-orange and blood red (a color that acted for Robbe-Grillet as sym- bolic of rape, fire, and murder) and in ochre; one section appears in cream, and another short passage in blue. On one page, words in dark red describe pools of blood. On another page, “a girl kneeling on a socle, hands behind her back and blindfolded, sur- rounded by less legible figures and with the word INSEMINATIO incised above them,” is printed in ochre over a cream tint suggestive of semen.24 In five locations, lines of text appear in two different colors blended in a lithographic “rainbow roll” that echoes the indecisiveness and uncertainty of the narrator’s thoughts, as in this passage:

And now here is the text: I wake up, this must have been in winter, yet I slept with the casement wide open. It is morning, it is evening, I no longer know, and the Robert Rauschenberg, Colophon I from Traces suspectes en surface (1972-78), lithograph, sheet 40 1/4 uncertain light coming in from outside x 27 1/4 inches. Edition of 36. Published by ULAE, West Islip, NY. Harry Ransom Center, The University of does nothing to clear up the point. I go Texas at Austin. Art ©Robert Rauschenberg Foundation/Licensed by VAGA, New York, NY. over to the gaping window recess that looks out on the still deserted avenue. In Traces suspectes, Rauschenberg dis- that his last chapter should end the book, Outside it is humid and mild. It must pensed entirely with the energetic Abstract- presumably so the words would not be over- have been winter, I cannot say for cer- Expressionist brushstroke that had whelmed by images. Rauschenberg response tain on account of the dampness of the characterized his prints and paintings of was, “Sure, but I get to do the colophon.”27 air, but at any rate there were no leaves the 1960s. Apart from the spare, occasional Colophons are usually one-page, text-only left on the trees. thin lines of color, Robbe-Grillet’s fluent documents placed at the end of the book, handwriting functions as the only auto- recording the personnel and technical data The washed-out tone and the small, graphic element.26 Rauschenberg’s pictorial of the object’s production. Rauschenberg diffuse image of a window impose a soft- compositions foreshadow the increasingly created a four-page colophon with strong ened, elegiac character on this page that severe works that would follow in the late imagery, effectively ending the book with is consistent with the book as a whole. 1970s and 1980s. Pages such as 17 and 24 his contribution.28 Grosman described it as “a Last Year at display the symmetrical, frontal and verti- The relationship between word and Marienbad quality,” referring to the famous cal presentation and the isolation of forms image in Traces suspectes is complicated by Alain Resnais film for which Robbe-Grillet that came to dominate his subsequent their mutually generative roles. We have no had written the screenplay. In Rauschen- series of prints with ULAE: Glacial Decoy comprehensive chronicle of which images berg’s work, she said, “there is something (1979-80) and The Razorback Bunch (1980- Rauschenberg chose in response to Robbe- very nostalgic and a romantic feeling as 83.) These, like Traces suspectes, invoke a Grillet’s text or which passages Robbe- well, and some of the same I felt was in meditative mode. Grillet wrote in response to Rauschenberg’s Robbe-Grillet: he describes the city and On Robbe-Grillet’s second visit to the images. A few details are known: the bull the loneliness.”25 West Islip studio he suggested to Grosman described by Robbe-Grillet on page 15

Art in Print March – April 2013 5 was the result of Rauschenberg’s image; Rauschenberg moved images about at will in another instance, Rauschenberg wrote when he was composing the pages.32 In “construction” on one of the proofs he sent seven instances the text precedes the image, to France; the word fit a central motif Robbe- or both precedes and follows it. Three of Grillet had in mind for Traces suspectes—the the four image-only pages—8, 15 and 17— construction of a ruined temple—and he occur between chapters and anticipate the incorporated it into the text.29 In a related coming text. Thus the temporal and spatial fashion, the eggs that Rauschenberg placed simultaneity experienced while reading on pages 3 and 7 unwittingly connected sequentially is reinforced by the unpredict- with Robbe-Grillet’s plan for extending a able order of image/word relationships. The motif used by Magritte—a bird’s nest con- two art forms conspire to supplant linear taining three eggs.30 Robbe-Grillet then time with diffused time, leaving the reader added eggs into the text now appearing with T. S. Eliot’s sense of “…the moment in on page 13. Rauschenberg, unaware of the and out of time…hints and guesses/Hints Magritte theme, was displeased to learn followed by guesses.”33 that he had inadvertently used another Traces suspectes en surface (“suspi- artist’s motif.31 In other cases, correspon- cious traces on the surface”) takes its title dences between text and image are evident, from Robbe-Grillet’s 1957 novel, La Jalou- but it is impossible to ascertain which came sie, where the phrase is used to describe first. Rauschenberg and Robbe-Grillet, who a stain on a bedroom wall, made when both utilized irony and false clues in their the lover of an unfaithful wife squashes a work, undoubtedly welcomed the mystery centipede.34 A borrowed set of words that and ambiguity. is at once concise and imprecise, it evokes Since the interchanges began with both Rauschenberg’s transfer-drawing pro- three pages in which Robbe-Grillet’s nar- cess and Robbe-Grillet’s use of elusive time rator, falling asleep, relates observations of and space.35 a ruined and abandoned city enshrouded Traces suspectes meets perfectly the crite- in an advancing mist, one can assume that ria for a modern livre d’artiste set down by the collaged elements in the first two lith- Monroe Wheeler in 1936: ographs—architectural facades, an auto- mobile tire, rubble, empty train tracks, The highest type of illustrated book is a clock—are Rauschenberg’s response to the joint work of author and artist who Robbe-Grillet’s passage (though the tire and are contemporaries, working as in equal the clock had long been in Rauschenberg’s collaboration; inspired by similar feeling; repertoire). approaching the same subject-matter Most of Rauschenberg’s selections from opposite directions; dealing with were probably inspired by the text (famil- it twice within the covers of the one vol- iar Rauschenberg motifs appear in only a ume. Ideally speaking, the work of either tiny fraction of Traces suspectes images). author or artist would be complete with- Few, however, can be seen as literal refer- out the other: the text well worth read- ences. Some of the most potent images ing, in the cheapest, barest format; the in the book, such as the dangling red rose series of designs fit to stand alone, and and the two flying bats on page 11, are not be judged on its own merits.36 mentioned at all in the text. Similarly, some important objects, such as the knives that Or as Rauschenberg himself explained, are mentioned on five different pages, are never shown. Maybe there were some inside rules that A few of Robbe-Grillet’s descriptions of we didn’t make, that would make this Rauschenberg’s images are so accurate and possible because when you see an image thorough that they were surely written in it almost doesn’t exist until you can turn response to the pictures. The chimney that it into a language. When you read some- THROUGH JUNE 24 appears as the central image on page 24 is thing, if you can’t see it, you almost can’t described on page 28, and a coastal hill town remember it too, so the words become pictured on page 17 appears in the text, but images and the images become words Dieter Roth more than ten pages later. In Traces sus- and my interest in the project was if one wait, later this will pectes, as in much of Robbe-Grillet’s writ- could translate one language to another be nothing ing, past and future are conflated into a with that kind of concentration that you works made of chocolate, comic single present, such that the reader is never just continue.37 books, croissants, and books, among quite sure of the chronology of events. This other things ambiguity is reflected in the physical design of the book, where only about a third of cor- Mark L. Smith is a writer, historian, consultant and THE MUSEUM OF MODERN ART teacher specializing in 20th-century American art 11 WEST 53 STREET MOMA.ORG responding image/word pairs can be found and architecture. He is co-founder of Flatbed Press The exhibition is made possible by Maja Oeri and Hans Bodenmann, on the same page; most are widely sepa- in Austin, Texas. in memory of Dr. Ira G. Wool. Dieter Roth. Literature Sausage (Literaturwurst). 1969, published 1961–70. rated. Most often the visual image appears Artist’s book of ground book, gelatin, lard, and spices in natural casing. The Print Associates Fund in honor of Deborah Wye. © 2013 Estate of Dieter Roth first, but this does not necessarily mean the image was created before the text, since

6 Art in Print March – April 2013 d’une citeé fantome (Paris: Les Editions De Minuit, Notes: 1976). See also the English version: Topology of a 1. Alain Robbe-Grillet, “Images and Texts: A Dia- Phantom City, trans. J. A. Underwood (London: John logue,” trans. Karlis Racevskis in David Leach, ed., Calder, 1978). Generative Literature and Art (Fredericton, N.B., 21. To transfer the images, the clipping was placed Canada: York Press, 1983), 39. For Robbe-Grillet’s face down on the stone and a sheet of newsprint elaboration of this principle, see Maxine de la Falaise soaked in benzene was applied. When run through McKendry, “Robert Rauschenberg Talks to Maxine the lithographic press, the pressure and solvent de la Falaise McKendry,” Interview VI (May 1976), would transfer the image to the stone, where the 34. printers could stabilize it (author’s interview with 2. ibid. Goldston at ULAE). 3. Robbe-Grillet, quoted in an interview by Lois 22. On the concept of artistic “generators,” see Oppenheim, ed., Three Decades of the French New Bruce Morrissette’s thorough discussion of “Gen- Novel (Chicago: University of Illinois Press, 1986), erative Techniques in Robbe-Grillet and Ricardou,” 68. 30; David Leach’s “Parallel Methods in Writing and 4. On the significance of Robbe-Grillet’s work from a Visual Arts,” 124; and Diane Kirkpatrick’s “Genera- poststructuralist perspective, see Dina Sherzer, Rep- tive Systems in Visual Art,” 129, in Leach, ed., Gen- resentation in Contemporary French Fiction (Lincoln, erative Literature and Art. Nebraska: University of Nebraska Press, 1986), esp. 23. “immobilisés en boucles éparses” 1-12. 24. “une jeune fille à genoux sur un socle, mains 5. “Le monde n’est ni signifiant ni absurde. Ilest , tout dans le dos et les yeux bandés, entourée de fig- simplement.” Robbe-Grillet, quoted by Patricia A. ures moins lisibles que surmonte ce mot en intaille: Deduck, Realism, Reality, and the Fictional Theory INSEMINATIO.” of Alain Robbe-Grillet and Anaïs Nin (Washington, D. 25. Grosman’s statement about Last Year at Marien- C.: University Press of America, 1982), 46. bad is quoted in Mary Lynn Kotz, Rauschenberg/Art 6. See Edward Fry, Cubism (Oxford: Oxford Univer- and Life (New York, Harry N. Abrams, 1990)), 148, sity Press, 1966). See also Mario Praz, Mnemosyne: and attributed erroneously to Towle, “Two Collabo- The Parallel Between Literature and the Visual Arts rations,” 38. The second statement is cited in McK- (Princeton: Princeton University Press, 1970), esp. endry, “Rauschenberg,” 34. 191-192. 26. On this point, see Towle: “…there is a great econ- 7. See Walter Hopps, Robert Rauschenberg, (The omy of means in this book…and yet there is a gen- Menil Collection and Houston Fine Arts Press, eral sumptuousness, an opulence…” Towle, “Two 1991),12. Collaborations,” 38. 8. Rauschenberg, quoted by Barbara Rose, 27. ibid. An Interview with Robert Rauschenberg (New York: 28. Since the complete edition was not finished until Vintage Books, 1987) 121. April 1977, Rauschenberg had to add the colophon 9. Tony Towle, “Rauschenberg: Two Collaborations— data later, in spaces he had left for the purpose. Robbe-Grillet & Voznesensky,” The Print Collector’s Ibid., 38-39. McKendry described the colophon Newsletter X (May-June, 1979), 37-38. Grosman’s as “a magnificently Beethovian nonending.” See detailed description of the arranged meeting is found McKendry, “Rauschenberg,” 34. in McKendry, “Rauschenberg,” 34. 29. ibid. 10. Lightweight, flexible lithographic plates were 30. Two paintings by Magritte include the image: his used for Robbe-Grillet’s text which could be printed undated (approximately 1940) gouache, Les grâces on ULAE’s hand-fed offset press. Traditional presses naturelles, and his 1962 oil on canvas, Le domaine produce printed images that are mirror reversals of d’Arnheim. Many other Magritte paintings include the image on the template. On an offset press the eggs or spherical forms. image is transferred twice: from the plate to a sheet 31. Morrissette, “Generative Techniques,” 30. of rubber and from the rubber to the paper, so the 32. Towle, “Two Collaborations,” 38. See also final image is not reversed. This meant Robbe-Grillet Robbe-Grillet, “Images and Texts,” 40. was able to write in the normal direction: author’s 33. T. S. Eliot, “The Dry Salvages,” from “Four Quar- interview with Bill Goldston, Museum of Modern Art, www.highpointprintmaking.org tets,” T. S. Eliot: Collected Poems 1906-1962 (New April 26, 1991. York: Harcourt Brace Jovanovich, Publishers, 1970), 11. Rauschenberg, quoted by McKendry, “Rau- 199. schenberg,” 36. Towle recounts the tension between 34. Ronald L. Bogue, “The Twilight of Relativism,” the two men. See Esther Sparks, interview with Tony Relativism in the Arts, ed. Betty Jean Craige (Athens, Towle, The Art Institute of Chicago, ULAE archives, Ga.: University of Georgia Press, 1983), 178, citing 30-31. La Jalousie (Paris: Editions de Minuit, 1955), 131. Announcing 12. Author’s interview with Goldston, June 25, 1991, See also Richard Shiff, “Performing an Appearance,” Museum of Modern Art, New York City. STONE FROM DELPHI esp. 104-105. 13. McKendry, “Rauschenberg,” 36. 35. On the semiological weight of the terms “trace” poems with classical themes by 14. Sparks, Universal Limited Art Editions, Cat #54– and “surface” see Shiff, “Performing an Appearance,” 89, unpaginated. Seamus Heaney especially 101-105. Lawrence Alloway’s description 15. Rauschenberg expanded on his view by reject- of Rauschenberg’s screenprint paintings may be Selected and with an introduction by ing the idea of the artist as observer/complainer and applied to the images in Traces suspectes and is an Helen Vendler, and with 16 water- affirming the artist as participant/problem-solver. “I’m apt prediction of the work’s title: “Rauschenberg’s responsible for the visual and that is what one sees color drawings by Wendy Artin done paintings are partly the reproduction of legible and even if it’s a printed word.” McKendry, “Rauschen- especially for this book and made from learnable images and partly the traces of a physi- berg,” 36. cal process of work [Alloway’s emphasis].” See Six Greek and Roman sites whose subjects 16. Robbe-Grillet, “Images and Texts,” 39. Painters and the Object (New York: The Solomon R. are referred to in Heaney’s writings. 17. Author’s interview with Goldston at the Museum Guggenheim Foundation, 1963), unpaginated. of Modern Art and at ULAE, 1989. Signed edition: 300 copies. Price: $1,200. 36. Wheeler, Modern Painters and Sculptors as Illus- 18. Robbe-Grillet signed the prints in June of 1978, trators (New York: Museum of Modern Art, 1936), 14. Rauschenberg in mid-July. Rauschenberg inscribed 37. Rauschenberg continued to describe his inten- the text for the colophon on July 14. See Towle, “Two tion for the project in terms of its being “daring,” Collaborations,” 37-41. “pure[r],” and “dangerous.” McKendry, “Rauschen- 19. The copy examined by the author is number two berg,” 36. of 36, in the collection of the Harry Ransom Humani- The Arion Press ties Research Center at the University of Texas at telephone: 415-668-2542 Austin. website: www.arionpress.com 20. Robbe-Grillet’s entire text for Traces suspectes was subsequently included as part of Topologie Art in Print March – April 2013 7 A Visual Turn: Comics and Art after the Graphic Novel By Amy Peltz

Deb Sokolow, Whatever happened to the Pentagon (restaurant)? (2007), photocopied, hand-colored, accordion-folded paper, bound in manila file folder, approx. 11 1/2 × 9 1/2 inches (closed). Edition of 100. Published by the artist.

gain and again over the course of the the low-quality lithographic printing pro- Panter delineates the visual language of A 20th century, new popular media— cesses used, a graphic style of strong black a post-apocalyptic world in paintings and photography, film, video—were adopted outlines and flat areas of dot-screened color folio-sized, gilt-stamped volumes, while by contemporary artists who had trained evolved.4 Though newspaper comics were Moriarty records the tempo of everyday life in traditional techniques such as paint- generally the work of single creators, comic and the character of ordinary spaces in oil ing or sculpture. British sculptor Richard books were usually assembly-line products, paintings and oil-painted comics. Billing Long put it this way: “I am an artist who made by teams of writers, pencillers, inkers itself as “high art for low brows,” RAW con- sometimes chooses to use photographs.”1 and colorists (this remains standard prac- sciously positioned comics as art and aimed For decades it has seemed that the printed tice with mainstream commercial publish- at a new audience. This legacy contin- comic might be ripe for such assimila- ers like DC and Marvel). In the mid-20th ues today in stylistically and thematically tion, but while the rubric now encom- century, the sensationalism of comic books diverse alternative comics (or art comics), passes everything from superheroes to an and their popularity with young readers often issued in the form of self-published, experimental avant-garde, the valorization prompted assertions of a link between com- handcrafted “mini-comics.” of comics by art institutions (museums, ics and juvenile delinquency, leading to Beginning with Roy Lichtenstein’s galleries and publications) has remained the self-censoring Comics Code Authority, appropriation of Mickey Mouse from a elusive.2 adopted in 1954 (now largely abandoned). Little Golden Book (Look Mickey (1961)),5 The relationship between comics and The emergence of underground com- the famous characters, characteristic visual the art world is complicated and (at least ics in the 1960s solidified the reputation of style (black outlines and flat areas of color) for comics artists and audiences) emotion- comics as a site of countercultural rebellion. and narrative devices (sequential panels, ally fraught. While serialized word-picture Artists such as R. Crumb, Jay Lynch and Gil- speech bubbles) of comics were gleefully combinations go back to ancient Egypt at bert Shelton detailed the sexual and drug- exploited by Pop Art. A half-century later least, the American strain of the sequen- laced adventures of their characters but comics are still frequently quoted in con- tial, narrative, printed graphic form we call also delved into politics and subverted older temporary art: Sue Williams improvises “comics” arose about a century ago as a fea- comics styles. By the 1980s, when Françoise on shapes and forms derived from sources ture of the new Sunday newspaper supple- Mouly and Art Spiegelman began publish- such as Don Martin’s comics in MAD; Gary ments.3 When cheap pamphlet reissues ing the pioneering anthology RAW, com- Simmons makes use of racially loaded of these strips proved popular, publishers ics had evolved to include artists like Gary Disney characters, drawing then erasing began commissioning “comic books” with Panter and Jerry Moriarty, who explore them to leave smudged, semi-legible traces; original content, and to make the most of complex subjects in experimental formats. Rivane Neuenschwander has whited (and

8 Art in Print March – April 2013 redded and greened) out the contents of comics world sees the larger art world.”8 that reveled in literary theory. Most of the panels, narration boxes and speech bubbles Peter Bagge’s “‘Real’ ‘Art’” (Reason, August 16 participating artists were makers of from a Brazilian Disney comic book. With 2004), Daniel Clowes’ “Art School Con- graphic novels, and despite the presence of some notable exceptions—Ida Applebroog, fidential” (Eightball #7, November 1991) visual-culture theorist W. J. T. Mitchell and Öyvind Fahlström, Jess and Mike Kelley, and Chris Ware’s The Whitney Prevaricator the visually astute scholarship of organizer among others—painters have tended to (2002) all depict contemporary art as a pre- Hillary Chute, what Beaty calls “the literary focus on the stereotypical visual properties tentious sham. Uninked, a 2007 a strip by turn in the study of comics” prevailed.11 of comics. Ware, tells the story of a frustrated newspa- This may be changing. One of the pan- This narrow approach to comics is mir- per cartoonist who decides to try painting; elists at the conference was Panter, whose rored in an art discourse that concentrates he visits a museum for inspiration, only to punk visual styling and ratty line carry as on the look of comics, rather than the find a painting on display that is a blowup much meaning as the subject matter they functions of narrative, representation and of his own strip’s title panel. Ware parodies denote or the stories they tell. Many younger sequence on which comics are built. Schol- museum texts (and art writing about com- cartoonists employ techniques, working ars, curators and critics often use the terms ics more generally) with a wall label that methods and modes of inquiry that owe “cartoon” and “comics” as if they were spe- begins “By recontextualizing the familiar more to art—Impressionism, the Vienna cific visual descriptors rather than media title panel…” (Ware’s cartoonist character Secession, outsider art—than to comics. that encompass many styles6 and that today meanwhile misinterprets the wall text’s Discussing these younger artists, Spiegel- incorporate narrative genres (autobiogra- reference to his “slick, commercial” drawing man observed, “the avant-garde in comics phy, science fiction, journalism), poetry and style as a compliment.)9 is moving very much toward the visual side non-narrative abstraction. The continuing Comics today have a place in high cul- of comics. [These are] Gary Panter’s kids.”12 critical view of comics as “raw material” for ture, but ever since Art Spiegelman’s Maus At the same time, younger painters and real art7 betrays a monolithic and ahistori- won a Pulitzer Prize Special Citation for installation artists are investigating struc- cal conception of the medium, ignoring its Letters in 1992, they have been celebrated tural properties of comics, not just their aesthetic development and bypassing alter- primarily as literature rather than as art, look but more fundamental features, such native comics altogether—the comics that especially in the form of longer “graphic as the integration of word and image on the could most easily be recognized as fine art. novels.”10 Last year the University of Chi- visual plane, and the emphasis on narrative According to comics scholar Bart Beaty, cago hosted “Comics: Philosophy and Prac- and strategies for visualizing it in the space an “internalized bitterness defines how the tice,” a star-studded three-day conference of the page. The reciprocity of this exchange

Gabrielle Bell, pages 83 and 87 from “The Artist’s Assistant” in Lucky (2006), offset-printed hardcover book, 9 1/4 × 7 1/4 inches. Published by Drawn & Quarterly, Montreal, Canada. Art in Print March – April 2013 9 that underlie both art and comics. Cartoon- ists sometimes see themselves as the last champions of representational and compositional skills in the face of an art world that no longer values these abilities.17 Santoro’s book is a story about painting, told through the medium of comics, and it repeatedly presents comics and painting as each other’s double. At one point Flavius asks Marcus whether the eyes in his portrait of the princess are correct, and mirrored panels on the following spread show two pictures of the princess, identical but for the blinking eyes on the right. It is unclear which image represents Flavius’ painting and which the real woman. Comics and painting both depict the world, and sometimes each other, and they use the same tools to do so. Aidan Koch does not tell stories about the art/comics relationship, but her work Frank Santoro, pages 27 and 28 from Pompeii (2012), risograph-printed softcover book, enacts it, melding comics’ storytelling for- 10 7/8 × 8 3/8 inches. Edition of 300. Published by PictureBox, Brooklyn, NY. mats with abstraction and experimental composition. On one page of The Blonde is unprecedented, but have we reached the keep Flavius’ regular model and lover from Woman (2012), a hunched figure squeezes point where we would find an art star say- finding out about his newest lover, a prin- between two heavy black triangles that ing, “I am an artist who sometimes chooses cess. Santoro was trained as a painter and press in from the upper corners. Above her to use comics?” draws from both classic comics and Classi- hovers a lit blue candle in a curved, paren- In Gabrielle Bell’s comic “The Artist’s cal art. Like his earlier Storeyville (1995, repr. thesis-like holder. Commercial offset print- Assistant” (2004), she uses a “clear line” style 2007), which eschewed “deliberative natu- ing is now adept enough to convey faithfully indebted to Tintin creator Hergé to tell the ralistic clarity” to evoke subjective experi- the fine, restrained pencil line and delicately story of a young cartoonist who starts work- ence through expressive drawing,15 Pompeii applied gouache and watercolor that delin- ing as an assistant to an older artist, Sheila. reinforces thematic content through visual eate the figure and candle. Seemingly delib- In accord with the trope that fine artists are style, carefully deployed proportion and erate gaps interrupt both line and color, and interested only in the “look” of comics and dynamic symmetry.16 The cover features the brush strokes are nearly as prominent as not the mastery of craft necessary to their a portrait bust of Marcus on the front and the dress and figure they describe. The over- production, Sheila has hired the cartoonist of Flavius on the back, each placed within all effect is mysterious and a bit melancholy. to help with tasks such as drawing a space- the intersection of two circles, suggest- To describe this image as a comic would ship’s control deck, and typifies the art world ing ancient geometric constructions like be peculiar if the pages that follow did not in announcing, “My knowledge of comics the Golden Rectangle. This iconography contain gridded panels, speech bubbles ends at RAW.”13 In alternately aggrandiz- of composition, proportion and design fits and narration boxes. Even when employing ing and self-deprecating daydreams, the the story and also emphasizes the axioms such conventions, however, Koch disrupts protagonist expresses hopes and fears aris- ing from the appropriation of comics by art. When Sheila adopts one of her suggestions, the assistant imagines the Gagosian Gal- lery and the Whitney Museum clamoring after Sheila’s newly improved work, which Sheila ascribes to “a breakthrough” without crediting her assistant. Alternatively, when Sheila shows her how to fix a mistake the assistant made in one of Sheila’s drawings, she imagines her own art will seem deriva- tive to those unaware of her contribution to Sheila’s. Bell’s ending, however, is happier than what one finds in Ware and other earlier artists: prompted by Sheila’s praise, the assistant fantasizes about a mentor/mentee relationship in which Sheila teaches her how to do things like “get that moody effect with the grey tones,” and the assistant’s work is recognized as independent and valuable.14 The first issue of Frank Santoro’s series Pompeii (2012) also revolves around an artist’s assistant: Marcus, who works for the artist Flavius in the ancient Roman city. Frank Santoro, pages 10 and 11 from Pompeii (2012), risograph-printed softcover book, The plot revolves around their efforts to 10 7/8 × 8 3/8 inches. Edition of 300. Published by PictureBox, Brooklyn, NY. 10 Art in Print March – April 2013 over it or use one of my crappy erasers that smudges the page. That way at least there’s a history built into the drawing.”22 Koch is part of what critic Rob Clough has dubbed the “immersive” movement of comics, which produces work that possesses “a unity between word and image, where text has a visual or decorative impact and is fully integrated as part of the art.”23 These are comics to be both read and viewed, or more accurately, to be read through viewing. Immersive artists include, among others, English, Dunja Jankovic, Juliacks, Blaise Larmee, Ron Regé, Jr. (especially in his recent work) and a number of Francophone, German and Scandinavian cartoonists such as Clara Besijelle, Frédéric Coché, Julie Del- porte, Anke Feuchtenberger, Dominique Goblet, Joanna Hellgren, Emilie Östergren and Amanda Vähämäki. Other groups have also worked to expand the standard vocabulary of comics. Aidan Koch, page 46 from The Blonde Woman Artists associated with the Fort Thunder Aidan Koch, page 17 from The Blonde Woman (2012), offset-printed softcover book, 9 × 6 1/2 collective in Providence, Rhode Island, and (2012), offset-printed softcover book, 9 × 6 1/2 in. inches. Edition of 500. Published by the artist. Edition of 500. Published by the artist. anthology Paper Rodeo breached the art/ comics wall with their influential comics- them. On another page, two panels of yel- infused screenprints. Matt Brinkman, Jo as objects of inherent aesthetic interest. All low lines—one set tangled and the other Dery and Leif Goldberg exploited the flat recognize the newly central role of visuality straight—read as both compelling marks color shapes, sharp edges and high contrast in comics and have created works that cross and as the hair of the Blonde Woman before of screenprint in prints and books. Anya into the realm of fine art. and after brushing. Elsewhere the artist Davidson, Edie Fake and Lilli Carré produce Unifying this output is a self-aware treats text as image, painting both word and limited-edition publications that are as investigation of the structural features woman maroon, and repeating a sky-blue much like artists’ books as like mini-com- of comics (mark-making, print quality, comma as punctuation in one spot and as ics; and cartoonist Julie Doucet now makes codex form and visual conventions) that a compositional element in another. While artists’ books and prints almost exclusively. connects with the meta-critical sensibil- most comics are driven by narrative, Koch Derik Badman, Andy Burkholder, Warren ity of contemporary art. In particular, the explains she isn’t “really trying to tell sto- Craghead III and Leslie Wiebler are among domains of comics and of artists’ books are ries.” Instead she pursues “a tone or idea.”18 those investigating comics’ potential for becoming increasingly hard to distinguish. “I never read comics growing up,” says abstraction, treating historic styles and Edie Fake recently received an award from Koch, and the influences she cites run from conventions like panels and speech bubbles Printed Matter, and cartoonists have begun Odilon Redon and Edgar Degas to Luc Tuy- mans and the sculptor Klara Kristalova.19 Unlike most cartoonists, she does not develop images carefully from thumbnails to pencil drawings to inked-in drawings to print. Indeed, her painterly method rejects the emphasis on line that characterizes mass-market comics and on which the affordable printing of comics depended, until the recent advent of inexpensive color photocopies and short-run offset and digital printing. Her process is one of “learning through constant corrections and not know- ing if anything will work out,” an improvisatory approach that “gives more chances for something new and inspirational to just happen.”20 She echoes cartoonists such as Austin English, who described his favorite sort of image as “one where I surprise myself or feel something outside of me within the drawing—something I don’t recognize from previous drawings.”21 Koch also adheres to the modern and post-modern art concern with producing works that act as indi- ces of the process that created them: “If Aidan Koch, pages 8 and 9 from The Blonde Woman (2012), offset-printed softcover book, 9 × 6 1/2 inches. I do change something, I often draw right Edition of 500. Published by the artist. Art in Print March – April 2013 11 Deb Sokolow, detail of You tell people you’re working really hard on things these days (2010), graphite, charcoal, ink, and acrylic on paper, mounted on panel, 7 × 25 feet. Installed in the main lobby of the museum of Contemporary Art, Chicago, as part of the 2010 exhibition “Production Site: The Artist’s Studio Inside-Out.” to exhibit at the New York Art Book Fair. and body butcher for the Chicago mob. the sequential movement between them— Nearly all have adopted the “original print” Arrows link a portrait of the sculptor to the the fact that both can’t be perceived at practice of producing work in signed and question, “DOES RICHARD SERRA HAVE once. Kerry James Marshall actually makes numbered limited editions. A SENSE OF HUMOR?” A pie chart below comics, employing in his ongoing RYTHM Elements of comics are also creeping illustrates unfavorable odds. MASTR series layouts and line work typical into painting, drawing and installation Sokolow’s images serve the story but, like of contemporary superhero adventures. art. Deb Sokolow, for example, relies on many avant-garde comics artists, she rejects Comics and contemporary art are thus comics-like modes of integrating text and the term “illustration” and its implication of beginning to share some core characteris- picture, building them into sequences and work done on spec rather than as a personal tics: comic artists can be seen to be mov- moving viewers through narratives. Her statement. While she doesn’t use panels ing closer to the conceptual concerns of large, site-specific wall drawings and accor- or speech bubbles, her storytelling mix of art as they engage in critical analyses of dion-folded books use images, texts, charts all-caps text and figurative drawings follows the traditions and materials they employ, and diagrams to map the paranoid thoughts the workings of comics—more obviously so while contemporary artists are adapting of an unnamed character in the second than, say, Koch’s mood-driven work. Words the structural elements and narrative func- person: “YOU WONDER IS YOUR MAIL- caption and narrate pictures, pictures tions of comics to (primarily unique) media MAN IN ON IT? PROBABLY. HE’S PRETTY explain words, and each corroborates, com- like drawing and painting. But they do not DISGRUNTLED,” reads a passage in the wall plicates and contradicts the other. yet occupy the same territory: Koch may drawing You tell people you’re working really Many other contemporary artists have think of herself as an “artist who uses com- hard on things these days (2010). On the wall utilized the mechanics of comics in new ics,” but for Sokolow, comics and zines are a or on the page, her stories develop in install- ways. Martin Kippenberger’s and Raymond way “to broaden the narrowness of the High ments laid out as a sequence of physical Pettibon’s work mimics clichés of how com- Art story”25—they remain a material form spaces. ics look, just as Pop Art does, but to tell of the “other.” Similarly, while Kerry James Sokolow believes the “generation of stories, exploiting the sequencing of word Marshall may appear to be an art star “who [Dan] Graham and Richard Serra kind of and image (in Pettibon’s case, sometimes in sometimes chooses to use comics,” for him poo-poo” such “illustrative tendencies.”24 book form) and using speech bubbles and it remains a tool to investigate other issues, Like the comics artists Bell and Santoro, visualized sound effects to structure that much as it was in Pop Art; despite actually she works through her feelings about this narrative. The Royal Art Lodge (including being made in the comics form, the work underdog status in the stories she tells. Michael Dumontier and Marcel Dzama) does not engage the mechanics of comics in Another section of You tell people casts Rich- constructs meaning through picture and a meta-critical way. In sum, contemporary ard Serra as a failed artist turned hit man caption, but more critically, highlighting painters, sculptors and installation artists

12 Art in Print March – April 2013 have not taken up comics in the way that, for example, the conceptual artists of the 1960s and 1970s took up photography. The audiences for comics and for art also remain, for the most part, two separate entities. Though comics can now be seen in numerous galleries, most are venues that specifically deal with the form. The interviews with Koch and Sokolow consulted for this article were both published online, but Koch’s appeared on such sites as The Com- ics Journal while Sokolow’s can be found through a link on PBS’s Art:21 blog. There are many explanations for this state of affairs. Perhaps the emphasis on comics as literature has impeded our ability to see comics as visual art. Certainly, some academics and cartoonists have become preoccupied with policing the boundaries of the form, marginalizing experimental comics even within the comics world. Other distinctions are the natural result of structural differences between the art market and the comics market, which, in both its mainstream and alternative incar- nations, is geared to distributing unpreten- tious, physically accessible items through websites, comics conventions and special- ized stores, at prices that make them easy to acquire. The art world, on the other hand, deals largely in unique, prohibitively expensive objects that must be sought out at a finite number of galleries concentrated in certain cities. The recent trend toward beautifully printed, limited-edition comics may actually do more harm than good, moving comics into the somewhat mar- ginalized art world cul-de-sac of prints and multiples. Finally, as objects meant to be read as well as looked at, comics are an awk- ward fit for museums and galleries, where page-turning by the general public isn’t an option (artists’ books suffer from the same problem).26 But perhaps this is what cartoonists have been after all along—artists have long chosen the codex form for its potential to disrupt standard museum modes of consumption. Maybe comics’ current Deb Sokolow, detail of You tell people you’re working really hard on things these days (2010), graphite, visual turn is less an attempt to seduce the charcoal, ink, and acrylic on paper, mounted on panel, 7 × 25 feet. Installed in the main lobby of the museum of Contemporary Art, Chicago, as part of the 2010 exhibition “Production Site: The Artist’s Studio Inside-Out.” museum than a backlash against the literary gentrification of the graphic novel and the attendant academicization of the form. S. Witkovsky (The Art Institute of Chicago/Yale Uni- Spiegelman emphasized the importance, in Amy Peltz is an artist and writer who primarily versity Press, 2011), 139. makes comics. She is an editor in the publications light of comics’ “Faustian deal . . . with the 2. See Bart Beaty, “Introduction: Out of the Histori- department at the Art Institute of Chicago. culture,” of making “more dangerous com- cal Dustbin—Comics and the Hierarchy of Genres,” ics, not more domesticated ones that can “What If Comics Were Art? Defining a Comics Art 27 World” and “Roy Lichtenstein’s Tears: Ressentiment be explicated in … classes.” The works of Notes: and Exclusion in the World of Pop Art,” chaps. 1–3 Koch and her peers are not conventionally For their generosity in discussing many of the issues in Comics versus Art (University of Toronto Press, “readable” and have little chance of being covered in this article, I thank Eugene Binder, Christa 2012). Donner, Abe Lampert, Amara Leipzig, Mark Pascale, taken up as literature. Their adventurous 3. Cartoons were popular in 19th-century publica- Marshall Shord and Joe Tallarico. visuality may be a kind of poison pill against tions such as Punch, Fliegende Blätter and Puck. assimilation, a fulfillment of Spiegelman’s Elements of the form can be found in British satirical vision of artists working with comics “in 1. Quoted in Richard Long: São Paulo Bienal 1994 prints of the 18th century, and some comics histori- ways that won’t be happily contained any- (British Council, 1994), cited in Robin Kelsey, “Haz- ans (notably Scott McCloud) trace it back through the arded into the Blue: John Baldessari and Photogra- Bayeux Tapestry to Egyptian hieroglyphics, and pos- where, in books or walls.”28 phy in the Early 1970s,” in Light Years, ed. Matthew sibly cave painting. See McCloud, “Show and Tell,” Art in Print March – April 2013 13 chap. 6 in Understanding Comics: The Invisible Art Game, Feb. 26, 2012, http://leehenderson.com/ (Harper Perennial, 1994). European and Asian com- archives/653. ics have different origins and developed along differ- 22. Interview by Shearer. ent, though sometimes parallel, paths. 23. “CR Holiday Interview #11—Rob Clough,” inter- 4. Classic early comics such as Winsor McCay’s Lit- view by Tom Spurgeon, The Comics Reporter, Dec. tle Nemo in Slumberland, George Herriman’s Krazy 29, 2012, http://www.comicsreporter.com/index.php/ Kat and Frank King’s Gasoline Alley have been cr_holiday_interview_6. Clough considers Koch to widely acknowledged for their visual influence, as belong primarily to another school, which he defines have the styles of comic book artists Carl Barks, Roy as “comics as poetry.” Crane, Chester Gould, Steve Ditko and Jack Kirby. 24. Interview by Abraham Ritchie, ARTslant New 5. Clare Bell, “Chronology,” in Roy Lichtenstein: York: Rackroom, Sept. 2010, http://www.artslant. A Retrospective, ed. James Rondeau and Sheena com/ny/artists/rackroom/65477. Wagstaff (The Art Institute of Chicago, 2012), 346. 25. Beaty, 42; Sokolow, interview by Ritchie. 6. See, for example, Roxana Marcoci, Comic Abstrac- 26. In fact, Sokolow began using the second person tion: Image-Breaking, Image-Making (Museum of partly in response to viewers’ reluctance to stand and Modern Art, New York), 2007, 12, 14–15. read her art. As she explains, it was a means of tell- 7. Beaty, 188–89. ing “a story in a way that would immerse a viewer/ 8. Ibid., 51–52. Despite rejecting the art world as a reader in the narrative.” Interview, Other People’s whole, most cartoonists include individual fine artists Pixels, Mar. 29, 2012, http://blog.otherpeoplespixels. in their personal pantheons. Ivan Brunetti’s one-page com/otherpeoplespixels-interviews-deb-sokolow. biography of Piet Mondrian (2006) demonstrates his 27. “What the %$#! Happened to Comics?” obvious affinity for the painter in its melding of Mon- 28. Ibid. drian’s grids with the comic’s own grid and its portrayal of the artist as a sad sack much like Brunetti’s self-portrayal. In his lithograph Lead Pipe Sunday #2 (Durby Dugan) (1997), Art Spiegelman includes a monumental Philip Guston–style Cyclops head in a landscape littered with comics characters, such as Mount Rushmore–scale Dick Tracy and Popeye busts and a Nancy hair ball. Chris Ware reportedly reveres Joseph Cornell; Daniel Raeburn, Chris Ware (Yale University Press, 2004), 50. It is interesting that none of the artists they value are living and one (Cornell) made work quite at odds with the dominant trends of his day. 9. Chris Ware, Uninked: Painting, Sculpture and Graphic Works by Five Contemporary Cartoonists, exh. cat. (Phoenix Art Museum, 2007), back cover. Get the Latest News on the 10. The term “graphic novel” was coined in the Art in Print Members’ Site. comics fan press to describe longer-form work with serious content. See Hilary Chute, “Comics as Lit- Updated daily with reports on erature? Reading Graphic Narrative,” PMLA 123, 2 new print editions, new book (Mar. 2008), 453, 462 n. 3. It is now often applied to any long, book-form comic, including nonfiction publications, and print events memoirs and reportage. Brunetti calls it an “unwieldy from around the world. and perhaps tawdry-sounding . . . catch-all term.” See Brunetti, Anthology of Graphic Fiction, Cartoons, Go to www.artinprint.org and True Stories (Yale University Press, 2006), 10. to subscribe now. 11. Ibid., 18. 12. “What the %$#! Happened to Comics?,” Art Spie- gelman and W. J. T. Mitchell in conversation, Com- ics: Philosophy and Practice, Gray Center for Arts and Inquiry, University of Chicago, May 18, 2012, http://graycentercomicscon.uchicago.edu/videos. 13. Gabrielle Bell, “The Artist’s Assistant,” in Lucky (Drawn and Quarterly, 2006), 79, 80. 14. Ibid., 83, 85, 87. 15. Chris Ware, “Introduction,” in Frank Santoro, Storeyville (PictureBox, 2007), iii. 16. For an analysis of this mirroring and the theme of doubling more generally, see Nicole Rudick, review of Pompeii by Frank Santoro, The Comics Journal, Oct. 30, 2012, http://www.tcj.com/reviews/pompeii/. 17. See Beaty, “Roy Lichtenstein’s Tears: Ressenti- ment and Exclusion in the World of Pop Art,” chap. 3, for an analysis of this phenomenon in the generation of cartoonists who were contemporaries of Lichtenstein. 18. Interview by Sean T. Collins, The Comics Jour- nal, Dec. 17, 2012, http://www.tcj.com/aidan-koch/. AfterImages: 19. Interview by Austin English, 20 Questions with New Woodcut Monoprints by Cartoonists, Dec. 27, 2008, http://20cartoonquestions. Catherine Kernan blogspot.com/2008/12/aidan-koch.html; Koch, interview by Collins. March 1 - 31, 2013 20. Interview by Caitlin Shearer, Privelidge House, SoprafinaGallery Mar. 18, 2009, http://privelidgehouse.blogspot. 55 Thayer Street, Boston, MA 02118 com/2009/03/name-aidan-koch-age-20-country-usa. 617-728-0770 www.soprafina.com html. 21. English, interview by Lee Henderson, The Man

14 Art in Print March – April 2013 RECENT EXHIBITIONS Stephen Chambers: The Big Country at the Royal Academy By Paul Coldwell

Stephen Chambers, The Big Country (2012), screenprint, c. 4 x 18 m. Printed by The Print Studio, Cambridge, UK, published by the artist, London, UK.

he Artists’ Laboratory is an ongoing printmaking this work represents a depar- wilderness big enough to be lost in, and then T series of events at the Royal Academy ture from his regular practice and one with somewhere would be a tumbledown cabin.” of Arts, now in its sixth incarnation, whose considerable risk. Rather than attempt a These cabins, now in various states of decay, goal is to offer Academicians a chance large print on a single sheet, Chambers offer evidence of the harshness of lives lived to open up their practice, take risks and chose to build the work from numerous in an unforgiving landscape, where settlers explore fresh ideas, and to show the public individual sheets, following the strategy of were dependant on their own resources for less familiar aspects of their work. Many early printmakers such as Albrecht Dürer, survival and the nearest neighbor might be previous artists have used the elegant Large whose monumental woodcut The Triumphal days away. Weston Room galleries to present existing Arch of Emperor Maximilian I (1515-1518) was The Big Country was a year in the mak- work in what is, after all, a prime location in made from 192 separate blocks and mea- ing, although one suspects the project had the center of London; Stephen Chambers, sures more than ten meters square. been slowly coming to focus over a much however, a painter and experienced print- The Big Country takes its title from longer period. It brings together motifs that maker, took on the challenge to make a William Wyler’s 1958 film starring Charlton Chambers has explored in individual prints singular work specifically for the space. The Heston and Gregory Peck, and the allusion and paintings before, such as groups of fig- aptly entitled The Big Country is a mural- is key to the work’s genesis. The image owes ures beneath trees. Here, however, these sized screenprint consisting of 78 individ- its origin to that essential Hollywood genre, vignettes are used to map an imaginary ual framed sheets, each 56 x 76 cm, which the Western, and to the theme of the open- topography that embraces both time and a together filled one whole end of the gallery ing up of America by prospectors and pio- sense of the isolated nature of existence. and spilled onto the adjacent walls. neers. It draws on journeys Chambers made Chambers initially drew the full compo- Chambers is not new to grand scale, across the United States, where he encoun- sition, at full scale, in ink on paper. It grew, having worked on backdrop designs for tered the vast open spaces and in-between he says, “like a coral reef” as he worked on the Royal Opera House, but in terms of places. He talks about travelling through “a individual pieces of paper and the drawing

Art in Print March – April 2013 15 Above: Stephen Chambers, detail from The Big Country; Australia / New Zealand (2012), screenprint, 114 x 231 cm. Right: detail from The Big Country; Scandinavia (2012), screenprint, 171 x 154 cm. Printed by The Print Studio, Cam- bridge, UK, published by the artist, London, UK. crossed over from one sheet to another. The final format resembles a crossword, the arrayed sheets providing a grid against which events play out. There are empty spaces that jar against the lyricism of the piece, suggesting either a story to be continued or lacunae on a map, places still to be discovered. “I like the idea that The Big Country will echo the crossword format,” Chambers said. “The invitation to fill the gaps sits well with a refusal to complete the narrative, or even acknowledge that one exists at all. Crosswords are a silent insight into the compiler’s mind….”1 This open approach, coupled with the enigmatic nature of the characters and imagery, makes it hard to assimilate the entirety on first viewing. The work benefits from repeated visits. At the center is an image that crosses dozen of sheets and describes a neighborhood—clapboard houses and barns, some wrecked, some being built, set amongst trees. The space between the buildings creates a separateness—these are neighbors but at a distance. Silhouette figures, described by Chambers as “woodland folk,” are caught like stills in a film: a horse startled by a dog throws its rider; a woman leaps back before an open coffin; a man on horseback with his two children seems to be small in the central area, medium toward play. These various parts are knitted receiving directions. All these events unfold the periphery and, framing the whole piece together through an overall delicate decora- beneath stylized trees whose delicate foliage like bookends, a large man and woman tive pattern “lifted from Japanese screens,” links each scenario to the others. dressed in costumes suggestive of the 19th according to Chambers, of dark and light The figures exist at three different scales: century. The silhouettes suggest a shadow dots that cluster in repeating bunches. This

16 Art in Print March – April 2013 pattern shimmers across the whole surface, breaking up the silhouettes with delicate pinpricks of light and wedding the elements to the surface, as if the print were a tapestry. His use of silhouettes may seem to echo those of Kara Walker, especially given the inclusion of bodies hanging from a tree. But while Walker purposefully directs the viewer to a political reading of history and its horrors, Chambers’ intent is less programmatic—his country is big enough to incorporate the good, the bad and the ugly, and the final impression is almost one of revelry, a continent conjured through dreaming and films. There is a further dimension to the work. Inscribed in a copperplate hand and scattered around the edges of each of the larger figures are the names of specific ports: a figure carrying a large branch is annotated with “Malmo,” “Helsinki,” “Spitzbergen” and other Scandinavian locales; a reclining woman stretches from “Sydney” to “Perth” Stephen Chambers, Double Stamping (2008), lithograph, 62 x 90cm. Printed by Paupers Press, (her dog is marked “Hobart”); other parts London, UK, published by Paupers Press and the artist, London, UK. carry names from Amsterdam to Zanzi- bar. The piece thus takes the quality of an deliberately subverting the balance of the antique map, attempting to state what is gallery, or proposing that the density and Exhibition: known and to make a graphic representa- intensity of these small works could offset “The Artists’ Laboratory: tion of what is not. It references the print the scale of the larger. The Big Country/Stephen Chambers” tradition of the illuminated map, which In a side room, Chambers showed a Royal Academy of Arts, London combined function and decoration in a pic- group of lithographs, Portrait of a Pre- 24 October–2 December 2012 torial image. Caffeinated Mind (2008), in which images I have always believed printmaking to are mirrored across a central axis. Saturated Catalogue: be, in its essence, a language of economy, The exhibition was accompanied by color and pattern, as in the etchings, break making less do more. Chambers takes this a fully illustrated catalogue with an up and destabilize a simple reading of the on through his natural inclinations as a essay by Rod Mengham and a conver- characters in silhouette. An early potato cut printmaker and also through the budget- sation between Chambers and the also on display served as a reminder that ary restraints of making a work on this sculptor Alison Wilding. the simple act of stamping down an image scale. He worked closely with the printer Artists Laboratory 06: remains his central preoccupation. Kip Gresham at Studio Prints in Cambridge Stephen Chambers RA: The Big Country The refreshing quality of this exhibition who screenprinted each sheet in black on Royal Academy of Arts, 2012 lay in the manner in which Chambers 48 pages, fully illustrated warm white paper. The impression, how- accepted the brief of the The Artists’ ever, is not monochrome but one of soft Laboratory and chose to fulfill it through color and a range of tones. printmaking. It was important for him that Opposite The Big Country at the Royal The Big Country was made as an editionable Academy hung the artist’s small colored work: one copy was sold in advance to the etchings, collectively titled Trouble Meets Pera Museum in Istanbul and underwrote Trouble (2012). Chambers describes it as the project. In Chambers’ words, “It’s a con- “originating from an idle thought, imagin- tribution to the debate about what printing the combustible—and impossible—the making can be.” result of a liaison between the Hindu goddess Kali and the Norse god Loki. Once that coupling had been mused, I began to Paul Coldwell is Professor in Fine Art at the consider other pairings of people…Angela University of the Arts London. Merkel and don Quixote, Marie Antoinette and Dr Foster, people from pages of fiction or differing historical eras who could Notes: never have met, but had they the couplings 1. Artists Laboratory 06: Stephen Chambers RA: would have proved combustible…it’s a dating The Big Country (London: Royal Academy of Arts, 2012), 29. agency from hell.”2 2. Ibid, 27. The etchings display a remarkably inventive range and utilize once again Chambers’ love for pattern and whimsy. The contrast between these small, richly colored portraits and the monochrome Country is intense. It is as if Chambers were

Art in Print March – April 2013 17 RECENT EXHIBITIONS Louise Bourgeois: Between the Lines By Christina von Rotenhan

he Prints and Drawings Collection of Tthe ETH (Swiss Federal Institute of Technology) in Zurich recently exhibited a wonderful selection of print series by Louise Bourgeois (1911–2010) curated by Alexandra Barcal. The witty title, “Between the Lines,” alludes to Bourgeois’ idiosyncratic approach to printmaking, her habitual reworking and reinterpreting of her own prints between the printed lines, but it also underlines the literary component of her printed oeuvre: she often worked in a surrealist tradition, creating images accompanied by her own— often ambiguous—texts. Coming after the exhibition “A l’infini” at the Fondation Beye- ler in Basel, which focused mainly on sculptural works (although the show’s title refers to a print project), “Between the Lines” presents a more intimate, though equally complex, view of Louise Bourgeois. The idea to show important print series from Swiss public collections arose from the 2010 ETH acquisition of Bourgeois’ 1990 artist’s book, The Puritan, from the estate of the Swiss artist, curator and publisher Johannes Gachnang (1939–2005).1 Seven suites from 1947 to 2007 were on display, including works from the ETH’s own holdings, loans from Swiss collections such as the Kunstmuseum Basel and the Kunst- museum Bern, and loans from the United States, mainly from the Louise Bourgeois Trust in New York. Large and colorful, populated with organic spiral forms, The Song of the Blacks and Blues (1989–96) formed a dynamic introduction to the exhibition: the lithograph- on-woodcut was reworked by Bourgeois many times (the 1994 catalogue raisonné lists 40 unique variants). Here the print was hand-colored with crayon, representative of her experimental approach to printmaking and restless reworking process. “Instead of being a reproductive medium,” she once said about printmaking, “it was for me a creative one.”2 In addition to the original prints, the exhibition offers a touchscreen through which viewers can zoom into details of heavily reworked prints such as The Song Louise Bourgeois, Repairs in the Sky (1999), diptych from What is the Shape of this Problem (1999), of the Blacks and Blues and The Young Girl relief and color lithograph, 30.4 x 43.1 cm. Art ©Louise Bourgeois Trust/Licensed by VAGA, New York, NY. (2006), as well as zoom into reworked passages, and browse texts and books in Eng- York with her husband, the American art this portfolio was also her first major step lish and German. historian Robert Goldwater, in 1938, and into intaglio printmaking. Its nine etchings Printmaking was especially important the exhibition included a rare, first, self- and parables reflect the loneliness and isola- to Bourgeois in the early and late years of printed portfolio, He Disappeared into tion she felt at the time, as many European her career.3 She became engaged with the Complete Silence (1947). One of the most artists and friends in America had returned medium after moving from Paris to New ambitious projects of Bourgeois’ early years, home after World War II. Described in her

18 Art in Print March – April 2013 embroidery and appliqué, alluding to the Bièvre River outside of Paris, where her par- ents ran a tapestry business and where she spent her early years. “Between the Lines” is a compact exhibition that elucidates Louise Bourgeois’ singular understanding of printmaking as a means for exploring narrative and elucidat- ing process. The works on view demonstrate how carefully she choreographed the balance and dynamics between text and image. The precise and generous installation leaves enough room to immerse oneself in both text and image…somewhere between the lines.

Christina von Rotenhan is an independent curator and art historian based in Zurich.

Notes: Louise Bourgeois working on the etching plate for CHAMPFLEURETTE, THE WHITE CAT (1994), in her 1. In the mid-1980s Johannes Gachnach showed New York City home, 1995. Photo: Mathias Johansson. Bourgeois’ work to Christiane Meyer–Thoss, who later published the early and important book Louise Bour- own words as a “drama of the self,” it also analyzed an episode forty years after it hap- geois: Designing for Free Fall (Zurich: Ammann, 1992). exemplifies her examination and expres- pened. I could see things from a distance…. 2. Deborah Wye and Carol Smith, The Prints of Lou- ise Bourgeois, Museum of Modern Art, New York: sion of the self through art: bizarre empty I put it on a grid. Geometry was a tool to 1994, 26. buildings, forms and constructions with understanding,”4 explained Bourgeois. The 3. As Deborah Wye stated in 2007, “this medium has obvious surrealistic influence are accom- large-format portfolio with eight engrav- bracketed her artistic life—she depended on it in her panied by laconic and sarcastic parables on ings on chine collé transforms personal earliest years and does so again now, in old age.” the relationships between men and women. experience into geometric forms and struc- In Frances Morris, ed., Louise Bourgeois (London: Tate, 2007), 225. Wye is currently working on the Shortly after completing this print project, tures, much as the 1947 portfolio had done. new and comprehensive online catalogue raisonné Bourgeois turned decisively to sculpture; The images are accompanied by a text writ- Louise Bourgeois—the Complete Prints & Books, her “Personas” sculptures from the late 1940s ten in the 1940s in which Bourgeois draws launched by MoMA to whom Bourgeois donated the show formal similarities to the surreal, fig- the viewer/reader into a poetic fable. On full archive of her printed work in 1990 (www.moma. ure-like buildings of the print series. close inspection, the apparently strict struc- org/explore/collection/lb/). 4. Wye and Smith, 191. After decades of little recognition, Bour- tures become expressive through unevenly geois’ work began to attract public attention hand-scratched lines and vibrant plate in the 1980s. In 1982 she was given a retro- tone. Image and text have been arranged spective at The Museum of Modern Art in as a sequential narrative, although the art- New York, and in the 1990s she entered a ist cautioned against linking the prints too phase of high productivity in both sculp- closely to the narratives. ture and prints. Several renowned publish- “Art is a guaranty of sanity” is one of ers, including Benjamin Shiff, Peter Blum Bourgeois’ iconic statements, and one she and Jean Frémon, approached her about incorporated into the print series What is print projects. Homely Girl, a Life (1992), the Shape of this Problem? (1999). The title published by Blum, is one of her more ambi- invokes a central question running through- tious book projects. Blum invited Bourgeois out her work: how to find artistic expres- to interpret a story of the same name by sion for the memories, anxiety, insomnia the American playwright, Arthur Miller, or anger of own emotional biography. The Exhibition: and in ten plates she translated the stages portfolio consists of nine lithograph and “Between the Lines—Series of of a broken and reawakened relationship letterpress diptychs: Bourgeois juxtaposed Graphics by Louise Bourgeois” into a poetic floral analogy. The book was her own statements and questions with Prints and Drawings Collection of the published in two volumes, and as Etch- prints of mostly abstract forms and struc- ETH, Zurich ings for Homely Girl, a Life in a separate tures, lithographed and hand-colored with 7 November 2012–18 January 2013 portfolio. Both the rather delicate etch- a drawing-like quality. The images convey a ings (framed on the wall) and the books certain spontaneity and provide a personal Catalogue: (in a vitrine) were on view and revealed visual equivalent to each text, while the text Between the Lines. Graphikfolgen von how differently Bourgeois reinterpreted the turns into a sort of aphorism for each image. Louise Bourgeois; Beiträge aus der same theme with adaptations or additions Memories from childhood appear in two Graphischen Sammlung der ETH Zürich, over time. other series of evocative prints and texts: Volume 9. The Puritan (1990) is another parable, this Ode à ma mère (1995), a series of nine etch- By Alexandra Barcal In German, with a summary in English. one about what must have been an unhappy ings dedicated to Bourgeois’ mother (who Published by Schwabe Verlag, 2012 platonic love story between Bourgeois and appears here, as she does frequently, in the 60 pages, 30 color illustrations her longtime friend Alfred Barr, found- shape of a spider) and Ode à la Bièvre (2007), ing director of MoMA. “With The Puritan I a deluxe cloth book of 25 fabric panels with

Art in Print March – April 2013 19 NEW EDITIONS Jürgen Partenheimer By Catherine Bindman

Jürgen Partenheimer, spread from Folded Spirits (2012).

Folded Spirits (2012) hen the German artist Jürgen pencil or ink—established his restrained Nine lithographs and linocuts, with occa- W Partenheimer first arrived in South aesthetic response to this vivid and unset- sional watercolour and pencil drawing by Africa in September 2011 for his two-month tling territory. Shortly after his arrival, the the artist. Accompanying eight poems by residency at the studios of the NIROX Foun- artist visited David Krut and Alastair Whit- Lebogang Mashile. 47 x 38 cm. Edition of 15. dation outside Johannesburg, he imme- ton at David Krut Print Workshop (DKW) at Printed by Mark Attwood, Leshoka Legate diately began to reflect on the revelations Arts on Main in downtown Johannesburg and Jacky Tsila at The Artists’ Press in White offered by this new experience in a diary (an arts center in a converted early 20th- River, South Africa, co-published by the consisting of drawings as well as verses century warehouse), and discussed ideas artist and David Krut Projects, Johannes- and notes in both German and English. for two projects that would complement burg, Cape Town & New York, 2012. The “Whole days in the clouds,/ the landscape, the body of drawn work produced during solander box for the book was created by the books,” he wrote in the diary, which the residency. (Partenheimer’s South Afri- Lunetta Bartz, Johannesburg and produced has just been published by Snoeck Verlag can Diary, consisting of some 60 drawings by Buchbinderei Adolphs, Düsseldorf. €8500. of Cologne.1 The difficulties of life in South and watercolors, was exhibited at NIROX Africa did not escape him: Projects, the foundation’s exhibition space, also at Arts on Main, in November 2011.) The pictures of this country On a subsequent visit to South Africa in are heavy, troubled and May 2012, he completed work on a suite of garish, dragging reality. six prints in collaboration with Jillian Ross No transcendence and Mlungisi Kongisa at DKW and on Folded in the dust of poverty or Spirits, an artist’s book adapting images at the tables of opulence. from his diary, with Mark Atwood at The Hagglers and avenging angels.2 Artist’s Press in White River. Of the celebrated South African Partenheimer’s preliminary visual poet whose work became part of Folded impressions in the diary—drawings in Spirits, Partenheimer wrote, “A discovery/

20 Art in Print March – April 2013 Lebogang Mashile/poetess of the tenebrous series of red blobs, or appear in wobbly lines light.”3 But this is a bit of poetic license— of applied watercolor. There is nothing pre- Mashile’s work was hardly obscure—and, as dictably “African” about any of this—and with his previous residencies in Europe and as South African writer Bronwyn Law- South America, Partenheimer had explored Viljoen has observed: “Reevaluating, to the literature of the country before he got some extent, his resistance to representa- there and had decided he wanted to meet tion … he created a body of work in South her. The eight poems in the book are taken Africa … that, if it does not quite ‘repre- from two collections of Mashile’s work: sent’ objects, nonetheless demonstrates a In a Ribbon of Rhythm and Flying above the conscious articulation of what it means to Sky.4 Here both Partenheimer and Mashile show, or to speak, through marks on paper.”7 eschew formal narrative and representation Partenheimer says that his abstract, in favor of austerely evocative abstraction. minimalist forms frequently confounded Folded Spirits thus points to the ultimate the South African students and artists he compatibility of two powerful artistic sen- encountered during his residency. Accus- sibilities, a successful dialogue emerging tomed to working largely within a narrative from different cultures and expressed in dif- storytelling tradition focused on issues of ferent forms. Mashile addresses pervasive identity, they initially responded by attempt- issues of poverty (“The sweat on your back/ ing to uncover hidden meanings and identi- The cracks on your heels/Are plastered to fiable motifs. In addition to his surprise at Jürgen Partenheimer, cover of the artist book the walls…”) and incorporates African cli- this reaction, the process of working with Folded Spirits (2012). Edition of 15. Co-published chés (“I wonder if they suddenly/Dream of printers Mark Attwood, Leshoka Legate by the artist and David Krut Projects, Johannesburg, elephants/Laugh in Technicolor/and carry and Jacky Tsila at The Artists’ Press seems Cape Town & New York. rivers in their hearts”), but, like Parten- also to have been something of a revelation heimer, she is primarily interested in an as well as a pleasure. Although prints have interior realm. Mashile was exceptionally been part of his work for 30 years, Parten- jetties of foreign/landscapes, they emerge generous: she allowed the artist to discard heimer is less interested in print techniques from furrowed/ ranks. Evidence and traces/ the original titles of her poems, print them as such than in seeing what emerges from an archaeology of imagined pictures,/ in his chosen font in different sizes, and their essential properties as he works with exposed and ready for printing, /crowning sow the texts throughout his images in any them. In Folded Spirits, the flat planes of their presence.”8 way he liked. In his ascetic dispositions, the the lithography and linocut serve the still- The artist’s expressed love of children’s words are mostly set apart from the images, ness at the heart of his aesthetic, creating books is also evident in Folded Spirits, espe- with the motifs sometimes isolated at the controlled surfaces without textural dis- cially on the cover of the box that houses margins of the sheets. As the book comes to traction or distortion. In the South African it, where the title appears as a jumble of an end, however, he admits individual lines Diary, Partenheimer describes the process of colorful linocut letters. Within the book of the poetry into the space of the printed making prints as if he is discovering another short sentences and single words are images. “I collect rhythms, shapes,/spaces new landscape: ”Like atolls, islands and the deployed alongside images that might be and energies …. It is more about spirit than similarity,” he writes in the diary.5 “Seeds & Tracks/Sources and trails, roots and traces.”6 The idea that we leave seeds and tracks wherever we go informed the title of the original project at NIROX and also forms the basis of the images in Folded Spirits. Partenheimer’s reticent and delib- erate mark making conveys the sense of a powerful visceral response distilled into something intimate and subtle. In the nine lithographs and linocuts that comprise the book, abstract forms—some suggesting twigs, leaves, or seeds; others, nothing rec- ognizable—are dispersed on pale grounds. There is considered beauty in these pages, among them a curiously wintery spread showing tracks of irregular pale-pink lines on a light-gray ground—these cannot be tracks in the snow (surely not in Africa)— but Mashile’s words on the page speak of “Winter mornings hoping/That somewhere past forever/the world is listening.” On another spread, bare twig-like forms resem- ble ranks of little winter trees. Color is generally subdued throughout the book—pale pinks and grays, tempered ochers—but then suddenly bright color Jürgen Partenheimer, Folded Spirits II/1 (2012), four-color linocut, 26.75 x 20 inches. Edition of 15. will be scattered across a white ground in a Printed by David Krut Workshop, Johannesburg, published by David Krut Projects, Johannesburg, 2012. Art in Print March – April 2013 21 Stay informed via eBlast.

New issues. New edition releases. New book releases. Opening exhibitions. Auction information.

Receive Art in Print’s weekly News of the Print World via email. Free with your subscription. www.artinprint.org

described as whimsical. Inevitably, and Notes: against one’s better judgment, those pale 1. Jürgen Partenheimer. Seeds & Tracks and Folded pink tracks of indefinable origin bring to Sprits: South African Diary. (Cologne: Snoeck Verlag mind the hunt for the Woozle in Winnie the / Kienbaum Artists’ Books, 2013), 73. Pooh. (“Tracks,” said Piglet. “Paw-marks.”… 2. Partenheimer, 16. “Oh, Pooh! Do you think it’s a-a-a Woozle?” 3. Partenheimer, 12. 4. Lebogang Mashile, In a Ribbon of Rhythm. (Cape “It may be,” said Pooh. “Sometimes it is, and Town: Oshun Books, 2005) and Flying Above the Sky sometimes it isn’t. You never can tell with (Johannesburg: Lebogang Mashile, 2008). paw-marks.”) In spite of Partenheimer’s 5. Partenheimer, 24 insistent obliqueness, the work is immensely 6. Partenheimer, 16. rewarding—not least for the fancies con- 7. Bronwyn Law-Viljoen, “Juergen Partenheimer: Notes Made While Listening,” Art South Africa, jured by the still spaces and mysterious volume 10.4, June 2012. trails of his discovered landscapes. 8. Partenheimer, 70.

Catherine Bindman is a New York-based art critic and editor.

Jürgen Partenheimer, Folded Spirits I/1 (2012), hardground etching, sugarlift and spitbite aquatint, linocut and chine collé, 37.75 x 30 inches. Edition of 15. Printed by David Krut Workshop, Johannesburg, published by David Krut Projects, Johannesburg, 2012.

22 Art in Print March – April 2013 NEW EDITIONS David Musgrave By M. Brian Tichenor & Raun Thorp

Reverse Golem Portfolio (2012) Five etchings and one mezzotint printed on Magnani paper, image 8 x 7 inches, sheet 14 x 13 inches. Edition of 10. Printed and published by Edition Jacob Samuel, Santa Monica, CA. $7500.

avid Musgrave’s finely wrought draw- Dings investigate transmutation: his “plane” and “golem” drawings depict common materials—folded and torn paper, children’s string constructions—arranged and charged with figurative power. In his new set of prints, Musgrave extends the mimetic prowess of these meticulous trompe l’œils, blurring the line between abstraction and figuration. Five of the six images use nothing but the waxing and waning of tightly stacked, parallel etched lines to convey the sense of three dimensional figures; the sixth, a mezzotint, offers the illusion of an embossed scribble seen from the backside of a black sheet of paper, a trick pulled off by ink and years of labor. The printer responsible for the portfolio—Jacob Samuel—has been profiled in this publication before [see Vol. 2, No. 1]: his innovative mobile etching workshop recast the traditional printer-artist relationship by bringing the process of plate making into the artist’s own studio. This strategy, however, which Samuel employed for some 15 years, has become impractical given the past decade’s onerous, post-9/11 security procedures, and Samuel now works in his permanent shop in Santa Monica. He nonetheless continues to approach his profession in a distinctly atypical manner. His publications are characterized by clear, focused interaction with the artist and always result in suites of prints, each with its own inter- nal coherence, a mix of artistic vision, printing prowess and the venerable aesthetics of the intaglio print. Samuel reaches out to artists whose work he feels resonates with the small format, monochromatic intaglio process to which he is dedicated. Most often he chooses those who have not previously explored this mode of printmaking. With a few exceptions (Ed Ruscha and John Baldessari among them), Samuel works with each artist for a single, multi-print project: the newness of the process is a critical component of the endeavor. Samuel was drawn to the delicacy and precision of Musgrave’s touch. “The only artist I’ve seen who had a touch like this,” David Musgrave, detail of #3 from the Reverse Golem Portfolio (2012). Art in Print March – April 2013 23 David Musgrave, #1–6 from the Reverse Golem Portfolio (2012).

Samuel says, “was Vija Celmins.” Having and the lines the artist drew were so close worked with Celmins on mezzotints, he sug- to one another that printing with standard gested the medium to Musgrave. “I thought black ink didn’t work. Samuel suggested that kind of touch, that kind of patience: using graphite ink, which is thinner and that could work,” Samuel says. The plate also echoed Musgrave’s graphite pencil line went back and forth between Santa Monica in the “Television” drawings. and England 12 or 13 times over the course On one of the plates, Musgrave chose to of a couple of years. (This sounds arduous, disrupt the tight control of his parallel lines though Samuel’s project with Celmins went by scattering the surface with scratches. through 30 such proof stages.) Once again, however, the distinction After this Musgrave asked for a line plate. between intention and accident is not what He had done a series of what he called “tele- it seems: each of the scratches is hand vision drawings” in which objects appear drawn. “We get along very well that way,” through horizontal, parallel lines like the Samuel observes. “This is the room where scan lines of an old tube television. Mus- OCD reigns.” grave calls the images “golems,” an allusion to the clay homunculus of Jewish folklore, and a term he uses for these seemingly cir- M. Brian Tichenor and Raun Thorp are by turns cumstantial agglomerations of parts that architects, artists, designers and print collectors. fuse into figures. The prints are “Reverse They live and work in Los Angeles.

Golems” because of the left-right mirroring that occurs in the printing process. In the line etchings the figure is made visible simply through the thinning of a continuous line, the same line that, when it thickens, provides what we see as background. The interplay between the flat line and the illusion of depth is deft and subtle,

24 Art in Print March – April 2013 NEW EDITIONS Eva Bovenzi By Amelia Ishmael

Eva Bovenzi, Ninth Messenger #1 (2012).

Ninth Messenger #1 (2012) inth Messenger #1 is one of a series this shape onto vellum, which she “inked” Watercolor and oil collagraph monoprint Nof 19 monoprints created by Eva with watercolor and printed to paper. The diptych, 29 1/2 x 35 1/2 inches. Unique image. Bovenzi during a residency at Oehme carborundum plate was then inked and Printed and published by Oehme Graphics, Graphics in August 2012. The series (which wiped intaglio; ink was retained in the Steamboat Springs, CO. $1800. includes Ninth Messenger #1–9 and Second gritty areas and in the crevices where the Messenger #1–10) reprises the diptych format plate sections met. Printed over the water- of Bovenzi’s 2006 Messenger paintings. Each color, the heavier ink lies dark at the center, monoprint occupies two sheets of paper fades toward the polygon’s extremities, and arranged perpendicular to each other (one marks the radii that divide the form. (In horizontal and one vertical), and houses a Ninth Messenger #1 dark brown ink gives single irregular polygon that arcs across the way to luminous soft violet.) Slightly below two sheets. In each, a sweep of color extends the center of Ninth Messenger #1, a trapezoid from the central vertex outward, feathering shape was painted in by hand. Its iridescent into iridescence. Though the rigid geom- light blue form infused with golden glitter, etries may sound mechanistic, the prints glows like a jeweled heart. With this vibrant mimic the shape of extended wings, sug- diamond Bovanzi employs the language of gesting some kind of ethereal creature. geometric abstraction, but uses it to articu- All of the Messenger monotypes were cre- late a transcendent spirituality. ated through the same set of technical stages, but subtle alterations of the matrices and the inking resulted in a series of unique Amelia Ishmael is the Associate Editor variations. The prints’ distinctive polygonal of Art in Print. shapes arose from collagraph plates built by the artist from triangular segments; the plates were treated with carborundum which determined the texture and tone of the final print. Bovenzi traced the outline of

Art in Print March – April 2013 25 NEW EDITIONS Onsmith & Nudd By Amelia Ishmael

Onsmith & Nudd, Between the Valleys of the Spoils (2012). Below: detail from central panel.

Between the Valleys of the Spoils (2012) etween the Valleys of the Spoils is a valleys of the spoils is suggested by knives Three lithographs, left and right panels, B recent project by Chicago-based artists and glass shards that jut from and surround 15 x 11 inches each; center panel, 15 x 22 Paul Nudd and Onsmith. A triptych of three its body. inches. Edition of 27. Printed by Onsmith lithographs, the format offers each artist In the middle panel, Nudd and Onsmith & Nudd, Chicago. Published by Anchor his own stage (in the left and right panels), have collaborated on a hellish landscape Graphics, Chicago. $800. Available through while the central ground is a jointly created equally indebted to Hieronymus Bosch and Western Exhibitions, Chicago. gruesome battle. Nudd and Onsmith have Otto Dix. It is a wasteland littered with worked together on special print projects knives and arrows, fires and dead trees. since 2009, but while previous collabora- Decapitated heads and amputated body tions have yielded splendidly grotesque parts are strewn about, a pile of legs burns Frankensteinian hybrid beasts, the central in a pyre, detached toes pop out of the panel here constitutes the most successful ground, and eyeballs hang off fleshy, un- integration of their styles to date. identifiable body parts. In the lower-right Nudd is known for paintings, works on corner the battle’s outcome is evidenced by paper and zines that employ filth and bile in the severed head of the troll—propped up, ways that are sometimes representational, stabbed through with a knife and abuzz but always supersaturated with tactile sur- with flies. It’s a feast of gore that celebrates faces that are abstracted, sticky and foul. the perverse minds of both artists. Between The victorious character on the left panel the Valleys of the Spoils expresses aggressive is identifiable as Nudd’s work through its competition. I imagine the two artists in the seemingly slimy physique, a cross between printshop, fists spiked with drawing im- Louis Wain’s schizophrenic drawings, Ivan plements, fervently illustrating their ideas Albright’s grotesque portraiture and a and trying to one-up the other, to see who swamp monster. It takes a bit of investiga- can conceive the most bizarre, most gro- tion to find the figure standing within this tesque scenario. mass of knobby flesh, scabs, bristly hair and sharp claws, yet eventually a nose, toes, eyeballs and appendages begin to emerge. Amelia Ishmael is the Associate Editor Onsmith, a comic artist, uses his graphic, of Art in Print. linear style (reminiscent of the Chicago Imagists) to depict the human figure in scenarios riddled with dark humor. The character in the right panel takes a troll- like form, with pointy ears, nose and chin, snaggled sharp teeth and pointy claws. Its sinuous flesh, bound tightly around its skel- etal frame, is sliced open by multiple cuts to reveal muscular tissue. The conclusion that this troll has lost the battle between the

26 Art in Print March – April 2013 NEW EDITIONS The WITH Collective By Maru Rojas

We Have Accidentally Damaged This Limited Edition on Your Behalf (2012) Blind embossing on white 300gsm card with unique damage (coffee stain, footprint or ink splatter), 59.4 x 42 cm. Edition of 500. Fabricated and published by The WITH Collective, London. £50.

he WITH Collective is an anonymous Tar t collective that creates time-based experiential “solutions” on commission— such as doing nothing on your behalf, being in love with you, or working for free on something you really love. In October 2012 the collective produced the limited-edition print We Have Accidentally Damaged This Limited Edition on Your Behalf for Christie’s Multiplied 2012 art fair. The pristine white surface of each print is blind embossed with the edition’s title, all in capitals, which occupies two-thirds of the white card. Resting inconspicuously above the title is the collective’s trademark four-line logo. As a result of this inkless process, the text can be seen protruding from the paper, raised above the surface. The 500 sheets printed and embossed with the same text would seem to adhere to the standards of a (large) limited edition, however, true to the collective’s time-based, experiential solutions concept and to the edition’s title, each print has suffered some unique damage that has left a mark: a coffee stain, a footprint or an ink splatter. The damage varies in degrees of subtlety from barely visible stains to dark blotches that cover whole areas of the print. With this gesture the collective brings into question the nature, value and reproducibility of limited editions; what could be seen as damage also makes each print unique. The result is now closer to a monotype—were it not for the mechanical repetition of the text, each print would be one of a kind. The accidental damage implied in the title, which would normally ruin an edition, now adds value. Failure has become a desirable qual- The WITH Collective, We Have Accidentally Damaged This Limited Edition On Your Behalf (2012). ity, as the buyer is asked to select the pre- ferred “damage.” print, however, also enacts the solution. everyday objects that exist in most print- The WITH Collective normally creates Indicating a departure from previous work, making studios, or in most environments: limited editions as a way of rendering its We Have Accidentally Damaged This Limited accidents waiting to happen. And yet the intangible solutions visible. A typical exam- Edition on Your Behalf, does not document a print becomes a “solution,” because the art- ple is the screenprint We’re Really Happy For previously available solution; it was created ists have done the work for us. The have You (Choose Your Own Dates) (2010), in which to exist only in print, for the art fair, and it spared us the accident and taken care of the the collective transferred its concept to captures the event—the moment in time— damage, and it looks uncannily fascinating. paper by describing the solution and repre- of each accident. The “accidental damage” senting it through language. The current inflicted upon each print is related to the Maru Rojas is a London-based writer and artist. Art in Print March – April 2013 27 NEW EDITIONS Willie Cole By Elleree Erdos

Willie Cole, Five Beauties Rising (2012). Photo: David Kern.

Five Beauties Rising (2012) eighth-to-sixteenth of an inch in depth. ancestors who worked as slaves or domestic Suite of five, intaglio and relief, approx. 62.5 Finally, the boards were inked intaglio and servants; others he culled through onomas- x 22.5 inches each. Edition of 9. Printed and printed on white paper. Each reveals its own tic research. published by Highpoint Editions, Minnea- character, its blemishes and scars, and each Irons and ironing boards appear fre- polis, MN. Price on request. has been given a name, printed in relief at quently in Cole’s work. In his well-known the bottom of each sheet—Savannah, Dot, “scorch” pieces, irons acts as both templates Anna May, Queen and Fannie Mae. and press, marking the paper with heat As in his other works, Cole identifies and rather than ink. With Five Beauties Rising, he illie Cole’s art is universal yet explores the mutability of these objects. guides the ironing board to its own type of W profoundly personal. He trans- His sculptures, accumulations of every- imprint. The ink picks up the manufactured forms conventional objects into works of art day items such as shoes or irons, recall grooves and grids of the board and the alter- that conjure collective memories while ref- Dada readymades, but are infused with ations generated by the flattening process. erencing the artist’s personal identity. Each the spirituality of African tribal masks, the The print is a record of the object’s passage of the five intaglio impressions of ironing transformational aesthetic of Surrealism, through the world—its life of quotidian boards in his recent series Five Beauties Ris- and the Pop Art-driven critique of con- utility and its final incorporation into art. ing is a poetic document, recording both the sumer culture. In Five Beauties Rising, he Cole has imbued these ironing boards singular existence of a specific object and transformed the ironing board’s workaday with a new aesthetic and spiritual value, but the larger historical narrative it represents. surface into a template through compres- their transformation is not yet complete: To make these works—and the other 22 sion. The metal thus creased and distorted the artist plans to repurpose most of the 27 prints in the Beauties series—Cole and the and marked by dents and scratches from boards from the full series as sculpture, printers at Highpoint Editions began with daily use, produces an ethereal, x-ray-like continuing their metamorphosis. ironing boards that Cole acquired from image. The names printed below each iron- the Salvation Army and Craigslist. Using ing board evoke a narrative, suggesting vehicles, cinder blocks and brute force, life behind the ghostly representation, and Elleree Erdos is a New York-based writer. they flattened—ironed out, one might Cole’s choice of names evokes a very specific say—the boards, then further reduced kind of life—those of the generations of them by repeatedly running them through African-American women working in other an etching press until they were a mere people’s homes. Some belonged to his own

28 Art in Print March – April 2013 NEW BOOKS looking at as it is about what they’ve been of postcolonial ethics. But Primitivism has making. usually been motivated by a desire to locate Museums these days are under pressure something “authentic” in that other, while to demonstrate their continuing relevance, the Tobias brothers seem entirely aware of which is too often thought to be the same the ersatz nature of their sources. Further, thing as popularity. For historical print col- as Michael Hering, the Kupferstichkabi- lections this can be particularly daunting nett curator responsible for the Paraphrases as most of their holdings lack the popular project, points out, local Transylvanian hooks of color, dramatic scale, headline- allusions are just one entry in their ros- generating price tags or dramatic physi- ter of influences: they make collages that cal presence. The glamour associated with echo Max Ernst and dynamic abstract and contemporary art does not easily rub off on typographic compositions that evoke mid- old, small, works on paper. The work of the century middle-European graphic design, a Tobias brothers would seem to offer a neat utopian discipline that aimed to transcend answer: among other things, they make the local and ethnic and establish a univer- two-meter high woodcuts that are color- sal visual language. ful and expensive. Printed on canvas, the The invitation from the Kupferstich- woodcuts function much like paintings, kabinett offered them a half-million but with their hand-carved hard-edged works of art, a half-millennium of human forms, tiled repetitions and reusable parts, endeavor, to absorb and plunder for visual they retain the look and strategies of prints. motifs, compositional structures and Furthermore, they are themselves the prog- conceptual approaches. In the end they Gert & Uwe Tobias eny of a wide variety of printed matter that bypassed the Dürers, Schongauers and Pi- Dresdener Paraphrasen / Dresden the Tobiases have assimilated much as one cassos, and focused their attention instead Paraphrases culture assimilates another: merging some on four quirky sets of objects—some early Edited by Michael Hering, foreword by principles, chucking out others, latching engraved playing cards from the 15th cen- Bernhard Maaz, texts by Michael Hering, onto the odd useful word and employing it tury, decorative chiaroscuro woodcuts from Gudula Metze and Claudia Schnitzer promiscuously. the 16th and 18th, Rococo albums full of In German and English Much has been made (not least by the giddy chinoiserie fantasies and the stark yet 136 pages, 96 illustrations twins themselves) of the fact that Gert and playful experiments of the Modernist Her- Published by Hatje Cantz, 2012 Uwe Tobias were born in Transylvania. man Glöckner. Such things might easily € 39.80 / $60 / £35 They have borrowed design conceits and be dismissed as “minor”: most were made motifs from travel posters, folkloric embroi- as entertainments, studies and decora- dery patterns, Dracula movies and other tions rather than “art.” They are the kinds vehicles of Carpathian clichés. Their break- of objects that accumulate in print collec- By Susan Tallman out exhibition in 2004 was titled “Come tions not because their value was always and See Before the Tourist Will Do: The understood, but because no one bothered to ound in pink satin and stamped Mystery of Transylvania.” Their work has throw them out. (The chinoiserie albums— Bwith a grand gold cartouche, Gert often been seen as a kind of intra-European now the world’s most extensive example of & Uwe Tobias: Dresdener Paraphrasen / Primitivism, exploiting an insider’s “other” these peculiar prints—were thought so hid- Dresden Paraphrases might be mistaken for a that conveniently bypasses the problems eous by one Dresden ruler that he ordered reverent tribute to the frothy Rococo of Dresden’s prewar city center, were it not for the small mutant chicken, perched on a curled corner of the cartouche, missing its torso and looking a little dazed. Its presence, both cute and creepy, disrupts the formal symmetry and alters the historical implications of the design. The bird’s silly beak points firmly to the 21st century while its talons grip the 17th. The Dresden Paraphrases are much like that mutant chicken: woodcuts, collages and typewriter drawings in which past and present collide in decorative and dis- orienting ways. They were created by the seemingly ubiquitous Tobias brothers in response to an invitation from the Dres- den Kupferstichkabinett, one of the largest and most venerable print collections in the world. This pink-and-gold catalogue documents the results in 133 pages of large, beautifully produced reproductions and four erudite essays. It forms an essential introduction to the brothers’ work, because Gert and Uwe Tobias, Chinoiserie I (2012), color woodcut on canvas, 200 x 300 cm, GUT 1881. it is as much about what they’ve been ©VG Bild-Kunst, Bonn. Photo: ©Alistair Overbruck, Köln, courtesy cfa Berlin. Art in Print March – April 2013 29 The maker of one deck hedged his moral bets by including a final warning card that shows death grabbing a naked girl by the ankle. Made long before the dreary stan- dardization of clubs, hearts, diamonds and spades, these decks used suits of deer, parrots, beasts of prey, roses and wild men covered in fur, all lovingly rendered by artists who were just learning how to turn grooves in metal into pictures of the world. One can see why the Tobiases responded to these images: fear and fun are braided together, as are the pleasures and tedium of execution. The typewriter drawings included in the chapter look nothing like engravings, but the task of constructing figures from repeated Os, Xs and punctuation marks banged out on an old electric typewriter is similarly counterintuitive, and the hybrid creatures thus created have a demonic sparkle not unlike the bears and lions produced by the otherwise anonymous Master of the Playing Cards. The second chapter focuses on a small group of chiaroscuro woodcuts (a technique that arose in the 16th century to imitate ink-and-wash drawings with a combination of line and tone blocks). It includes multiple impressions of Ugo da Carpi’s famous prints after Parmagianino—Dio- genese, Saturn and Contest Between Apollo and Marsyas—as well as later imitations by the 18th-century collector of da Carpi and Parmagianino, Antonio Maria Zanetti. The Tobiases clip a number of motifs from the prints—a satyr’s leg, a plucked chicken—but discard their narrative drive and rational space. Instead they adopt the cartouche Zanetti created as the title page for his collected prints and drawings, and make this the primary structure for the book cover, announcement and a number of the woodcuts within. Zanetti’s device was meant as an ornament to language, which was meant to introduce the contents, which were to be Gert and Uwe Tobias, Untitled (2012), typewriter drawing on paper. ©Gert and Uwe Tobias/VG Bildkunst, seen as both individual artworks and as a Bonn. Photo: ©Alistair Overbruck, Köln. collective testament to the connoisseurship of their owner. For the Tobiases, the device becomes the subject; they fill it with upside- them destroyed; they survived only because Such fluidity between eras, techniques and down flowers or a faceted green teardrop (an they could not be located at the time.) ostensible purposes is part of the point, and allusion to a famous diamond, the Dresden The Kupferstichkabinett uses the Para- the teasing out of connections becomes Great Green). phrases catalogue as the occasion (all too something like a sport. Meanwhile, the The sublime taste exhibited by Zanetti’s rare in a curator’s life) to lure the public into historical backgrounds of the earlier works albums is the polar opposite of the chinoise- esoteric corners of the collection. Each of complicate and enrich the new images in rie etchings made at roughly the same time. the four groups is treated to an extended satisfying ways. If the English translations In the 18th century, Dresden was the heart essay that both links to the Tobias cre- are not exactly elegant, the information is of Europe’s love affair with Asia. Augustus ations and elucidates the earlier works in intriguing enough to prompt the reader to the Strong established the first European their own right. Though the structure of stop, flip pages and look carefully. porcelain works, Meissen, in order to imi- the catalogue aligns each Tobias work with The playing cards, which are among tate the serene and hugely expensive Chi- a specific historical group, the reality is the oldest in the world, are fascinating for nese ceramics he collected. These prints more chaotic. A blood-dripping, six-legged what they reveal about the beginnings of are Meissen’s rude, party-animal cousins. spider-bug from the chinoiseries appears in a engraving and for the way they embody Produced in Holland and Germany, they typewriter drawing discussed in the context the simultaneous delight and disquiet that understand “China” not as a place, but as of the playing cards, as do three woodcuts cards—also known as “the devil’s prayer- permission to upend every rule of pictorial whose dominant elements are film titles. book”—caused in late medieval Europe. decorum: snakes fly, snails are the size of

30 Art in Print March – April 2013 Left: Gert and Uwe Tobias, Great Green Dresden Diamond I (2012), color woodcut on canvas, 200 x 168 cm, GUT 1912. Right: Dresden Satyr I (2012), color woodcut on canvas, 200 x 168 cm, GUT 1914. ©Gert and Uwe Tobias / VG Bild-Kunst, Bonn. Photo: ©Alistair Overbruck, Köln, courtesy cfa Berlin. mopeds, rabbits have horns and birds have hovers behind the grid like a fog. Though describes it as causing the woodcuts “to hooves. The garish colors and bizarre anato- the metallic shimmer of the ink cannot oscillate between glamour and minimalist mies suggest a child let loose with a pack of be experienced in reproduction, Hering asceticism.” We usually still think of Mini- highlighters while her older brother scrib- malism as a difficult movement, engendered bles teats on everything. They were probably by ideas rather than formal habits or per- intended as cheap decorations to be cut up sonal preferences. The Tobiases expose its and glued to walls, furniture and boxes, an inherent decorativeness—a style put on or activity not unlike what the Tobias brothers shrugged off as easily as any other. did with their Surrealist-infused collages Obviously there is something superficial and woodcuts. The past, as Hartley said, is in their historical shopping spree: Glöckner a foreign country, and the parallels between and the Master of the Playing Cards lived how 18th-century Europeans used China in two quite different worlds and worked and how the Tobiases use the 18th century from quite different ambitions, as the essays are clear enough. make clear. By virtue of having survived The last group, from the 1930s, contains into our own time, however, the objects the Tafelwerks of the constructivist Her- they made have left those worlds and ambi- mann Glöckner, simple panels of cardboard, tions behind. We will make a 21st-century covered on both sides with colored paper. use of them, whatever it is. These radical works anticipate Minimal- The art of the Tobias brothers is first and ist strategies by a quarter-century: form, foremost stylish—not as in “fashionable” material and subject matter are insepara- but as in English or Spanish: style is its lan- ble. But Glöckner’s works depart from the guage, its syntax and vocabulary. They are pedestrian materiality of Minimalism in also great designers, and this can make the one important way: several use silver and work seem facile. At their best, however, gold paper, suffusing their phenomenologi- they build images that are simultaneously cal presence with overtones of alchemy and over-the-top, ironic and heartfelt—the visu- high-church grandeur. The vocabulary of al equivalent of Dave Eggers’ prose. In this, the three Tobias woodcuts here is starkly they mirror the essential character of the Modernist: black-primed canvas printed Rococo. The mutant chicken should feel with an edge-to-edge grid that nods to Josef Friedrich Leopold, Phantastiche right at home. both Agnes Martin and embroidery pattern Jagdgesellschaft (Fantastical Hunting Party), books. But they follow Glöckner’s gilded (c. 1710/1720), from the volume Inventions chinoises VI, sheet 5, hand-colored etching, Susan Tallman is the Editor-in-Chief of example: in one, gold dots fill the grid like 30 x 18.9 cm. Collection Kupferstich-Kabinett, Art in Print. baubles in a Cornell box; in another, silver Dresden. Art in Print March – April 2013 31 Artists’ Editions available for under ≤100 $100 / €100 / £100

Eva Bauer, Once upon… (2007).

Martin Mazorra and Mike Houston, a series of ten woodcuts (2012). ≤100

Eva Bauer Once upon… (2007) One-color lithograph, 9 x 10 inches. Edition of 25. Printed by the artist, published by and available through Hole Editions, Newcastle upon Tyne, UK. £85

Marc Bauer Künstlertragtasche Marc Bauer (2011) Paper bag, printed both sides, 31.5 x 47 x 17 cm (open). Edition of 80. Published by the Migros Museum, Zürich. CHF 100

Martin Mazorra and Mike Houston Marc Bauer, Künstlertragtasche Marc Bauer (2011). Dawn of Deceit Devil on Saturday Saint on Sunday Doomed to Mediocrity Fear the Future Friend or Foe Point of no Return The Haunting of Rancor Manor River of Destiny Sex Cult Summer of Lust (2012) Series of ten woodcuts with letterpress on paper, 23 x 35 inches. Editions of 10 each. Printed and published by Cannonball Press, Brooklyn, NY. $100

Mike Nelson M6 (2013) Screenprint on newsprint, 63 x 48.5 cm. Printed by Mission Press. Published by Eastside Projects, Birmingham, UK. £25

Walter Robinson Kitty (1982) Offset poster, 20 x 25.5 cm. Edition of 900. Published by the artist. Available through Printed Mike Nelson, M6 (2013). Walter Robinson, Kitty (1982). Matter, New York. $30

32 Art in Print March – April 2013 Bourgeois, Michael Byron, Sandrine Guerin, Fischli/David Weiss, Robert Gober, Doug- International Dan McCarthy, Sigmar Polke, Salvatore Scar- las Gordon, Richard Hamilton, Jenny Holzer, pitta, Rosemarie Trockel, Not Vital Donald Judd, Jasper Johns, Martin Kippenberg- Baron/Boisante Editions has been a publisher er, Guillermo Kuitka, Vera Lutter, Christian Directory 2013 of prints and multiples since 1985. Om from Marclay, Bruce Nauman, Ernesto Neto, Olaf India deals in 19th- and early 20th-century Nicolai, Gabriel Orozco, Blinky Palermo, Jorge The International Directory is a listing of Hindu mythological lithographs with one of Pardo, Raymond Pettibon, Gerhard Richter, Professional Members of the Art in Print the world’s most important and comprehensive Dieter Roth, Ed Ruscha, Carolee Schneemann, community. collections of early Hindu God and Goddess Thomas Schütte, Alyson Shotz, Laurie Sim- prints. mons, Kiki Smith, Hiroshi Sugimoto, Richard Tuttle, Jeff Wall, William Wegman, Terry Win- ters, Christopher Wool Annex Galleries Bleu Acier Inc. 604 College Avenue, Santa Rosa, CA 95404 109 West Columbus Drive www.annexgalleries.com Tampa, Florida 33602 www.bleuacier.com Artists represented: Vicky Colombet, Hervé Arion Press DiRosa, Marie Yoho Dorsey, Sylvie Eyberg, Joe 1802 Hays Street, The Presidio Fyfe, Dominique Labauvie, Michel Leonardi, Carolina Nitsch specializes in drawings and San Francisco, California 94129 Pierre Mabille, Steve McClure, Max Neumann, editions, including prints and monotypes, mul- www.arionpress.com Françoise Saur, Paula Scher, Jovi Schnell, Peter tiples, photographs, artist books and installa- Artists represented: Ida Applebroog, John Soriano, Bernar Venet, Voshardt/Humphrey tions. We actively publish editions with a grow- Baldessari, Mel Bochner, Bruce Conner, Rich- ing roster of international artists, ranging from ard Diebenkorn, Jim Dine, Carroll Dunham, traditional etching on paper or silkscreen to Robert Graham, Michael Kenna, Alex Katz, large installations. While we are a member of Mel Kendrick, R. B. Kitaj, Sol LeWitt, Julie Meh- the IFPDA, the International Fine Print Dealers retu, Robert Motherwell, Raymond Pettibon, Association, our aim in publishing is to encour- Martin Puryear, Ed Ruscha, Kiki Smith, Wayne age the artist to explore new possibilities that Thiebaud, Kara Walker, William T. Wiley stretch the boundaries of printmaking per se Bleu Acier is a fine art print publisher and a col- and thus we work with many different printers laborative and contract atelier owned and oper- and fabricators to achieve the most innovative The Arion Press ated by Erika Greenberg-Schneider. We special- and original quality. Furthermore, we publish ize in small hand-printed editions in intaglio, editions annually for institutions including the photogravure, direct gravure, stone lithogra- New Museum of Contemporary Art and the phy, relief and monotype. Whitney Museum of American Art. After living in France for 22 years, Erika moved back to the U.S. and opened her atelier in 2003. Arion Press aims to match the finest contem- As a publisher, Bleu Acier collaborates with Center Street Studio porary art with the finest literature past and artists on limited editions and multiples that PO Box 870171, Milton Village, MA 02187 present in books that are beautifully designed possess the strength and drive of their work www.centerstreetstudio.com and produced. Printer-publisher Andrew Hoy- in other media. These often very rare editions Artists represented: Michael Beatty, Gerry em employs the exacting standards and skilled integrate the overall vision of the artist’s oeu- Bergstein, Nell Blaine, Bernard Chaet, Mark craftsmanship of the fine printing tradition in vre. As a collaborative Master Printer, Erika Cooper, Aaron Fink, Andy Freeberg, Teo Gon- the service of an ambitious publication pro- has worked with artists such as Roberto Matta, zalez, James Hansen, Anne Harris, Chuck gram. Two to three limited edition books are Jean Dubuffet, Eduardo Arroyo, Pierre Ale- Holtzman, Lester Johnson, Markus Linnen- published per year. Each is conceptually unique, chinsky, Dominique Labauvie, Max Neumann, brink, Judy Kensley McKie, Todd McKie, Keith bringing together a significant text with a con- Bernar Venet, Beverly Pepper, Georg Baselitz, Monda, Carrie Moyer, James Ovid Mustin temporary artist, or in other cases, a purely Chuck Close, Paula Scher and Abbott Miller, III, David Ortins, Robert Parkeharrison, Jeff typographic interpretation. among others. Perrott, Charles Ritchie, Richard Ryan, Kelly The texts of the more than 95 Arion Press In 2011 Erika Greenberg-Schneider received Sherman, Laurel Sparks, James Stroud, Bill publications are characterized by their diversi- the honor of being named Chevalier of the Thompson, Roger Tibbetts, John Walker, ty and intellectual depth, with titles that range Order of Arts and Letters by the French Min- Rachel Perry Welty, George Whitman, John from ancient literature to modern classics. ister of Culture. Wilson, Janine Wong, Bill Wheelock Its authors extend from Ovid to Shakespeare, Center Street Studio was established in 1984 Laurence Sterne, Herman Melville, Gertrude by artist and master printer James Stroud who Stein, Sigmund Freud, Italo Calvino, Allen C.G. Boerner publishes print projects in etching, woodcut Ginsberg, Seamus Heaney and David Mamet. 23 East 73rd Street, New York, NY 10021 and monotype with established and emerging The Press has also developed entirely new www.cgboerner.com artists. material for publication. It has resurrected Artists represented: Assig, Baselitz, Bellange, “lost” texts and commissioned new works by Bonnard, Cassatt, Dürer, Ensor, Goya, Kent, poets, critics and scholars. Klengel, Manet, Meckenem, Nanteuil, Ostade, Crown Point Press Editions are strictly limited and are designed Piranesi, Rembrandt, Reinhart, Schongauer, 20 Hawthorne Street, San Francisco, CA 94105 and produced, mainly by hand, in a handsome Tuttle, Vuillard, Whistler, Würth, Zingg www.crownpoint.com industrial building at the Presidio national C.G. Boerner is one of the leading dealers in old www.magical-secrets.com park in San Francisco. Type is composed and master prints. Founded in Leipzig in 1826 we Artists represented: Tomma Abts, Vito Acco- cast on the premises by M & H Type, established now have galleries in Düsseldorf and New York. nci, Darren Almond, Mamma Andersson, Anne in 1915, the oldest and largest type foundry still In addition to prints of all periods and schools Appleby, William Bailey, John Baldessari, Rob- operating in this country. A complete book we specialize in German drawings of the 18th ert Barry, Iain Baxter, Robert Bechtle, Christian bindery and the historic letterpress equipment and 19th centuries and regularly organize exhi- Boltanski, William Brice, Brad Brown, Christo- of the Grabhorn Press are in use, alongside the bitions with contemporary artists. pher Brown, Günter Brus, Edgar Bryan, Chris technology of the 21st century. Burden, Daniel Buren, John Cage, Enrique Chagoya, John Chiara, Francesco Clemente, Carolina Nitsch Chuck Close, Robert Colescott, Tony Cragg, Baron/Boisante Editions & Om from India 534 West 22nd Street, New York, NY 10011 Frederic Dalkey, Brad Davis, Elaine de Kooning, 300 East 33 Street, New York, NY 10016 www.carolinanitsch.com Richard Diebenkorn, Peter Doig, Rackstraw www.baronboisante.com Artists represented: Ai Weiwei, Darren Almond, Downes, June Felter, Eric Fischl, Joel Fisher, www.omfromindia.com Richard Artschwager, Louise Bourgeois, Vija Dan Flavin, Terry Fox, Helen Frankenthaler, Artists represented: Curtis Anderson, Donald Celmins, E.V. Day, Richard Dupont, William Jane Freilicher, Pia Fries, Hamish Fulton, Kat- Baechler, Brian Belott, Jennifer Bolande, Louise Eggleston, Tracey Emin, Inka Essenhigh, Peter sura Funakoshi, April Gornik, Hans Haacke,

Art in Print March – April 2013 33 Mary Heilmann, Al Held, Tom Holland, Rob- Dolan/Maxwell With each exhibition focused around a singu- ert Hudson, Bryan Hunt, Shoichi Ida, Yvonne 2046 Rittenhouse Square lar artist, group show or theme, the new Cabi- Jacquette, Joan Jonas, Anish Kapoor, Alex Katz, Philadelphia, PA 19103 net website stages two simultaneous online Per Kirkeby, Jannis Kounellis, Joyce Kozloff, www.DolanMaxwell.com exhibitions: First Floor and Second Floor. Our Robert Kushner, Bertrand Lavier, Li Lin Lee, Artists represented: Norman Ackroyd, Rad- aim is that these different exhibitions high- Sherrie Levine, Sol LeWitt, Markus Lupertz, cliffe Bailey, Morris Blackburn, Peter Brooke, light the breadth of our interests, and further Robert Mangold, Sylvia Plimack Mangold, Lynne Clibanoff, Worden Day, Kip Deeds, enable us to experiment with unexplored artis- Brice Marden, Tom Marioni, Julie Mehretu, Werner Drewes, Perle Fine, Steven Ford, Stan- tic materials and introduce new and overlooked Susan Middleton, Robert Moskowitz, Dorothy ley William Hayter, Trenton Doyle Hancock, artists of current significance. In keeping with Napangardi, David Nash, Joan Nelson, Joc- Paul Keene, David Kelso, Thomas Lias, Hans these objectives, works on display range from kum Nordström, Chris Ofili, Nathan Oliveira, Moller, Ryan Parker, Martin Puryear, Harvey old master to contemporary prints and draw- Gay Outlaw, Laura Owens, Judy Pfaff, Janis Quaytman, Judith Rothschild, David Shap- ings. It also features photographs, archive Provisor, Markus Raetz, Rammellzee, Steve iro, Benton Spruance, Donald Teskey, Shelley material, writings and ephemera. Reich, Laurie Reid, Tim Rollins + K.O.S., Ed Thorstensen, Dox Thrash, Charles White, Emanuel von Baeyer regularly participates in Ruscha, David Salle, Italo Scanga, Sean Scully, Cheryl Warrick the London Original Print Fair, Frieze Masters Wilson Shieh, José Maria Sicilia, Shahzia Dealers in distinguished modern and contem- London, Master Drawings Week in London and Sikander, Amy Sillman, Kiki Smith, Richard porary prints and works on paper. New York, IFPDA Print Fair New York, Anti- Smith, Susana Solano, Pat Steir, Gary Stephan, quarian Booksellers Associations (ABA), and Wayne Thiebaud, David True, Richard Tut- at TEFAF, Maastricht. He is also a member of tle, William T. Wiley, Fred Wilson, Yutaka Edition Jacob Samuel the International Fine Print Dealers Associa- Yoshinaga www.editionjs.com tion (IFPDA) and the International League of Publisher of fine art limited-edition etchings Artists represented: Marina Abramović, John Antiquarian Booksellers (ILAB), as well as an and woodcuts by major contemporary artists. Baldessari, Miroslaw Balka, Chris Burden, executive committee member of The Society Dan Graham, Helen & Newton Harrison, of London Art Dealers (SLAD) and a member Mona Hatoum, Roger Herman, Arturo Her- of the TEFAF Young Dealers Committee (YDC). David Krut Projects, New York / rera, Rebecca Horn, Cristina Iglesias, Anish He has held exhibitions in various galleries in Johannesburg / Cape Town Kapoor, Jannis Kounellis, Guillermo Kuitca, Munich, Berlin and New York. 526 W. 26th Street, #816, New York, NY 10001 Jonathan Lasker, William Leavitt, Barry Le Va, www.davidkrut.com/ Rita McBride, Josiah McElheny, Barry McGee, Artists represented: William Kentridge, Diane Matthew Monahan, Meredith Monk, Ed Moses, Francis Frost Victor, Chakaia Booker, Gary Schneider, Ryan Dave Muller, Matt Mullican, David Musgrave, 36 Third Street, Newport, RI 02840 and Trevor Oakes, Joseph Hart, Christopher Wangechi Mutu, Gabriel Orozco, Giuseppe (By Appointment Only) Cozier, Nnenna Okore, Deborah Bell, William Penone, Nancy Rubins, Ed Ruscha, Julião www.francisfrost.com Boshoff, Friedrich Danielis, Sandile Goje, Maja Sarmento, Robert Therrien, Gert & Uwe Tobias, Artists represented: Anni Albers, Josef Albers, Maljevic, Colbert Mashile, Whitney McVeigh, Juan Usle’, James Welling, Christopher Wool, Stephen Antonakos, James Brooks, Gene Davis, Phil Sanders, Senzo Shabangu, Penny Siopis, Andrea Zittel Claire Falkenstein, Philip Guston, Ellsworth Paul Stopforth, Mary Wafer, Alastair Whitto Publishing small-format etchings in series. Kelly, François Morellet, Louise Nevelson, Jack A project space devoted to the promotion of Tworkov and many others contemporary South African art, along with Dealer with over 25 years experience, specializ- the development of collaborative projects with Emanuel von Baeyer ing in abstract art from the 1960s to 1980s. emerging and established international art- www.evbaeyer.com ists. Acting as a satellite space for David Krut’s www.evbaeyer-cabinet.com galleries, print workshops and David Krut Gemini G.E.L. at Joni Moisant Weyl Publishing in Johannesburg and Cape Town, 535 West 24th Street, 3rd Floor David Krut promotes visual literacy and long- New York, NY 10011 term careers in the arts in South Africa. www.joniweyl.com Artists represented: Josef Albers, Richard Emanuel von Baeyer London was founded in Artschwager, John Baldessari, Ross Bleckner, Diane Villani Editions 1998 and has since been firmly established as a Cecily Brown, Chris Burden, Sophie Calle, Vija 285 Lafayette Street, New York, NY 10012 leading representative of the younger genera- Celmins, John Chamberlain, Ronald Davis, www.villanieditions.com tion of old master dealers. Emanuel von Baeyer Willem de Kooning, Richard Diebenkorn, Artists represented: Ida Applebroog, Mel Boch- deals principally in fine European drawings, Mark di Suvero, Sam Francis, Frank Gehry, ner, Melissa Brown, Tony Fitzpatrick, Red prints and paintings from the 15th through the Allen Ginsberg, Robert Gober, Robert Graham, Grooms, Juan Logan, Alison Saar, Sean Scully, 20th century. We also handle select postwar Philip Guston, Ann Hamilton, Michael Heizer, Paul Henry Ramirez, Dieter Roth, Fred Sand- and contemporary art, showing interest in both David Hockney, Jasper Johns, Ellsworth Kelly, back, Fatimah Tuggar, Julia Jacquette, Suzanne established and emerging artists. Toba Khedoori, Edward & Nancy Kienholz, Roy McClelland, Nicola Tyson, Amy Wilson Emanuel von Baeyer conducts his business Lichtenstein, Man Ray, Brice Marden, Julie Diane Villani is a contemporary publisher and from his premises in St. Johns Wood, London, Mehretu, Malcolm Morley, Elizabeth Mur- private dealer in prints and editions. The busi- where he is always glad to receive visitors by ray, Bruce Nauman, Isamu Noguchi, Claes ness is concentrated on contemporary art and appointment. His clientele includes older and Oldenburg, Darryl Pottorf, Ken Price, Robert primarily prints. In 1972 she joined the Martha younger generations of private collectors, art Rauschenberg, Dorothea Rockburne, James Jackson Gallery and in 1980 she founded Diane historians and museum curators from institu- Rosenquist, Susan Rothenberg, Ed Ruscha, Villani Editions, a move which enabled her to tions around the world. He is now widely rec- Richard Serra, Joel Shapiro, Keith Sonnier, Saul work more closely with artists and to commis- ognized as an innovative dealer within his field Steinberg, Frank Stella, Richard Tuttle, Franz sion new works as a publisher of prints. and has published numerous specialist sales West and others Diane Villani Editions has been a member catalogues. His activities are regularly featured of the IFPDA since 1990. She has chaired the in the international press (see press coverage IFPDA’s Print Fair Committee which sponsors online). He has provided expert opinion for pri- the Association’s Annual Print Fair in New vate individuals and for legal purposes, and is York, was one of the organizing dealers for happy to act on a client’s behalf on purchases GEMINI G.E.L. AT JONI MOISANT WEYL was the INK Miami Art Fair and served as presi- and other matters (see client services online). established in 1984 as the New York gallery dent of the IFPDA from 2007 to 2009. She now The company is sensitive to the issue of restitu- exhibiting and representing the publications of serves as a director on the Board of the newly tion and its implications. the Los Angeles-based artists’ workshop, Gem- formed IFPDA Foundation, which was created A second website, Emanuel von Baeyer Cabi- ini G.E.L. The gallery shows new editions as to expand the Association’s grants and educa- net, was launched in 2010 as an extension of they are published, and has mounted many his- tional programs. She also serves on the Board Emanuel von Baeyer London’s regular activi- torical survey exhibitions, including “A Tribute of Directors for the Fred Sandback Foundation ties. It serves as a platform for online exhibi- to Robert Rauschenberg: Prints and Objects”; and is a member of ArtTable, a professional tions, profiling different aspects of our exten- “The Private Eye of Philip Guston: The Gemi- organization for women in the arts. sive inventory. ni Editions”; “Ellsworth Kelly: Diagonals and

34 Art in Print March – April 2013 Panels 1970-1990”; “Claes Oldenburg: Editions artists’ visibility through exhibitions in col- Pettibon, Rona Pondick, Richard Prince, Erika in Two and Three Dimensions 1969-1995”; “Ken laboration with print departments in European Rothenberg, Allen Ruppersberg, Simone Shu- Price: Prints and Ceramics 1970-2005”; “Frank museums and by publishing catalogues raison- buck, Aaron Spangler, Jessica Stockholder, Stella: Prints from the 1960s & 70s”; and “Artists nés of their graphic work. Philip Taaffe, Fred Tomaselli, Lawrence Weiner, at Gemini G.E.L.: In Celebration of Gemini’s Terry Winters, Andrea Zittel 25th Anniversary.” I.C. Editions, Inc. was established by Susan The gallery began in a by-appointment loft Harlan & Weaver Inglett in 1991 to publish the work of both space on Crosby Street, followed by a relocation 83 Canal Street, New York NY 10002 young and mid-career artists and to heighten to West Broadway in the heart of Soho during www.harlanandweaver.com awareness of the medium. the years 1990 to 2000. In January 2007, after Artists represented: Richard Artschwager, In 1994 Susan Inglett Gallery was founded six years in midtown, the gallery moved to 980 William Bailey, Louise Bourgeois, Robert Cot- to exhibit these publications as well as the Madison, where it remained until July 2011. The tingham, Steve DiBenedetto, Carroll Dunham, unique work of emerging and established art- relocation to 24th street in Chelsea has allowed Nicole Eisenman, Joanne Greenbaum, Joey ists. Activities in the gallery have ranged from for a continuation of the gallery program on a Kötting, Chris Martin, Thomas Nozkowski, print demonstrations and lectures, to early grander scale. The gallery continues to orga- Michelle Segre, James Siena, Kiki Smith, Mark realizations of the Editions/Artists’ Book Fair, nize special events in conjunction with its exhi- Strand, José Antonio Suárez Londoño, Stanley to exhibitions of the artist’s editions within the bitions, including book-signings, “Q & A”‘s with Whitney larger context of their unique work. Inglett has the artist and Gemini printers, as well as pri- Harlan & Weaver is a fine art print publisher also been responsible for the organization of a vate docent-led tours through related museum and collaborative workshop that specializes in number of exhibitions seen locally and nation- retrospectives. The gallery also participates in etching and other forms of intaglio printmak- ally focusing on the print and multiple medium. a number of local and international art fairs ing. The studio encourages an artist’s direct In November 1998 Susan Inglett, in coopera- throughout the year and has been a member of engagement with the intaglio process in all its tion with Printed Matter and Brooke Alexander the International Fine Print Dealers Associa- forms, offering artists flexibility in concept and Editions, organized the first Editions/Artists’ tion (IFPDA) for over 25 years. scale while providing the facilities and techni- Book Fair which continues today. Gemini G.E.L began in 1966 as an artists’ cal guidance for a successful project. workshop and publisher of hand-printed lim- Felix Harlan and Carol Weaver started their ited edition lithographs. Responding to the workshop in 1984, and have been located in International Fine Print Dealers expanding interests of its artists, work began the Lower East Side since 1985, one of a small Association on its first sculpture edition in 1968 with Claes group of fine art print shops in business today. 250 West 26th Street, Suite 405 Oldenburg’s Profile Airflow, and in 1970, Frank Though they continue a tradition of craft New York, NY 10024 Stella’s Pastel Stack was started as the first proj- begun in the 15th century, they strive to keep www.ifpda.org ect in the screenprinting workshop. The etch- the process contemporary by eliminating pre- ing workshop opened in 1977 and woodcuts conceived ideas about what can and cannot be were being made by 1980. Since 1966, Gemini done. As publishers, they support an artist’s has collaborated on major bodies of work with experimentation and freedom with the print- many of Contemporary Art’s most accom- making process, advocating results that are plished painters and sculptors. a continuation of the themes and concerns of At Gemini, the artists do all of the drawing the artist’s work in other mediums. Artists are The International Fine Print Dealers Asso- or carving themselves directly onto the printing invited to the shop specifically to make an inta- ciation (IFPDA) is a non-profit organization element, be it limestone, copper plate, wood- glio print, a process that can take a few days or a of leading art dealers, galleries and publishers block or otherwise. The artist stays at the work- few months, depending on the artist and tech- with expertise in the field of fine prints. Mem- shop until a “RTP” (Right to Print) is achieved. niques used. bers are committed to the highest standards Edition printing may take several months and of quality, ethics and connoisseurship, and to each proof in the edition must closely match the promoting a greater appreciation of fine prints approved RTP. Once the printing is completed, Highpoint Center for Printmaking among collectors and the general public. the artist returns to the workshop to examine 912 West Lake Street, Minneapolis, MN 55408 and sign the edition. Each print is signed and highpointprintmaking.org numbered by the artist as well as embossed Artists represented: Kinji Akagawa, Carlos International Print Center New York with the Gemini “chop.” Amorales, Carter, Willie Cole, Sarah Crowner, 508 West 26th St., 5th Fl., New York, NY 10001 In 1981, the National Gallery in Washington, Santiago Cucullu, Mary Esch, Rob Fischer, www.ipcny.org D.C. honored Gemini with the establishment of Adam Helms, Joel Janowitz, Cameron Martin, International Print Center New York was estab- a permanent archive. The archive functions as Julie Mehretu, Clarence Morgan, Lisa Nankivil, lished in Chelsea in September 2000 as the first a study center for collectors and scholars, and Todd Norsten, Chloe Piene, Jessica Rankin, and only non-profit institution devoted solely contains a complete history of the workshop. David Rathman, Aaron Spangler, Carolyn to the exhibition and understanding of fine art Included in the archive is one proof from each Swiszcz prints. IPCNY fosters a climate for enjoyment, of the over 2100 editions produced, as well as Highpoint has emerged in its first decade as examination and serious study of artists’ prints ancillary materials such as shop records and a creative force in the world of collaborative from the old master to the contemporary. printing elements. Three major touring exhi- printmaking. Highpoint is dedicated to advanc- IPCNY nurtures the growth of new audiences bitions with works from the archive have been ing the art form through a variety of programs for the visual arts while serving the print com- organized and exhibited by the National Gal- including Education, Community Programs, munity through exhibitions, publications and lery. An online catalogue raisonné, on view at an Artists’ Cooperative and Highpoint Edi- educational programs. the National Gallery’s website (www.nga.gov/ tions, the publishing arm of the non-profit gemini), provides detailed information on the organization. Highpoint publications are held history of the workshop and all of the artworks in numerous museums, corporate and private Island Press in the Gemini archive. collections. In 2012, Highpoint received the Sam Fox School of Design and Visual Art Baltimore Museum of Art’s “Artist & Editions Washington University. St. Louis, Missouri Award” acknowledging Highpoint’s “substan- islandpress.samfoxschool.wustl.edu Graphic Matter tial contribution” to printmaking today. Artists represented: Radcliffe Bailey, Chakaia Leguit 23, 2000 Antwerp, Belgium Booker, Squeak Carnwath, Willie Cole, Chris www.graphicmatter.be/en Duncan, Tom Friedman, Ann Hamilton, Tren- Artists represented: Luc Tuymans, Raoul I.C. Editions, Inc. / Susan Inglett ton Doyle Hancock, Hung Liu, Greely Myatt, De Keyser, Roger Raveel, Hellen Van Meene, 522 West 24 Street, NYC, NY 10011 James Siena, Juane Quick-to-see-Smith, Juan Hendrik Kerstens, Hinke Schreuders www.iceditions.com Sanchez Graphic Matter was established by art book Artists represented: Barbara Bloom, Bruce publisher Peter Ruyffelaere in 2009 in order to High Quality Foundation, Bruce Conner, Jes- publish artists’ editions by leading visual artists sica Diamond, Marcel Dzama, Anna Gaskell, and photographers from Belgium and Holland. Barbara Kruger, Annette Lemieux, Sol LeWitt, In addition to printing and publishing limited Allan McCollum, Paul Noble, Claes Olden- editions, Graphic Matter aims to increase the burg, Catherine Opie, Robyn O’Neil, Raymond

Art in Print March – April 2013 35 Island Press, at Washington University in St. Amsterdam. Our office is located at the Gabriel Hudson, Alex Katz, Robert Kushner, Jimin Lee, Louis, is a collaborative print workshop com- Metsustraat 8, opposite the Rijksmuseum en Hung Liu, Alan Magee, Dan McCleary, George mitted to creating innovative multiples and Stedelijk Museum. The gallery represents the Miyasaki, Ed Moses, Deborah Oropallo, Nor- advancing the printmaking field through the work of both established and emerging artists, bert Prangenberg, Mel Ramos, Jeff Sanders, integration of research and education. The and the exquisite program of serial works, pub- Raymond Saunders, Richard Shaw, Dean press is project-driven, tapping into the place lished by Edition Jacob Samuel. Smith, Kiki Smith, Nancy Spero, Mark Stock, where an artist’s creative research intersects The gallery concentrates on a conceptual Inez Storer, Masami Teraoka, Richard Wagen- with the language of printmaking, setting up and research-oriented artistic approach works er, Darren Waterston, Katherine Westerhout, unique opportunities for experimentation with are presented in different ways: through direct William Wiley, Miriam Wosk technology, scale and scope. communication with public, private and cor- Founded in 1981 on Magnolia Street in indus- porate collections, gallery exhibitions, off-site trial West Oakland, Magnolia Editions began projects, art fairs and online. as a print and papermaking studio that sought The Jerusalem Print Workshop to introduce artists to a full range of techniques 38 Shivtei Israel Street, Jerusalem 95105 and media in an open, experimental environ- www.jerusalemprintworkshop.org Jungle Press Editions ment. More than 20 years later, Magnolia con- The Jerusalem Print Workshop is a center dedi- 1166 Manhattan Avenue, Suite #301 tinues to encourage experimentation, collabo- cated to the promotion and fostering of the art Brooklyn, NY 11222 rating on and publishing art projects—whether of printmaking. The workshop was founded www.junglepress.com printmaking, papermaking, mixed media, or in 1974 by Arik Kilemnik—winner of the 2001 Jungle Press Editions is a publisher of fine tapestry—in both unique and multiple editions. Teddy Kollek Jerusalem Foundation Prize—as art prints and multiples by internationally Magnolia is known for its unorthodox editions, a non-profit organization for the public’s ben- renowned contemporary artists. Collaborat- often produced by applying digital technol- efit. Since 1977 the workshop is located in a ing with master printer Andrew Mockler, ogy in novel ways. Director Donald Farnsworth picturesque building from the Ottoman period, each artist develops an experimental approach has developed an innovative technique for on Morasha neighborhood on the seam line to lithography, etching, relief printing, or weaving fine art Jacquard tapestries, using the between east and west Jerusalem. monoprint. power of digital technology and an ambitious Kilemnik’s vision was to create a home for printmaker’s perspective to deliver color fidel- artists and artistic activity in Jerusalem, as ity and detail levels previously unseen in the well as an educational center that would com- Lower East Side Printshop time-honored medium of warp and weft. Using bine the preservation of traditional techniques 306 West 37th St., 6th fl., New York, NY 10018 Farnsworth’s method, Magnolia has published alongside the development of new technolo- www.printshop.org editioned tapestries by artists including Chuck gies, and would ensure the direct continuation Artists represented: Kiki Smith, Nancy Spero Close, Alex Katz, Hung Liu, Kiki Smith and of the long tradition of Hebrew printmaking and Leon Golub, Philip Taaffe, Robert Longo, Masami Teraoka. Tapestries published by Mag- in Jerusalem and in Israel. During its years of Barbara Kruger, Juan Sanchez, Tomie Arai, nolia have been exhibited worldwide at venues existence, the Jerusalem Print Workshop has groups such as Colab, Group Material, PAD/D, including the Whitney Museum of Art and the become one of the leading art and cultural Anti Utopia and Bullet Space. Recent col- White Cube Gallery. institutions in Israel. laborations include Ghada Amer, Sebastiaan The studio has also collaborated extensively Today, the workshop has become a cultural Bremer, Zana Briski, Paul Chan, Amy Cutler, with artists on developing large-scale, public and educational center, and is known as one Heide Fasnacht, Joanne Greenbaum, Arturo commissions. Working with the San Fran- of the most influential cultural institutions Herrera, Glenn Ligon, Ryan McGinness, Mat- cisco Art Commission, Magnolia was actively that contribute to cultural life, education and thew Day Jackson, Chris Martin, Carrie Moyer, involved in realizing works commissioned for society in Jerusalem. In addition, the workshop Sheila Pepe, Enoc Perez, Chloe Piene, Dread the new San Francisco International Airport. operates as a learning center for printmaking Scott, Kate Shepherd, Jean Shin, James Siena, Other public commissions in which Magnolia techniques and offers courses, seminars, tours Amy Sillman, Alison Elizabeth Taylor, Hank has played an active role include works for the and activities for artists and the general public. Willis Thomas, Lynne Yamamoto, Kara Walker San Francisco Superior Court Building, the The place holds two galleries, art activities and Laguna Honda Hospital in San Francisco, the a rich library. The workshop’s print collection Homart Corporation in Glendale, California, is the largest and most qualitative in Israel and the Cathedral of our Lady of Los Angeles and represents a broad and comprehensive cross- the San Jose Museum of Art. section collection of original Israeli printing.

Mixografia® Johan Deumens Gallery 1419 East Adams Blvd., Los Angeles, CA 90011 Gabriel Metsustraat 8 Lower East Side Printshop, founded in 1968, is a mixografia.com Amsterdam, The Netherlands premier New York City printmaking studio sup- Artists represented: Karel Appel, Arman, John www.johandeumens.com porting contemporary artists of all career and Baldessari, Herbert Bayer, Lynda Benglis, Jona- Artists represented: Laurence Aëgerter, Kasper artistic backgrounds in creation of new work. than Borofsky, Louise Bourgeois, Stanley Box- Andreasen, Annesas Appel, Marlies Appel, Support includes facilities, time, financial and er, Alberto Burri, Kwang-Young Chun, Enrique Henze Boekhout, Martin Brandsma, her- technical assistance. Services include residen- Climent, Laddie John Dill, Manuel Felguerez, man de vries, Yvonne Dröge-Wendel, Char- cies—independent and collaborative—exhibi- Helen Frankenthaler, Pedro Friedeberg, Gun- lotte Dumas, Edition Jacob Samuel, Mounir tions, education in printmaking and career ther Gerzso, Mathias Goeritz, Joe Goode, Rob- Fatmi, Paul Heimbach, Anouk Kruithof, Hans advancement skills, and peer-to-peer support. ert Graham, Magali Lara, Donald Lipski, Jason Scholten, Bert Teunissen, Elisabeth Tonnard, With its exhibitions, open studios, educa- Martin, Richard Meier, Carlos Merida, Henry Mariken Wessels, Alicja Werbachowska, Luuk tion and other public programs, the Printshop Moore, Andres Nagel, Rodolfo Nieto, Kenneth Wilmering, Robin Waart, Witho Worms serves as a junction for artists, collectors, muse- Noland, Mimmo Paladino, Jorge Pardo, Seo- The Johan Deumens Gallery was originally ums, galleries and educational institutions to Bo Park, Ed Paschke, Rodrigo Pimentel, Larry established in 1989 as Artists Books Johan access and engage in contemporary art. Rivers, Frank Romero, Teodulo Romulo, Ed Deumens, Amsterdam, dedicated to a program Ruscha, Ignacio Salazar, Julião Sarmento, Fritz of conceptual artists’ books. In 1995 the gallery Scholder, Sebastian, George Segal, Susana Sier- started a long-term relationship with Edition Magnolia Editions ra, Kiki Smith, Pierre Soulages, Frank Stella, Jacob Samuel, Santa Monica, CA; serial works, 2527 Magnolia Street, Oakland, CA 94607 Donald Sultan, Fernando de Szyszlo, Rufino mainly etchings by international renowned art- www.magnoliaeditions.com Tamayo, William Tillyer, Francisco Toledo, ists became our second major focus. Artists represented: Faisal Abdu’Allah, David Costas Tsoclis, Manolo Valdés, Tom Wessel- In 2007 the gallery was renamed Johan Deu- Best, Squeak Carnwath, Enrique Chagoya, mann, Rachel Whiteread, Terry Winters, Peter mens Gallery to emphasize an artist’s context Chuck Close, Bruce Conner, Lewis deSoto, Wüthrich, Francisco Zuniga in representing works on paper, books and pho- Andy Diaz Hope & Laurel Roth, Guy Diehl, The Mixografia® gallery and workshop was tography. We opened a gallery in Haarlem and Christine Eudoxie, Donald & Era Farnsworth, founded in Mexico City in 1969. Since 1984 September 2010–July 2012 we have been gallery- Rupert Garcia, Ralph Goings, Leon Golub, April Mixografía® has worked with a diverse and in-residence at the Spinnerei in Leipzig. Gornik, Diane Andrews Hall, DJ Hall, Doug eclectic group of artists in our Downtown In 2011 the gallery moved from Haarlem to Hall, Gus Heinze, Mildred Howard, Robert Los Angeles location. We are not a traditional

36 Art in Print March – April 2013 gallery with rotating exhibitions rather we Pele Prints is a collaborative fine art printmak- Hung Liu, Nicola López, Ethan Murrow, Lili- show the work we have published. The Mixo- ing studio dedicated to creating limited edition ana Porter, David Row, Fritz Scholder, James grafía® technique developed in 1973 is a unique prints and original works of art. At Pele Prints, Siena, Jaune Quick-to-See Smith, Kiki Smith, fine art process that allows for the production we take a non-traditional approach to each Robert Stackhouse, José Suarez-Londoño, of deep textured prints with very fine surface project and encourage experimentation. The Donald Sultan, June Wayne, and more detail. The artist begins with any solid material goal is to create a unique body of work that dis- Tamarind Institute is a dynamic center for fine- or combination of materials on which he or she plays the curiosity, learning and constant dis- art lithography that, since its founding in 1960, incises, impresses, carves, collages or builds up covery exemplified in the collaborative process has made significant contributions to the art a matrix. The Mixografía® workshop actively at its best. of the print in the United States and abroad. prints & publishes limited edition prints and Tamarind offers highly focused educational fabricates sculpture. We extend invitations to and research programs, as well as creative the next generation of artists who challenge the Shark’s Ink. opportunities for artists. workshop with a diverse array of project ideas, 550 Blue Mountain Road, Lyons, CO 80540 and further contribute to the unique character www.sharksink.com of these collaborations. Artists represented: Laurie Anderson, Phyllis Tandem Press Bramson, Brad Brown, John Buck, Tom Burck- 201 South Dickinson Street, Madison, WI 53703 hardt, Kathy Butterly, Enrique Chagoya, Ber- www.tandempress.wisc.edu Oehme Graphics nard Cohen, Evan Colbert, Roy De Forest, Don- Artists represented: Richard Bosman, Suzanne 2655 Copper Ridge Circle, Unit 1 na Dennis, Rafael Ferrer, Dianna Frid, Elliott Caporael, Squeak Carnwath, Robert Cotting- Steamboat Springs, CO 80487 Green, Red Grooms, Susan Hall, Jane Ham- ham, Jim Dine, Benjamin Edwards, Sam Gil- www.OehmeGraphics.com mond, Don Ed Hardy, Ana Maria Hernando, liam, Al Held, José Lerma, Nicola López, David Artists represented: Richard Bosman, Eva Mildred Howard, Robert Hudson, Yvonne Jac- Lynch, Cameron Martin, David Nash, Dennis Bovenzi, Katherine Bowling, Farrell Brick- quette, Luis Jiménez, Roberto Juarez, Susanne Nechvatal, Judy Pfaff, Sam Richardson, Sean house, Ken Buhler, Diane Cionni, Julia Fer- Kühn, Robert Kushner, Li Lin Lee, Hung Liu, Scully, David Shapiro nandez-Pol, Louise Fishman, Susan Hamble- Kara Maria, Hiroki Morinoue, Miho Morinoue, ton, Monroe Hodder, Jeffrey Keith, Patsy John Newman, Manuel Ocampo, Janis Provi- Krebs, Melissa Meyer, Kayla Mohammadi, Paul sor, Jeera Rattanangkoon, Rex Ray, Jim Ringley, Mutimear, Jason Rohlf, Mia Westerlund Roos- Peter Saul, Italo Scanga, Hollis Sigler, Stacey en, David Row, Laura Wait, John Walker Steers, James Surls, Barbara Takenaga, Emmi Oehme Graphics is a fine print publisher, Whitehorse, William T. Wiley, Betty Wood- specializing in intaglio and monotype techi- man, Thomas Woodruff Tandem Press, a publisher of contemporary niques, working with a small number of inter- fine art prints is a self-supporting unit of the nationally recognized artists each year, and also Art Department at the University of Wiscon- offering private printmaking workshops, artist sin-Madison. Founded in 1987 Tandem Press residencies and instruction. We exhibit in five was designed to foster research, collaboration, national print fairs each year, along with gallery experimentation and innovation in the field of exhibitions and curatorial representation. printmaking.

White Wings Press Paulson Bott Press 3004 W Logan Blvd., Chicago, IL 60647 2390C 4th Street, Berkeley, CA 94710 Since 1976, when Shark’s Lithography opened WhiteWingsPress.com Paulsonbottpress.com as a contract print shop, through the last Artists represented: Gary Baseman, Raeleen Artists represented: Edgar Arceneaux, Tauba 35 years of publishing prints as Shark’s Ink, Kao, Michael Krueger, Anna Kunz, Julie Auerbach, Donald Baechler, Radcliffe Bailey, Master printer Bud Shark has collaborated with Farstad, Tony Fitzpatrick, Tom Huck, Teresa Chris Ballantyne, Mary Lee Bendolph, Ross a distinguished group of more than 150 artists James, Audrey Niffenegger, Jenny Schmid, Bleckner, Christopher Brown, Squeak Carn- and produced thousands of prints. This eclectic Dennis Schommer, Matthew Schommer, Fred wath, Kota Ezawa, Caio Fonseca, Isca Green- body of work often challenges the assumptions Stonehouse, Diana Sudyka, Chris Uphues field-Sanders, Salomon Huerta, David Huff- and limitations of printmaking. Located in Chicago’s historical Logan Square man, Chris Johanson, Maira Kalman, Amy Processes used in the studio have included neighborhood, White Wings Press is a con- Kaufman, Margaret Kilgallen, Hung Liu, Kerry lithography; monotype—using watercolor, oil temporary fine art print shop that specializes James Marshall, Keegan McHargue, Shuan pastels and other materials; metal leaf, chine in intaglio processes. By invitation only, guest O’Dell, Martin Puryear, Clare Rojas, Gary collé, embossing and collage, as well as innu- artists collaborate with us on small editions Simmons merable innovations for cutting and printing with a focus on multiple-plate etchings and Paulson Bott Press publishes, produces, mar- woodblocks and other relief prints; and the photogravure techniques. kets and sells fine art editions. Located in engineering and construction of three-dimen- Berkeley, California, we create limited edition sional lithographs. Bud Shark has devised prints in a professional, modern printmaking unique methods and materials for realizing the studio. Inviting well known contemporary art- challenging projects artists propose. Wildwood Press LLC ists to work with our team of printers directly Prints published by Shark’s Ink. are includ- 701 N 15th Street, St. Louis, MO 63103 onto copper plates allows us to create exquisite ed in numerous private and public collections wildwoodpress.us hand-crafted works on paper. including MoMA, NY; The Whitney Museum of Artists represented: Anne Appleby, Michael American Art, NY; The Metropolitan Museum Berkhemer, Josely Carvalho, Yizhak Elyas- of Art, NY; Yale University Art Gallery, CT; The hiv, Jane Hammond, Valerie Hammond, Tom New York Public Library, NY; The Library of Huck, Jerald Ieans, Mary Judge, Eva Lundsager, Pele Prints Congress, DC; The Art Institute of Chicago, IL; Erin McKenny, Michele Oka Doner, Casey Rae, 9400 Watson Road, St. Louis, MO 63126 The Hirshhorn Museum, Smithsonian Institu- David Scanavino, Juan Sanchez, Linda Schwarz, www.peleprints.com tion, DC, The Philadelphia Museum of Art and David Shapiro Artists represented: Gina Alvarez, Brandon many others. Wildwood Press, founded in 1996 by master Anschultz, Laura Berman, Carmon Colangelo, printer and publisher Maryanne Ellison Sim- Lora Fosberg, Alicia LaChance, Grant Miller, mons, is dedicated to experimentation and Benjamin Pierce, Jessie Van der Laan, Amanda Tamarind Institute the unexpected. Each year a small number of Verbeck, John Wahlers 2500 Central Avenue SE artists are invited to collaborate at Wildwood Albuquerque, NM 87106 Press, known for both its custom papermaking tamarind.unm.edu and as a destination for artists who may choose Artists represented: Clinton Adams, Garo to meet the challenge of an etching press that is Antreasian, Polly Apfelbaum, Sandow Birk, Amy capable of printing five-foot by ten-foot images. Cutler, Andrew Dasburg, Elaine De Kooning, Wildwood Press specializes in unique images, Roy DeForest, Tony DeLap, Lesley Dill, Jim Dine, small editions and multiples. Frederick Hammersley, Matsumi Kanemitsu,

Art in Print March – April 2013 37 Matthew Brannon, Ernesto Caivano, Chie Fueki, News of the Kanishka Raja, Fred Tomaselli, Wendy White Invisible Corps (2013) Print World Six-color screenprint, 30 x 22 inches. Edition of 36. Printed and published by Kayrock Screenprinting, Brooklyn, NY. $250.

New Editions

Reed Anderson, Bad Neighbors (2012) Screenprint, lasercut, footprints, acrylic paint, 27 Brice Brown, Untitled (2012), digital, screenprint, x 29 inches. Edition of 26 (13 red, 13 black). Printed letterpress. and published by Kayrock Screenprinting, Brooklyn, NY. $900 unframed, $1300 with custom frame hand- painted by the artist.

Matthew Brannon, Ernesto Caivano, Chie Fueki, Kanishka Raja, Fred Tomaselli, Wendy White, Invisible Corps (2013), screenprint.

Sascha Braunig, Slats (2012) Screenprint, 8.25 x 11.5 inches. Edition of 20. Printed Reed Anderson, Bad Neighbors (2012), and published by Marginal Editions, New York, NY. Screenprint, lasercut, footprints and acrylic paint. $600.

Glen Baldridge Bastard of Disguise (2012) Letterpress, 12 x 9 inches. Edition of 20. Printed and John Buck, Kansas City (2012), hand-colored published by Marginal Editions, New York, NY. $250. lithograph. Explosion (2012) and Swamp(2012) Monotypes (watercolor, powdered graphite, and silkscreen) on handmade paper, 39 1/5 x 55 inches. Printed and published by the artist, New York, NY. $5000. Available through Klaus von Nichtssagend Gallery.

Sascha Braunig, Slats (20xx), screenprint.

Brice Brown, Untitled (2012) Digital, screenprint, letterpress, 11 3/4 x 11 3/4 inches. Edition of 10. Printed and published by Marginal Editions, New York, NY. $300. Victoria Burge, Night Pixel #2 (2012), relief print with embossing and hand coloring.

John Buck, Kansas City (2012) Hand-colored lithograph, 48 x 31 3/4 inches. Edition Glen Bladridge, Bastard of Disguise (2012), of 8. Printed and published by Shark’s Ink, Lyons, letterpress. Victoria Burge, Pixels on the River #1-3 (2012) CO. $3200. Relief prints with embossing, 19 3/4 x 15 3/4 inches. Edition of 3. Printed and published by the art- Stéphane Bordarier, Untitled (2011) ist, Philadelphia, PA. $850 each. Available through Woodcut, 40 x 170 cm. Edition of 18. Printed and Aspinwall Editions, New York, NY. published by Atelier Michael Woolworth, Paris. $1200. Night Pixel #1-3 (2012) Relief prints with embossing and hand coloring, 15 3/4 x 19 3/4 inches each. Edition of 5 each. Printed and published by the artist, Philadelphia, PA. $950 each. Available through Aspinwall Editions, New York, NY.

Snowing #1-3 (2012) Relief prints with embossing, 13 7/8 x 10 7/8 inches. Edition of 5 each. Printed and published by the artist, Philadelphia, PA. $600 each, $1500 for the set of three. Available through Aspinwall Editions, New Stéphane Bordarier, Untitled (2011), woodcut. York, NY. 38 Art in Print March – April 2013 Marc Desgrandchamps, Rencontres (2011) Catherine Kernan, Elegy (2012) Lithograph, 90 x 63 cm. Edition of 30. Printed and Series of 13 monoprints, 32 x 22 1/2 inches. Edition published by Atelier Michael Woolworth, Paris. of unique images. Printed by the artist. Published by €900. Mixit Print Studio, Somerville, MA. $6000–$8000. Marcheuse Estivale (2011) Afterimage (2012) Lithograph, 76 x 56 cm. Edition of 30. Printed and Series of 10 monoprints, 48 x 60 inches, 55 x 60 published by Atelier Michael Woolworth, Paris. inches, and 48 x 90 inches. Edition of unique €700. images. Printed by the artist. Published by Mixit Print Studio, Somerville, MA. $1450 each.

Julie Farstad, Angels in the Bedroom (2013), five-color etching.

Catherine Kernan, Afterimage #1 (2012), Marc Desgrandchamps, Marcheuse Estivale monoprint. (2011), lithograph.

Hung Liu, Happy and Gay: The Flag, Thanks Mama, Shepard Fairey, Obey Lotus Diamond (Black & Gold), The Kite (2012) Obey Lotus Diamond (White & Gold), Obey Lotus Color aquatint etchings, image 15 x 12 inches, Crescent (Black & Gold), Obey Lotus Crescent (White sheet 24 x 20 inches each. Edition of 20 each. & Gold) (2013) Printed and published by Paulson Bott Press, Diamond dust screenprints, 87.3 x 66.4 cm. Edi- Berkeley, CA. $1000 each. tion of 75 each, 25 to be sold as complete sets of 4. Erik Hougen, The New Tablet from the Great Shan—Mountain, Shui—Water (2012) £1000–£1500 each. Available through Paul Stolper Events of 2011 series (2012), intaglio. Color aquatint etchings with gold leaf, image 36 x Gallery, London. 26 inches, sheet 47 x 36 inches each. Edition of 40 each. Printed and published by Paulson Bott Press, Berkeley, CA. $2500 each.

Shepard Fairey, Obey Lotus Crescent (Black & Gold) (2013), diamond dust screenprint. Raeleen Kao, More Beautiful in Death (2012), two-color etching. Hung Liu, Water (2012), color aquatint etching Julie Farstad, Angels in the Bedroom (2013) with gold leaf. Five-color etching with aquatint, image 9 x 12 1/2 inches, sheet 14 1/2 x 18 inches. Edition of 7. Printed and published by White Wings Press, Chicago. $600. Frédérique Loutz, Untitled (2012) Three lithographs with hand coloring, 57 x 90 cm. Erik Hougen, The New Tablet (from the Great Edition of 25. Printed and published by Atelier Events of 2011 series) (2012) Michael Woolworth. €500 each. Intaglio, 14 x 12 inches. Edition of 8. Printed and published by Marginal Editions, New York, NY. $225.

Raeleen Kao, More Beautiful in Death (2012) Two-color etching with aquatint, image 8 x 6 inches, sheet 10 1/2 x 7 1/2 inches. Edition of 8. Printed by White Wings Press, Chicago, IL. Published by Frozen Charlotte Press, Chicago, IL. $300.

Jane Kent, The Wonderful Mr. Man (2013) Aquatint, mezzotint and roulette, 22 x 15 inches. Edition of 100. Benefit printed and published by the Center for Contemporary Printmaking, Norwalk, Jane Kent, The Wonderful Mr. Man (2013), Frédérique Loutz, Untitled (2012), lithograph with CT. $850. aquatint, mezzotint and roulette. hand coloring..

Art in Print March – April 2013 39 Miquel Mont, Désir troués (2012), woodcut, photocopy, acrylic and cut out.

William MacKendree, Ice Drift (2012), lithograph.

William MacKendree, Ice Drift (2012) Mike Nelson, M6 (2013) Lithograph, 38 x 56 cm. Edition of 40. Printed and Series of eight screenprints on newsprint, 63 x 97 cm published by Atelier Michael Woolworth. €700. each. Edition of 50. Printed by Mission Print. Pub- lished by Eastside Projects, Birmingham UK. £500 Amanda Marie, Stencil Portfolio (2012) (£1500 after 9 March). 10 risograph stencil prints in a machine-stitched, screen-printed portfolio envelope, 40 x 30 cm Julian Opie, Winter (2012) each. Edition of 170. Printed and published by 75 digital prints on paper laminated to glass Extrapol, Nijmegen, Netherlands. €200. mounted to a white chamfered acrylic backing, 68 x 121 cm. Edition of 3 each. £4000 each. Available Mike Nelson, M6 (2013), screenprint on newsprint. through Alan Cristea Gallery, London.

Ester Partegàs, Rootless (2012) Digital, letterpress, screenprint, collage, 12 x 16 inches. Edition of 25. Printed and published by Mar- ginal Editions, New York, NY. $800.

David Row All in, Rougette, Inside Bet, Bonus, Odds & Heat (2012) Etchings, 17 1/2 x 20 inches each. Edition of 15. $950 ea. High Roller, Aggregate and Probability (2012) Amanda Marie, The Mind Is Behind the Eyes from Etchings, 27 x 32 3/4 inches each. Edition of 15. the Stencil Portfolio (2012), risograph stencil print. $2100 ea. Lightrap Yellow, Lightrap Red, Lightrap Emerald (2012) Aquatint etchings, 27 x 32 3/4 inches each. Edition Miquel Mont, Désir troués (2012) of 15. $2200 ea. Four multiples with woodcut, photocopy, acrylic All or Nothing, Blind Bet and Hold Em (2012) and cut out, 65 x 50 cm. Edition of 25. Printed and Series of 6 solar plate etchings; three in color, three published by Atelier Michael Woolworth, Paris. in black and white, 27 x 32 3/4 inches. Edition of 8. Ester Partegas, Rootless (2012), digital, letterpress €600 each. $2000 color, $1800 black and white. screenprint and collage.

Julian Opie, Winter (2012), from the series of 75 digital prints laminated to glass. Printed by Andrew Turnbull at Digital Image Studio, London, UK. Published by Alan Cristea Gallery, London, UK. ©2013 Artists Rights Society (ARS), New York / DACS, London.

40 Art in Print March – April 2013 Quartet I and II (2012) Sarah Smelser, Untitled monotypes (2010-2012) Two monotypes, 27 x 32 3/4 inches. $2200 each. Monotypes with chine collé, variable. Printed and All printed and published by Oehme Graphics, published by Manneken Press, Bloomington, IL. Steamboat Springs. $1100-$2200 each.

Alison Elizabeth Taylor, Schilderachtig (2013), 29-color screenprint.

David Row, Lightrap Emerald (2012), aquatint etching. Vera List Anniversary Print Portfolio Sarah Smelser, Untitled (2011), monotype. Paul Ramírez Jonas, Hello (2012) Inkjet print with screenprint, 18 x 24 inches. Dennis Schommer, First Buck (2013) Fred Wilson, Untitled (2012) Four-color etching with aquatint, image, 9 3/4 x Pigment inkjet, 20 x 25 inches. Kiki Smith, Heart Thief, Inner Light, Inner Light II 6 3/4 inches, sheet 13 1/4 x 10 1/2 inches. Edition Dan Graham, Fish Pond/Swimming Pool (2012) (2012) of 7. Printed and published by White Wings Press, Digital print, 22 x 40 inches. Linocuts. Chicago. $300. Sarah Morris, Total Lunar Eclipse (2012) Good Times (2012) Screenprint, 19 3/4 x 19 3/4 inches. Linocuts with metal leafing. Matt Mullican, MIT Print Project (2012) Frontier, Visitor, Roam, Keen, Clearing, Hunger (2012) Rubbing, 28 1/4 x 40 inches. Woodcuts. Sizes: 58 x 73 cm, 60 x 84 cm, 63 x 44 cm. Fred Tomaselli, July 5, 2012 (2012). Edition of 13 each. Printed by 2 by 2 Press, Brook- Digital print with screenprint, 13 x 17 inches. lyn, NY. Published by Thirteen Moons Edition, New Edition of 108 each. Published by Lincoln Center, York, NY. $3000 each. Available through Kornelia New York, NY. $750 each, $3500 for the set of six. Tamm Fine Arts.

Dennis Schommer, First Buck (2013), four-color etching with aquatint.

Yasu Shibata, Flat Head (2012) Kiki Smith, Hunger (2012), woodcut. Set of three Japanese woodcuts, 14 1/2 x 12 1/4 inches each. Edition of 10. $1000 for the set of 3. Cross Hatch (2012) Keigo Takahashi, Creases 4 (2012) Set of four Japanese woodcuts, 12 x 12 inches each. Reduction woodcut, 13 x 19 inches. Edition of 7. Edition of 10. $1600 for the set of four. Printed and published by Marginal Editions, New Homage to HF (2012) York, NY. $300. Set of four Japanese woodcuts, 16 1/2 x 11 1/2 inches each. Edition of 12. $1800 for the set of four. All printed and published by the artist, New York, NY. Available through Aspinwall Editions, New York, NY.

Fred Tomaselli, July 5, 2012 (2012), digital print with screenprint from the Vera List Print Portfolio.

Keigo Takahashi, Creases 4 (2012), reduction woodcut.

Alison Elizabeth Taylor, Schilderachtig (2013) 29-color screenprint, archival ink jet, wood veneer, and glitter, 72.5 x 57.2 cm. Edition of 30. Printed by Erik Hougen at Lower East Side Printshop, New York, NY. Published by the Lower East Side Yasu Shibata, Cross Hatch (2012), woodcut. Printshop, New York, NY. $1700. Art in Print March – April 2013 41 CHICO, CA “New Work/New Artist: Allyson Hyde, National Print Competition Solo Exhibition Award” 11 March through 14 April 2013 Janet Turner Print Museum www.janetturner.org An exhibition of work by Allison Hyde, winner of the Solo Exhibition Award at the 2012 Janet Turner Print Competition and Exhibition.

LIVERPOOL, UK “Nicola Green: In Seven Days” Through 14 April 2013 Walker Art Gallery www.liverpoolmuseums.org.uk/walker/ The story of President Obama’s 2008 presidential campaign told in seven screenprints by Nicola Green, who travelled with the campaign across America.

LONDON, UK “Giorgio Morandi: Lines of Poetry” Through 7 April 2013 Estorick Collection of Modern Italian Art www.estorickcollection.com/exhibitions/ One of the most comprehensive overviews of Morandi’s graphic work ever mounted outside Italy, this exhibition was organised in collaboration with Galleria d’Arte Maggiore (Bologna). These still lifes, landscapes and flower studies reveal the artist’s stylistic versatility and passion for experimentation. In Andover: “Stone, Wood, Metal, Mesh Prints and Printmaking”, through 17 March 2013. George Bellows, Stag at Sharkey’s (1917), lithograph, 47.78 cm x 60.33 cm. Addison Gallery of American Art. CANTERBURY, UK “A Layered Practice: Paul Coldwell Graphic Work 1993-2012” Through 5 April 2013 Exhibitions of Note CHICAGO, IL Studio 3 Gallery, University of Kent “Picasso and Chicago” blogs.kent.ac.uk/studio3gallery/ ALTENBURG, GERMANY Through 12 May 2013 Paul Coldwell is an influential British artist who has “Altenbourg im Dialog I: Martin Disler” Art Institute of Chicago made print central to his practice. This exhibition Through 14 April 2013 www.artic.edu/exhibition/picasso-and-chicago features prints from 1993-2012, made through Lindenau-Museum Altenburg This spectacular exhibition includes prints, traditional means as well as digital technologies. A www.lindenau-museum.de drawings and paintings belonging to the museum fully illustrated 96 page catalogue including essays This exhibition, produced in association with the and to Chicago area collectors. The paintings will by Ben Thomas (University of Kent) and Christian Cabinet des Estampes in Geneva, includes 30 prints be familiar to many visitors, but most of the prints Rümelin (Cabinet d’arts Graphiques, Geneva) by the important Swiss neo-expressionist Martin and drawings are rarely seen and are the glory of the accompanies the exhibition. Disler, who died prematurely in 1996. show. MADISON, WI ANDOVER, MA “Ellsworth Kelly Prints” “Stone, Wood, Metal, Mesh: Prints and Through 28 April 2013 Printmaking” Madison Museum of Contemporary Art Through 17 March 2013 www.mmoca.org Addison Gallery, Phillips Academy This major retrospective exhibition of Kelly’s www.andover.edu/Museums/Addison/Exhibitions half-century of printmaking coincides with the This exhibition explores ancient and modern publication of Richard Axsom’s new, two volume printmaking techniques through a selection of 150 catalogue raisonné. More than 100 prints, ranging masterworks from the Addison’s collection. from his early geometric screenprints, to his mammoth lithographs, to his sensitive botanical BOSTON, MA renderings will be on view, documenting the “AfterImages” breadth and ambition of the artist’s distillation of 1 March through 31 March 2013 the phenomenal world. Soprafina Gallery www.soprafina.com MILWAUKEE, WI New woodcut monoprints by Catherine Kernan. “Makers in Print” Through 23 March 2013 CHICAGO, IL Frederick Layton Gallery “The Artist and the Poet” Milwaukee Institute of Art and Design Through 2 June 2013 www.miad.edu The Art Institute of Chicago A joint exhibition at MIAD’s Frederick Layton On the occasion of the Picasso show (see below), Gallery and Peck School of the Arts’ Inova Gallery, the museum has assembled a large number of mod- “Makers in Print” coincides with Milwaukee’s ern prints and portfolios that—like certain Picasso hosting of the Southern Graphics Council endeavors—have literary connections. What really International Conference [see entry under Other matters here, though, is the treasure trove on view: News]. Curators from Argentina, China, Mexico, Robert Motherwell’s A la Pintura (1968–72), David In Chicago: “Picasso and Chicago”, through 12 May Poland, South Africa and South Korea selected Hockney’s The Blue Guitar (1976–77), Lesley Dill’s A 2013. Pablo Picasso, Still-Life with Lunch I (1962), prints from around the world for inclusion. Also on Word Made Flesh (1994), the quirky seminal portfolio linocut, image 64,2 x 53 cm, sheet 75,4 x 62,4 cm. view is a juried exhibition of prints by alumni, and a Stones (1957–59) by Frank O’Hara and Larry Rivers, The Art Institute of Chicago, gift of Frederick Mulder. curated selection of works by SGCI honorees Lesley and Jasper Johns’ Skin with O’Hara Poem (1963–65), ©2013 Estate of Pablo Picasso / Artists Rights Dill, Margo Humphrey, Frances Myers, Alison Saar among many others. Society (ARS), New York. and Judith Solodkin. 42 Art in Print March – April 2013 NEW YORK, NY “The Impressionist Line from Degas to Toulouse- Lautrec: Drawings and Prints from the Clark ” 12 March through 16 June 2013 The Frick Collection www.frick.org The 60 works on view in this exhibition include Manet’s iconic Execution of Maximilian (1868), as well as prints and drawings by Degas, Morisot, Monet, Renoir, Pissarro, Cézanne and Toulouse- Lautrec. The exhibition will be accompanied by a full-color catalogue.

NEW YORK, NY “Edo Pop: The Graphic Impact of Japanese Prints ” 9 March through 9 June 2013 Japan Society www.japansociety.org Organized by the Minneapolis Institute of Arts and curated by Miwako Tezuka, PhD, Director, Japan Society Gallery, Edo Pop playfully juxtaposes classic ukiyo-e prints from such masters as Katsushika Hokusai and Utagawa Hiroshige with contemporary works inspired by these artists and their works. In Madison: “Ellsworth Kelly Prints”, through 28 April 2013. Ellsworth Kelly, Four Panels (1970-71), screenprint. ©Ellsworth Kelly and Gemini G.E.L., Los Angeles. Collection of Jordan D. Schnitzer. NEW YORK, NY “Damien Hirst—The Spot Woodcuts” Through 23 March 2013 Carolina Nitsch Project Room MINNEAPOLIS, MN MINNEAPOLIS, MN www.carolinanitsch.com “PRINT PROFS: Recent Work by MN Faculty” “2013 Minneapolis Print & Drawing Fair” Produced in 2010, the Spot woodcuts are cousin Through 6 April 2013 Saturday, 20 April, 11:00 am–5:00 pm to Hirst’s Spot paintings: individually colored Highpoint Center for Printmaking Sunday, 21 April, 11:00 am–5:00 pm dots arranged in a uniform grid and named after www.highpointprintmaking.org Minneapolis Institute of Art commercial biochemical products. The prints “PRINT PROFS” is an invitational group show www.artsmia.org exhibit a specific materiality, however, with visible featuring works made by 17 printmaking faculty Now in its 20th year, the Minneapolis Print & traces of woodgrain and embossing. This is the members from 14 Minnesota colleges and Drawing Fair will offer the opportunity to browse first time all 40 woodcuts have been shown in New universities. The exhibition includes works made or buy printed works from some of the world’s top York. The exhibition is accompanied by a digital within the scope of traditional printmaking, but print dealers. catalogue. also branches out to include artists’ books, mixed media panels, and sculptural objects. NEW YORK, NY SAN FRANCISCO, CA “Wait, Later This Will Be Nothing: “Rembrandt’s Century” Editions by Dieter Roth” Through 2 June 2013 Through 24 June 2013 De Young Museum The Museum of Modern Art www.deyoung.famsf.org www.moma.org Drawn largely from the Fine Arts Museums’ “Wait, Later This Will Be Nothing” represents the Achenbach Foundation for Graphic Arts, this vast first half of the quixotic—and hugely influential— exhibition provides an ambitious overview of the artist’s career through 160 prints, books and Dutch Golden Age through prints and drawings. multiples. Multiplicity and variation, the Hung alongside the blockbuster “Girl with a dependability and unpredictability of change, were Pearl Earring” exhibition of paintings from the at the heart of Roth’s questioning of anything and Mauritshuis in the Hague, “Rembrandt’s Century” everything. The exhibition includes many critically is itself filled with beautiful impressions of 17th- important Roth works, and is accompanied by a century European prints from Rembrandt and catalogue of the same name. Hollar to Castiglione and Callot.

ST. PAUL, MN NEW YORK, NY “D.I.Y. Printing: Presses Not Required” “Daring Methods: The Prints of Mary Cassatt” 7 March 2013 through 28 April 2013 8 March – 23 June 2013 MMAA Project Space The New York Public Library www.mmaa.org www.nypl.org D.I.Y. Printing features the work of eight print More than 80 rarely seen prints spanning 20 years collectives and twelve artists, many of whom work of Cassatt’s activities as a printmaker will be on outside of the traditional studio set up, printing in view in this major exhibition. As the NYPL’s print their living room or from the kitchen sink. curator, Dr. Madeleine Viljoen observes, ““While Cassatt’s work as a printmaker is well-known, very few collections are in a position to highlight her experimental attitude to the medium or to allow viewers to study just how she approached the often challenging task of making prints.”

NEW YORK, NY “Dan Flavin/Donald Judd: Sets/Series” Through 30 March 2013 Senior & Shopmaker Gallery In Milwaukee: “Makers in Print”, through 23 March www.seniorandshopmaker.com 2013. Whitfield Lovell, Barbados (2009), ink jet Rare print portfolios by these founders of print on front and verso and lithograph on stone. Minimalism, who were also close friends. For both In St. Paul: “D.I.Y. Printing: Presses Not Required”, 44 x 19 1/4 inches. Edition of 9. Published by Solo the portfolio format offered a tool for investigating through 28 April 2013. Design by Big Table Studio, Impression, Inc. essential qualities of form and of color. St.Paul. Art in Print March – April 2013 43 www.davismuseum.wellesley.edu Audience Works This small selection of works by Josef Albers Samuel Bianchini (1888–1976) from the Davis collections invites close Two volumes in slipcase. Edition of 100. consideration of the geometric line in relation to Published by mfc-michèle didier, 2013 color—or its absence—through prints and drawings, €750 spanning 1944 to 1976. Volume 1 includes almost 1000 photographs of the public responding to Bianchini’s installation Wenham, MA works; the second volume includes texts for the 17 “Third National Monotype & installations published in eight languages. Monoprint Exhibition” The Monotype Guild of New England Chymia Barrington Center for the Arts Marc Blumthal, Marianne Dages, Matt Neff, Gordon College Ivanco Talevski and Tricia Treacy www.gordon.edu/mgne 28 pages including 10 individual prints Through 6 April 2013 Published by The Common Press 94 unique prints selected by Mark Pascale, Curator University of Pennsylvania, 2013 of Prints and Drawings, Art Institute of Chicago, $750 reflect the range of techniques employed by artists Chymia is the artists’ visual response to a collection from across the country to create contemporary of manuscripts relating to early chemistry and one-of-a-kind prints. The Monotype Guild of New alchemy owned by Penn. In Wenham, MA: The Third National Monotype & England is dedicated to the art of the unique print, Monoprint Exhibition features unique prints from and to fostering an understanding and appreciation across the country. Jeff Fullam, Into the Gloaming of monotypes and monoprints. (2012). ZURICH, Switzerland “People: Selected Parkett Artists’ Editions” STEAMBOAT SPRINGS, CO Through 11 May 2013 “Patsy Krebs: Fugue” Parkett Space Through 28 March 2013 www.parkettart.com Steamboat Springs Arts Council 60 editions published by Parkett over the past 28 www.steamboatspringsarts.com/patsy-krebs-fugue years, by artists from Pawel Althamer to Andy Krebs’ sequential, subtly varied prints within Warhol. each suite are reminiscent of the fugue form in which tonal changes and repetition define each ZURICH, Switzerland successive development while the original theme “Fischli & Weiss and Friends” recurs frequently throughout the course of the Through 28 March 2013 composition. Graphische Sammlung der ETH Zürich Color Motion: Edna Andrade prints www.gs.ethz.ch VICTORIA, BC, CANADA Edna Andrade This exhibition features prints, photographs, and 64 pages, fully illustrated “David Blackwood Black Ice: Prints from artists’ books by the artist duo Peter Fischli and Newfoundland” Published by The Print Center, Philadelphia, 2012 David Weiss. Works range from 1970–2004 and $20 3 May through 8 September 2013 include the photo series Siedlungen, Agglomeration Art Gallery of Greater Victoria This neatly designed volume celebrates the Op (1992), Kanalvideo and How to work better (1993); Art prints of Edna Andrade, a Philadelphia artist aggv.ca/exhibitions/david-blackwood the photo series Surrli (1995) and Blumendrucke One of Canada’s most important printmakers, who never quite got her due. Reproducing limited- (2002); and the lithographic series Schilf (2004). edition screenprints, mass-market jigsaw puzzles, David Blackwood has depicted the life and Also featured are collaborative works in which locations of Newfoundland for 30 years, but his greeting cards and posters, it remains true to the the artists worked with Klaudia Schifferle, Anton spirit of time that really did want to bust through is a Newfoundland of the imagination—of epic Bruhin, Urs Lüthi and Willy Spiller. struggles for survival and of cosmic forces at odds— the barricades separating art from life. The book as much as it is a geographical reality. includes an essay by John Caperton. Wait, Later This Will Be Nothing: VICTORIA, BC, CANADA New Books “Virtuous Vendetta: The Story of the Editions by Dieter Roth Forty-Seven Ronin in Prints” Sarah Suzuki Through 31 March 2013 Al Taylor Prints: Catalogue Raisonné 96 pages, 108 illustrations Art Gallery of Greater Victoria Michael Semff and Debby Taylor Published by The Museum of Modern Art, 2013 www.aggv.ca 272 pages, 270 color illustrations $35 This exhibition includes more than 50 Japanese Published by Hatje Cantz, 2013 Published to accompany the museum’s 2013 woodblock prints that illustrate an important €39.80 / $60 / £35 exhibition of Roth’s editions, this compact and 18th-century saga embodying the samurai code of A complete catalogue raisonné of Al Taylor’s graphic beautifully produced volume includes everything honour. It is the most celebrated example of loyalty work, including all trial proofs and variations. from Roth’s early re-engineered books to his high and warrior ethics in Japanese history. Taylor, who died young in 1999, is best-known as Pop Picadillies and food-based multiples. The essays a sculptor, but his prints are the equal of his three- include observations on Roth’s aesthetics and on the WASHINGTON, DC dimensional work in their improvisatory grace and very challenging conservation issues his aesthetics “Pissarro on Paper” deftness of touch. have set in play. Through 31 March 2013 The National Gallery of Art www.nga.gov This one-room installation highlights Pissarro’s experimental approach to art making. He began printmaking in his early thirties, and though he never stopped painting, printing became vital to his artistic enterprise. He valued the ease with which he could test new ideas, and he became increasingly innovative as he grew comfortable with different printing techniques. The purchase of his own etching press in 1894 facilitated his efforts, which resulted in more than 200 plates.

WELLESLEY, MA “Josef Albers: Geometries” Through 30 June 13 Davis Museum at Wellesley College

44 Art in Print March – April 2013 New Online

Louise Bourgeois Print Catalogue Raisonné www.moma.org/bourgeoisprints The Museum of Modern Art has launched Louise Bourgeois: The Complete Prints & Books, the first segment of a comprehensive online catalogue raisonné of the artist’s printed work. The project, headed by former MoMA Chief Curator Deborah Wye, will eventually document every print and illustrated book made by Louise Bourgeois from the time she began printmaking in the late 1930s at the Art Students League in New York to the final prints she completed in 2010 shortly before her death. The catalogue currently includes 400 uploaded works, which will be added to once a year in thematic groupings and will ultimately comprise some 3500 works of art. Printmaking was an essential part of Bourgeois’ oeuvre, particularly in her last three decades. “Printmaking,” she said, “instead of being a reproductive medium, was for me a creative medium.” Louise Bourgeois: The Complete Prints & Books builds on MoMA’s longstanding relationship with Bourgeois, whose first retrospective was organized by MoMA in 1982. Beginning in 1990, Bourgeois donated an example of every print composition she made to the museum, and eventually decided to give the museum her complete printed oeuvre, including unpublished states and variants. In 1994, Deborah Wye organized the first retrospective of Bourgeois’ prints and published a catalogue raisonné documenting the work through 1993. Wye’s introductory essay from that catalogue is available for download on the new website and is joined with contextual research including a bio- graphical essay, a chronological chart and short illustrated essays about Bourgeois’ involvement with various printmaking techniques and printers and publishers with whom she worked—Caro- lina Nitsch Editions, Dye-Namix, Harlan & Weaver, Peter Blum Edition, SOLO Impression, and others. Once all cataloguing documentation has been completed, this raisonné will be rewritten to encompass the artist’s entire printmaking production.

Auctions In Milwaukee: The Southern Graphics Council 2013 International Conference, the largest annual March gathering on the field of printmaking. Sotheby’s (London) “Old Master, Modern & Contemporary Prints” Bonham’s (London) Swann Auction Galleries (New York) 19 March 2013 “The Grosvenor School and Avant-Garde “Modernist Posters” Christie’s (London) British Printmaking” 13 May 2013 “Old Master, Modern & Contemporary Prints” 16 April 2013 20 March 2013 Phillips de Pury & Co (New York) Swann Auction Galleries (New York) “Day Editions” Other Events “Printed & Manuscript African Americana” “Evening Editions” 21 March 2013 29 April 2013 ATLANTA, GA Venator & Hanstein (Cologne) Christie’s New York “High Museum of Art Print Fair” “Books, Prints and Drawings, Autographs” “Prints and Multiples” 3–5 May 2013 22 March 2013 30 April 2013 www.high.org/Programs/Programs/Print-Fair-2013. aspx Venator & Hanstein (Cologne) Bonham’s (San Francisco) The High Museum of Art Print Fair is co-sponsored “Contemporary Prints and Drawings” “Prints” by the International Fine Print Dealers Association. 23 March 2013 30 April–1 May 2013 hong Kong April May “The Affordable Art Fair” 15–17 March 2013 Christie’s (London) Swann Auction Galleries (New York) Hong Kong Convention and Exhibition Centre “Prints and Multiples” “Old Master Through Modern Prints” http://affordableartfair.com/hongkong 10 April 2013 1 May 2013 Since 1996 over a million people have visited Affordable Art Fairs in cities around the world. In Swann Auction Galleries (New York) Sotheby’s (New York) Hong Kong this March, a vast array of affordable “Fine Books” “Prints” contemporary art will be exhibited. Prints can be 11 April 2013 2 May 2013 found at Tag Fine Arts, Mark Jason Gallery, Mani- Swann Auction Galleries (New York) Swann Auction Galleries (New York) fold Editions and China Print Art. There will also “Printed & Manuscript Americana” “Art, Press & Illustrated Books” be printmaking demonstrations over the course of 16 April 2013 9 May 2013 the fair.

Art in Print March – April 2013 45 LONDON, UK “The London Original Print Fair” 25–28 April 2013 Royal Academy of Arts www.londonprintfair.com/index.html Over fifty exhibitors will show works ranging from £100 to £100,000 at what is now the world’s longest- running specialist print fair.

MILWAUKEE, WI “2013 SGC International Conference ” 20–23 March 2013 Milwaukee Institute of Art & Design sgcinternational.org/conference-2/2013-printMKE/ Southern Graphics Council International (SGCI) is the largest print organization in North America. Its annual conference is the biggest annual gathering focused on the field of printmaking. Artists from all 50 states attend the conference.

NEW YORK, NY In Madison, WI: Tandem Press celebrated 25 years of printmaking and hosted the symposium “Benefit Print Sale” “Printmaking: Steeped in the Past, Shaping the Future” at the Chazen Museum of Art. 5–17 March 2013 Lower East Side Printshop www.printshop.org/web/Collect/Exhibitions/benefit/ BenefitSale_2013.html The Lower East Side Printshop Benefit Sale is a Andrew Stevens, Curator of Prints, Drawings and packing the Altman Building with print enthusiasts special annual event that ensures that the residency Photographs at the Chazen Museum of Art. who quickly collected the 1000 free posters by programs for artists are well funded and continue UW–Madison art department faculty members Richard Prince released for the occasion. As the fair to offer a high level of service. Proceeds support Michael Connors, Jack Damer, John Hitchcock progressed through the weekend, the steady, yet contemporary artists of all creative backgrounds, and William Weege, the retired founder of Tandem manageable, attendance rates invited more in-depth including free access to professional studio space, Press, discussed the national pre-eminence of conversations and print viewings. stipends, master printer support and career Tandem’s printmaking program. Curator and Special events scheduled throughout the fair’s run advancement services. professor Chen Xiaowen talked about his selections included the Dutch Punk Cult Club, who presented for “American Printmaking Now,” the exhibition a night of lectures, film screenings and a hair NEW YORK, nY that toured to the National Art Museum of China, salon; Kayrock Screenprinting, who joined up with “IPCNY’s Annual Spring Benefit” Beijing, and three other Chinese museums. Paul seven artists to create a collaborative print on-site; 15 May 2013 Klein, founder of Klein Art Works in Chicago, and Dennis McNett, who led a Viking Shields workshop International Fine Print Dealers Association Michele Senecal, Director of the International Fine to complement his large print-based Viking Ship www.ipcny.org Print Dealers Association, demystified aspects of sculpture installed in the foyer; and Esther K. Smith, The big Spring fundraiser for this vital resource and careers in the art world. Jason Ruhl, master printer who led a workshop on instant artist book creation. kunsthalle will celebrate the achievements of artist at Tandem Press, discussed the role of digital media Robert Mangold, printer Kenneth Tyler, and critic in printmaking today, and Richard Solomon and Faye Hirsch with a reception, cocktails and Jason Lewis from Pace Editions discussed how they dinner. Proceeds benefit IPCNY’s exhibitions and identify emerging artists. programs. The symposium concluded with observations by Faye Hirsch, Senior Editor-at-Large at Art in America and author of “The Tandem Society,” an essay in the catalogue accompanying the Tandem exhibition. The video “people living their passion” was presented during the event and can be viewed at www.tandempress.wisc.edu/tandem_video.mov.

Paula Panczenko Named New President of IFPDA The International Fine Print Dealers Association (IFPDA) has announced the election of Paula McCarthy Panczenko as president of the board. Panczenko is Executive Director of Tandem Press at the University of Wisconsin and co-founder Other News of the INK Miami Art Fair. She has served on the IFPDA board since 2002, and plans to focus on “Printmaking: Steeped in the Past, Shaping expanding the organization’s reach to a younger the Future” in conjuction with the Exhibition and more international audience. Tandem, whose “Tandem Press: 25 Years of Printmaking” 25th anniversary is currently being celebrated www.tandempress.wisc.edu at the Chazen Museum of Art [see above], is an Last month Tandem Press hosted a printmaking important publisher of prints by artists such as symposium at the Chazen Museum of Art in Judy Pfaff, Suzanne Caporael, Robert Cottingham, Madison, Wisconsin. The event was organized to Nicola López and Sean Scully. A native of Ireland, correspond with the exhibition “Tandem Press: 25 Panczenko has been with Tandem Press since 1989. Years of Printmaking,” which closed 3 February. Distinguished leaders in the print world 2012 E|AB Fair in 2013 braved the Midwestern cold to acknowledge www.eabfair.com Tandem’s important contribution to the history More than 11,000 visitors helped celebrate the 15th of printmaking in America. The speakers included annual Editions | Artists’ Book Fair in New York, Leslie Garfield, the internationally recognized print 24–27 January. Rescheduled from its original 1–4 collector and current Trustee of the International November 2012 dates because of Hurricane Sandy, Please submit announcements of Print Center New York (IPCNY), Joann Moser, this iteration featured 50 international publishers exhibitions, publications and Senior Curator of the Smithsonian American Art and dealers (down from the 62 participants other events to Museum, and Gretchen Wagner, curator at the expected at the November event), over a dozen Pulitzer Foundation for the Arts, who discussed of whom were new to E|AB. Over 2000 guests [email protected]. curatorial directions in the 21st century with attended the opening preview Wednesday night,

46 Art in Print March – April 2013 J U N G L E P R E S S E D I T I O N S new editions by Nicole Eisenman

J J

Sloppy Barroom Kiss, lithograph, Edition: 25 paper size: 18 x 17-7/8 inches

Ouija, 2012, lithograph, Ed: 25, paper size: 37-1/2 x 27-3/8 in. www.junglepress.com, Contact: [email protected] Contributors to this Issue Connect to Art in Print

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.

Paul Coldwell is Professor in Fine Art at the University of the Arts London. As an artist his work includes prints, sculpture and installation. He has written widely, particularly on printmaking, his most recent publication, Printmaking: A Contem- porary Perspective was published by Black Dog Publishers.

Elleree Erdos is a recent graduate of Williams College, where she majored www.artinprint.org offers in art history; she currently works at Craig F. Starr Gallery in New York. Erdos free access to a selection of has worked in the print departments at the Museum of Modern Art and the reviews of new prints, print Sterling and Francine Clark Art Institute, as well as in the American Wing at the Metropolitan Museum of Art. exhibitions and books as well as a calendar of print exhibi- Amelia Ishmael is the Associate Editor of Art in Print. She also co-edits the Black tions and events from around Metal theory journal Helvete, and recently curated the traveling exhibition “Black the world. Thorns in the White Cube.” She received a BFA from the Kansas City Art Institute and an MA in Modern Art History, Theory and Criticism from the School of the Art Institute of Chicago. Members have access to news of the print world, market Amy Peltz is an artist and writer who primarily makes comics. She holds degrees reports and recent releases, from Bryn Mawr College and the University of Chicago and is an editor in the updated on an almost daily publications department at the Art Institute of Chicago. basis. Maru Rojas is an writer, artist and art facilitator from Mexico currently based in London. She earned an MFA in Art Writing from Goldsmiths College in 2012. Her If you would like to write writing has been published in A-N magazine and other publications in the UK, and she has exhibited her work in the UK, the US and Mexico. for Art in Print: We are happy to consider proposals Christina von Rotenhan studied art history, German literature and psychol- for feature articles on subjects ogy in Berlin and Rome. From 2003 through 2008 she was Junior Specialist at the related to the history or the New York gallery C.G. Boerner and from 2008 through 2011 Assistant Curator at current state of artists’ prints, the Museum Haus Konstruktiv in Zurich. She is currently working on the catalogue in the broadest meaning of the raisonnée of the printed oeuvre of Richard Tuttle. term. If you are interested in Mark L. Smith is a co-founder of Flatbed Press Inc. in Austin, Texas. writing reviews of print exhibi- Former chairman of the Department of Art at Southwestern University, and tions, new print publications associate dean and professor in the UT–Austin College of Fine Arts, Dr. Smith or books on prints, please con- now teaches at the Herron School of Art & Design. In his own art, he utilizes the tact us with your location and urban environment in his collages, drawings and paintings. proposed subjects at info@ Raun Thorp is a Los Angeles-based architect, designer and collector of works on artinprint.org. 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. If you would like to submit M. Brian Tichenor is an artist and partner in Tichenor & Thorp Architects, Inc. He events, artworks or publi- holds a M. Arch from UCLA, and BFA from UC Santa Barbara, with a concentration cations for consideration: in lithography. He currently teaches in the Graduate School of Architecture at the Please email us at info@ University of Southern California. artinprint.org. Susan Tallman is the Editor-in-Chief of Art in Print. She has written extensively about prints, issues of multiplicity and authenticity, and other aspects of contemporary art. Back Issues of Art in Print

In This Issue In This Issue Susan Tallman / On Art in Print Susan Tallman / On Substance Paul Coldwell / Christiane Baumgartner Between States Catherine Bindman / Odilon Redon: Prince of Dreams Deborah Wye (interview) / Thirty-One Years at MoMA Susan Tallman / Redon and Bresdin Adam Lowe / New Work by Giambattista Piranesi Andrew Raftery / Selections from the Istituto Nazionale per la Grafica Suzanne Karr Schmidt / Printed Bodies and the Materiality of Susan Tallman / Jane Kent and Richard Ford Go Skating Early Modern Prints John Ganz / Sturm and Drang on 53rd St. Book Reviews Kristyna Comer / Christopher Cozier Charles Schultz / Nicola López Volume 1, Number 1 Volume 1, Number 2 Book Reviews

In This Issue In This Issue Susan Tallman / On the Corner Susan Tallman / On Partisanship Gill Saunders / Street Art Constance C. McPhee / Satire in Print: How Napoleon Became an Emblem Charles Schultz / Prints and Installation Art Nadine M. Orenstein / Satire in Print: Two Mysteries—One Solved Heather Hess / Wiener Werkstätte Prints and Textiles Kristina Volke / Woodcut Printing in Modern Vietnamese Society Jay Clarke / Impressions from South Africa, 1965 to Now Jill Bugajski / The Aesthetic Extremes of Stencil in Wartime Book Reviews Charles Schultz / Sigmar Polke: Photoworks 1964–2000 Book Reviews

Volume 1, Number 3 Volume 1, Number 4

In This Issue In This Issue On Anarchy Susan Tallman / On Plenty Susan Tallman / Enrique Chagoya’s Printed Codices New Editions / 50 Reviews A – Z Sarah Kirk Hanley / Andry • Apfelbaum • Applebroog • Birk & Pignolet • Booker • Chagoya • David Ensminger / Postscripts from the Fading Age of Xerography Cottingham • Cross • Cutler • Deacon • Dunham • Fischer • Fitzpatrick • Catherine Bindman / Collecting German Romantic Prints Francis • Furunes • Gehry • Herman • Heyman • Höller • Johns • Kassay • M. Brian Tichenor & Raun Thorp / The Rise of Printmaking Lee • Marclay • Martin • McElheny • Mehretu • Messager • Muller • Nam in Southern California • Pérez • Shapiro • Shellabarger • Smith • Smith • Spleth • Superimpose • Susan Tallman / IPCNY New Prints 2011 / Autumn Thiebaud • Thompson • Tiravanija • Victor Whiteread • Winters • Wirsum Sarah Andress / Annesas Appel • Wood • Woods • Wollard • Worms • Würth Book Reviews Volume 1, Number 5 Volume 1, Number 6 Book Reviews News of the Print World Annual Directory

In This Issue In This Issue Susan Tallman / On Prints and Exhibitions Susan Tallman / On Making Sarah Andress / Jacob Samuel and the Peripatetic Printshop April Vollmer / Mokuhanga International Britany Salsbury / The Print Portfolio in “Print/Out” & “Printin’ ” Anna Schultz / New Observations on Eugène Carrière’s Prints John Ganz / In, Out, and Shaken All About at MoMA Paul Coldwell / Artists’ Projects at Paupers Press Aprile J. Gallant / Copycat at The Clark Art Institute Gill Saunders / The V&A Takes Street Art to Libya Courtney R. Thompson / Prints and the Pursuit of Knowledge in Sarah Grant / Highlights from the Fitzwilliam Museum Collection Early Modern Europe Charles Schultz / Martin Kippenberger; Nicole Eisenman M. Brian Tichenor & Raun Thorp / Ellsworth Kelly at LACMA Paul Coldwell / Picasso’s Vollard Suite at the British Museum Carlos Garaicoa; Jordi Alcaraz ReThink INK: 25 Years at Mixit Print Studio Volume 2, Number 1 Charles Schultz / Volume 2, Number 2 Elaine Mehalakes / Andrew Blackley / Glenn Ligon Courtney R. Thompson / Pulled Pressed Printed in Chicago Book Reviews Allison Rudnick / Cecily Brown’s Monotypes News of the Print World Sarah Kirk Hanley / John Baldessari’s Alphabet at Gemini G.E.L. Julia Vodrey Hendrickson / Alexander Massouras; Mit Senoj Susan Tallman / Isca Greenfield-Sanders Book Reviews News of the Print World

In This Issue In This Issue Susan Tallman / On Stanley William Hayter Susan Tallman / On the Past Andrew Raftery / Genealogies: Tracing Stanley William Hayter Evelyn Lincoln / German Conclave Prints Ann Shafer / Hayter: Content and Technique Séverine Lepape / An Example of a Coffret à Estampe Julia Beaumont-Jones / Stanley Jones on Hayter, Paris and Atelier Patris Angela Campbell & Andrew Raftery / Remaking Dürer Liza Folman / Stanley William Hayter and Viscosity Printing Jesse Feiman / The Matrix and the Meaning in Dürer’s Rhinoceros Amelia Ishmael / Susan Tallman / Hayter—Essential Reading Ben Thomas / John Evelyn’s Project of Translation Susan Tallman / Jasper Johns / In Press; L’Estampe originale in Minneapolis Charles Schultz / Bruce Conner: Afterimage Courtney R. Thompson / Inuit Prints; Paper as Dialogue at CBPA Book Reviews Book Reviews News of the Print World Volume 2, Number 3 Volume 2, Number 4 News of the Print World

In This Issue Susan Tallman / On Visibility Faye Hirsch / Nicole Eisenman’s Year of Printing Prodigiously All back issues of the journal can be purchased from New Editions 2012 Reviews A–Z MagCloud at www.magcloud.com/user/established-2011. <100 Members can also view, download and print back issues Wade Guyton OS Charles Schultz / from PDF files avaiable on our website: M. Brian Tichenor & Raun Thorp / Zarina: Paper Like Skin New Editions Listings www.artinprint.org/index.php/journal. News of the Print World Volume 2, Number 5 2013 Membership Subscription Form

To subscribe, please mail this form to Art in Print at the address below or visit our website at www.artinprint.org/index.php/magazine/suscribe to subscribe online. Please address any questions to [email protected]. Thank you for your support!

Please provide your information to subscribe to Art in Print: q Check this box if this is a renewal and enter just your name and the email address linked to your current subscription.

Name ______Organization ______Address 1 ______Address 2 ______City, State/Province, Zip ______Country Code ______(if outside U. S.)

Telephone ______Email ______

Annual Subscriptions Art in Print is available in both Digital and Print form. Please choose from the annual membership categories listed below.

Basic Subscriptions Professional Subscriptions Library Subscriptions (IP Recognition) q Basic Digital $38 q Professional Print + Digital $350 q Library Digital $300 + Online access to the Member + Online access to the Member + Multi-user online access to the Website with Print World Newsfeed Website with Print World Newsfeed Member Website with Print World + Weekly eBlasts with News of the + Weekly eBlasts with News of the Newsfeed Print World, special offers and Print World, special offers and + Weekly eBlasts with News of the announcements announcements Print World, special offers and + 6 digital issues of the journal + 6 digital issues of the journal announcements in PDF form and all digital in PDF form and all digital + 6 digital issues of the journal Back Issues Back Issues in PDF form and all digital + 6 issues of the printed journal Back Issues q Basic Print + Digital $98 delivered to your mailbox (US, UK, Canada) q Library Print + Digital $400 + All of the above plus 6 issues of the + 12 months of online ads + All of the above plus 6 issues of the printed journal delivered to your + 2 small print ads in the journal printed journal delivered to your mailbox + Option to purchase additional mailbox advertising in the journal q Basic Print + Digital $138 + Listing in the Art in Print Subscribe through us or through your (Worldwide) International Directory subscription management agency. + All of the above plus 6 issues of the + 20% discounts available to printed journal delivered to your non-profit organizations international mailbox

Subscribe Online: http://artinprint.org/index.php/magazine/subscribe Purchase back issues of Art in Print Subscribe by Post: from MagCloud at www.magcloud. To subscribe by post, please copy this form or print from the online PDF and mail to: com/user/established-2011. Art in Print, Attn: R. Collins, 3500 N. Lake Shore Drive, Suite 10A, Chicago, IL 60657-1927

Art in Print will never share your information without your consent. Please contact us at [email protected] if you have any questions. international ﬁ ne ifpda print dealers association the world’s leading experts

2013 Spring Events IFPDA Book Award High Museum of Art Submissions due June 30 Guidelines at ifpda.org Print Fair May 3–5, Atlanta, Georgia

Spring Print Crawl New York City Check WHAT’S ON at ifpda.org for date and participating dealers

Save the Date! Sign-up for our Events Update at ifpda.org IFPDA Print Fair November 6 –10 Follow us on Twitter @IFPDAdotORG Find us on Facebook New York City

www.printfair.com

ifpda FOUNDATION international fine print dealers association

2013 Grants Applications due April 30

The IFPDA Foundation is a 501(c)3 charitable organization established by the International Fine Print Dealers Association and is committed to the support of exhibitions, programs and scholarly projects that increase the awareness and appreciation of ﬁ ne prints.

Visit ifpda.org for application guidelines.

Eugène Delacroix, Mel Bochner, Ito Takashi Eugène Delacroix, Mel Bochner, www.ifpda.org

250 W. 26th St., Suite 405, New York, NY 10001-6737 | Tel: 212.674.6095 | [email protected] rafael ferrer new PrIntS

Full (2012) lithograph 15 x 22 inches, edition of 15 plus proofs

Why (2012) lithograph 15 x 22 inches edition of 15 plus proofs

Jingo (2012) color lithograph 20 x 34 inches, edition of 25 plus proofs

Shark’S Ink. 550 Blue Mountain Road Lyons, CO 80540 303.823.9190 www.sharksink.com [email protected]