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US $25 The Global Journal of Prints and Ideas January – February 2018 Volume 7, Number 5 Leo Steinberg: What I Like About Prints • Manet’s Absinthe Drinker • Impressions from South Africa WWI at the Met • Louise Bourgeois: Memory Work • Adam von Bartsch in Context • Prix de Print • News AndyAndy Warhol: Warhol: Prints Prints from from the the Collections Collections of ofJordan Jordan D. D.Schnitzer Schnitzer and and His His Family Family Foundation Foundation PortlandPortland Art Art Museum Museum AA PASSIONPASSION FORFOR SHARINGSHARING ARTART UpcomingUpcoming Exhibitions Exhibitions “For“For me, me, waking waking up up each each day day without without art art around around AndyAndy Warhol: Warhol: Prints Prints from from the the Collections Collections of of meme would would be be like like waking waking up up without without the the sun. sun. JordanJordan D. D. Schnitzer Schnitzer and and His His Family Family Foundation Foundation PalmPalm Springs Springs Art Art Museum Museum WhenWhen you you live live with with art art around around you, you, your your mind mind PalmPalm Springs, Springs, CA CA • • Mar Mar 3, 3, 2018 2018 - -May May 28, 28, 2018 2018 andand soul soul are are filled filled withwith the the beautybeauty ofof life life andand the the LouiseLouise Bourgeois: Bourgeois: Selections Selections from from JordanJordan D. D. Schnitzer Schnitzer and and His His Family Family Foundation Foundation creativitycreativity of of the the human human spirit.” spirit.” PendletonPendleton Center Center for for the the Arts Arts —— JORDAN JORDAN D. D. SCHNITZER SCHNITZER Pendleton,Pendleton, OR OR • • Mar Mar 8, 8, 2018 2018 - Apr- Apr 28, 28, 2018 2018 JohnJohn Baldessari: Baldessari: Interference Interference Effects Effects MissoulaMissoula Art Art Museum Museum EstablishedEstablished in in 1997, 1997, the the Jordan Jordan Schnitzer Schnitzer Family Family Missoula,Missoula, MT MT • • Mar Mar 27, 27, 2018 2018 - Aug- Aug 25, 25, 2018 2018 FoundationFoundation has has organized organized over over 100 100 exhibitions exhibitions in in over over 100 100 Person(a):Person(a): Portraitures Portraitures from from the the Collection Collection of of museumsmuseums of of post-WWII post-WWII prints prints and and multiples multiples by by American American JordanJordan D. D. Schnitzer Schnitzer and and His His Family Family Foundation Foundation artistsartists from from Jordan Jordan D. D. Schnitzer Schnitzer and and His His Family Family Foundation. Foundation. JordanJordan Schnitzer Schnitzer Museum Museum of of Art Art at at WSU WSU Pullman,Pullman, WA WA • • Apr Apr 6, 6, 2018 2018 - Aug- Aug 4, 4, 2018 2018 TheThe Foundation Foundation provides provides programming programming for for students, students, Witness:Witness: Race Race and and Identity Identity in in seniors,seniors, artists artists in in residency residency and and lecture lecture series series and and the the ContemporaryContemporary American American Printmaking Printmaking collectioncollection is is made made available available at at no no charge charge to to museums. museums. HallieHallie Ford Ford Museum Museum of of Art Art Salem,Salem, OR OR • • Sept Sept 15, 15, 2018 2018 - -Dec Dec 18, 18, 2018 2018 ExhibitionExhibition Inquiries: Inquiries: Amazing!:Amazing!: Works Works by by Mel Mel Bochner Bochner JordanJordan D. D. Schnitzer Schnitzer • • [email protected] [email protected] PhilbrookPhilbrook Museum Museum of of Art Art CatherineCatherine Malone Malone • • [email protected] [email protected] Tulsa,Tulsa, OK OK • • Oct Oct 14, 14, 2018 2018 - -Jan Jan 6, 6, 2019 2019 ChuckChuck Close Close Prints Prints TaubmanTaubman Museum Museum of of Art Art Roanoke,Roanoke, VA VA • • Mar Mar 16, 16, 2019 2019 - Aug- Aug 25, 25, 2019 2019 January – February 2018 In This Issue Volume 7, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Scholarship Associate Publisher Leo Steinberg 3 Julie Bernatz What I Like About Prints Juliet Wilson-Bareau 29 Managing Editor Manet’s Absinthe Drinker Isabella Kendrick Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation Portland Art Museum Nadine M. Orenstein 36 Associate Editor South African Impressions Julie Warchol Exhibition Reviews Manuscript Editor Catherine Bindman 40 Prudence Crowther Shellshock and Awe Editor-at-Large Faye Hirsch 43 Catherine Bindman Memory Work: Louise Bourgeois A PASSION FOR SHARING ART Book Review Design Director Skip Langer Jesse Feiman 47 Von Bartsch in Context Prix de Print, No. 27 50 Upcoming Exhibitions “For me, waking up each day without art around Juried by Christina Weyl Our Good Earth? Andy Warhol: Prints from the Collections of me would be like waking up without the sun. by Nathan Meltz Jordan D. Schnitzer and His Family Foundation News of the Print World 52 Palm Springs Art Museum When you live with art around you, your mind New York Print Week 2017 60 Palm Springs, CA • Mar 3, 2018 - May 28, 2018 and soul are filled with the beauty of life and the Louise Bourgeois: Selections from Jordan D. Schnitzer and His Family Foundation creativity of the human spirit.” Pendleton Center for the Arts — JORDAN D. SCHNITZER Pendleton, OR • Mar 8, 2018 - Apr 28, 2018 John Baldessari: Interference Effects Missoula Art Museum Established in 1997, the Jordan Schnitzer Family Missoula, MT • Mar 27, 2018 - Aug 25, 2018 Foundation has organized over 100 exhibitions in over 100 On the Cover: Jan Steen, detail of The Drawing Lesson (ca. 1665), oil on panel, Person(a): Portraitures from the Collection of museums of post-WWII prints and multiples by American J. Paul Getty Museum, courtesy of the Jordan D. Schnitzer and His Family Foundation artists from Jordan D. Schnitzer and His Family Foundation. Getty Open Content Program. Jordan Schnitzer Museum of Art at WSU This Page: Marcantonio Raimondi after Pullman, WA • Apr 6, 2018 - Aug 4, 2018 The Foundation provides programming for students, Raphael or Giulio Romano, detail of Martha Leading Mary Magdalen to Christ (ca. 1520– Witness: Race and Identity in seniors, artists in residency and lecture series and the 1525). Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, Contemporary American Printmaking collection is made available at no charge to museums. 2002. Photo: Rick Hall. Hallie Ford Museum of Art Salem, OR • Sept 15, 2018 - Dec 18, 2018 Art in Print This issue was funded in part with 3500 N. Lake Shore Drive Exhibition Inquiries: support from the IFPDA Foundation Suite 10A and the Malka Fund. Amazing!: Works by Mel Bochner Jordan D. Schnitzer • [email protected] Chicago, IL 60657-1927 Philbrook Museum of Art Catherine Malone • [email protected] www.artinprint.org Tulsa, OK • Oct 14, 2018 - Jan 6, 2019 [email protected] 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published Chuck Close Prints without the written consent of the publisher. Taubman Museum of Art Roanoke, VA • Mar 16, 2019 - Aug 25, 2019 On Scholarship By Susan Tallman n 2016, Oxford Dictionaries named attendant catalogue and an online refer- I“post-truth” the international word of ence to the artist’s complete books and the year. Two thousand seventeen kicked editions. Faye Hirsch considers all three, off with Kellyanne Conway’s “alterna- and the intertwined careers of artist and tive facts” (which many assumed was a curator. gaffe, but now appears to have been a Adam von Bartsch, the 18th-century policy statement). We are in free fall. The artist and librarian often crediting with notion of information as entirely fun- inventing (and perhaps perverting) the gible seems to have overtaken any broadly field of print scholarship, is the subject shared consensus about reality. To some of the multi-author volume Copy.Right: degree this situation has been created Adam von Bartsch: Kunst, Kommerz, Ken- by purposeful and nefarious manipula- nerschaft, reviewed here by Jesse Feiman. tion, but it is also the inevitable price of In other essays, Nadine Orenstein a world awash in more data than any one offers an overview of contemporary person can process: how to know whose printmaking activity in South Africa, and facts to trust? Which stories have been Catherine Bindman reviews “World War reported firsthand and which came off a I and the Visual Arts” at the Metropolitan Macedonian fake news assembly line? Or Museum of Art, an exhibition that united which—like the story of the artist selling Cornelis Bloemaert II after Hendrick Bloemaert, art and artifacts to build a sense of mate- invisible art for millions of dollars—were An Owl with Books (ca. 1625), engraving, rial realities and of their interpretation spoofs, picked up and repeated by people 22.2 x 18.1 cm. Rijksmuseum, Amsterdam. for purposes of art and politics. Finally, in and organizations too lazy or credulous this issue’s Prix de Print, Christina Weyl to do their homework?1 items as diverse as a Jasper Johns drawing selects Nathan Meltz’s dystopian take on The solution to this quandary is the and a 15th-century manuscript illumi- John Steuart Curry’s 1942 paean to rural same as it always has been: putting aside nation. Repeatedly, he pointed out how America, Our Good Earth? theory and ideology; learning to look with our fixation with painting has blinded us The question Nathan Meltz appends precision at what lies before us; maintain- to essential artistic habits of mind and to Curry’s original, unquibbled title, is as ing unrelenting curiosity about sources realities of invention, and he took evi- clear a statement as any about our cur- and evidence. In a word, scholarship. dent delight in exposing error after error rent situation. Certainty and simplicity Anchored by a major, unpublished lecture of dating, attribution and explanation, all like Curry’s make us suspicious; they are by Leo Steinberg (1920–2011), this issue of traceable to an ignorance of prints.
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  • Artist Resources – John Baldessari (American, 1931-2020)

    Artist Resources – John Baldessari (American, 1931-2020)

    Artist Resources – John Baldessari (American, 1931-2020) Baldessari at Marian Goodman Gallery Baldessari reflects on his childhood, teaching, and creative inspirations in a 1992 oral history with the Smithsonian Archives of American Art. In 1994, Baldessari participated in MoMA’s Artist’s Choice series of exhibitions, selecting objects in the permanent collection to inspire a new artwork. He curated and installed the show, which featured six of the original works of inspiration alongside photographs of the remaining twenty plus pieces, and the newly completed construction. “As I continued with teaching and art, I began to see how they both shared the same problem of communication,” explains Baldessari in an essay from 1998. “I saw how you could obfuscate, be crystal clear or do anything in-between. You could play your audience like a musical instrument.” In a 2008 interview with Art21, Baldessari discussed his interest in language and the relationship between teaching and his art practice. “You try to think of ways to make your time in the classroom like you’re making art in some way. A vital lesson for me was learning that teaching is about communication. Lecturing doesn’t do it. You have to see the light in the student’s eyes; you have to see that they get it…I realized that that attitude was filtering into my art—that you have to communicate. Teaching and art began to cross-pollinate and one affected the other.” Art21 talked with Baldessari in his studio in a 2009 video interview. “I think my idea is Baldessari, 2015 Photograph: Stefanie Keenan this: not so much structure that it’s inhibiting, that there’s no wiggle room, not so loose that it could be anything…like a corral around your idea.” The Tate Modern celebrated Baldessari’s towering career with the 2009 retrospective Pure Beauty.