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The Global Journal of Prints and Ideas September – October 2019 Volume 9, Number 3

Picturing the Invisible: Art, Forensics and more • Recommended Reading for the Print-Curious Part II Edvard Munch • Kip Gresham • Irish Etchers • Lorna Simpson • Thomas Kilpper • Barbara Schulz • Prix de Print • News THE LARGEST INTERNATIONAL ART FAIR CELEBRATING 500 YEARS OF PRINTMAKING

OCT 23–27 2019 JAVITS CENTER NEW YORK CITY

@IFPDA #IFPDAPRINTFAIR OCTOBER 23–27 IFPDA.ORG JAVITS CENTER NEW YORK CITY PRINTFAIR.COM

Roy Lichtenstein, Reflections on Girl, 1990 Lithograph

Editor-in-Chief Susan Tallman 2 Susan Tallman On Seeing the Unseen

Associate Publisher Picturing the Invisible 3 Design Director Paul Coldwell 4 Julie Bernatz Giorgio Morandi: Various Objects on a Table (1931) Production Editor Kevin Weil Stephan Doering 6 Paul Coldwell: Advertising Manager Temporarily Accessioned Lydia Mullin Adam Gibson and 8 Tabitha Tuckett Administrative & Picturing the Invisible Fabric Editorial Assistant of the Human Body Percy Stogdon Owen Hopkins 11 Manuscript Editor Sir John Soane’s Piranesis Prudence Crowther Roger Kneebone 14 Picturing Care Editor-at-Large Catherine Bindman Ruth M. Morgan 16 Forensic Science and Picturing the Invisible: a Reflection on Black Dice by John Baldessari (1982) Roberto Trotta 18 The Smell of Dark Matter: Dane Mitchell’s Perfume Plumes Tanja Staehler and 20 Phineas Jennings On Louise Bourgeois’ The Reticent Child and Shame

The Book List 23 Recommended Reading for the Print-Curious — PART II

Exhibition Reviews Paul Coldwell 32 Edvard Munch at the British Museum Róisín Kennedy 36 Kip Gresham: Layer Upon Layer Jason Ions 38 The Invisible Irish Etchers On the Cover: Dane Mitchell, detail of Megan N. Liberty 41 Perfume Plume 4 (2011), monotype with Kinds of Blue: Lorna Simpson perfume. Published by Keystone Editions, Berlin. Ruth Pelzer-Montada 43 Thomas Kilpper in Edinburgh This Page: Giovanni Battista Piranesi, detail of Pantheon te Rome, etching. Courtesy of Karen Köhler and 47 the Rijksmuseum, Amsterdam. Irene Brückle A Paper Conservator’s Print Collection Art in Print at Tübingen University 3500 N. Lake Shore Drive Prix de Print, No. 37 50 Suite 10A Juried by Judy Hecker Chicago, IL 60657-1927 Returning Dialogue: Fragments www.artinprint.org of Blue and White Porcelain (2017) [email protected] by Bundith Phunsombatlert

1.844.ARTINPR (1.844.278.4677) News of the Print World 52 No part of this periodical may be published without the written consent of the publisher. On Seeing the Unseen By Susan Tallman

eople make all kinds of demands of on Artists Books, Books About Artists P art—we want it to be beautiful or Books, and Making in its many permuta- Art in Print challengingly ugly; to be “true” (whatever tions, our contributors offer a sampling that means) or playfully illusionistic; to of their favorites. As before, this list is Art in Print is a not-for-profit encourage piety or protest. More than meant to be inclusive, incomplete and 501(c)(3) corporation, founded anything, however, we ask it to show us hopefully inspiring. in 2010. something we haven’t seen before—a new The profusion of print in art, and way of seeing, or feeling, or understand- its presence in museums and galleries, Board Members ing. This issue of Art in Print looks into whether specifically allocated as “print the fundamental creative act of visualiz- shows” or not, is reflected in the six exhi- Julie Bernatz ing the invisible. bition reviews that appear here. From Catherine Bindman Eight of the essays here grew out of Dublin, Róisín Kennedy investigates the Renée Bott a UK-based interdisciplinary network, history of Irish painter-etchers of the Nicolas Collins Picturing the Invisible, that has brought 19th and 20th centuries, long overlooked Thomas Cvikota together scientists, historians, doctors both in Ireland and abroad, until a recent David Dean and artists to discuss the habits of mind exhibition at the National Gallery of Ire- Bel Needles and protocols of training through which land. In Edinburgh, Ruth Pelzer writes Robert Ross people make images of what cannot be on Thomas Kilpper’s new project there, Antoine Rouillé-d’Orfeuil seen. Art in Print asked the participants cut into and printed from the floors of Marc Schwartz to extend this inquiry by considering a former rubber factory now home to Susan Tallman works of art they felt were reflective of Edinburgh Printmakers. The British these processes in their own domains. printer-publisher Kip Gresham was the Editorial Board Physicist Adam Gibson and rare books subject of a retrospective in Cambridge, Richard Axsom specialist Tabitha Tuckett report on what reviewed here by Jason Ions. In New York, Jay A. Clarke lies beneath the skin of Andreas Vesa- Megan Liberty looks at Lorna Simpson’s Paul Coldwell lius’s 1555 anatomy treatise, De humanis new screenprinted paintings at Hauser Stephen Coppel corporis fabrica libri septem; forensic sci- & Wirth; and in London, Paul Coldwell Faye Hirsch entist Ruth Morgan contemplates the dons another hat to assess the British Jane Kent fragmentary nature of evidence in the Museum’s major exhibition of prints by David Kiehl light of John Baldessari’s Black Dice (1982); Edvard Munch. Meanwhile, paper con- Evelyn Lincoln surgeon Roger Kneebone examines the servators Karen Köhler and Irene Brückle Andrew Raftery depiction of medical care in Barbara Hep- report on the pedagogic power of the Christian Rümelin worth’s Concourse 2 (1948); astrophysicist print collection of the late German paper Gillian Saunders Roberto Trotta connects the discovery of conservator Barbara Schulz (1920–2013). dark matter to Dane Mitchell’s Perfume Finally, this issue’s Prix de Print, For further information visit Plume monoprints (2011); Owen Hopkins, selected by Judy Hecker, has been won by artinprint.org/about-art-in-print/. curator at Sir John Soane’s Museum in Bundith Phunsombatlert—the first two- London, writes about four prints given to time winner in the competition’s history. Soane by Giambattista Piranesi and their The work in question is a manufactured effect on Soane’s own peculiarly elusive set of printed porcelain fragments, set architecture; philosopher Tanja Staehler within an archival box. It’s a work that— joins student Phineas Jennings in scru- like the Dane Mitchell Perfume Plume on tinizing shame, pregnancy and Louise our cover—asks us to think about chains Bourgeois’ Reticent Child (2004). And in of causality and to acknowledge the a serendipitous pairing, artist Paul Cold- incompleteness of the visual record. well analyzes the positive presence of Like all good art, it encourages us to negative space in Giorgio Morandi’s Vari- see beyond what our eyes take in. ous Objects on a Table (1931), while psychoanalyst Stephan Doering looks at absence Susan Tallman is Editor-in-Chief and Sigmund Freud through Coldwell’s of Art in Print. own print Temporarily Accessioned (2016). This issue also includes the second section of the Recommended Reading list inaugurated in July. In new sections

2 Art in Print September – October 2019 Picturing the Invisible A research network and collaboration between University of the Arts London (UAL) and University College London (UCL), funded by the Arts and Humanities Research Council (AHRC).

icturing the Invisible is an interdisciplinary project funded through Pthe British Arts and Humanities Research Council that brings together specialists from a variety of disciplines to discuss how they go about creating images—concrete or ideational—of things that cannot be seen. The project bridges the “two cultures” decried by C.P. Snow in 1959— allowing us to cross the “gulf of mutual incomprehension” that can separate the sciences and humanities, and that, like all blind spots, prevents us from perceiving both problems and solutions. The network is led by Paul Coldwell (a frequent contributor to this journal and professor in Fine Art at University of the Arts Lon- don), supported by coinvestigator Ruth Morgan, professor of Crime and Foren- sic Science at University College London Department of Security and Crime Sci- ence, and the Director of the UCL Centre for the Forensic Sciences. Recognizing that the desire to see what cannot be seen is at the heart of all creative enterprises, Coldwell and Mor- gan invited physicists and curators, surgeons and psychoanalysts, art historians and anesthetists to compare notes. At an initial closed session last spring, participants spoke about brain imaging, pictorial negative space, the nature of inference, and the limits of evidence. In the hiatus between that meeting and an upcoming public conference in November, Art in Print asked the participants to consider works of art they felt paralleled their own experience of conjuring an explanatory or meaningful image to solve a mystery or articulate a thought. The eight essays that follow are re- sponses to that request. To discover more about the project visit https://www.arts. ac.uk/research/groups-networks-and-col- laborations/picturing-the-invisible.

Paul Coldwell, detail of Ruins III (Silver) (2018), woodcut, 56 x 76 cm.

Art in Print September – October 2019 3 Giorgio Morandi: Various Objects on a Table (1931) By Paul Coldwell

first saw Various Objects on a Table that the picture will come into focus, and There is another aspect to these still (1931) at the Tate Gallery in 1991. It also to lean in close, with the expectation lifes, a further nudge to the invisible. Imade a profound impression and Giorgio of a secret that will be revealed. Neither Morandi was born and spent his whole Morandi has remained a great influence position results in a fixed resolution. The life in Bologna, a city characterized by on me ever since. No work seems to me image remains fluid, alternating between two architectural features: the towers more apt for considering how we picture absence and presence; each patch of tone built by wealthy families to assert their the invisible. tempts us to configure it into a pot or a social status, and the colonnades that In the years just after World War I, bottle, while nonetheless refusing to be allow one to crisscross the city, protected Morandi, along with Giorgio de pinned down. from both sun and rain. This vertical Chirico and Carlo Carrà, was one of Even the distinction between objects imprint of Bologna can be sensed within the avant-garde Italian “metaphysical and the space around them is questioned, Morandi’s work, as if memories of the painters” exploring internal visions. the intervals rendered as palpably as the city have filtered into the work sublimi- But he quickly moved on, developing objects themselves. The presumed hier- nally. “I believe that nothing can be more a personal pictorial language that cen- archy of subject over background is inter- abstract, more unreal, than what we tred on landscapes (predominantly rogated and found wanting. His view, I actually see. We know that all we can see those surrounding his summer house would suggest, is that the value of things of the objective world, as human beings, in Grizzana), and on still lifes of every- is not fixed, but lies in their relationships never really exists as we see and under- day objects such as pots, bottles and to things outside themselves—the shadow stand it.”1 vases, made in his small apartment is as concrete as the object that cast it. Picturing the invisible has been a studio in Bologna. Though regarded Importance is not intrinsic, it is a function theme in my work for decades. My start- as reclusive, he has had an impact on of a role within the composition. ing point is often a collection or a loca- artists ranging from early modernists Morandi’s subjects are things one can tion: in the house at Kettle’s Yard in such as Ben Nicholson, to 1960s paint- find in any bric-a-brac store, and most Cambridge, I invented evidence of daily ers such as Wayne Thiebaud and David were collected in Bolognese shops. They life that I felt had been edited out; in Tem- Hockney, and later sculptors, includ- carry none of the allegorical freight of porarily Accessioned, a project with the ing Rachel Whiteread and Tony Cragg. other still life traditions—of luxurious Freud Museums in Vienna and London, There is a reductive austerity in Dutch 17th-century groaning tables, or the great doctor’s absence is made mani- Morandi’s compositions: shape, interval of memento mori with their lexicon of fest in a full-scale print from X-rays of the and tonal modulation distill an image to skulls and snuffed candles. Morandi’s coat he wore on his migration from Aus- its essence. Morandi was both a painter still lifes have the banal, deadpan qual- tria to Britain. For the Sir John Soane and printmaker, and is widely regarded ity associated with photography. Indeed, Museum, with its remarkable collection as one of the finest etchers since Rem- many suggest family portraits—objects of architectural models, I focused on the brandt, an artist Morandi held in great stiffly posed, inviting the viewer to search “invisible” part of Soane’s house—the regard. And it is in his etchings that one for likeness and difference amongst the below-stairs lives of the servants, whom I can see most clearly Morandi’s desire to assembled characters. imagined building their own architec- capture the invisible and give it pictorial The viewer attempts to separate them, tural ruins from sugar cubes. The result- form. While Cezanne’s still lifes question catching their individuality in fleeting ing laser-cut woodcuts show the influence the edges of perception through shifting movements before they dissolve into the of Morandi, not only in the marriage of marks and quivering edges, Morandi’s whole an instant later. The image pres- grandeur and banality, but in my use of question the very materiality of their ents itself and remains invisible, always pixelated dots to disrupt clear reading, objects. In the exquisite Various Objects out of reach, much in the manner that suggesting that the image is in a state of on a Table, which measures just 175 by a Giacometti sculpture always seems to flux, much as the ruins themselves are 194 mm, Morandi works to conjure the maintain a discreet distance, no matter gradually collapsing. scene before him while simultaneously how close up the viewer gets. doubting its existence. The image hovers In etching, Morandi was a master of Paul Coldwell is Professor of Fine Art at between material reality and dissolution. acid—using test strips to ascertain its University of the Arts London and leader of Morandi simulates tone through strength, much like photographers once the Picturing the Invisible Network. freely drawn, crosshatched lines. These tested exposure times. In a print as exqui- lines produce the delicate web through sitely delicate as Various Objects on a Table Notes: which we discern the image, while offer- the timing of the acid bath is critical. Too 1. Giorgio Morandi, interview, Voice of America, ing a continuous reminder that this is little and it will lack definition, too long 25 April 1957. a flat image, a construct. Teasingly, he and the lines melt together, disrupting the invites us to draw back, as if on a promise screen through which the image emerges.

4 Art in Print September – October 2019 Giorgio Morandi, Various objects on a table (1931), 45 x 29 cm. Courtesy Estorick Collection of Modern Italian Art.

Art in Print September – October 2019 5 Paul Coldwell: Temporarily Accessioned By Stephan Doering

n October 2016, a new exhibition invisible presence. The ghostly appear- From this viewpoint, Temporarily opened at the Freud Museum in ance of the translucent coat gives a new, Accessioned is a psychoanalytic cure for OVienna: “Setting Memory: Bettina von visible manifestation to memory (many of psychoanalysts like myself—still in Zwehl & Paul Coldwell.” I was immedi- us have in mind the iconic picture of Freud Vienna and still struggling with the loss ately struck by Paul Coldwell’s print Tem- and his daughter Anna at the Gare de l’Est of Sigmund Freud. It provides an image of porarily Accessioned (2016). A life-sized in Paris on 5 June 1938, in which he is wear- how we can keep Freud alive inside and image of a coat, collaged from 14 X-rays, ing the coat). Like the real Freud, the coat outside ourselves; it helps us integrate it was displayed on the eastern wall of will not return—in its stead Coldwell pro- into our identity and work both our Freud’s former private flat in Berggasse vides a materialization of our internalized mourning and our responsibility for a 19. The print was of a size and hung at a image: a picture of the invisible. future without the reoccurrence of dis- height that I could see my reflection in The day I saw the print at the Freud placement and genocide. the glass of the frame as if I were wearing Museum happened to be my 50th birth- the coat. It had an intriguing beauty— day. I immediately knew I wanted to buy Stephan Doering is head of the Department the delicate and translucent shape of it. Through Monika Pessler I established of Psychoanalysis and Psychotherapy at the the crinkles, the metal ticks to close the contact with the artist. We exchanged Medical University of Vienna, Austria. collar, the long sleeves, the pockets that some touching emails and came to an seemed to indicate something inside, the agreement. Thus when the exhibition buttons and little pieces of radio-opaque closed, Coldwell’s vision of Freud’s coat material inside the medial corners of the moved from the museum into my house— coat’s lower hemline. I am also a psychoanalyst, who humbly When the museum’s director, Monika and resolutely represents psychoanaly- Pessler, told me the story behind the work, sis at the Medical University of Vienna, I was struck by how meaningfully it had where Freud’s whole burdensome and touched me, even before I understood its glamorous academic career took place. content. The X-rayed coat is the one Sig- Day by day Temporarily Accessioned mund Freud was wearing when he left reminds me that Vienna has lost Freud Vienna under duress on 4 June 1938 after forever, and also that there always is the the Nazi Anschluß. It now belongs to the opportunity—and even the necessity— other Freud Museum—the one in London, for a symbolic return, particularly in where Freud lived until his death in 1939, times like these, when we need spiritual and whence Coldwell removed it on 23 strength to resist the resurrection of the February 2016 for imaging at the National dark powers of the past. Gallery. There it was “temporarily acces- The curative work of psychoanalysis sioned” by the museum—treated like a is at its core one of picturing the invis- newly acquired art object—which meant, ible: the most important early experi- among other things, being X-rayed. ences of the baby in relationship with its Coldwell made an inkjet print from caregivers are stored in the memory as the X-ray films, with the aim of bring- implicit unconscious, preverbal, bodily ing the coat back to Vienna after this and affective states. These relationship metamorphosis. Freud will never return experiences—particularly when they are to Berggasse, and his former flat there adverse or traumatizing—shape our per- is almost empty, except for a few objects sonalities and may create mental disor- given to the museum many years after he ders. In psychoanalysis these experiences had left. But there is something of Freud’s are reactivated in the relationship with that is still alive and can come back. It is the analyst who, jointly with the patient, immaterial and invisible: the legacy of his creates metaphors, images and in the end creation—psychoanalysis. This is alive narratives of who the patient is, and how and still widely practiced and recognized he or she developed his or her personality. in Vienna, along with the memory of his This helps patients to integrate split-off physical presence and the objects he sur- aspects of their experience and person- rounded himself with in Berggasse 19. alities, end dysfunctional patterns of In bringing Temporarily Accessioned to experience and behavior, and lead a more Freud’s former flat, Coldwell pictured his satisfying and fulfilled lives.

6 Art in Print September – October 2019 Paul Coldwell, Temporarily Accessioned (2016), inkjet print, 115 x 152 cm. Image courtesy the artist.

Art in Print September – October 2019 7 .

Picturing the Invisible Fabric of the Human Body By Adam Gibson and Tabitha Tuckett

e humanis corporis fabrica libri septem (“on the construction of the Dhuman body in seven books”)1 is an early printed anatomical textbook written by Andreas Vesalius (1514–1564). It is both a striking object of visual art and a mile- stone in the history of anatomy. In its ambitions and innovative physical format, it also represents multiple ways in which the invisible may be pictured. We each came to this work of Vesalius with different areas of expertise. Adam is an imaging scientist with expertise in the medical and cultural heritage sec- tors; Tabitha is a rare-books librarian at University College London (UCL). We’ve collaborated on a number of projects, and in this one we shared the intention of revealing more about the physical structure of this remarkable volume. Even in its earliest iterations (the first edition and the abridged Epitome, both published in 1543) the Vesalius publication was large, spectacularly illustrated and beautifully produced. But the second edition, published in 1555, is still more imposing. Printed with larger type on thicker paper, it contained new tex- tual updates, and at nearly 900 pages, is a large, brash, confident piece of work.2 The initial print run is estimated to have been at least 800, and more than 400 copies are known to have survived to recent times.3 Three of these are held by UCL Special Collections. For more than a millennium, Euro- pean anatomy education was based on the teachings of the Greco-Roman physician Galen (129–ca. 216), who had con- solidated and added to prior knowledge by carrying out human dissections and animal vivisections. Until Galen, for example, it was believed that the arteries carried air because arteries in dissected dead bodies were empty. It was Galen, who was physician to the gladiators and presumably familiar with injuries, who revealed that the arteries do in fact carry

blood.4 Despite such insights, however, Fig. 1. Frontispiece of De humani corporis fabrica (1555), 38.7 x 26 cm. UCL Special Collections Galen remained committed to the erro- STRONG ROOM C FOLIO 1555 V27 (Image courtesy of UCL Library Services). neous theory of the four humors—one Figure 1 : Frontispiece of De humani corporis fabrica (1555), UCL Special Collections STRONG ROOM of many misunderstandings that arose C of the FOLIO living body 1555 were V27 largely unseen (Image X-rays courtesy in the late of 19th UCL Library Services) century). from the fact that the internal workings (and would remain so until the advent of In the Renaissance, thinking about the

8 Art in Print September – October 2019 .

body was transformed by the anatomical drawings of Leonardo da Vinci, based on dissections, and Vesalius continued in this tradition. Carrying out his own dissections, he demonstrated inaccura- cies in Galen’s theories. Both Leonardo and Vesalius pictured structures that had been invisible physically, lying beneath the surface of the living body, and invisible intellectually, thanks to Galen’s abid- ing influence. From its first page, it is clear that the Vesalius volume is as ambitious artis- tically as it is medically. The complex woodcut frontispiece (Fig. 1) shows the dissection of a woman, surrounded by a packed audience (including a dog, the basis of much of Galen’s anatomy that Vesalius challenged). The choice of a female corpse, rare in an Early Modern anatomical demonstration, is striking for several reasons, not least the angle at which the body is presented to the viewer,5 and it is largely for this image Fig. 2. Showing the assembled pop-up anatomy page. and the 250-plus woodcuts of the dissected human body that follow that the each other, and could appreciate their of reading to include physical interac- book is best known today. Particularly organization as a whole. The third UCL tion with the text-bearing object—they remarkable is a set of 14 woodcuts show- edition9 is a rare example in which these annotated, colored, illustrated and cut up ing a male body in progressing stages parts have been assembled, transforming their books. Vesalius, rather than simply of dissection. These prints, popularly the page into a remarkable three-dimen- using paper flaps to reveal hidden parts, referred to as the “muscle men” or “flayed sional object. exploited reader expectations of interac- men,” have been much studied by art his- This sort of paper diagram was not tivity by providing a learning tool with torians, and attributed to various artists, unique. Vesalius’s 1543 Epitome included which the reader could systematically including the school of Titian and Jan van similar, but not identical, parts for the locate and hide, rather than reveal, the Calcar.6 At once diagram and art, they set assembly of three-dimensional paper organs of the body. gruesome anatomical detail against a manikins. Astronomical texts had Art in this instance facilitates, then background of hills (possibly near Padua) included moving discs, or volvelles, for obscures, the record of investigation. that can be aligned to form a continuous several centuries, and the first printed We wanted to uncover that record. The panorama.7 English translation of Euclid’s Elements constructed pop-ups look as though Even within an opened body, certain in 1570 included fold-out diagrams to they should be delicate—some nerves structures and organs remain hidden by explain geometry. Printed flap anatomies and blood vessels are barely a millimeter others. Vesalius invented two solutions and similar anatomical diagrams, partic- wide—but they are unexpectedly sub- to this pictorial problem: first by having a ularly used to reveal a child in the womb, stantial. They have been strengthened series of prints sequentially reveal struc- appeared from the 1530s to the 18th cen- by a barely visible support layer stuck to tures, as with the muscle men, and sec- tury.10 As Boris Jardine observed, writing the underside of the printed image. Vesa- ondly through a less discussed but more of an Elizabethan mathematical book: lius himself suggests this technique in ingenious method—presenting a dissec- “one of the more surprising things a his instructions: “To attach the figures tion as a pop-up diagram. wealthy owner of a beautifully illustrated printed on this sheet properly in their It was these structural designs that folio volume could do was to take a sharp places and to make them sturdier, first we set out to investigate. Bound in two knife and cut it to pieces.”11 attach a layer to the back of this sheet and of UCL’s three copies of the book are two What is unusual is how Vesalius uses cut out each of the figures from the sur- separately printed (“fugitive”) sheets,8 the technique. Introducing the 2019 New rounding paper.”12 one of which was intended to be removed Editions issue of this journal, Susan Tall- To find out more about these invisible by the reader and, using the detailed man wrote, “most artworks fall into one reinforcements, we looked underneath instructions provided, cut up and reas- of two camps: things that are made to say the flaps, using a fetal laparoscope (a rigid sembled by attaching its constituent something, and things that are made to illuminated endoscope with a diameter parts to the other sheet, forming three- figure something out.” In the case of the of about 3 mm, normally used to perform dimensional anatomical illustrations Vesalius, that “figuring out” is extended to keyhole surgery on fetuses in the womb) (Fig. 2). The reader would thus be able the owner: the image is best understood (Fig. 3).13 In other words, we took mod- to see clearly how different organs and not as a record of discovery, but as its tool. ern medical imaging equipment designed blood vessels are aligned with respect to The book’s early owners expected the act to picture the invisible within the living

Art in Print September – October 2019 9 Left: Fig. 3. Imaging underneath the pop-ups using a laparoscope. Right: Fig. 4. View through the laparoscope, showing the complexity of the pop-up features.

body, and used it to picture the invisible study, and to UCL Special Collections for ists Involved in Vesalius’s Fabrica 1543,” Medi- details of the fabric of a historic book’s making the book available to us. Images cal History 13, no. 1 (1969): 37–50, and Martin pop-up organs. of the book courtesy of Special Collec- Kemp, “A Drawing for the Fabrica; and Some The resulting images clearly showed tions, UCL Library Services. Thoughts Upon the Vesalius Muscle-Men,” Medi- cal History 14, no. 3 (1970): 277–288. hair follicles and fibers, revealing that 7. George S. T. Cavanagh, “A new view of the the material of the supporting structure Vesalian landscape,” Medical History 27, no. 1 was parchment. Handwritten Latin in a Adam Gibson is a Professor of Medical Physics (1983): 77–79. medieval script was also visible (Fig. 4), and Heritage Science. 8. The term “fugitive sheets” is a bibliographic suggesting that the pop-ups were assem- term introduced by Mortimer Frank in his 1920 translation of L. Choulant’s Geschichte und Bib- bled when parchment manuscripts were Tabitha Tuckett is Rare-Books Librarian at liographie der anatomischen Abbildung, nach still commonplace and less valued than University College London. ihrer Beziehung auf anatomische Wissenschaft newer printed books, possibly soon after und bildende Kunst (Leipzig: Rudolph Weigel, the volume had been purchased almost 1852)—a translation of Choulant’s “fliegende Blät- Notes: 500 years ago. A similar manuscript- ter,” used for separately printed flaps or layers of 1. The original meaning of fabrica has changed fortified, assembled manikin exists in paper attached to printed anatomical diagrams. and now would be translated more accurately as 9. UCL0015178 / STRONG ROOM C FOLIO 1555 Cambridge University Library’s Vesalius “construction,” “craft” or “art.” We retain the mul- V27. Epitome CCF.46.36. In our example, we tiple meanings of fabric in the title, which plays 10. Andrea Carlino, “Paper Bodies: A Catalogue were able to identify the reused manu- upon the art of the book, the construction of the of Anatomical Fugitive Sheets 1538–1687,” page and the book’s title. script as being a discarded medical text.14 Medical History Supplement 19 (1999): 1–352. 2. Stephen N. Joffe, “A census of the edition of By imaging this piece of printed medi- See also: “Wellcome Library: 16th C. Anatomi- 1555 of Andreas Vesalius’ De Humani Corporis cal Fugitive Sheets, With Animations Demon- cal art using a laparoscope, we were Fabrica,” International. Archives of Medicine 2, strating Functionality,” Morbid Anatomy, 9 Aug able to uncover a reader’s (or bookseller’s) 2009: 26, and Vivian Nutton, “Vesalius Revised. 2009: morbidanatomy.blogspot.com/2009/08/ process of exploring and naming other- His Annotations to the 1555 Fabrica,” Medical wellcome-library-16th-c-anatomical.html. wise invisible territories of the human History 56, no. 4 (2012): 415–43. 11. Boris Jardine, “More Than a Manual: Early- 3 .Dániel Margócsy, Mark Somos and Stephen N. body, without ourselves damaging the Modern Mathematical Instrument Books,” History Joffe, The Fabrica of Andreas Vesalius: A World- of Knowledge, 4 Oct 2018. historyofknowledge. edifice—the fabric—of the paper body. wide Descriptive Census, Ownership, and Anno- net/2018/10/04/mathematical-instrument-books/. In the process, we acquired a film from tations of the 1543 and 1555 Editions (Leiden: 12. Daniel H. Garrison and Malcolm H. Hast, the imaging equipment that resembles a Brill, 2018), 8–9. The 2018 census introduction The Fabric of the Human Body (Basel: Karger, explains that some copies included in their total work of art itself (see https://doi. 2014), 828. are known about, from auction and catalogue org/10.5522/04/8224085.v1). 13. The specific instrument we used is actu- records, but have since been lost. ally used for education and outreach rather than 4. Ares Pasipoularides, “Galen, Father of Sys- surgery. Acknowledgements tematic Medicine. An Essay on the Evolution of 14. Publication forthcoming. We are grateful to Dr. Sandy Mosse and Modern Medicine and Cardiology,” International Dr. Dzoshkun Shakir of the Wellcome/ Journal of Cardiology 172, no. 1 (2014): 47–58. 5. Chris Laoutaris. Shakespearean Maternities: EPSRC Centre for Interventional and Crises of Conception in Early Modern England Surgical Sciences who provided the fetal (Edinburgh: Edinburgh University Press, 2008), 29. endoscope and carried out the imaging 6. Francisco Guerra, “The Identity of the Art-

10 Art in Print September – October 2019 Hidden Lights: Sir John Soane’s Piranesis By Owen Hopkins

5:30 a.m. on 18 March 1778, John t 5:30 a.m. on 18 March 1778, John draughtsman Giovanni Battista Piranesi funded his Grand Tour, was clearly influ- Soane (1753–1837) set off on a long (1720–78). enced by Piranesi’s Ponte Magnifico from Ajourney to Italy. The two years he spent Soane met Piranesi only a few months the etching series Prima Parte di Archite- on the Grand Tour were to be the most before the Italian’s death. By that point ture e Prospettive (1742). So it must have formative of his career. Arriving first in Piranesi’s reputation as one of the great been a thrilling moment for the young Rome, Soane headed south to Naples, printmakers and architectural visionar- Soane to meet the man himself and to Pompeii and Paestum, and then north ies of the 18th century extended across receive as a gift four prints from Pirane- to Mantua, Parma, Vicenza, Padua and Europe. Soane owed his introduction si’s Vedute di Roma (Views of Rome) series. Venice among other places. For the young to the architect Sir William Chambers Begun in 1748 and issued throughout architect, as for many others before and (1723–96), who urged Soane to “forget not the rest of Piranesi’s career, the Vedute after him, the experience of studying at Piranesi, who you may see in my name; comprise 135 plates of mostly canoni- first hand so many of the buildings he he is full of matter, extravagant ’tis true, cal ancient and “modern” subjects such had previously known only from images often absurd, but from his overflowings as the Trevi Fountain, St Peter’s and the and written accounts was a revelation. It you may gather much information.”1 Piazza Navona. With their dramatic was not simply the things that Soane saw Soane was already familiar with Pirane- viewpoints, exaggerated perspectives and that stayed with him, however, but also si’s work: the young architect’s design for vivid contrasts between light and shade, the people he met, among whom none a triumphal bridge, which had won him Piranesi’s compositions are character- was more influential than the architect- the King’s Gold Medal scholarship that ized by an intensity that transcends the

Giovanni Battista Piranesi, Pantheon te Rome, etching, 18 1/2 x 27 1/2 inches. Courtesy of the Rijksmuseum, Amsterdam.

Art in Print September – October 2019 11 Giovanni Battista Piranesi, Veduta dell’Arco di Settimio Severo, etching, 18 1/2 x 27 1/2 inches. Courtesy of the Rijksmuseum, Amsterdam.

standard definition of the topographical reveal yet more artworks hung beneath. wholly different character with artificial print. Indeed, they appear as much con- As Soane’s collection expanded, these light—lamplight in Soane’s day, electric cerned with a kind of temporal topogra- four prints were joined by a complete set now—creating vivid contrasts against phy as they are with the conventionally of Piranesi’s printed works and the pow- the otherwise all-enveloping gloom. The physical one. In the Vedute, Rome appears erfully evocative drawings Piranesi pro- effect is vividly captured in an atmo- not as a collection of more or less distinct duced near the end of his life of the Doric spheric watercolor of 1811 by Soane’s historical strata, but as an assemblage temples at Paestum. draughtsman Joseph Michael Gandy of buildings, objects and ideas existing It has become something of a cliché (1771–1843), who was himself deeply influ- together in extraordinary simultaneity. to describe Soane’s buildings as “Pira- enced by Piranesi’s work. It is unclear whether the subjects of nesian.” Yet it is hard to imagine the Piranesi’s influence on Soane was not the prints that Piranesi gave Soane—the stacked labyrinthine spaces of his house limited to the handling and interrelation Pantheon, the Arch of Constantine, the (now museum) in the absence of Pira- of form, object, volume and light; it Arch of Septimus Severus and the tomb nesi’s Carceri d’Invenzione—the famous extended to the very idea of how one of Cecilia Metella—had a particular imaginary prisons, with their vast sub- might convey the experience of encoun- meaning or whether they were simply terranean vaults, overhanging stairs and tering the ruins of antiquity in contem- what he had close to hand. We do know dramatic contrasts of light and shade. We porary, real life. This was Piranesi’s how highly Soane valued the gift: three see this most vividly in the “Dome Area,” genius: he not only depicted monuments of the prints were hung in the Break- the spiritual heart of the museum. Stand- as they appeared, he conveyed the emo- fast Room at 12 Lincoln’s Inn Fields, one ing in the basement and looking up, one tional effect—invisible in itself—they of the principal rooms of the first of the enters into an almost mystical world of produced. To look at one of the Piranesi’s three connected houses that Soane built architectural experience: casts and frag- views is to feel the frisson of excitement on the site. The prints moved on to No. ments of antique monuments cover every when stepping around a city corner and 13 after its completion in 1812, and from available surface, some appearing to defy encountering the Pantheon for the first the 1820s they were hung in the Picture gravity; there are intimations of spaces time. This is the frisson that Soane Room—Soane’s famous in-house gal- beyond the ones we can see, and dark- sought to engender when he created the lery in which works of art are hung on ness but also light of different colors and Dome Area. In Soane’s house museum “movable planes” or panels that open to intensities. At night the space takes on a the fragments point, not to the absence of

12 Art in Print September – October 2019 Giovanni Battista Piranesi, Tombe van Cecilia Metella te Rome, etching, 24 7/16 x 17 5/16 inches. Courtesy of the Rijksmuseum, Amsterdam. the building of which they formed part, Notes: nor to an understanding of that building 1. From a letter originally written for an earlier in its original complete form, but to an traveller by the name of Edward Stephens. It is evocation of the simultaneity of experi- in the archive of Sir John Soane’s Museum (pri- ence that Piranesi so vividly captures in vate correspondence I.C.7.I), entitled “Sir William his Vedute—that sense of loss, as well as Chambers to M. Edward Stevens, Architect, Au accretion; the stretch of historical time Caffé Anglois [sic], Place D’Espagna, Rome.” Quoted by John Wilton-Ely in Piranesi, Paestum and also of the specific moment of being, and Soane (Munich: Prestel Verlag, 2013), 7. that shimmering atmosphere. As Gandy wrote in a letter from Rome in 1796: “We are apt to praise and form greater ideas of ruins than we would perhaps have had of the buildings when whole.”

Owen Hopkins is senior curator of exhibitions and education at Sir John Soane’s Museum, London. Picturing Care By Roger Kneebone

he subject of Barbara Hepworth’s When I first encountered this painting trays. In Concourse 2 she captures the painting Concourse 2 (1948) at the it hit me with a visceral sense of famil- commitment, focus and skill of surgical RoyalT College of Surgeons of England, iarity, even though it was painted before teamwork and its impact on her own life. reproduced in print in the book of her I was born, in an era I have never expe- She shows the unseen essence of a group hospital drawings, is unmistakably a sur- rienced. By the time I saw it I had spent of people with a common purpose. gical operation.1 A group of ten people many years training as a surgeon and I She shows us the invisible. She shows us in gowns, caps and masks stand huddled had seen many images of surgery. Yet I care. together. There are none of the usual had never seen a painting that captured details that a surgical illustration or a that world with such precision and force. Roger Kneebone is a surgeon and Professor of television image would provide. Yet to me A little background puts this picture Surgical Education and Engagement Science, as a surgeon, Hepworth goes to the heart into context. In the 1940s one of Hep- Imperial College London. of what an operation is about. She shows worth’s triplets suffered from osteomyeli- us the invisible. tis, an infection of the bones that affected Notes: The essence of this painting is care— her spine. Treatment was costly and the 1. Nathaniel Hepburn, Barbara Hepworth: The care for a vulnerable person anesthetized family had been struggling to make ends Hospital Drawings (London: Tate Publishing, on the operating table. We do not see meet. The newly introduced National 2013). that person; we have no idea what kind Health Service promised to transform 2. Barbara Hepworth, unpublished lecture, 1950. Quoted in “Barbara Hepworth: The Hospital of operation is taking place. There are that. Hepworth was intensely grateful to Drawings,” http://visualarts.britishcouncil.org/ex- no specifics, nothing to distract the eye. the clinicians who cared for her daughter hibitions/exhibition/barbara-hepworth-the-hospi- There is no surgical lamp, no anesthetic Sarah, and at the same time became fasci- tal-drawings-2012. machine, no operating table, no details of nated by how surgeons used their hands. instruments. Instead there are people. She spent several years observing surgical The first thing I noticed was the gaze, procedures and produced about 80 draw- the quiet concentrated calm of skilled cli- ing and paintings in her Hospital Draw- nicians working together with a common ings series. purpose. Even the ones watching from Concourse 2 is much more than a docu- the periphery are focused on what is tak- mentary account of a surgical operation. ing place before them. The way they are Painted in a flat style with cool colors and standing shows a similar commitment. visible scratch marks on the surface, it Alert, attentive and focused, they are all seems to be in a direct line from Giotto engaged with what is taking place. Yet and the frescoes of the Italian quat- what is most important is what we cannot trocento. There too, what is most impor- see. What Hepworth captures is invisible, tant is not directly visible. intangible yet unmistakable: care. To me, Hepworth captures an aspect of Above all, these people are looking. surgery that is apt to become eclipsed. For Not at one another, for there is no eye insiders in a surgical team each operation contact between them. Instead they are is about detail, about finding what is wrong focused on what is most important at with each patient and having the skills to that moment—a vulnerable person in put that right. An outsider can see some- need of skilled attention. They are not thing different. By standing at the edge and only looking, however. Some of them, at looking in, Hepworth shows a dimension of least, are doing, although we cannot see surgery that is all too easy to overlook. the details of what they are doing. At the Hepworth was not a medical artist or a center of the picture are the hands of the surgical illustrator. She was not concerned surgeon. He is holding an instrument in with anatomical precision or the details his left hand, but that is dwarfed by the of disease. Instead she was fascinated by hands themselves—unnaturally large, what experts do and how their work reso- even exaggerated, but in perfect propor- nates with her own experience as an art- tion to their importance. We see other ist. In a lecture to a group of surgeons in hands too, especially those of the figure at the 1950s she said, “There is, it seems to the left of the painting, the operating theme, a close affinity between the work and ater nurse with her instruments arrayed approach both of physicians and surgeons, before her. On the right is another hand, and painters and sculptors.”2 perhaps that of the anesthetist ventilat- Hepworth’s paintings say as much ing the patient’s lungs with oxygen. about her as about the people she por-

14 Art in Print September – October 2019 Barbara Hepworth, Concourse 2 (1948), oil and pencil on pine panel, 67.5 x 90 cm. Courtesy of the Museums at the Royal College of Surgeons. Barbara Hepworth ©Bowness.

Art in Print September – October 2019 15 Forensic Science and Picturing the Invisible: a Reflection onBlack Dice by John Baldessari (1982) By Ruth M. Morgan

John Baldessari, Black Dice (1982), portfolio of nine aquatints, photo etching, soft ground, and sugar lift, plus one black & white photograph, 16 1/2 x 19 3/4 inches. Courtesy Peter Blum Edition, New York. cience is a quest to articulate that cience is a quest to articulate that sure and faithful of all our movements prints derives from a section of a film still which is not known—to see more and all our encounters,” yet these clues from the 1948 gangster movie Black Dice (a Sclearly the connections and relation- are often fragmented and disassociated, British film originally titled No Orchids for ships that exist in order to make sense of and any attempt to theorize “the whole Miss Blandish). The sections were photome- the world. Forensic science specifically picture” must be cognizant of the gaps chanically reproduced and then reworked endeavors to reconstruct past events by between them. 1 by the artist, isolating specific objects and detecting and examining materials for John Baldessari’s 1982 etching portfolio details, highlighting them with color or insights into what happened. The pio- Black Dice offers a number of intriguing hand-applied annotations—the faces of the neering criminologist Edmond Locard parallels with the methods and limitations actors disappear, while inanimate objects described these clues as “mute witnesses, of forensic science. Each of the work’s nine like a bedside lamp, a telephone, and a

16 Art in Print September – October 2019 wall sconce are presented with clarity. The palimpsest quality of the prints—the sense of one kind of information lying beneath another—is akin to the recovery of exhibits from a crime scene. As time passes before, during and after a crime event, materials can be incorporated onto, or into, a clue. Alternatively, a clue can decay or diminish over time—a garment may shed its fibers, footwear may drop sedi- ment particles. The materials thus added or lost may or may not be relevant to a crime, but they become integrated within the clue, just as Baldessari’s post-facto erasures and overlays present a picture that derives from a past event, while also changing it. Forensic science evidence is not pristine; to understand what a clue is and what it means, we need to peel back its layers. In dividing this cogent cinematic scene—woman in bed, man at door, another man crouching beside the bed, gun in hand—into nine parts, Baldessari invites us to see elements in isolation. The prints may be hung in a grid such that the composition is united, but they Film still from Black Dice (1948). may also be viewed one at a time, lifted out of the box, in which case one has to imagine how each connects to the next. that is visible may enable us to articulate to identify the unknown, piecing together The portfolio box also includes a copy of a whole that is invisible and intangible. partial glimpses, and interpreting the the original film still, enabling the viewer Increasing the resolution of images of interstitial voids is a universal human to see clearly the starting event. In foren- mineral grains recovered from a shoe experience. In Black Dice Baldessari has sic science, however, it is rare to know the makes it possible to see the surface fea- given us pictures of that will to see the whole picture; instead we rely on infer- tures of those grains, and to infer, for invisible. ences made from the key fragments that example, that the shoes have not been remain. We see in parts, and we infer in one particular location, or cannot be Ruth M. Morgan is director of the Centre for the the whole. In many cases, that whole excluded from having been in another. Forensic Sciences at University College London, can never be firmly established—it was a Identifying the chemical constituents of and co-investigator of the Picturing the Invisible moment fixed in space and time that has a trace residue as a specific type of explo- Network. now passed. sive makes it possible to infer the type of Black Dice is an invitation to recon- device that may have been constructed. Notes: nect and reconstruct partial, “snapshot” Every scale offers additional insights, to 1. Edmond Locard, “The analysis of dust traces views into a larger whole. More than be fitted together. Part I,” Revue Internationale de Criminalistique I, this, it illuminates the critical difference When one clue fills our view, however, it no. 4–5 (1929): 176. between seeing the attributes or value of is possible to mistake it for the whole—to 2. Some types of evidence have historically been presented in court as if unequivocal, imbu- pieces in and of themselves, and seeing infer too much from too little. Therefore, ing them with greater weight than is warranted, the collective characteristics of a picture it is important to remain aware of incom- and leading to overreliance on their findings. as a whole. In crime reconstruction each pleteness. If our quest is to articulate that This is particularly true for DNA evidence: it clue must be viewed through multiple which is not known, we must be willing to is not enough to establish that the DNA on a lenses—some shaped by empirical data, identify voids as well as presences. Only weapon belongs to a specific individual, we need to establish how and when the DNA got there. others by experience and expertise. Only when we have transparency about what is, Was it during a criminal act or through innocent when all these perspectives are brought and is not, possible to know at any given means? together is it possible to consider the moment, can science contribute effec- whole and communicate the value of that tively to the justice system.2 finding. Establishing which fragments are In forensic science we may increase salient—analyzing each clue first in isola- the resolution of a view through micros- tion, and then as part of a whole—is how copy, or we may break a clue down into forensic scientists give “mute witnesses” a its constituent elements to determine its voice; it’s how we “see” that which has origins. Deconstructing a tangible clue become invisible. More broadly, the quest

Art in Print September – October 2019 17 The Smell of Dark Matter: Dane Mitchell’s Perfume Plumes By Roberto Trotta

n 1933 the Swiss astronomer Fritz Zwicky made a discovery whose con- Isequences reverberate through physics to this day. A colorful character, Zwicky was notorious in the astrophysics community for his bad temper and tendency to insult publicly anybody who disagreed with him. Born in Bulgaria in 1898 to a Swiss father, he was educated at what is today the Swiss Federal Institute of Tech- nology (ETH) in Zurich, before moving to California in 1925 to work with physicist and Nobel Prize winner Robert Millikan. Throughout his career, Zwicky displayed the kind of original, off-the-wall thinking that sets truly creative scientists apart. He coined the word “supernova” to describe bright exploding stars, and speculated in 1937 that galaxies could act as gravitational lenses, deflecting the tra- jectory of light as it travels through the universe—an insight confirmed observa- tionally only over 40 years later.1 In this and many other ways, Zwicky was ahead of his time, and the realiza- tion of some of his ideas remains elusive, including his plans to relocate the solar system elsewhere in the universe (!). In a paper published in 1948, he bemoaned that “the teaching of special disciplines . . . has utterly failed us.”2 He suggested that “an organic understanding of celestial hap- penings ultimately involves the necessity of comprehensive knowledge of all other scientific disciplines and human activi- ties,” thus foreshadowing by a decade C.P. Snow’s “two cultures” argument.3 Back in 1933, Zwicky used a specially designed 18-inch Schmidt telescope at Caltech’s Palomar Observatory to map out the location and speed of hundreds Dane Mitchell, Perfume Plume 4 (2011), monotype with perfume, 50 x 40 cm. of galaxies bound together by gravity in Published by Keystone Editions, Berlin. a structure known as the Coma Cluster, located some 320 million light years away “dark matter”—a new form of matter that clusters; and indirectly by looking at how from the Earth. By looking at the speed generates gravity, but does not interact much hydrogen and helium were pro- with which galaxies were moving with with light.4 duced in the Big Bang furnace. respect to each other, he concluded that Since then, the evidence for the exis- These observations point to the aston- the gravitational attraction required to tence of dark matter in the universe has ishing fact that dark matter is, on average, keep them bound in a cluster far exceeded mounted. We have observed the effect of five times more abundant than normal the gravity generated by the visible mass dark matter on the formation and growth matter in the universe.5 Despite this enor- of the galaxies alone. As a solution to this of galaxies; on the relic light left over mous progress, we still don’t know for quandary he postulated the existence of from the Big Bang; on collisions of galaxy sure what dark matter is made of, nor

18 Art in Print September – October 2019 after decades of efforts have we been able to detect it in the lab and provide conclu- sive proof of its nature. Zwicky’s discovery remains shrouded in a cloud of darkness. In many ways, dark matter is the quintessential embodiment of what Dane Mitchell describes as the “invisible forces that churn and move around us,” which inspire his work.6 Mitchell’s Perfume Plume monoprints (2011) were created by spraying perfume onto an ink-covered surface.7 The chemical reaction of the perfume with the ink created unique patterns of spots in serendipitous arrangements not dissimilar in composition to some of Zwicky’s photographic plates of the Coma Cluster, with the striking difference that Mitchell’s perfume spots appear white on a sky-blue background, while Zwicky’s negative plates show the Coma Cluster galaxies as dark points on a white background. These perfumed clusters retained for several week their original fragrance, which added another sensorial, invisible channel to the artwork. Just as dark matter is the invisible glue holding galaxies in the Coma Cluster together, the prints’ fragrance was an invisible expression of the underlying process by which they were created. Dane Mitchell, detail of Perfume Plume 4 (2011), monotype with perfume, 50 x 40 cm. To me, Mitchell’s work speaks of the Published by Keystone Editions, Berlin. material yet invisible forces that shape our existence. It reminds us that there is more than what is apparent, in art just as Dark matter binds galaxies together and (1937): 217. in the cosmos. Our sense of smell is an is ultimately responsible for our existence: 5. Gianfranco Bertone and Tim M.P. Tait, Nature often overlooked, yet uniquely power- without dark matter, galaxies would not 562 (Oct 2018): 51–56. ful channel to do that. Recent studies of have formed as quickly as they did after the 6. Dane Mitchell in Sarah Messerschmidt, “Incal- Big Bang, and we probably wouldn’t be here culable Losses: An Interview with Dane Mitchell human perception show that the human Ahead of the Venice Biennale,” Berlin Art Link, nose has about 400 types of scent recep- to puzzle out the fundamental nature of 17 Apr 2019, www.berlinartlink.com/2019/04/17/ tors, which may be able to detect over the universe 13.7 billion years later. Dane incalculable-losses-an-interview-with-dane- 1,000 billion different odors—a truly Mitchell’s work on the invisible processes mitchell/. astronomical number, three times the that shape our world and our perception of 7. See: www.keystone-editions.net/artistpages_ eng/danemitchell_eng.html. number of stars in our galaxy.8 it is a powerful way of connecting us on an 8. C. Bushdid, M.O. Magnasco, L.B. Voss- The sense of smell is also one of the emotional level to the deeper reality beyond hall, and A. Keller, “Humans Can Discrimi- more primordial senses, strongly linked what meets the eye. nate More Than 1 Trillion Olfactory Stimuli, to the ancient parts of the human brain, Science 343 (Mar 2014): 1370–1372. the amygdala and the hippocampus. The 9. See Roberto Trotta, “The Hands-on Universe: amygdala is thought to be responsible Roberto Trotta is Professor of Astrostatistics Making Sense of the Universe With All Your Senses,” CAPjournal no. 23 (Mar 2018): 20–25, and Director of the Centre for Languages, for emotions, and has an important role and A Multi-Sensory Dark Matter Experience Culture and Communication at Imperial in forming memories. This is why smell (2018), online video, https://youtu.be/zKRsjGq- often has such a powerful effect on us, College London. z5Ls. capable of transporting us back to child- 10. See g-ASTRONOMY: a culinary and multisen- hood in a fraction of a second. In my own sorial exploration of the Universe (2017), online Notes: video, https://youtu.be/_GEtpf1ai4o. work as a science communicator, I aim to 1. Fritz Zwicky, “Nebulae as Gravitational explain astronomy through immersive Lenses,” Physical Review 51, no. 4 (1937): 290. experiences that use all of our senses.9 2. Fritz Zwicky, “Morphological Astronomy,” The Such cross-modal communication can be Observatory 68, no. 845 (Aug 1948): 121–143. used, for example, to bring the wonders 3. C.P. Snow, The Two Cultures and the Scien- tific Revolution (London: Cambridge University of astrophysics and cosmology to people Press, 1959). with visual impairment.10 4. F. Zwicky, Astrophysical Journal, vol. 86,

Art in Print September – October 2019 19 On Louise Bourgeois’ The Reticent Child and Shame By Tanja Staehler and Phineas Jennings

Tanja, became a fan of Louise Bour-

geois’ art at documenta IX when I enteredI her installation Precious Liquids (1992), a circular room of wood, containing a metal bed and various biomor- phic glass containers. It struck me as a highly original exploration of corporeality, especially female corporeality—the external housing, the internal vessels, the title which might be read as an allusion to blood, tears, or mother’s milk. Though physically absent, these liquids feel strangely present. In a similar manner, Bourgeois’ etching triptych The Reticent Child (2004) explores hiddenness and exposure, showing in succession an unborn child in the womb, a recumbent is judged, through its appearance, move- the orbs and the surrounding room. The figure within a breast, and finally a baby ments and behaviors, such as speaking. subjects were asked how they felt about being born. These works prompted me This awareness of incipient judgment can this work, what messages or themes they to think about the body and philosophi- lead to feelings of shame about our bod- thought Bourgeois was trying to present, cal aspects of picturing the invisible, and ies not only for the way they look, but for and whether these were pertinent to them. to work with philosophy student Phineas the way we contort them. Our choices are Bourgeois herself saw the Cells as evok- Jennings, whose research examining thus impacted by shame, real or antici- ing “how a relationship can be twisted, gender differences in the experience of pated. Again, this may have socially ben- the effect that people have on another,”6 shame dovetailed nicely with the aims of eficial outcomes: standing too close to and she spoke about the sense of threat this essay.1 someone, raising one’s voice too high or incurred by being watched: “you have an The Reticent Child may elicit feelings of constantly interrupting are behaviors that attack of anxiety whenever a person is discomfort and/or shame for a number of should perhaps inspire shame in certain coming.”7 Her comments recall Jean-Paul reasons: its depiction of sexualized body situations. Such reparable shame may Sartre’s claim that being looked at by parts and childbirth, for a start, but also, prompt others to change the way they talk others tends to evoke shame, especially we would argue, its use of liquid, splashy to people, and can be an overall productive when the person being seen is caught in red ink. Spilled blood is a universal source (if somewhat awkward or difficult to swal- an uncomfortable situation. Sartre, how- of disgust, for obvious evolutionary rea- low) experience. ever, failed to recognize gender differ- sons, and the fact that both childbirth Chronic shame, however, is based on ences in relation to this experience. and menstruation entail blood loss can aspects of identity and appearance that When Phineas asked the five men in contribute to a sense of the female body are difficult or impossible to change: race, his group about the marble eyes in Bour- as more shameful than the male. There gender, disability, height, etc. In a society geois’ sculpture, four made references to are, however, different kinds of shame. where women are sexually objectified “looking out” and “viewing,” implicitly Some shame can be productive. Repa- on the basis of appearance,4 women are placing themselves in the position of rable shame, for example, is used to teach particularly vulnerable to chronic shame. the perceiver rather than the perceived. people from a young age how to improve Chronic shame differs from acute, repa- Three of the five women, on the other their behavior. Being criticized can lead rable shame, which arises in a specific hand, expressed the inverse: one said, us to reflect on our actions in a way that situation.5 “you get the sense that you are constantly is ultimately positive. Some philosophers In his research, Phineas showed ten being watched,” and another referred to argue that this reflection and self-aware- anonymous online respondents photo- the eyes as belonging to a “supervisor or ness distinguishes shame from simpler graphs of works by women artists, includ- overseer.” Men were less self-conscious, emotions such as happiness and fear.2 ing a sculpture by Bourgeois, Cell (Eyes most suggesting that being seen implies As a self-conscious emotion, shame has and Mirrors) (1989–93). The work consists an acute physical threat rather the exis- an essential link to the body, the “seat of of a metal cage (or “cell”), two meters a tential threat of chronic shame. When the self.”3 From the perspective of a real or side, containing two black marble spheres asked about the mirrors, four women imagined anonymous onlooker, a person’s (“eyes”) on a steel plinth surrounded by spoke about self-surveillance—“the dif- body provides the evidence on which one mirrors positioned to reflect the viewer, ferent perceptions that one has of [one-

20 Art in Print September – October 2019 Louise Bourgeois, The Reticent Child (2004), drypoint and hand coloring on paper, triptych, 17 x 15 inches overall. ©The Easton Foundation, Licensed by VAGA at Artists Rights Society (ARS), NY. Photo: James Dee. Opposite page: detail. self]” and “being in public and seeing ous—older than a baby, perhaps even ored by the fear of public judgment, yourself reflected back.” a pregnant woman. While the compo- which makes Bourgeois’ “shameless” ex- For some women, this sensitivity to sitions on either side are grounded in posure of these experiences so valuable. being observed and judged is exacerbated anatomical realities, this one appears by pregnancy—they may worry about the metaphorical: the breast is not where the Tanja Staehler is Professor of European possibility of throwing up in public, or of child resides, but where it gets nourished, Philosophy at the University of Sussex, U.K. revealing a pregnancy too early, when the and it lies near the heart, where we locate risk of miscarriage is high, and feel obliged love and protectiveness. Phineas Jennings graduated in Philosophy to invent excuses for not consuming alco- The titular “reticent child” was Bour- from the University of Sussex and is now hol. Later in a pregnancy, some may believe geois’ third son, who, she said, “simply curator at Rise Art. that they should be able to feel and identify refused to be born. . . . He was the reticent the position of the baby with the preci- child. Il était réticent.”8 We may sym- Notes: pathize with his desire to avoid a world sion of midwives and doctors, but instead 1. Jennings was the recipient of a Junior experience the child’s movement as if being that is so incomprehensible, and which Research Award at the University of Sussex, touched by an alien from the inside. This becomes more uncanny as we grow older. where Staehler is on the faculty. can also become a source of shame. Bourgeois explained that she “protected 2. Dan Zahavi, “Shame and the Exposed Self,” Bourgeois seems to depict this sensa- him because she knew how sad and in Jonathan Webber, ed., Reading Sartre: On tion in the first etching of The Reticent wicked this world is. . . . But he was not Phenomenology and Existentialism (London: Routledge, 2010), 211. Child, where the hidden baby is drawn as interested in being loved or protected.”9 3. Luna Dolezal, The Body and Shame: Phenom- an alien of sorts, with wild hair and wide Reticence might also be seen in rela- enology, Feminism, and the Socially Shaped eyes staring out. Phineas’s interviews sug- tion to the difficult-to-comprehend Body. (Lanham, MD: Lexington Books, 2016), 6. gest that women may be more prone to process of childbirth, as depicted in 4. Catherine MacKinnon, Feminism Unmodified: imagine the baby is looking at them, while Bourgeois’ third print. How can one Discourses on Life and Law (Cambridge: Har- vard University Press, 1987), 6. men may be more likely to identify with body emerge from another body such 5. The distinction comes from Dolezal (10–11), the figure looking out. The image reminds that both bodies remain intact? We may who describes chronic body-shame as “a back- everyone, however, that our origin lies in feel ashamed by looking at Bourgeois’ ground of pain and self-consciousness,” which a female body, the experience of which image—a body emerging from the most she contrasts with acute shame, “an acute dis- has so rarely been represented in art, and intimate part of the female body. In light ruption to one’s situation.” 6 . Louise Bourgeois, 1992, quoted in Rainer which is so frequently attached to ideas of of our earlier considerations, we can now Crone and Petrus Graf Schaesberg, Louise shame. The contrast between the high vis- see how, in childbirth, the chronic shame Bourgeois: The Secret of the Cells (Munich: ibility of women’s bodies from the outside that some women may feel in relation to Prestel, 2011), 49. and the invisibility of female experience their own bodies, and acute shame aris- 7. Ibid., p. 13. increases the potential for shame. ing from a situation of socially unaccept- 8. Louise Bourgeois in Frances Morris, ed., Speaking personally, I find that the able exposure, meet each other. Louise Bourgeois (London: Tate Publishing, 2007), 38. strangeness of the infant in the etching Shame—whether productive or not— 9. Marie-Laure Bernadac and Hans Ulrich Obrist, does not decrease my feeling of respon- is a common element of human cultures. eds., Louise Bourgeois—Destruction of the sibility but rather increases it, parallel- Childbearing and parenting can be sites Father/ Reconstruction of the Father. Writings ing my experience of pregnancy. The of particularly complex types of shame, and Interviews 1923–1997 (London: Violette middle print further suggests the infinite as well as joy, but these feelings have Editions, 2000), 48. responsibility of parenthood. The figure rarely been made visible in art. For suspended inside the breast is ambigu- women in particular they are often col-

Art in Print September – October 2019 21 The Art in Print Prix de Print Enter Now!

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Deadlines: Deadlines are the 15th of every even-numbered month: 15 February, 15 April, 15 June, 15 August, PRIX 15 October and 15 December. de PRINT Recommended Reading for the Print-Curious PART II

Contributors

Lynne Allen Richard Axsom Kit Basquin Brian D. Cohen Stephen Goddard Roz Goldman Sarah Kirk Hanley Felix Harlan Julia V. Hendrickson Faye Hirsch Megan N. Liberty Alexander Massouras Leslie Mutchler Mark Pascale Andrew Raftery Robert Ross Christian Rümelin Britany Salsbury Jacob Samuel Erika Schneider Rachel Stella Sergei Tsvetkov Jason Urban Christina Weyl Stephen Woodall Groupings

Artists Books Books About Artists Books Making by Vladimir Mayakovski (1923). Facsimile editon, MIT Press, 2000. by Vladimir Mayakovski (1923). Facsimile editon, MIT cover design for Dlia Golosa (For the Voice) El Lissitsky, Artists Books

Calligrammes Dlia Golosa (For the Voice) By Guillaume Apollinaire and By Vladimir Mayakovski and El Lissitsky Giorgio de Chirico Gosizdat, 1923 Librarie Gallimard, 1930 Facsimile: MIT Press, 2000 Beautifully printed versions of Apol- A classic of design and visual poetry. linaire’s picture-poems, paired with de —Stephen Woodall Chirico’s bizarre and compelling Surreal- ist illustrations. —Stephen Woodall Lessons of Darkness By Emily McVarish Granary Books, 2016 Complex projections from a baroque liturgical form, a grid laid over contemporary life— cerebral beauty, work that will last. —Stephen Woodall

Pankisi Prayer Rug 26°57,3’N, 142°16,8’E By Clifton Meador By Veronika Shäpers and Durs Grünbein Demerritt Pauwels Veronika Shäpers, 2007 Editions, 2016 A breathtaking work on the pursuit of the A deep dive into an exotic locale, Meador’s giant squid (Architeuthis) with text by specialty. Printed by the artist: offset as Durs Grünbein, realized with letterpress fine art printing. —Stephen Woodall and relief printing (polymer clichés and vinyl mats in blue, grey and black). —Stephen Goddard À toute épreuve 65 Maximiliana By Paul Éluard/Joan Miró By Iliazd and Max Ernst Gérald Cramer, 1958 Le Degré 41, 1964 Facsimile: George Braziller, 1984 Ilia Zdanevitch (Iliazd) was a Renaissance One of the 20th century’s greatest livres man and genius of the artist’s book. This d’artistes. As Miró said: “A book must is perhaps the most impressive of the 21 have all the dignity of a sculpture carved books he produced in Paris, starting in in marble.” —Stephen Woodall 1923. —Stephen Woodall Le Chant des morts La Prose du Transsibérien et de An Anecdoted Topography of Chance By Pablo Picasso and Pierre Reverdy By Daniel Spoerri la petite Jehanne de France Tériade, 1948 By Blaise Cendrars and Sonia Delaunay Galerie Lawrence, 1962 [in French as Paris: Éditions des Hommes Nouveaux, Topographie Anécdotée du Hasard] Picasso’s bold gestural marks anchor Re- 1913 Something Else Press, 1966 [English verdy’s grave poems of death and survival [Facsimile] Yale University, Beinecke translation by Emmett Williams] in occupied France. —Stephen Woodall Rare Books (translation by Timothy Atlas Press, 2016 [Expanded English Young), 2008 edition] Introduction to Square-Word Calligraphy [Facsimile] Two Hands Press, 2018 A fascinating slice of an artist’s life on the By Xu Bing A radical amalgam of art and literature, Left Bank on an October day in 1961. Xu Bing, 2001. the collaborative vision of two brilliant —Stephen Woodall Woodcuts with hand-rubbed stone carv- exponents of narrative, art and design. ing and zinc relief plates—this is another —Stephen Woodall favorite at the Spencer Museum of Art. —Stephen Goddard

24 Art in Print September – October 2019 Sixteen Situations I was just so cold I couldn’t get it open. I Still Water By Derek Boshier waited around for the owner who didn’t By Roni Horn Idea Books, 1971 answer his phone, and in trying to pass SITE Santa Fe, in collaboration with the time and stay warm I ended up walk- Lannan Foundation, 2000 This book from 1971 is a sequence of 16 ing the neighborhood for hours. I found a SITE Santa Fe/Twin Palms, 2000 black-and-white photographs of subjects vegan restaurant and then stumbled onto ranging from a close-up of a dealer’s the Drawn & Quarterly bookstore, where The artist’s fascination with the River hand to the Andromeda nebula. Each I nabbed this petite Julie Doucet booklet. Thames has found several presentations photograph contains the same abstract- The cover is a really luscious white cot- in a variety of photographic media. This minimalist form, an open cube beside a ton, very tactile, screenprinted in red ink. is the best in book form, a large-format, square column, sometimes obvious and The interior is a selection of screenprint- immersive meditation on surface and sometimes playfully obscured. In the art- ed drawings that, the colophon explains, depth, flow and magnetic pull. ist’s words, Sixteen Situations is “about were drawn in 1995 in a Chinese sketch- —Stephen Woodall the way in which an object changes a book in Berlin. An individual woman situation and the way in which the situa- fills each page, practically vibrating in A Work of Imagination tion changes an object.” The proposition Doucet’s signature zinger style of female By Vija Celmins works especially well for a very portable angst, lust, longing, and utter despera- Secession, 2015 book, and resonates with a liquid and tion. I identified with it very much then, This volume was published in conjunc- multiple medium like print, too. I like it and I identify with it very much now. tion with the artist’s print retrospective intellectually, but also sentimentally: one —Julia V. Hendrickson in Vienna, but is as much an artist’s book of the 16 photographs shows the sea from as an exhibition catalogue. Bound partly the Suffolk town of Aldeburgh which I in leather and resembling a battered note- love to visit. —Alexander Massouras book found in a family attic, it reproduces both her art and selections from her dia- Pictorial Webster’s (1997–2007) ries. It also contains a sheet of stamps. By Johnny Carrera Chronicle Books, 2009 Your House Is Mine This tour-de-force was printed on the By Bullet Space artist’s linotype machine (it is a labor of Bullet Space, 1993. love just to keep it running) and is illus- Both art work and document, Your House trated by wood engravings, mostly origi- is Mine is a monument to the culture and nal blocks used to illustrate 19th-century activism of New York’s Lower East Side in Webster’s dictionaries, and mostly with the 1980s and 90s, particularly as regards their original captions. The calf bind- housing and diversity. It includes text by ing of the Spencer Museum’s copy is How I Lost my Vegetarianism writers and collectives such as ACT-UP, embossed “Kansas.” Carrera’s video on By Kathy Aoki, 1998 Allen Ginzberg and David Hammons; as the making of the book is highly recom- Women’s Studio Workshop, 1998 well as posters by 29 artists (which were mended: “Pictorial Webster’s: Inspiration A hilarious linoleum cut book, and a also posted through the neighborhood) to Completion” https://vimeo.com/5228616. favorite in the book arts at the Spencer addressing issues such as gentrification —Stephen Goddard Museum of Art. —Stephen Goddard and social justice. Schnitte / Skizzenbuch Zweite Enzyklopaedie von Tlön Wrong Size Fits All: (carnet de croquis) By Ines von Ketelhodt and a book of miracles and mishaps By Julie Doucet Peter Malutzki By Brad Freeman

, published by SITE Santa Fe, in collaboration Still Water Le Pantalitaire, 2013; k und m design, 2007 JAB Books, 2010 orig. pub. 1996. Self-published, 1997-2006 Like Meador’s book, a stellar example of I’ve only been to Montreal once. It was A monumental project in fifty uniform fine-art offset. A compelling and deeply- 2014, in the middle of winter. For some volumes, based on Borges’ story of an en- felt family memoir. —Stephen Woodall reason I needed to go in winter. The out- cyclopedia from a lost civilization. side door wouldn’t open at the AirBnb, —Stephen Woodall perhaps because it was so cold, or maybe Cover detail: Roni Horn with the Lannan Foundation, 2000. Image courtesy of SITE Santa Fe.

Art in Print September – October 2019 25 Books About Artists Books

all their sensuous physicality—most par- Booktrek: Selected Essays on Artists’ ticularly, for me, the unforgettable livres Books (1972–2010) d’artistes of Pablo Picasso, Henri Matisse, By Clive Phillpot Jasper Johns and Ellsworth Kelly. At the ZRP|Ringier and Les presses du réel, 2013 time, there was no comprehensive treatment of the artist’s book that I knew. The Freedom of the Presses: Artists’ Books exhibition and catalogue corrected that in the Twenty-first Century and helped me connect the dots. They Marshall Weber, ed. were critical to my learning about prints. Booklyn, 2018 Castleman confirmed the significance of the artist’s book as an indispensable How We See: Photobooks by Women chapter in the history of the modern and Edited by Michael Lang, contemporary print. —Richard Axsom Russet Lederman and Olga Yatskevich 10 x 10 Photobooks, 2018 Artists’ Books: The Book as a Work of Art, 1963–2000 By Stephen Bury A Century of Artists Books Bernard Quaritch, 2015 By Riva Castleman A survey of livres d’artistes and artists’ Museum of Modern Art and books over the course of the 20th century, Henry N. Abrams, 1994 with comprehensive bibliography and Riva Castleman’s exhibition catalogue exhibition chronology, among other back is a splendid introduction to the history matter. of the modern and contemporary artist’s book. Beginning with the inception of a new type of book that joined literary text to modern art in the late 19th century, Castleman takes her story to the last decade of the 20th, incorporating inci- sive commentary on a broad selection of books, their artists and writers, and on art-historical context, publishers, book manufacturers and fine-art print me- Foirades/Fizzles: Echo and Allusion in dia. In the limited-edition publications the Art of Jasper Johns she focuses on, the text was most often By John Cage, Richard S. Field, Andrew that of a poet or the artist, and the im- Bush, Richard Shiff, Fred Orton and agery did not so much illustrate it as ex- James Cuno tend its resonance. Beautifully produced Grunwald Center for the Graphic Arts, in its own layout, typography and color Wight Art Gallery, UCLA, 1987 reproductions, Castleman’s catalogue All the essays in this brilliant book on is itself a fitting vehicle for its topic. It is the Jasper Johns/Samuel Beckett’s col- the permanent record of an eponymous Intermedia, Fluxus laboration Foirades/Fizzles are interesting, exhibition at the Museum of Modern Art and the Something Else Press: but Field’s essay is an ABSOLUTE MUST in New York that Castleman, then Direc- Selected Writings for people thinking about Johns and the tor of the Department of Prints and Illus- By Dick Higgins conceptual dimensions of 20th-century trated Books, opened in 1994. It took my Siglio Press, 2018 prints. —Faye Hirsch breath away when I happened into it on a visit to New York. I knew about several of the works on view but had never actually seen them before. Here they were in

26 Art in Print September – October 2019 A Book of the Book By Jerome Rothenberg and Steven Clay Granary Books, 2000 A reader containing writings on aspects of the book by writers such as Jacques Derrida, Edmond Jabès and Gertrude Stein; artists from William Blake to Tom Phillips; and subjects including indig- enous Australian designs, celestial alpha- bets and novelty books.

No-ISBN: On Self-Publishing Post-Digital Print: The Mutation of By Bernhard Cella, Leo Findeisen and Publishing since 1894 Agnes Blaha By Alessandro Ludovico Verlag der Buchhandlung Onomatopee, 2012 Walther König, 2015 This book focuses not on printmaking This small but dense volume traces the but on print in general and its role as a history of printed books and pamphlets mass-media conveyor of information. from Gutenberg to the current self- Ludovico discusses print’s recent his- publishing boom. Arriving sealed in a tory of adaption and survival from past printed blue wrapper, the book cannot be “threats” like radio and television, and he thumbed through without a reader’s first projects forward to speculate on what the ripping open the wrapper and being im- future of print might hold as it grapples mediately forced into tactile engagement The Century of Artists’ Books with and absorbs digital technologies. with disposable materials and the idea of By Johanna Drucker —Jason Urban & Leslie Mutchler the book’s status as an object. (The cover Granary Books, 1995; 2004 repeats the design of the paper wrapper but with trompe l’œil wear and tear.) Ed- Drucker’s history of the medium com- ited by sculptor and installation artist bines an artist’s eye for materials, tech-

Journal of Artists' Books #45, Spring 2019. (2019) , artist book insert in Journal of Bernhard Cella, media theorist Leo Find- niques and form with a provocative and eisen and art historian Agnes Blaha, the useful conceptual formulation—that art- book includes an illustrated catalogue of ists’ books are “almost always self-con- artists’ books and zines as well as essays scious about the structure and meaning of the book as a form.” —Allison Rudnick william points by artists and theorists, including Sylvie Boulanger, Gilbert & George and Ken- neth Goldsmith. Ehon: The Artist and the —Megan N. Liberty in AiP 6.2 Book in Japan By Roger S. Keyes Artist’s Books in the Modern Era New York Public Library, 2006 1870-2000 Robert Flynn Johnson Zephyrus Image: A Bibliography Fine Arts Museums of San Francisco By Alastair Johnston and Thames & Hudson, 2001 Poltroon Press, 2003 Above: Matthew Robertson, detail from

Art in Print September – October 2019 27 Making

The Complete Printmaker: The Art and Technique of the Relief Print, the Intaglio Print, the Collagraph, the Lithograph, the Screen Print, the Dimensional Print, Photographic Prints, Children’s Prints, Collecting Prints, Print Workshop By John Ross and Clare Romano Prentice Hall, 1982; expanded edition, Free Press, 1991 Recommended by both artists and art historians for its clarity and insight into a broad range of techniques.

Printmaking: History and Process Engraving and Etching 1400–2000: By Donald Saff and Deli Sacilotto A History of the Development of Holt, Rinehart and Winston, 1978 Manual Intaglio Printmaking Processes By Ad Stijnman Possibly out of print as soon as it was pub- Archetype and Hes & De Graaf, 2012 lished, this book is lovingly researched and written, with terrific capsules on the Ad Stijnman presents new documen- history of printmaking before each media tary research from primary sources and division and with equally thoughtful his- astute analysis of visual material in a torical examples. It represents the quali- groundbreaking study of the origins and ties of looking/seeking out before there development of this branch of printmak- was an Internet on which to graze collec- ing. Stijnman is particularly suited to the tions in a nanosecond, and by its example task he has undertaken. As a practicing demonstrates the kind of curiosity that printmaker—several of his own prints keeps people searching and capable of illustrate concepts in the book—he has being surprised by their discoveries. The a profound understanding of the fun- book offers a total integration of media damentals of platemaking and printing up to 1978, with a section about paper Tamarind Techniques for that pervades his lucid explanations of that rivals just about every other book in Fine Art Lithography how prints are made. Stijnman is also a the genre. —Mark Pascale By Marjorie Devon with print connoisseur, his skills at close and Bill Lagattuta and Rodney Hamon critical looking honed during four years Printmaking: A Complete Guide Harry N. Abrams, 2009 at the Herzog August Library in Wolfen- to Materials & Processes This replaced The Tamarind Book of büttel where he worked with colleagues By Beth Grabowski and Bill Pick Lithography by Gary Antreasian and to compile the invaluable online print Pearson, 2009 Clinton Adams (1971), which had served database Virtuelles Kupferstichkabinett. His highly original and telling choices An excellent book for professors and artists and printers as a standard studio for illustrations reveal many beautiful teachers, or anyone who wants to reference for more than three decades. prints that will be new for most readers, learn printmaking. Both authors have The new book fills the holes of the first especially in the United States. Finally, worked and studied with many different one and is updated with new techniques the rigor and passion of his documen- print folks. The book is easy to follow as well as artists’ images. It is invaluable tary research render this book, a product and doesn’t miss a beat. It’s always good for anyone starting out but also great of two decades of work, both compelling to have a resource for checking up on a for someone who, like me, is a Tamarind and significant. technique or seeing how people do it dif- Master Printer but might just happen to —Andrew Raftery in AiP 3.4 ferently. —Lynne Allen & Sergei Tsvetkov forget a recipe or two. —Lynne Allen

28 Art in Print September – October 2019 An unbelievable resource in think- try at King’s College London, not in the Etching, Engraving and ing about how artists and craftspeople few months he spent at the Académie Intaglio Printing have approached making etchings and Julian in Paris. This section ends with an By Anthony Gross engravings. —Christina Weyl account of Hayter’s own print, Cinq Per- Oxford University Press, 1970 sonnages (1946). He describes the print’s A wonderfully stimulating and meticu- I always thought the first book I bought lously well-rounded collection of texts on creation, state by state, with such precision and detail that intaglio printing on printmaking was Etching, Engraving, printmaking technique and the perspec- and Intaglio Printing by Anthony Gross. tive this provides. —Christian Rümelin becomes intelligible even to those who never set foot in a print studio. And while I discovered that this honor I always wondered how nitric acid and His history of gravure as “original actually belongs to Stanley Jones’s Lithog- other mordants were made in the 1600s. expression” in the second section may raphy for Artists, purchased during my Along the way I learned that ink made have ruffled some academic feathers, second year of art school, Gross’s book from pumpkin ash gives a silver luster. being recounted with the rough-riding retains pride of price. —Jacob Samuel panache of an author secure in his convic- Most of us learn printmaking in art departments, studio workshops and on tions and sure of his mastery of the tech- the job, but as novice printers in the early niques in question. Alternating between 1980s, Carol Weaver and I realized we contempt for copyists and respect for had more to learn, and Gross gave us the craftsmen, Hayter’s summary history means. Proficiency in aquatint, for exam- romps from scratching on rocks to Sume- ple, is essential for any intaglio workshop. rian cylinder seals and the European We had read other handbooks on the sub- artisans who perfected the techniques ject, but Gross goes into greater detail. He that enabled them to reproduce sophis- not only covers the history of the process, ticated paintings. He sees the beginning and materials and their uses, he describes of grace in five artists he deems “freaks” five densities of aquatint grain, how to for their time—Hercules Seghers, Jacques achieve them and what use to put them Callot, Rembrandt, Piranesi and William to. He observes that, when etched and Blake—and considers them the forerun- printed, the coarsest grain registers as ners of modern engraving and etching. texture whereas the finest rosin or bitu- Titled “Implications of Gravure as a men “drops” appear as tone only. Tones Specific Medium,” the final section dis- from full saturation to midrange occur cusses gravure as mode of expression. If when the rosin is evenly spaced with suf- (1825), engraving, 20.6 x 16.5 cm. the first part of the book is a lucid techni- ficient copper exposed to enable biting. cal treatise, these last chapters constitute New Ways of Gravure The lightest values are achieved by drop- a handbook for connoisseurship. This is By Stanley William Hayter ping minute rosin grains and etching for where we bow again to the master, for he Routledge & Kegan Paul, 1949; short periods of time. Every effect was explains gravure as a specific means for Watson-Guptill Publications, 1981 possible including full saturation and spontaneous expression that differs from graduated mid-tones, and all one had to Everything you always wanted to know other media because of its more concep- do was gain control of the rosin box. about intaglio printing but were afraid tual approach. He posits the interdepen- The next chapter is dedicated to mor- to ask. First published in 1949, long out dence of technique and idea in such way dants, offering an overview of commonly of print, and now available to download that technique is never simply a mechani- used acids, including ferric chloride (a thanks to the Internet Archive, New Ways cal operation. This is the book to throw caustic salt)—again combining history

The Creation from Book of Job of Gravure is a fundamental text writ- at anyone who thinks printmaking is just with applied science and personal experi- ten, not by a critic or historian, but by a a craft, not art. By making the case that ence. This is followed by a chapter titled practitioner who sharpened his thinking gravure allows for experimental drawing, “The Morsure,” a word for etching he with the tools of the trade. In my view for line and color to claim their specific would have used while a student at the it remains the most comprehensive and modes of expression, Hayter impresses École de Beaux-Arts. The education Gross comprehensible text about the process upon us the idea that mastery of tech- received in Paris and at the Academia de of intaglio printmaking. The first part is nique leaves room for chance, source of San Fernando in Madrid, was rigorously a rational manual organized with scien- liberty and creativity for all artists. academic. By his own account, he learned tific logic Hayter likely acquired during —Rachel Stella to etch and engrave in the manner of a

Above: William Blake, detail of Allen. Russell Art, Gift of W.G. Courtesy of the National Gallery his years studying geology and chemis- 19th century copyist.

Art in Print September – October 2019 29 Making (cont.)

Those skills are not easily dismissed, Lettre sur les éléments but they can be inhibiting. As an artist de la gravure à l’eau-forte Gross, however, was able to utilize them By Adolphe Martial Potément in pursuit of the progressive visual ideas Cadart et Luquet (Paris), 1864 of his time. Meeting Józef Hecht, the sculptor, painter and engraver, who had This one seems like cheating a little bit, worked professionally as a printer, may because it’s a book that was realized as a have indicated a way forward for Gross, set of prints. Potémont, a member of the who wrote that Hecht’s prints were the Société des Aquafortistes, sketched an “first example of completely free engrav- entire didactic guide to etching across ing since the 18th century.” The libera- a series of four plates. His instructions tion of technique from rigid principles take the form of a conversational open of description and composition was nec- letter to a novice, and are accompanied essary for artists such as Dunoyer de by charming etched illustrations on how Segonzac, Jean-Emile Laboureur and the to etch. —Britany Salsbury founding members of Atelier 17. Gross’s plates were mostly etched through a hardground, densely drawn and notable for their variety of line. His career was The Art and Craft of a remarkable one: as an official war art- Woodblock Printing ist, he waded ashore on D-Day and was by Tuula Moilanen and Antri Tanttu present for the meeting of American and University of Art and Design, Helsinki, Russian forces on the Elbe in April 1945; 2001; second edition, 2013 he later became head of the print depart- Very thorough, and the Finns have an ment at the Slade, and eventually a mem- excellent history of contemporary wood ber of the Royal Academy, block printing that is both Eastern and Tony Kirk, my colleague and friend Western. —Lynne Allen & Sergei Tsvetkov from our student days at Winchester Col- lege of Art, recently mentioned that Gross Keepers of Light: A History had done a day’s teaching at the school and Working Guide to while were there. Somehow, I missed out Early Photographic Processes on this. I regret not having met him, but By William Crawford his excellent book is a kind of recom- Morgan & Morgan, 1979 pense, still as relevant now as it was in 1970. —Felix Harlan How a Book Is Made The Book of Alternative By Aliki Hayter speaks of engraving with the sol- Photographic Processes HarperTrophy, 1986; 1988 emn, reverential, nearly spiritual terms of By Christopher James a belief system. —Brian D. Cohen Cengage Learning, 2001; I have very vivid memories of growing up second edition, 2008; reading this children’s book. A sophisti- Printing of Etchings and Engravings third edition, 2015 cated artist-mama-cat breaks down the creation of a printed book from start to By David Strang The standard reference on nonstandard Ernest Benn Limited, 1930 finish, with detailed depictions of proof- photographic technologies, both histori- ing processes, color separations, and David Strang, son of the etcher William cal and contemporary: calotype, salted four-color offset printing. Books like this Strang, has the last word on the art of paper, cyanotype, argyrotype, chryso- one, showing the ins and outs of a process printing etchings. —Brian D. Cohen type, POP, kallitype, ambrotype/wet from start to finish, completely blew my collodion, Van Dyke, platinum/palla- mind as a child. I’m fairly certain How a Photogravure: A Text Book on the dium, Ziatype, gelatin dry plate emul- Book Is Made shaped how my brain works, Machine and Hand-Printed Processes sions, carbon, gum bichromate, albumen, or at the very least, synced with it in some By H. Mills Cartwright hand-applied emulsions and digital way. It’s always been necessary for me to American Photographic Publishing, 1939 negative production. know all of the parts, the tasks, the people involved, to understand the whole.

30 Art in Print September – October 2019 Published the year I was born, some thread of it has followed me throughout my life as I was raised in my par- ents’ independent bookstore, worked in another small bookstore throughout my undergrad years, and eventually started producing, editing, and facilitating the creation of books myself. —Julia V. Hendrickson

The Restoration of Engravings, Drawings, Books and Other Works on Paper By Max Schweidler; translated, edited and with an appendix by Roy Perkinson The Getty Conservation Institute, 2006 For insomniacs in need of a weapons-grade sedative, the 21st-century translation of Max Schweidler’s expanded 1949 treatise on restoration comes heartily recommended. These “true confessions” by his- Magical Secrets About Line Etching Printmaking in the Expanded Field tory’s most deceptive and masterful print & Engraving: The Step-by-Step Art Edited by Jan Pettersson doctor will have collectors examining of Incised Lines KALEID Editions, 2017 By Catherine Brooks every early print for hints of Schweidler- Forty years after Rosalind Krauss’s Crown Point Press, 2007 ization. —Robert Ross famous “Sculpture in the Expanded Magical Secrets about Chine Collé: Field” essay appeared, Jan Pettersson, In Praise of Copying Pasting, Printing, Mounting Professor of Printmaking and Drawing By Marcus Boon & Leafing Step-by-Step at Oslo National Academy of the Arts Harvard University Press, 2010 By Brian Shure in Norway, organized a conference to One could argue that iteration and the Crown Point Press, 2009 examine printmaking in the context of Krauss’s media-inclusive thoughts. Print- iterative approach to making is one of Magical Secrets about Aquatint: making in the Expanded Field documents the fundamental features of contempo- Spit Bite, Sugar Lift & Other the conference talks and presentations rary art. From fake Louis Vuitton hand- Etched Tones Step-by-Step given by a who’s who of notable inter- bags and bootleg Harry Potter books By Emily York national practitioners and theorists. to the work of artists such as Takashi Crown Point Press, 2008 Murakami and Andy Warhol, Boon’s In —Jason Urban & Leslie Mutchler Praise of Copying is a deep dive into why I started writing a how-to shop manual humans are compelled to copy and what for etching around 2003 and stopped it means. —Jason Urban & Leslie Mutchler when I saw this series, which will not be outdone. —Brian D. Cohen Perspectives on York’s fantastic book covers methods of Contemporary Printmaking: multiplate etching and delves into sugar Critical Writings Since 1986 lift and other etched tones. That would Edited by Ruth Pelzer-Montada augment anyone’s tool kit even if they are Manchester University Press, 2018 already masters of the technique. Shure’s This volume maps the academic dialogue volume is THE definitive book on chine around printmaking by collecting a wide collé. It also comes with a CD—remember range of reflections, both familiar and those? Masterful. lesser known, on recent conceptual con- —Lynne Allen & Sergei Tsvetkov cerns in the field. —Jason Urban & Leslie Mutchler

Art in Print September – October 2019 31 EXHIBITION REVIEW Feeling It: Edvard Munch at the British Museum By Paul Coldwell

“Edvard Munch: Love and Angst” The British Museum 11 April – 21 July 2019

Edvard Munch: Love and Angst Edited by Giulia Bartrum Thames & Hudson and the British Museum, 2019 224 pages, 186 illustrations, £30 / $49.95

ne characteristic of recent decades O has been the ever increasing quality of reproductions, both printed images and online representations. It has transformed the way we understand and approach works of art, and it enables viewers to pon- der an artist’s work in the comfort of their own homes or anywhere on their mobile phones. But this convenience comes at a cost, and while I’m sure every painter would immediately point to the loss in translation as an image moves from oil-on-canvas to offset-ink-on-paper, for the printmaker, I believe, the loss as we go from the original to the reproduction is still more acute, being both subtle and profound. Printmakers, after all, go to extraordinary lengths to find paper with exactly the right color, weight and texture, and to select processes—inkjet, lithography, etching, screenprint—that match their intentions. All this precision is lost when those carefully calibrated images are reconfigured through four-color offset lithography on standard white paper. The image is present but its particularity has been lost. Rarely has this gap between the image as it is known through reproduction and the nature of the original image-bearing object been more clearly visible than in the British Museum’s “Edvard Munch: Love and Angst,” the largest exhibition of the artist’s prints in the UK for over 45 years. Edvard Munch, Self-portrait with skeleton arm (1895), lithograph, 31.16 x 41.16 cm, Produced in collaboration with the ©The Trustees of the British Museum. Munch Museum in Oslo, the show offered the opportunity to see more than polite conventions of what might be the scratchiness of the needle’s touch; 80 prints by this extraordinary artist. seen as “good printmaking.” Each print his lithographs, the contact of crayon on Throughout his career Munch demon- seems to emerge out of a dialogue with stone or the liquidity of tusche; his wood- strated acute sensitivity to the inherent its own particular process, creating a cuts explore the versatility of an organic qualities of ink and paper, and a com- sense of immediacy—something com- matrix that can be cut into fitted shapes, mitment to resolving images in their ing into existence rather than simply or gouged with or against the grain. And own terms, rather than leaning on the being printed. His drypoints celebrate while for many artists the indirectness of

32 Art in Print September – October 2019 Edvard Munch, Towards the Forest (1897/1915), color woodcut, 55 x 68 cm, Courtesy Munchmuseet, Oslo. printmaking—working on one surface to II, Munch used only hard crayon, which The exhibition opened with the produce an image on a different one—has picks up the granular surface of the stone, starkly compelling Self-Portrait with Skel- felt like a barrier to tactility, with Munch creating a line that is thick and broken. eton Arm (1895), in which white bones, the sensation of touch is everywhere. Using three inks—two browns and a very laid across the bottom edge, act as a vani- The lithographs Attraction I and transparent yellow—he evokes that time tas reminder of human frailty and the Attraction II (both 1896), for example, are of evening when color begins to drain inevitable end of life. It is not, however, similar in composition, each showing away, and this atmosphere envelops and an image of resignation and defeat, but of two heads in profile silhouetted against dissolves his lovers. He used this approach resilience: Munch stares back at us out of the evening sky, yet entirely different in again in Separation II (also 1896), adding the darkness, defiant. It’s a beautiful lith- visual quality and affect. The single black just a sniff of restrained color to the faces ograph, its dense black surround drawn printing of Attraction I reveals how the and to the sea and sky. with tusche, in contrast to the delicate stone has been extensively worked with a Munch, like the singer-songwriter chalk drawing of the features of the head. scraper and needle, bringing light into the Leonard Cohen, does not do cheerful; It feels so contemporary—the deadpan print and also marking the delicate white instead he explores a rich vein of brooding frontal composition and the use of text drawn lines that describe the lovers’ hair, emotions—grief, torment, despair. In his where the name and date are added as and picks out elements in the landscape. notebooks he wrote: “Two of Mankind’s factual evidence. The delicate drypoint The black areas, which were drawn on most terrible Enemies were my legacy—the Death and the Woman (1894), made the the stone with ink and crayon, are rich legacies of Consumption and Mental Ill- year before, addresses the same subject and deep, in contrast to those thin, barely ness—Disease and Insanity and Death were but with an entirely different visual fla- visible carved white lines. The print has a the black Angels that stood by my Cradle.”1 vor: we see a naked woman from behind watery feel, reflecting the fluidity of the Happiness is seen as fleeting, while these in a passionate embrace with a skeleton, lithographic ink that Munch has used darker feelings linger, filling every crevice while barely visible sperm and embryos to fashion it. In contrast, for Attraction of Munch’s intense visual dramas. are loosely sketched in the margin. Dry-

Art in Print September – October 2019 33 Edvard Munch, Vampire II (1896), lithograph and woodcut, 22 3/8 x 27 5/8 inches. The Savings Bank Foundation DNB, on loan to Henie Onstad Kunstsenter, Oslo. point is the perfect tool for conjuring the were accompanied by a lithographic tiania). The discussion and presentation skeleton’s brittle bones and the softness stone, drawn on two different sides; and of Munch’s engagement with the plays of his lover. the two impressions of Head by Head of Henrik Ibsen and the inclusion of the Munch’s innovative and experimen- (1905) were joined by the birch woodblock artist’s designs for theater programs are tal approach to printmaking is felt most from which they were printed. one example. Another is the acknowledg- acutely in his approach to woodcut. In his embrace of experimentation, ment of Munch’s relationship to the com- The simple innovation of jigsaw cutting Munch followed in the steps of artists mercial aspect of print publishing, which blocks so they could be inked separately such as Edgar Degas, who saw printmak- is explored in Frances Carey’s chapter before being reassembled for printing ing not as end in itself but a means to on cultural capital and the market for allowed for endless variation while avoid- explore the potential of any given image Munch’s prints. The publication serves as ing complicated registration problems. in terms of inking, color and qualities of both an exhibition catalogue and as a rich In Towards the Forest (1897–1915), three line and surface. But he also understood source of information and background impressions of which were on view, this the social value of the edition: “I have material. Though it is indeed impossible jigsaw technique meant that the con- spread around 30,000 prints around the to capture the material quality of the joined couple at center could be inked in world,” Munch said, “My intention in actual prints, the quality of the reproduc- one way without contaminating the deli- working with graphics was to bring my tions is excellent and the publisher has cate colors of the landscape surrounding art into thousands of homes.”2 avoided the tendency to crop the prints, them. One of the most rewarding fea- Both the exhibition and the beauti- allowing them space to breathe. tures of the exhibition was the inclusion fully produced catalogue that accompa- Though Munch’s Scream lithograph, of matrixes along with the prints they nies it, edited by Giulia Bartrum, were which served as the exhibition poster, is produced: Kristiania Bohemians II (1895, organized to place Munch within the one of the best-known art images in the shown in two impressions) was accom- wider context of turn-of-the-century world, the show was filled with works panying by its copper plate; Madonna printmaking and the broader cultural life that would have come as a surprise to (1895/1902) and Vampire II (1895/1902) of Paris, Berlin and Oslo (then called Kris- most visitors, especially given the artist’s

34 Art in Print September – October 2019 EDWARD T. POLLACK FINE ARTS Prints, Drawings, Photos and Other Works on Paper

Dove – Woodpile Study

Edvard Munch, Head by Head (1905), woodcut, 58.4 x 69.1 cm. Munchmuseet, Oslo. habit of producing multiple versions of his prints, as in Head by Head (1905). It was an exhibition that engrossed the general public as well as connoisseurs, and was certainly a must-see for anyone who has ever questioned the capacity of print to address the daunting questions of the meaning and purpose of existence. Again and again, the dates of these works came as a surprise. The direct manner in which they address the audience and their Clare Romano – Eighteen Street El graphic economy are remarkable. Follow- ing on its major 2017 print exhibition,

“The American Dream” (see Art in Print NY SATELLITE PRINT FAIR Jul–Aug 2017), the British Museum has Booth 17 - Mercantile Annex 37 put together another exhibition and pub- 517 West 37th St NYC lication that show the capacity of print- October 24-27 making to produce images that stand on www.edpollackfinearts.com an equal footing with any other form of www.nysatelliteprintfair.com art.

Paul Coldwell is Professor of Fine Art at University of the Arts, London.

Notes: 1. Edvard Munch: Love and Angst, 39. 2. Ibid., 95.

Art in Print September – October 2019 35 EXHIBITION REVIEW Kip Gresham: Layer Upon Layer By Jason Ions

“Kip Gresham: The Art of Collaboration” Heong Gallery, Downing College University of Cambridge Cambridge, UK 1 March – 19 May 2019

Kip Gresham: The Art of Collaboration Edited by Dr. Prerona Prasad, with texts by Willard Boepple, Stephen Chambers, Kip Gresham, Humphrey Ocean and Joanne Stuhr Downing College, Cambridge, and Kasser Mochary Art Foundation, 2019 120 pages, £12

his exhibition is the first to survey T the career of the master printer Kip Gresham, who has been a critical figure in British art for four decades. After co- founding Manchester Print Workshop in 1975, Gresham set up Chilford Hall Press in 1982, Gresham Studio in 1994, and now runs the Print Studio in Cambridge. As both a printer and publisher, he has been remarkably prolific: the 61 works on view represent less than 3 percent of the more than 2,500 prints he has produced with artists. The selection by curator Prerona Presad constitutes both a celebration of print and a concise historical survey of late 20th- and early 21st-century art in the UK. While American artists are present— Claes Oldenburg, Betye Saar and Kiki Smith, among others—this is a largely British show. It begins with Gresham’s own screenprints Paper (1972) and Jigsaw Eduardo Paolozzi, Monotype (9 Heads) (1995), screenprint, 71 x 56 cm. ©Trustees of the Action Replay (1973), and moves on to Paolozzi Foundation. Licensed by DACS 2019. works by eminent British abstractionists (Gillian Ayres, Prunella Clough, Terry repeatedly witnessed the combined exac- the punchy color and bold abstraction Frost), Pop artists (Peter Blake, Eduardo titude and flexibility that characterizes of John Hoyland’s Wandering Moon Paolozzi, Joe Tilson), figurative paint- Gresham’s interaction with artists. Walk- and Root screenprints (both 1992) were ers (Paula Rego, Elisabeth Frink), and an ing through the Heong Gallery, looking flanked on one side by the intricately intriguingly large number of sculptors at the diversity of images, attitudes and collaged screenprints of Peter Blake and (Anthony Gormley, Richard Long, Corne- approaches, visitors would get a similar Paul Wunderlich, and by the deft, figu- lia Parker). Some 21 Royal Academicians sense of watching various artists com- rative screenprints of John Bellany and are present, alongside a healthy smatter- ing to terms with thinking and creat- Patrick Proctor on the other. ing of knights, dames, OBEs and CBEs. ing within the indirect, layered mode of The exhibition hanging, in which Full disclosure: I am a school art printmaking. most of the prints were arranged in two teacher and have served as a nonexecutive Gresham’s lack of interest in a “house rows, one above the other, opened dia- director of the Print Studio for two years. style” was neatly demonstrated by an logues between different types of images, I had no role in this exhibition, but have array of prints on the gallery’s far wall: and encouraged visitors to look carefully

36 Art in Print September – October 2019 Left: John Hoyland, Root (1992), screenprint, 35 5/8 x 29 3/4 inches. Right: Kip Gresham. Photo: Courtesy of The Heong Gallery. and note relationships: a pair of abstract required meticulous preparation—digi- once at the workshop, he and Gresham screenprints by Wilhelmina Barns- tally generated layers had to be aligned play with color and form, mixing and Graham, Summer (Light Blue) and Novem- with hand-drawn matrices to make the matching, building up images through ber IV (both 1997), for example, offered screens—as well as a virtuosic sense of layers. Boepple’s sense of three-dimen- sharp contrasts in seasonal mood and touch for controlling the pressure on sional space guides the compositions, physical presence—one textured, one flat. each pass. In the exhibition catalogue, while Gresham’s understanding of trans- While printmaking has a natural affin- Chambers speaks of Gresham’s mastery parency and color determine the layering ity with black-and-white, this exhibition of “intestine-wrenchingly complicated” and repetition. Through sensitive control exulted in color. One particularly grace- processes, in the cause of a gently poetic of these components and precise applica- ful example was John McLean’s two-plate image.1 tion of varnish layers, they are able to cre- etching Untitled (2017), inked à la poupée, in In Humphrey Ocean’s Chair screen- ate luminous visual depths. which sharply defined shapes exist as both print (2018), the portrayed piece of fur- The grouping of six prints by Eduardo positive blocks of solid color and as negative niture is overlaid with a freeform linear Paolozzi from the 1990s is also a nod to a forms sliced through black washes. pattern visible only through subtle dif- longstanding partnership. Each presents Gresham works across all media: ferences in surface reflectivity—both a grid of faces, as in a playbill or yearbook lithography, intaglio, relief and screen- chair and pattern were printed with the page, but each face is an amalgamation of print. (Among his other technical inno- same pigment, absorbed by the paper to torn photographs, diagrams and scratchy vations, he helped develop True-Grain different degrees. In the catalogue, the drawing. Every layer both conceals and drafting film—a transparent polyester artist discusses the fixation on a single reveals. For Monotype (9 Heads) (1995), substrate that can be drawn or painted particular color by analogy: “like, say, you Paolozzi gave Gresham a group of images on with almost any medium and then were suddenly provided with a substitute and asked him to assemble them; the art- exposed to create printing plates or mum and told not to worry, this one will ist then took those assemblages, cut them screens.) It is in screenprint, however, that do, she has eyes, a mouth, arms and legs up and used those fragments in new Gresham’s reputation is most celebrated, attached in all the right places. No, I want arrangements. The result is dense with and indeed many of the prints shown are my one!”2 both decision and accident—a descrip- the product of ingenious complexity. Technical proficiency, however, is only tion that applies to Gresham’s art of col- James Hugonin’s shimmering screen- one requisite quality for a great printer. laboration itself. prints Binary Rhythm (Dark Red) and Equally important are the personal, cre- Binary Rhythm (Indigo) (both 2012) are ative friendships that develop, often over built from thousands of units of color, the course of decades. The abstract painter Jason Ions is an artist and educator. precisely placed in a rigid grid. Each print Michael Brick had been a mentor to the required 90 separate printing passes, and youthful Gresham, and their collabora- Notes: the results are mesmerizing. Stephen tions in the 2000s include some of Brick’s 1. Stephen Chambers, “Printing Air,” in Preroda Chambers’s screenprint The Art of Rhetoric most eloquent work, such as the mono- Prasad, ed., Kip Gresham The Art of Collaboration (2012) may look simple, but appearances lithic screenprint Double Earth (2012). (Cambridge:The Heong Gallery, Downing College, are deceptive: the artist’s silhouetted fig- The American sculptor Willard 2019), 32. ures—tree, horse, gesturing couple—are Boepple has been paying regular visits 2. Humphrey Ocean, “Homework,” in Prasad, 33. set within two competing patterns that to Gresham’s Print Studio since 2004. shift from positive to negative, fusing the Before arriving he sends sets of shapes to figure and ground. For the printer, this Cambridge so screens can be prepared;

Art in Print September – October 2019 37 EXHIBITION REVIEW The Invisible Irish Etchers By Róisín Kennedy

Fig. 1 George Atkinson, Shannon Scheme No. 2: The Culvert (1929), etching, 35x41.5 cm. Courtesy Crawford Art Gallery, Cork.

“Making Their Mark. Irish Painter-Etchers hile Ireland has had a flourish- Gallery of Ireland curator of prints and 1880–1930” Wing contemporary print world prawings Anne Hodge, the exhibition National Gallery of Ireland, Dublin since the opening of the Graphic Studio and its accompanying catalogue gathered 2 March – 20 June 2019 in Dublin in 1960, an earlier era of popu- together prints by Irish painter-etchers lar, fine art print production has remained from collections throughout Ireland and Making Their Mark: Irish Painter-Etchers clouded in obscurity. “Making Their Britain. Its highlights include the work of 1880–1930 Mark: Irish Painter-Etchers 1880–1930” relatively familiar painter-etchers such as By Angela Griffith and Anne Hodge uncovered this neglected aspect of Irish Estella Solomons (1882–1968) and George National Gallery of Ireland, Dublin, 2019 art. Based on the research of Trinity Col- Atkinson (1880–1941) along with lesser- 71 pages, 41 color illustrations, lege art historian Angela Griffith and known figures such as the Sligo-born €15 organized in collaboration with National Percy F. Gethin (1874–1916), who spent

38 Art in Print September – October 2019 most of his career in London and Liver- pool, and Edward Millington Synge (1860– 1913), who although born in England came from an Irish family and exhibited his work in Dublin. Synge travelled widely, producing etchings of French, Italian and Spanish landscapes, many sketched en plein air. Gethin, who was also a producer of European views, had close connections with the leading members of the Irish cultural revival and made several prints based on Irish rural life. His Travelling Circus, Co. Clare (1912–13), is a vigorously executed etching depicting a swinging trapeze artist before an enthralled audience in the West of Ireland. James MacNeill Whistler, the doyen of the 19th-century Etching Revival in Brit- ain , was a major influence on Irish artists of the late 19th and early 20th centuries. Whistler was among those who advo- cated for etching as a method of producing original, spontaneous art works, in contrast to reproductive engravings or lithographs. His paintings and etchings were shown at the Dublin Sketching Club in 1884, an innovative society from which several amateur and professional painter- etchers emerged. An etching by one of the club’s founding members, William Booth Pearsall (1845–1913) of Sir John Rogerson’s Quay, Dublin (ca.1880, National Gallery of Ireland), is a restrained view of the city of Dublin from the mouth of the Liffey, inspired by Whistler’s etchings of the working waterfront of London, such as Eagle Wharf (1859, Hunterian, Glasgow), which was included in the exhibition. Booth Pearsall was also a collector, and donated etchings by his fellow club mem- Fig. 2 Sarah Cecilia Harrison, Study of a Man’s Head (ca.1880), etching, 20 x 15 cm. ber William Fitzgerald to the National Courtesy Hugh Lane Gallery. Gallery of Ireland in 1902; they were among the earliest prints to enter the museum’s collection nearly a half-cen- a close friend of Whistler, drew his plate The presence in the exhibition of etch- tury after its founding. Three of these, in France, where he lived and worked. ings by Whistler and other influential including Mendicant Tinker (ca.1880), Sarah Cecilia Harrison (1863–1941) British and French artists such as Walter a wonderfully fluid and expressively was influenced by Alphonse Legros, with Sickert and Legros helped to contextual- handled etching, were in the exhibition. whom she studied at the Slade School of ize the Irish prints and emphasize their Unfortunately for Ireland, Pearsall gave Art in London (Fig. 2). The bearded figure cosmopolitan sources and ideas. Irish his etching by the leading Irish artist in Harrison’s striking Study of a Man’s prints were reviewed in international Walter Osborne (1859–1903), The Flem- Head (ca. 1880), made when she was just journals such as The Studio (London), The ish Cap (ca. 1882), to the British Museum, 17, is finely executed, with delicately cap- Graphic (London) and Gazette des Beaux the established home for prints in Britain tured features articulated through light Arts (Paris). There were particularly close and Ireland at the turn of the century. and shade and subtly varied hatching. connections with the London art world: Osborne’s print and a rare etching by Harrison was involved in the early years Irish painter-etchers studied with British John Lavery (1856–1941), Two Figures in a of Hugh Lane’s Municipal Gallery of printmakers William Strang (1859–1921) Boat (1883), are representative of works Modern Art, a project that brought mod- and Frank Short (1857–1945) at the Slade that looked to the continent rather than ern French art to Dublin. She may have School (works by both were on view). to England. Osborne’s print was made in been responsible for the dedicated print- England also offered a larger market than Antwerp, where he studied under the Bel- room in its first home in Harcourt Street, Ireland did, as well as greater access to gian painter Charles Verlat, while Lavery, Dublin, in 1908. workshops and equipment. The Dublin

Art in Print September – October 2019 39 Sketching Club had access to a small printing press, as did the Dublin Metro- politan School, while artists such as Solo- mons acquired their own. This points to a socio-political dimension of the Irish etching revival and its later exclusion from the canon of modern Irish art. To be an etcher in Ireland often required independent means, and these artists’ higher social class and ambivalent relationship to Irish nationalism may have been a factor in subsequent reception of their work. Several artists in the show were former British army officers, who had honed their skills while serv- ing as military cartographers. Others were proudly Irish: Edward L. Lawren- son (1868–1940), himself a British army veteran, Francis S.Walker (1848–1916) and Myra Hughes (1877–1918) chose to exhibit their work in a separate Irish section of the International Exhibition held in Dub- lin in 1907, seceding from the much larger display of British art. Solomons partici- pated in the Irish War of Independence Fig. 3 Estella Solomons, McDaid’s Pub, Dublin (undated), etching, 30.8 x 37.7 cm. (1919–21), joining Cumann na mBan, the Trinity College Dublin. women’s Irish republican organization, in 1915, the year before the 1916 Rising. Dur- ing the War of Independence and the sub- as one could imagine. Shannon Scheme period when heroic views of the rural sequent Civil War (1922–23) her studio, No 2: The Culvert (1929) is one of three West of Ireland were in favor. Their where she allowed republican soldiers to large etchings from a series commis- concerns were with the wider world and hide, was often raided by British and sub- sioned by the Irish government, which the vagaries of its natural and man- sequently Irish Free State troops. featured in the exhibition. The terrain— made forms, rather than with grand Her etchings of Dublin alleyways and an ostensible landscape, in which work- statements of national identity. Now, in her unusual views of landmark buildings ers appear as staffage—is irrevocably 2019, we can perhaps finally recognize impart an almost subversive view of the distrupted by the giant industrial struc- what they contributed and what we have city. The elusive character of her work is ture (Fig. 1). Atkinson, who worked in a been missing. perhaps enhanced by the intrigue of her breadth of styles and subject matter, is clandestine involvement in the nation- also represented by a smaller etching, alist movement. Her undated etching The Nun’s Garden (ca. 1910), in which a Roísín Kennedy is lecturer in Irish and of McDaid’s Pub evokes Rembrandt and parade of women in dark habits contrasts modern art at University College Dublin. Whistler in its subtle massed light and with the delicate lines of the trees behind shade, while picturing a corner of mer- them. cantile activity in a soon-to-be demol- In the decades after Irish indepen- ished alley (Fig. 3). Such views reveal dence in 1922, the transnational interests Dublin as a more intimate and enigmatic and experiences of these artists may have metropolis than the one that figures in contributed to the marginalization of the more conventional views of Trinity their work. Their prints were rarely College by Hughes, a now almost totally acquired by the poorly funded galleries of forgotten artist who exhibited her prints the Irish Free State, whose preference was to great acclaim in Dublin, London and for paintings, drawings and watercolors. Liverpool during her lifetime. While the prints in the exhibition itself George Atkinson, who once headed emphasized Irish subjects, the catalogue the Dublin Metropolitan School of Art, makes clear that many artists tackled is best known in Ireland for his etchings continental landscapes and views, and/or of the construction of the hydroelectric were based in Britain for much of their scheme on the river Shannon at Ardna- careers. These subjects and histories, crusha, the largest industrial project along with the prints’ idiosyncratic man- undertaken by the Irish Free State estab- ner of execution, and even the predilec- lished in 1922. Drawn on site, the etchings tion for urban themes may also have are as far from propaganda for the scheme militated against their popularity in a

40 Art in Print September – October 2019 EXHIBITION REVIEW Kinds of Blue: Lorna Simpson By Megan N. Liberty

Lorna Simpson, Blue Turned Temporal (2019), ink and screen print on gessoed fiberglass, 102 x 144 x 1 3/8 inches. ©Lorna Simpson. Courtesy the artist and Hauser & Wirth.

“Lorna Simpson. Darkening” slivers of female faces—eyes smiling in clipped ephemera on this wilderness is Hauser & Wirth, New York an otherwise figureless scene—and also disorienting. Though she worked with a 25 April – 26 July 2019 occasional words or symbols. Legible limited number of screens, their strategic fragments call out to us: “$4,” “WIG.” The repetition suggests a vast collection of text, once seen, must be read: “Stop / Stop / texts—an idea made manifest in the first rom across the gallery, Lorna Simp- Stop / Stop” appears in a stack in several gallery by a 11-foot-tall totem of vintage Fson’s screenprint-painting Blue Turned paintings. Other bits read “And / fight / Ebony issues. Temporal (2019) looked like a deserted white.” Incomplete words leave us guess- In the mid-20th century, Ebony was Arctic landscape, with a large snowcapped ing their meaning—“facial” perhaps? one of a number of periodicals that mountain rising against a foreboding “Lack” or “black”? offered a culturally hospitable space sky of lush, dark blue. The fluid, cobalt “I had an obsession with imagery of for black Americans in the otherwise blue paint is at odds with the photo- ice, icebergs and mountain tops,” Simp- unwelcoming landscape of American mechanically reproduced mountains, son told Thelma Golden in a public media, and it has become a touchstone and also with the thin slices of maga- conversation before the exhibition open- for a number of contemporary artists.2 zine pages that streak down the canvas, ing.1 The paintings are cold; their blue/ A 2014 group show at the Studio Museum interrupting the landscape. Though they black tonality is both expansive and in Harlem, “Speaking of the People,” appear to be collaged, these strips are isolating, like open ocean—we may feel explored the legacy of the Johnson also screenprinted, digital enlarged from drawn to jump in, despite the terror of Publishing Company, which produced the originals. We can make out narrow being swallowed up. The intrusion of Ebony. In the exhibition catalogue, Romi

Art in Print September – October 2019 41 Left: Installation view of “Lorna Simpson. Darkening” (2019) at Hauser & Wirth. Right: Lorna Simpson, Source Notes (2019), ink and screen print on gessoed fiberglass, 144 x 102 x 1 3/8 inches. ©Lorna Simpson. Courtesy the artist and Hauser & Wirth.

Crawford noted how contemporary art about the Arctic was printed: “The unan- In pairing the Arctic and public repre- “exaggerates, parodies and conceals the ticipated shock: so much believed to be sentations of blackness, Simpson does care or affection that has gone into keep- white is actually—strikingly—blue.” not define either. Instead she sets up an ing the Ebony/Jet archive (and the black Thus the optical effects of light on inquiry about abstraction and percep- cultural matter contained within it) in snow are linked to race. The palette for tion—about reading and looking, and the play, transitioning it from the home into Simpson’s new work arose from “think- assumptions we allow to “color” both. As the museum.”3 ing about color and thinking about night, Lewis’s poem asks, “It makes me won- The barely recognizable fragments of but also about atmosphere and inhos- der—yet again—was there ever such a text and image in Simpson’s new works pitable conditions, and how to survive thing as whiteness?” can be seen in this light, and connect those conditions.” Like many people, she these heroic landscapes to earlier works sees America as in “a very dark period.”5 that paired back-of-head photographs of The Arctic series faces this darkening, Megan N. Liberty is the Art Books section editor at the Brooklyn Rail. black people with enigmatic text panels but avoids the binary reductiveness of so to tweak assumptions about race and much contemporary political discourse. gender. “My earlier work involved a dif- Like black and white, blue can be a skin Notes: ferent kind of poetics with use of my own color—bruises are “black-and-blue”—and 1. “Lorna Simpson in conversation with Thelma Golden,” Transcript of public conversation on text,” Simpson told the Brooklyn Rail. “the blues” can be both a mood and, in 24 Apr 2019, https://www.hauserwirth.com/ “Text appears much more abstract in the the context of music, one of black Amer- stories/24565-lorna-simpson-conversation- work now. I am after the suggestion of an ica’s most famous contributions to world thelma-golden. archive or of a much larger narrative.”4 culture. The formal and figurative con- 2. Lauren Haynes, “From Harlem to Hollywood” Perhaps the most striking painting at nections of these colors were the sub- in Speaking of the People (New York: Studio Hauser & Wirth was Source Notes (2019), ject of two recent exhibitions: “Blues for Museum, 2014), 13. 3. Romi Crawford, “Ebony and Jet on our Minds... which reproduces a photograph of an Smoke,” curated by Bennett Simpson (LA In our homes... on the wall” in Speaking of the elegant female model, with a strikingly MoCA and the Whitney Museum, 2012), People, 21. beautiful face, a chic spotted top, and which focused on race and the blues, and 4. Osman Can Yerebakan, “Lorna Simpson In hair immaculately set atop her head. “Blue Black” curated by Glenn Ligon for Conversation,” Brooklyn Rail (June 2019) https:// Polished and composed, she gazes back the Pulitzer Art Foundation in St. Louis brooklynrail.org/2019/06/art/LORNA-SIMPSON- with-Osman-Can-Yerebakan. over her shoulder at the viewer. This in 2017, which Ligon described as “a medi- 5. “Lorna Simpson in conversation with Thelma paradigmatic image of mid-20th-century tation on the formal, political, and meta- Golden.” black American culture and aspirations is physical ways the colors have been used.”6 6. Glenn Ligon, “Blue Black, Black and Blue,” immersed in the same blue/black as the The artists included ranged from Ligon in Blue Black (St. Louis: Pulitzer Foundation, mountains in other paintings. While this and Simpson to Jean-Michel Basquiat, 2017),13. eerie darkness might be seen as menac- Simone Leigh and Andy Warhol. Simp- ing, her expression is unintimidated and son’s new paintings extend this explora- knowing. On a wall near the entrance an tion into on the multiplicity of meanings excerpt from a Robin Coste Lewis poem and references that blue and black evoke.

42 Art in Print September – October 2019 EXHIBITION REVIEW Thomas Kilpper in Edinburgh By Ruth Pelzer-Montada

Thomas Kilpper, installation view of “The Politics of Heritage vs, The Heritage of Politics” (2019). Photo: James Boyer Smith.

“The Politics of Heritage vs. of these ambitious creations, The Politics of victim, as well as a still from the 2006 the Heritage of Politics” Heritage vs. The Heritage of Politics (2019), film The Lives of Others (Das Leben der 27 April – 7 July 2019 was made in response to an invitation from Anderen). Using pictorial and verbal Edinburgh Printmakers Edinburgh Printmakers, Britain’s oldest material—news photographs, portraits, open-access print workshop (founded in quotations—Kilpper creates sprawling, he German artist Thomas Kilpper 1967), to help inaugurate its new home in complex compositions that interweave T has established an international repu- Castle Mills, the refurbished 19th-century public record and personal interpreta- tation through spectacular site-specific (or headquarters of the North British Rubber tion. The images are projected onto the “site-related,” in the artist’s phrase) socially Company (NBRC). floor surface, area by area, and then cut and politically responsive projects in loca- In preparation for each project, Kilp- into the floor by hand using the projections such as Orbit House, London (2000), per researches the political and economic tion as a guide. When finished, the floors and the former East German Ministry of histories of the space in question, iden- are inked and printed, creating monu- State Security (Stasi) headquarters in Ber- tifying events and actors, and teasing mental and potentially mobile docu- lin (2009).1 Although he sees his activity out reverberations with current events ments of temporary installation events. primarily in the context of sculpture, Kilp- and issues. At the Stasi headquarters, for Although Kilpper usually works with per has excited a large following among example, he focussed on historical itera- found floors—wood at Orbit House, printmakers because of his strategic use tions of state surveillance and repression, linoleum in the Stasi headquarters (his of carved floors as both installations and picturing Waldemar Pabst, the Freikorps preferred material)—the recent renova- temporary printing matrices for large-scale captain who ordered the execution of tions at Castle Mills required a different works on paper and fabric. The most recent Rosa Luxemburg in 1919, alongside his approach: the new concrete floor in the

Art in Print September – October 2019 43 38 by 19 foot (11.5 x 5.8 m) gallery was covered with 4mm-thick latex sheets, a nod to the rubber flooring that had once been produced in the NBRC factory. Drawing material from the company’s archives and those of Edinburgh Printmakers, Kilpper developed a meandering narrative that links commodity exploitation (rubber), workplace communities (factory and printshop), and political events running from the fight for women’s suffrage to Brexit. The cast of characters pictured ranges from the local to the global, and Kilpper takes delight in explaining their significance. Two were critical to the history of Edinburgh Printmakers: founder Robert Cox—an American gallerist based in Edinburgh—is seen pulling a print, perhaps for show since he is wearing a jacket and tie; Alfons Bytautas, master printer at EP for 30 years, is shown standing in the etching area of the workshop’s previous home in a former Victorian public washhouse. The rubber factory’s role as a source of employment and community is hon- ored in two group shots of female and male workers in the 1960s or 70s; their smiles and apparent camaraderie suggest a benign management regime despite what might today be considered hard and unhealthy working conditions. At the same time, Kilpper acknowledges the darker history linking the rubber industry to the brutal postwar conflict in Malaysia (the “Malayan Emergency” of 1948–60) with the inclusion of a notorious 1952 photograph of a Royal Marine holding the severed heads of a Malayan woman and man. Ideological complexity of this kind is important to the artist. Finally, one of the factory’s most important product lines is saluted through an image of model Kate Moss in Hunter boots, the fashionable rebranding of the humble Wellington (wellie) rubber boot made by NBRC and famously essential to soldiers in WWI trenches. (After many successive buyouts and restructurings, NBRC, now known as Hunter Boots Ltd., remains headquartered in Edinburgh.) The Castle Mills building’s new function is celebrated in two witty mis- quotations. Kilpper appropriates Bar- bara Kruger’s iconic image-text piece, I shop therefore I am (itself a mockery of

Above Left: Exterior of Castle Mills. Center: floor matrix of female workers of NBRC. Below Left: floor matrix of male workers. Photos: Jules Lister.

44 Art in Print September – October 2019 Left: Thomas Kilpper, British officer with beheaded Malayans (2019), floor matrix. Right: Thomas Killper, Kate Moss (wearing Hunter wellies, Glastonbury Festival, 2005) (2019), floor matrix. Photos: Ruth Pelzer-Montada.

Descartes’s famous assertion), replac- Cameron, and Jeremy Corbyn flank this of state-sponsored technological surveil- ing the operative verb with “print.” Else- German Window, and a banner bear- lance.5 Another on-the-spot addition was where a banner reads, “PRINTMAKING ing the title of the Sex Pistol’s 1976 hit the inclusion of a newspaper photograph IS A TOTAL HOAX, INVENTED BY THE “Anarchy in the UK” wafts from Theresa of Lionel Simenya, a local chef killed near CHINESE,” repurposing Donald Trump’s May, with obvious logic. Brexiteer Nigel Castle Mills in early March. trade-war tinged denial of climate Farage appears with a rat on his shoulder. The execution of so vast a template— change as an equally ludicrous, though This rat is one of several dotted across more than 700 square feet—inevita- more niche, statement—a characteristic the floor in recognition of the building’s bly encounters difficulties. The latex, bit of KiIpper wit.2 Kilpper describes the former abandonment.3 The implications though smooth and flexible, proved to be crowded central section of the composi- of poverty and disease are counterbal- a recalcitrant carving material, and the tion as “the German window looking to anced, according to the artist, by more amount of work was beyond the pow- Edinburgh,” in particular the political hopeful images of the buddleia (butterfly ers of one person to complete. Kilpper situation of a United Kingdom divided bushes) that thrive on the wasteland still therefore assembled a team of four cut- by Brexit (Scotland voted overwhelm- surrounding the building. In an analo- ters: Keziah Phillips, Yi-Chieh Chiu, Kim ingly to remain in the EU). Most of the gous corrective, the philosopher and pas- Vermeulen and Caspar Pauli. Phillips and faces here belong to German political sionate European Bernard-Henri Lévy Chiu were recruited locally, while Pauli and cultural figures, including the West appears as a counterweight to national- and Vermeulen have worked with the German chancellor Helmut Schmidt ists and isolationists.4 artist before. Looking closely, one can (1918–2015), a young Angela Merkel, the Complementing his collection of see different carving styles—some deli- East German writer Christa Wolf (1929– historical materials, Kilpper keeps his cate, some closer to the broad slashing 2011) and singer-songwriter Nina Hagen. compositions open until the point of of Expressionist woodcuts. Kilpper says Several, such as chancellor Willy Brandt execution, allowing for the spontane- he welcomes such diversity. It mitigates (1913–1992), were critical to German ous incorporation of current events. The against the danger that after more than reunification. (Their presence is perhaps celebration of International Women’s 20 years working in this domain, Kilpper a reminder that reunion is always a his- Day on 8 March 2019, as carving began, might become facile in his command of torical possibility.) In Edinburgh Kilpper prompted the inclusion of suffragettes. technique. stressed, “we want you to stay.” Other The 1913 photograph used was one taken Printing was another challenge. Ink politicians such as Donald Trump, David covertly by the police—an early example dries faster on latex than on wood or

Art in Print September – October 2019 45 Thomas Kilpper, installation view of “The Politics of Heritage vs. The Heritage of Politics” (2019), floor matrix with the artist (on the left with cap) and his team. Photo: Neil Hanna. linoleum—so fast that printing on large In addition to the fractured and recon- sheets of paper proved impossible. The figured composition of prints on the back Ruth Pelzer-Montada is an artist and lecturer in visual culture at Edinburgh College of Art, solution was twofold: Edinburgh Print- wall, the floor also yielded one full-scale The University of Edinburgh. makers studio director Alastair Clark print on fabric, which was stretched suggested lithography ink might work across the ceiling, sandwiching the better on the latex matrix, a change that viewer between matrix and imprint. The Notes: 1. All quotes from the artist, unless otherwise inspired Kilpper to introduce more color physical space between these two ele- identified, are from conversation with the author than had been his habit. Canadian artist ments, such a strong feature of the ontol- on 5 April 2019 at Edinburgh Printmakers, Castle- Sean Caulfield recommended a commer- ogy of printmaking, with its potential mills, Edinburgh. For an extended discussion of cial Japanese paper that comes on rolls for refraction, presences and absences, these two works and others, see Paul Coldwell, and could be cut to size for individual suits Kilpper’s desire to mark how power “Matrix, Meaning and the Specificity of Site: The Floor-cuts of Thomas Kilpper,” Print Quarterly vignettes; this paper, furthermore, could moves in the world. This was my first 29, no. 4 (December 2012). be wheatpasted to the wall and later encounter with a Kilpper floor matrix, 2. https://twitter.com/realdonaldtrump/status/265 removed, enabling Kilpper to create a and I confessed my reluctance to step on 895292191248385?lang=en. reusable installation for the first time. the people depicted. He explained that by 3. Industrial rubber production ceased in 1969, Individual scenes and portraits were “flooring” his subject he unifies figures and following use of the building by Scottish and Newcastle Brewery, it lay empty from 2004 until printed onto sheets of various sizes and that may otherwise be at opposite ends of the start of the refurbishment by EP in 2012. pasted onto the gallery’s rear wall. The social hierarchies or political spectrums. 4. In January this year, 30 intellectuals and writ- striking, multicolored, 342 square-foot Kilpper’s floor pieces are most often ers signed Lévy’s pro-European manifesto, “Il y a collage on the rear wall was the result. temporary events, carried out in build- le feu à la Maison Europe,” in the French journal Kilpper admits to being surprised at the ings slated for demolition or reconstruc- Liberation, urging European countries to take outcome of the printing in each instance. tion. The Tate nevertheless holds a action against populism. 5. The suffragettes shown in Holloway Prison In addition to reversal inherent in the section of the mahogany parquet floor were Margaret Scott, Jane Short, May McFar- transfer from matrix to paper or sup- matrix from Orbit House in addition to lane and Olive Hockin. They had been arrested port, the translucent yet firm quality of 21 prints made from it. At the time of this after they were found throwing stones into shop the paper motivated the artist to print on writing it remains unclear what will hap- windows in Regent and Oxford Streets in Lon- the verso and thus obtain several mirror pen to the Edinburgh floor piece. Kilp- don. 6. It may in fact be moved to Berlin. Most of the prints will go to Kilpper’s archive there, but images—for example, of Scottish writer per’s preference would be for it to stay in some will remain at EP’s archive (Kilpper in email and artist Alasdair Gray, looking out of Scotland.6 correspondence with the author, 25/6/2019). the picture “to the future.”

46 Art in Print September – October 2019 A Paper Conservator’s Print Collection at Tübingen University By Karen Köhler and Irene Brückle

ollecting prints is an interest not C exclusive to art collectors. Among others, it has been pursued by paper conservators, especially those specializing in the treatment of artworks, out of a love of art; an interest in artists’ methods and the technical intricacies of paper and media that are the material basis of print production; and formerly, as a sup- ply of materials. The earliest such collections, associated with 19th-century restorers, were literally used—even used up—in the process of restoration, as can be seen by extant restoration work.1 In order to make complicated, hardly visible repairs on saleable but damaged prints, matching pieces of paper were cut from old prints deemed to have no commercial value (many were donated for this purpose). Today, of course, professional ethics have changed such that cannibalizing historic materials—even blank paper—is out of the question.2 Since the mid-20th century, paper conservators have collected prints for the less destructive purpose of teaching. The need for systematic training for conservators was recognized even before the first German programs in the disci- pline opened their doors around 1990. Barbara Schulz (1920–2013) stands out among the fledgling group of profession- als for her dedication to the study of fine art printing technology, and she formed Wolfgang Blauert, no title/undated, intaglio print showing (counter-clockwise from the bottom): a collection of 196 prints that she used in mezzotint, engraving, soft ground, dry point, roulette, aquatint, etching, 27.0 x 25.2 cm, teaching, starting in the 1970s. In 2005, Graphische Sammlung, Eberhard Karls Universität, Tübingen. Photo: Karen Köhler. she sold this collection to the Institute of the History of Art, Eberhard Karls Uni- the paper collection of Boston-based at Marburg University, and eventually versity Tübingen, where it rests today. conservator Christa Gaehde (1922–2002) settled in Darmstadt, where she became (The choice of institution was no doubt recently went to Yale University).3 paper conservator for the Graphische inspired by her long-term collaboration Schulz first learned about printing as a Sammlung (prints and drawings collec- with librarian Gerd Brinkhus, who also child in Berlin, hovering in the workshop tion) of the Hessisches Landesmuseum, a served as head of preservation at Tübin- of her father, the artist and etcher Karl position she held from 1958 to 1982. One gen University.) It is the first paper con- Heinrich Schulz, and later studied paint- of the first female members of the Inter- servator’s collection to be acquired by ing and design at Universität der Künste national Association of Book and Paper a public collection in Germany, but it is Berlin, from 1939 to 1943. Shortly before Conservators, she published articles in likely that similar collections will now the end of World War II in 1945, Schulz the 1970s–90s on print technology, her move to other institutions (at Stuttgart, and her mother fled westwards (her favorite subject, and in 1982 curated an where the authors of this essay work, a father remained behind and did not sur- exhibition and symposium at the Darm- collection donated by British paper con- vive). Schulz supported herself with por- stadt museum, “Der künstlerische Tief- servator Kate Colleran is presently being trait and landscape drawings, worked for druck—Techniken” (the artistic intaglio inventoried, while in the United States, some time at the archeological institute print—techniques).4

Art in Print September – October 2019 47 Johann Heinrich Bleuler, Vue d’ou le Rhône sort, après qu’ils a été perdu et la Joncton de la Valséréne, aquatint in two colors, 40 x 52 cm, Graphische Sammlung, Eberhard Karls Universität, Tübingen. Photo: Karen Köhler.

The works in her collection are mostly Among the works she collected are was (to an extent not specified) restored from the 19th and 20th centuries, donated those with telltale signs of particular before printing by the Darmstadt artist by artists and collectors, or purchased printing processes, such as the view of the Wolfgang Blauert. Some evidence of dam- in Darmstadt galleries and antiquar- Rhône river by Johann Heinrich (Henri) age in the form of dents showing as inked ian bookstores; a few are commissioned Bleuler, an aquatint printed à la poupée features remains. Blauert also created a works created for her by artists. Intaglio in blue and black ink. In her notes, Schulz teaching print for Schulz that features a prints, her primary subject for many points out the splotchy transition between spherical arrangement of eight intaglio years, make up the more than half the the two colors, and comments that the printing techniques; this was handed out collection (114 works), followed by relief print would have been meant to receive to course participants. (54), planographic (23), one screenprint either further printed color or, more likely, Schulz’s notes enhance the interest of and six miscellaneous works. The selec- handcoloring. She further records that the the collection. Despite the narrow focus tion was not predicated on artistic merit, print was given to her as a present by the on facts about prints, they read a bit like a and as the prints were her personal prop- Darmstadt artist Claire Orth in whose diary, giving glimpses of life through the erty, they could be handled and viewed family it had survived as a damaged “war objects that were gathered. with a magnifying glass by course partic- remnant,” which may account for the Since Schulz’s time, print identifica- ipants—usually following a slide lecture creases and scratches in the paper. Two tion pedagogy has blossomed; it is now a that featured masterpieces in respective other impressions pulled from one plate standard module in paper conservation techniques. Decades of such handling illustrate printing process variations that curricula, and conservators and art histo- did, she noted, create wear.5 The collec- result from different ink color and, likely, rians, sometimes working in collaboration is still housed in the portfolios and consistency. The first dates from the 19th tion, have published many studies on boxes she constructed, which will be pre- century, while the second was pulled in historic printing methods, both in rela- served when the prints are rehoused. 1984 from the war-damaged plate, and tion to artistic oeuvres as well as individ-

48 Art in Print September – October 2019 ual techniques. The value of Barbara Schulz’s collection, however, remains undiminished; we anticipate that future generations of art history, art and conservation students will consult the collection and perhaps add more detail to the records, consulting in parallel the resources available on the Web. Were she still alive, Schulz surely would relish this broadened plane of research options and would have had much to contribute.

Acknowledgements We would like to thank Anette Michels, head curator at the Graphische Samm- lung at the Eberhard Karls Universität, Tübingen, for offering the collection as a topic for the BA thesis carried out by Karen Köhler, who documented it and transcribed Schulz’s analog records. Col- leagues Martina Noehles in Mühlheim; Ruth Schmutzler at the Städel Museum in Frankfurt; Leslie Paisley in William- stown, MA; and Gerd Brinkhus in Tübin- gen contributed their recollections.

Karen Köhler is a paper conservation graduate student completing her MA at the Staatliche Akademie der Bildenden Künste in Stuttgart.

Irene Brückle is a Professor and head of the Program Konservierun und Restaurierung von Kunstwerken auf Papier, Archiv und Bibliotheksgut.

Notes: 1. Karin Holzherr, “Beispiele für Restaurierungen durch Johann Michael von Hermann und Ludwig Albert von Montmorillon” and Susanne Wagini, “Johann Michael von Hermann (1793–1855). ‘Erfinder der wahren Kupferstich- Restauration’ und Vorläufer von Max Schweidler,” in Susanne Wagini, ed., Lucas van Leyden 1489/94–1533: Meister der Druckgraphik (Berlin: Deutscher Kunstverlag, 2017). 2. Selina Dieter, Irene Brückle, Oliver Masson, and Georg Josef Dietz, “Print Facsimile Repairs Slide storage page from the slide collection of Barbara Schulz, private collection. on Old Master Prints or What we can learn from Photo: Ruth Schmutzler. Schweidler,” Journal of Paper Conservation— Mitteilungen der IADA 19, no.1 (2018): 5–17 3. Email from Theresa Fairbanks, 2019. 25 Apr 2019. Another part of the Gaehde collection is at Stuttgart. 4. Barbara Schulz, Der künstlerische Tiefdruck: Techniken (Darmstadt: Hessisches Landes- museum, 1982). 5. Barbara Schulz, “Über die Oberflächenemp- findlichkeit von ein- und mehrfarbig gedruckten Tiefdrucken,“ Restauro 98 (1992): 252–257.

Art in Print September – October 2019 49 Prix de Print N0. 37 PRIX Returning Dialogue: de Fragments of Blue and White Porcelain (2017) PRINT by Bundith Phunsombatlert Juried by Judy Hecker

This iteration of the Art in Print Prix de of production—cyanotype in the case of Britain. By the mid-18th century, Eng- Print has been judged by Judy Hecker. Sunny Garden; transfer-printed porcelain lish manufacturers had begun transfer- The Prix de Print is a bimonthly com- here—to consider cultural migrations printing engravings onto earthenware petition, open to all subscribers, in across time and space. and porcelain, making pictorial dishes which a single work is selected by an An elegant gray clamshell box opens commonplace. One only needs to wander outside juror to be the subject of a brief to reveal a circle of broken crockery— through the galleries of the Metropolitan essay. For further information on entering a dozen irregular pieces of porcelain Museum or the V&A to glean the dynamic the Prix de Print, please go to our website: affixed to the linen-covered backboard complexity of these interconnections. https://artinprint.org/about-art-in-print/. in the shape of an incomplete plate. A With Returning Dialogue: Fragments of close look makes it clear that these frag- Blue and White Porcelain (2017) Phunsom- Bundith Phunsombatlert ments are not the result of an accident, batlert has joined the numerous contem- Returning Dialogue: Fragments of but were made this way—edges are too porary artists who have experimented Blue and White Porcelain (2017) smooth, too rounded, too coherent. The with printed porcelain—Roy Lichten- Digital printing transfers on fragments of substantial gaps and fissures that sepa- stein teamed up with Durable Dish Co. blue and white porcelain displayed in an rate one from the next suggest oceans, and Jackson China in 1966 on a set of archival clamshell box, 16 x 27 x 2 inches with the blue-and-white china as conti- transfer-printed china with Ben-Day dot (open). Edition of 7. nents or islands in an archipelago. Each “shadows;” Cindy Sherman’s Madame with its own character and biome: a large de Pompadour (née Poisson) (1990) offers piece around the rim shows leafy fronds, a subversive formal dining experience another a fruiting branch, another a through a grand 30-piece set; and Andrew s regular readers of this journal standing figure. Each has been printed Raftery’s 2016 transfer-printed earthen- A know, the judging of the Prix de Print from a digital image using sources that ware set, Autobiography of a Garden on is done “blind”—the juror is given images range from 13th century China, to 15th Twelve Engraved Plates, was inspired by his and artists’ statements, but the artists century Vietnam, 18th century Thailand, own collection of English transfer ware. remains anonymous until the selection is 19th century Britain, and Los Angeles Phunsombatlert’s dish, however, is made. I was drawn to this curious object circa 1900 (a historical photograph of an unusable—fractured and permanently for the Prix de Print because of the way Asian migrant worker in an olive grove). housed in an archival clamshell box. Fur- it layers print technology in a format not Like a map with an inset legend, the box thermore, it is clear that these fragments automatically associated with printmak- includes a printed key that identifies each would never have made a whole—they ing. As it happens, the artist—Phunsom- fragment and its source, allowing us to come from different places, different batlert Bundith—was also selected just four chart a history of technical and cultural plates. Together they make a world that months ago as the winner of Prix de Print migration from east to west. is connected but not contiguous, where No. 35, for Sunny Garden in Blue: Stories from Printmaking and porcelain have a long the spaces between things also matter. the Caribbean to Brooklyn (2018) a series of history together. In China, where earth- lush cyanotypes that sets personal stories enware and porcelain were painted by of migration amid portraits, plants and hand using cobalt blue under the glaze, Judy Hecker is director of the International flowers. Phunsombatlert, who was born the images artists used were sometimes Print Center New York (IPCNY). and educated in Thailand before coming to based on Chinese woodblock book illus- the United States, regularly uses printmak- trations. When expanding trade routes ing processes in his sculpture, installations, brought Chinese blue-and-white ceram- and public art works. He is also in the habit ics to Europe, their popularity sparked of putting digital technology in the service centuries of imitation and appropria- of more antiquated, historically rich means tion, especially in the Netherlands and

50 Art in Print September – October 2019 Bundith Phunsombatlert, Returning Dialogue: Fragments of Blue and White Porcelain (2017).

Art in Print September – October 2019 51 Daniel Buren, On Transparency: Deborah Freedman, Departing Storm 10 (2019) News of the Situated Mylars VI (2017–2019) Watercolor monotype, 27 1/2 x 27 inches. Unique Seven-layer, uniquely configured screenprint on image. Published by the artist and Oehme Graph- Print World Mylar, 30 7/8 x 30 7/8 inches. Edition of 2. Printed ics, Steamboat Springs, CO. $1,900. by Richard Kaz and published by Gemini G.E.L., Los Angeles. Price on request.

Selected New Editions

Chiaozza, Man With Amoeba (2019) Risograph artist’s book, 4 x 3 1/4 inches. Edition unlimited. Published by Little Big Time Press, New York. Price on request.

Daniel Buren, On Transparency: Situated Mylars VI (2017–2019). Deborah Freedman, Departing Storm 10 (2019).

Nancy Campbell, Kago (2019) Chitra Ganesh, Sultana’s: After the Dream Screenprint, 22 x 30 inches. Edition of 10. Printed (2019) and published by the artist, Amherst, MA. Avail- Linocut, from a portfolio of 27 prints, 51.1 x 41 cm. able from Stewart & Stewart, Bloomfield Hills, Edition of 35. Printed and published by Durham MI. $1,200. Press, Durham, PA. Price on request.

Chiaozza, Man With Amoeba (2019).

Polly Apfelbaum, On Target, Yellow (2019) Woodblock, from a portfolio of 6 prints. 25 x 25 inches. Edition of 25. Printed and published by Durham Press, Durham PA. Price on request. Nancy Campbell, Kago (2019).

Taiko Chandler, On and On #54 (2019) Oil monoprint with stencils, 38 1/2 x 27 inches. Edition of 15. Published by the artist and Oehme Graphics, Steamboat Springs, CO. $1,950.

Chitra Ganesh, Sultana’s: After the Dream (2019).

Don Gorvett, Lighthouse, New Castle (2019) Reduction woodcut with unique impressions, 20 x 24 inches. Printed and published by the artist. Available from Piscataqua Fine Arts Studio and Gallery, Portsmouth, NH. $1,600.

Polly Apfelbaum, On Target, Yellow (2019).

Emily Berger, Rubato #4 (2019) Monotype, image 13 1/2 x 11 3/4 inches; sheet 25 3/4 x 19 3/4 inches. Unique image. Published by VanDeb Editions, Long Island City, NY. $1,450. Taiko Chandler, On and On #54 (2019).

Peggy Cyphers, Heirs to the Sea #21 (2019) Monoprint, 30 x 20 inches. Varied edition. Pub- lished by VanDeb Editions, Long Island City, NY. $2,000.

Don Gorvett, Lighthouse, New Castle (2019).

Emily Berger, Rubato #4 (2019).

Peggy Cyphers, Heirs to the Sea #21 (2019).

52 Art in Print September – October 2019 Catherine Howe, Garden (daisy, magenta, David Kramer, Clown (2019) blue) (2019) Lithograph with hand-coloring, 18 1/4 x 15 inches. Carborundum collagraph on paper, 42 1/2 x Edition of 35. Published by Owen James Gallery, 33 inches. Unique image. Printed by Jonathan New York. Price on request. Higgins and published by Manneken Press, Bloomington, IL. $3,500.

Judith Linnares Horselaugh Color aquatint Image size: 12" x 16" Paper size: 17½" x 21" Edition of 15 David Kramer, Clown (2019). Catherine Howe, Garden (daisy, magenta, blue) (2019). Lauren Krukowski, Untitled (On knowing what I think I might want) (2019) Robert Kelly, Onda I (2019) Hand-painted chine-collé on paper, 16 x 12 Relief, woodblock, collage and chine-collé, inches. Unique image. Printed and published by JENNIFER 40 1/4 x 33 inches. Edition of 30. Printed by Rob- the art at Robert Blackburn Printmaking Work- ert Kelly. Published by Tandem Press, Madison, shop, New York. $350. WI. $4,000. MELBY EDITIONS

Tom Burckhardt Joanne Greenbaum Red Grooms Judith Linhares

Lauren Krukowski, Untitled (On knowing Paul Mogensen Robert Kelly, Onda I (2019). what I think I might want) (2019).

Catherine Kernan, Time and Again #32 (2019) Julie Mehretu, Six Bardos: Last Breath (2018) Robert Moskowitz Woodcut monoprint, 20 x 60 inches. Unique Four-color aquatint, 50 1/4 x 73 1/4 inches. image. Printed and published by the artist in Edition of 45. Printed by Case Hudson and pub- Jackie Saccoccio Somerville, MA. Available from Stewart & Stew- lished by Gemini G.E.L., Los Angeles. $42,000. art, Bloomfield Hills, MI. Price on request. Andrew Spence Craig Taylor Nicola Tyson

Jennifer Melby Catherine Kernan, detail of Time and Again 110 Wyckoff Street #32 (2019). Julie Mehretu, Six Bardos: Last Breath (2018). Brooklyn, NY 11201 www.jennifermelby.com [email protected]

Art in Print September – October 2019 53 Creighton Michael, DitDot #7 (2019) Katja Oxman, Scantly and Selectly (2019) Monoprint, 25 x 22 inches. Edition of 5. Aquatint, 12 x 18 inches. Edition of 30. Printed Published by VanDeb Editions, Long Island City, and published by the artist, Amherst, MA. Avail- NY. $2,000. able from Stewart & Stewart, Bloomfield Hills, MI. $300.

Creighton Michael, DitDot #7 (2019). Katja Oxman, Scantly and Selectly (2019).

Jill Moser, Gamboge (2019) Mary Prince, Schoodig Point (2019) Aquatint, image 17 x 14 inches; sheet 23 1/2 x Archival pigment print, 22 x 30. Edition of 25. 20 inches. Edition of 20. Printed by Jonathan Printed and published by Stewart & Stewart, Higgins. Published by Manneken Press, Bloom- Bloomfield Hills, MI. Price on request. ington, IL. $2,000.

Mary Prince, Schoodig Point (2019).

Richard Serra, Composite XVII (2019) Etching and paintstick screenprint, 29 x 38 1/4 inches. Edition of 38. Printed by Xavier Fumat Jill Moser, Gamboge (2019). and Garrett Metz. Published by Gemini G.E.L., Los Angeles. Price on request. Carrie Moyer, Untitled (2019) 16-color lithograph with screenprint and monotype, 30 x 21 1/2 inches. Variable edition of 30. Printed by students of the MFA program and Alex Kirillov. Published by the MFA Book Arts + Printmaking Program at the University of the Arts, Philadelphia $5,000.

Richard Serra, Composite XVII (2019).

Carrie Moyer, Untitled (2019).

54 Art in Print September – October 2019 Jeanette Pasin Sloan, Trine (2019) Exhibitions of Note Archival pigment print, 30 x 22 inches. Edition of 25. Printed and published by Stewart & Stewart, AMHERST, MA Bloomfield Hills, MI. Price on request. “Leonardo Drew: Cycles” 20 September 2019 – 8 December 2019 UMass Amherst University Museum of Contemporary Art www.umass.edu/umca

BALTIMORE “A Golden Anniversary: Celebrating 50 Years of the Print, Drawing & Photograph Society” 29 August 2018 – 6 October 2019 Baltimore Museum of Art https://artbma.org/

“PDPS 50th Anniversary” 29 August 2018 – 6 October 2019 Baltimore Museum of Art artbma.org

BOSTON “Royal Celebrations: Japanese Prints and Postcards” Jeanette Pasin Sloan, Trine (2019). 13 February 2019 – 15 September 2019 Museum of Fine Arts Boston Diane Victor, Burning Day (2019) mfa.org Hand-printed lithograph, 36.5 x 43.6 cm. Edition of 30. Printed by Mark Attwood and Jacky Tsila. BROOKLYN Published by The Artists’ Press, White River, “Rembrandt to Picasso: South Africa. $500. Five Centuries of European Works on Paper” 21 June 2019 – 13 October 2019 Brooklyn Museum www.brooklynmuseum.org

BUFFALO, NY “The Past is Present: Painting and Prints by Harold L. Cohen” 9 August 2019 – 31 October 2019 Burchfield Penney Art Center www.burchfieldpenney.org

CAMBRIDGE, MA “Critical Printing” 31 August 2019 – 5 January 2020 Lunder Arts Center, JAMES LAVADOUR (Walla Walla) Diane Victor, Burning Day (2019). Lesley University College of Arts and Design Summer (detail) http://www.bostonprintmakers.org/ lithograph, 30” x 22”, edition of 30 Titus Welliver, Sam’s Moon (2019) printed & published by Crow’s Shadow Press Archival pigment print, 23 x 22 inches. Edition “Winslow Homer: Eyewitness” of 20. Printed and published by Stewart & Stew- 31 August 2019 – 5 January 2020 art, Bloomfield Hills, MI. Price on request. Harvard Art Museums www.harvardartmuseums.org

CHICAGO “Andy Warhol—From A to B and Back Again” 20 October 2019 – 26 January 2020

“One Hundred Views of Tokyo: Message to the 21st Century” 21 September 2019 – 8 December 2019 Art Institute of Chicago www.artic.edu NYC October 24-27 CLEVELAND “A Lasting Impression: Artist-in-Residence Program | Fine Print Studio & Gifts of the Print Club of Cleveland” Gallery | Non-Profit | Pendleton, OR | 541-276-3954 Titus Welliver, Sam’s Moon (2019). 5 May 2019 – 22 September 2019 The Cleveland Museum of Art www.clevelandart.org CROWSSHADOW.ORG

Art in Print September – October 2019 55 COBURG, GERMANY LOS ANGELES “Dragon’s Blood & Bold Heroes” “Every Living Thing: 27 June 2019 – 22 September 2019 Animals in Japanese Art” Kunst Sammlungen der Veste Coburg 22 September 2019 – 8 December 2019 veste.kunstsammlungen-coburg.de Los Angeles County Museum of Art www.lacma.org COLOGNE, “Georg Baselitz: Veteran” “Bauhaus Beginnings” 6 September 2019 – 26 October 2019 11 June 2019 – 13 October 2019 Galerie Boisserée “Blurring the Line: www.galerie-boisseree.com Manuscripts in the Age of Print” 6 August 2019 – 27 October 2019 DUBLIN The Getty Museum “Bauhaus 100: The Print Portfolios” www.getty.edu 20 July 2019 – 1 December 2019 National Gallery of Ireland MILWUAKEE, WI www.nationalgallery.ie “Word and Image” 24 July 2019 – 2 December 2019 EASTON, MD “Amze Emmons: Pattern Drift” “Ben Shahn: For the Sake of a Single Verse” 2 August 2019 – 30 September 2019 16 August 2019 – 15 December 2019 Academy Art Museum Haggerty Museum of Art academyartmuseum.org www.marquette.edu/haggerty

EUGENE, OR MINNEAPOLIS “Saints and Spirits in Early Modern Europe” “Picasso Cuts the Bull” 30 March 2019 – 10 November 2019 6 April 2019 – 19 January 2020 Jordan Schnitzer Museum of Art Minneapolis Institute of Art MAJA new.artsmia.org MALJEVIĆ jsma.uoregon.edu Opening October 17, 2019 FAYETTEVILLE, AR MUNICH “Mirror Mirror: The Prints of Alison Saar” “In Focus: From Drawing to Print— 28 May 2019 – 4 October 2019 Examples of Preparatory Sketches Walton Arts Center for Engravings” https://waltonartscenter.org/edu/visual-arts/ 27 September 2019 – 20 October 2019 Pinakothek der Moderne FRANKFURT AM MAIN http://pinakothek.de “The Mysteries of Material: Kirchner, Heckel and Schmidt-Rottluff” NASHVILLE 26 June 2019 – 13 October 2019 “Symbols and Archetypes: Städel Museum Two Millenia of Recurring Visions in Art” www.staedelmuseum.de 26 September 2019 – 14 December 2019 Jean & Alexander Heard Libraries GLASGOW Fine Arts Gallery “Tom Hammick: Deep North: www.library.vanderbilt.edu Prints 2004–2019” 2 August 2019 – 29 September 2019 NEW YORK 526 W 26 St, #816, NYC “Umbra: New Prints For a Dark Age” [email protected] Glasgow Print Studio www.gpsart.co.uk 11 July 2019 – 28 September 2019 International Print Center New York www.ipcny.org LAGUNA BEACH, CA New reduction woodcuts “I Will Not Make Any More Boring Art: “The Renaissance of Etching” Prints by John Baldessari” 22 October 2019 – 19 January 2020 16 June 2019 – 22 September 2019 JAMES SIENA “Selections from the Department “Self-Help Graphics, 1983–1991” of Drawings and Prints: Brewster & Co.” & KATIA SANTIBAÑEZ 17 January 2019 – 22 September 2019 30 July 2019 – 13 November 2019 Laguna Art Museum Metropolitan Museum of Art https://lagunaartmuseum.org/ www.metmuseum.org

LONDON “The Legends of Black Girl’s Window” “The Interaction of Colour” 21 October 2018 – 1 January 2020 7 September 2019 – 26 October 2019 Museum of Modern Art Alan Cristea Gallery https://www.moma.org alancristea.com “Santi Moix: Hanabi” “Cutting Edge: 20 September 2019 – 26 October 2019 Modernist British Printmaking” Pace Prints 19 June 2019 – 8 September 2019 paceprints.com Dulwich Picture Gallery www.dulwichpicturegallery.org.uk “Vija Celmins: Prints” 12 September 2019 – 26 October 2019 SHORE PUBLISHING “The Business of Prints” Senior & Shopmaker Gallery 21 September 2017 – 28 January 2018 seniorandshopmaker.com British Museum shorepublishingny.com http://www.britishmuseum.org/

56 Art in Print September – October 2019 “Hogarth: Cruelty and Humor” LONDON 24 May 2019 – 22 September 2019 “London Art Book Fair” The Morgan Library & Museum 5 September 2019 – 8 August 2019 https://www.themorgan.org/exhibitions/hogarth Whitechapel Gallery “Order and Ornament: www.whitechapelgallery.org Roy Lichtenstein's Entablatures” MINNEAPOLIS 27 September 2019 – “Minneapolis Print & Drawing Fair” Whitney Museum of American Art 5 October 2019 – 8 October 2019 whitney.org Minneapolis Institute of Art www.artsmia.org/ NORTHAMPTON, MA “Defiant Vision: NEW YORK Prints & Poetry by Munio Makuuchi” “IFPDA Fine Art Print Fair” 23 August 2019 – 8 December 2019 23 October 2019 – 27 October 2019 Smith College Museum of Art Javits Drawing Center NYC smith.edu/artmuseum https://www.ifpda.org/print_fair PARIS “The New York Satelilte Print Fair” “Charles-Élie Delprat: Voyages Ordinaires” 24 October 2019 – 27 October 2019 12 September 2019 – 12 October 2019 Mercantile Annex 37 Galerie Documents 15 www.nysatelliteprintfair.com https://www.galeriedocuments15.com/ “E/AB Fair” PASADENA, CA 24 October 2019 – 27 October 2019 “AIR LAND SEA: A Lithographic Suite The Caldwell Factory by William Crutchfield” www.eabfair.org/ 19 July 2019 – 4 November 2019 Norton Simon Museum PARIS www.nortonsimon.org “Paris MAD” 6 September 2019 – 8 September 2019 PRINCETON, NJ IESA—Institut d’études supérieures des arts “Helen Frankenthaler Prints: www.multipleartdays.fr Seven Types of Ambiguity” 29 June 2019 – 20 October 2019 Princeton University Art Museum artmuseum.princeton.edu

ROANOKE, VA “POP Power from Warhol to Koons” 28 September 2019 – 8 March 2020 Taubman Museum of Art https://www.taubmanmuseum.org/

SPOKANE, OR “Polly Apfelbaum: Atomic Pinwheels and Other Mysteries” 27 August 2019 – 14 March 2020 Jordan Schnitzer Museum of Art at WSU https://museum.wsu.edu/

WASHINGTON, DC “Votes for Women: An American Awakening, 1840–1920” 31 March 2019 – 5 January 2020 Smithsonian National Portrait Gallery http://npg.si.edu/

Fairs

CHICAGO “EXPO Chicago” 19 September 2019 – 22 September 2019 Navy Pier www.expochicago.com

CLEVELAND “Cleveland Fine Print Fair” 12 September 2019 – 15 September 2019 Cleveland Museum of Art Please submit announcements of www.printcoubcleveland.org/fine-print-fair/ exhibitions, publications and other events to [email protected].

Art in Print September – October 2019 57

Crown Point Press

GAY OUTLAW Four New Etchings

September 13 - November 2, 2019

Juss, 2019 Color soft ground etching with spit bite and water bite aquatints. 42 x 34”. Edition 25.

20 HAWTHORNE STREET SAN FRANCISCO CA 94105 CROWNPOINT.COM 415-974-6273

PRINT AUSTIN P RIN T EXPO the CONTEMPORARY JANU A R Y 15 - F EBR U A R Y 15, 2020 PRI N T • B I N F E S T TRADE PORTFOLIO E XHIBI TIONS PANEL DISCUSSIONS WORKSHOPS • DEMOS HA PPENI NGS • P RINTAUSTIN.ORG

This project is supported in part by the Cultural Arts Division of the City of Austin Economic

PHOTO Scott David Gordon Scott David PHOTO Development Department, and private donors.

IMAGE Koichi Yamamoto, Aspect Ratio exhibition, TRADITIONAL AND CONTEMPORARY APPROACHES IN PRINTMAKING courtesy of Gallery Shoal Creek, PrintAustin 2019

Art in Print September – October 2019 59 EMIL LUKAS Double Event 1759 | 2019 Relief Monotype 17 1/4 x 22 1/2 inches (43.8 x 57.2 cm)

DURHAM PRESS DURHAM, PA | NEW YORK, NY | WWW.DURHAMPRESS.COM

VISIT OUR WEBSITE TO SEE NEW PRINTS FROM

DERRICK ADAMS RICHARD BOSMAN SUZANNE CAPORAEL ROBERT COTTINGHAM ROBERT KELLY MASER

WWW.TANDEMPRESS.WISC.EDU Derrick Adams Self Portrait on Float [email protected] Woodblock, chine collé, collage, ed. 50 608.263.3437 40 x 40 inches

60 Art in Print September – October 2019 THE BOTTB COLLECTION

Loretta Bennett: Forever (For Old Lady Sally), 2006 Color softground etching with aquatint and spitbite aquatint. 29 1/2 x 44” Edition of 50

Renée Bott Fine Art Prints www.thebottcollection.com

Art in Print September – October 2019 61 FRITZ SCHOLDER

Reclining Indian Woman, 1975 Three-color lithograph, 22 x 30 inches Collaborating Printer: Frances Theil Edition of 100

Publishing lithographs since 1960 Purchase online at tamarind.unm.edu

62 Art in Print September – October 2019 SHARk’S INk. sharksink.com

YVONNE JACQUETTE NEW LITHOGRAPH “The River at Belfast, Maine” (2019), color lithograph, 23 x 32 inches, edition of 30

Editions Evening & Day Sales 12 September 2019 London

Public Viewing 5 - 12 September at 30 Berkeley Square, London, W1J 6EX or at phillips.com

Enquiries Pablo Picasso [email protected] Portrait de Jacqueline +44 207 318 4010 au chapeau de paille multicolore (Portrait of Jacqueline in a Visit us at phillips.com Multicoloured Straw Hat), 1962

Art in Print September – October 2019 63 D R A W I N G S

JOHN W. CLINE

64 Art in Print September – October 2019 Art in Print September – October 2019 65 Wildwood Press Christine Corday | RELATIVE POINTS, Chronologie #1 – 12 Rubbing/Handmade Paper 61” x 61” Edition Various of 12 2019

wildwoodpress.us ifpda artnet.com

MATINA MARKI TILLMAN Humanography: Shifts and Variations Washington Printmakers Gallery, Washington DC, October 31 – November 24, 2019

Greek artist Matina Marki Tillman exhibits her new series of Humanography, direct etchings of her charcoal and pencil drawings onto Solarplates. This show presents individual, self-as-a-subject, double and multiple portrayals of the human, most created and arranged with a sequential character. In her etchings, Tillman focuses on the importance of the motion (or lack of motion), and the weight of the instant. Using both light and serious tones, her anthropocentric imagery is built around implicit questions: Is a slight shift in our physical position or attitude enough to mark essential changes within or around us? Are shifts and variations interrelated? Is there a single faithful portrait of us, or are we the sum of our shifts and variations?

Drawing and etching out of accidental selfies, created personas, storyboarded poses of models and forgotten snapshots, Tillman’s consistent goal remains the exploration of the mood, state of mind, and response (both physical and psychological) of the human to life’s events. Particularly in this new Humanography, the artist observes and reports back reflections on our internal journey shaped by slight shifts and variations – changes on our way that could change the way itself.

“Humanography: Shifts and Variations” will be on display at the Washington Printmakers Gallery, 1641 Wisconsin Ave., Washington, DC from Oct. 31 – Nov. 24, 2019. Opening reception November 2nd, 3-5pm.

66 Art in Print September – October 2019 Art in Print September – October 2019 67 J E N N I F E R M A R S H A L L Farthingale lithograph, 30 x 40 inches

J U N G L E P R E S S E D I T I O N S 232 Third Street, #B302, Brooklyn, NY 11215 phone: 718 222 9122 www.junglepress.com

68 Art in Print September – October 2019 new edition

Josephine Halvorson Fire

Multiple plate aquatint etching Edition of 30 plate size 18 x 22 inches paper size 26.25 x 30 inches

[email protected] wingatestudio.com +1 603 239 8223

WATERSHED Center for Fine Art Publishing and Research Alison Saar High Cotton Co-published with Mullowney Printing

MFA IN PRINT MEDIA MULTIPLES, OBJECTS, AND EDITIONS

pnca.edu/watershed pnca.edu/printmedia

Art in Print September – October 2019 69 Eva Mueller

tu dio Un-titled suite of four photogravures 20 x 14.5 inches (each image) 30 x 22.5 inches (each sheet) 2019 edition 30

S treet will be featured at The Satellite Print Fair Mercantile Annex 37 517 East 37th St, NYC October 24 - 27, 2019

www.centerstreetstudio.com Center S

The Chain Bridge (2019) Left, reduction woodcut, edition of 30, 19” x 39.” Right, fir woodblock.

123 Market St., Portsmouth, NH / 603.436.7278 / [email protected]

70 Art in Print September – October 2019 Amze Emmons Amze Emmons Pattern Drift is a mid-career survey organized by the Academy Art Museum. On view through 30 September 2019. An exhibition publication will accompany the show and serve as a catalogue raisonné of his print oeuvre to date. This exhibition marks an important moment in surveying the last 15 years of Emmons’ powerful artistic exploration, technical experimentation and critical thinking about the role of print in contemporary society. Dolan/Maxwell Academy Art Museum 2046 Rittenhouse Square 106 South Street, Easton MD 21601 Philadelphia, Pennsylvania 19103 www.AcademyArtMuseum.org 215.732.7787 Amze Emmons is represented by Dolan/Maxwell. www.DolanMaxwell.com [email protected] Amze Emmons, Personal Baggage 2002, etching with hand coloring, edition of 6, 17 3/8 x 23 1/8” by appointment please

Vera Molnar Drawings and Paintings

Vija Celmins Selected Prints

September 12 - October 26, 2019

Senior & Shopmaker Gallery 210 Eleventh Avenue, 8th Floor New York (212) 213-6767 seniorandshopmaker.com

Jeanette Pasin

SloanThe New York Satellite Print Fair 24-27 October 2019 The Mercantile Annex 37 517 West 37th Street New York NY 10018

, 2019, archival pigment print, ed: 25, sh: 30” x 22” Trine (1/2 block from the Javits Center between 10th & 11th Avenue)

Jeanette Pasin Sloan, StewartStewart & StewartStewart Printer/Publisher & Dealer of Fine Prints Since 1980 248.626.5248 • [email protected] www.StewartStewart.com

MEMBER

Titus Welliver The New York Satellite Print Fair 24-27 October 2019 The Mercantile Annex 37 517 West 37th Street New York NY 10018 (1/2 block from the Javits Center between 10th & 11th Avenue)

Sam’s Moon , 2019, archival pigment print, ed: 20, sh: 23” x 22” Sam’s Welliver, Titus StewartStewart & StewartStewart Printer/Publisher & Dealer of Fine Prints Since 1980 248.626.5248 • [email protected] www.StewartStewart.com

MEMBER

Art in Print September – October 2019 73 Art in Print in collaboration with JSTOR is pleased to announce that subscribing members now have access to all issues of The Print Collector’s Newsletter (1970–1996) On Paper (1996–1998) Art on Paper (1998–2009) in addition to back issues of Art in Print (2011–present) Simply click on the JSTOR link on the Art in Print Member Homepage PNC Photo: Kevin Weil NEW FROM THE GETTY

True Grit Käthe Kollwitz American Prints from Prints, Process, Politics 1900 to 1950 Edited by Louis Marchesano Stephanie Schrader, James Glisson, Exploring the German printmaker’s most and Alexander Nemerov creative years, this collection examines This engaging work examines a rich selection Käthe Kollwitz’s sequences of images of early twentieth-century American prints, with a focus on the tension between which frequently focused on the crowded, making and meaning. chaotic, and “gritty” modern city. GETTY RESEARCH INSTITUTE Hardcover $40.00 £30.00 J. PAUL GETTY MUSEUM Hardcover $35.00 £28.00

Getty Publications www.getty.edu/publications

2019-09 Art In Print.indd 1 7/18/19 9:08 AM Contributors to this Issue

Jason Urban is an artist and co-founder of the Yeats Curator at the National Gallery of Ireland. Book List Contributors website Printeresting. She is co-editor of Censoring Art. Silencing the Artwork (2018) and Harry Clarke and Artistic Vi- is a professor of art and print- is an independent scholar and Lynne Allen Christina Weyl sions of the New Irish State (2018). making at Boston University. curator specializing in mid-20th-century prints. is a surgeon, and leads the is Senior Curator Emeri- is the collections specialist Roger Kneebone Richard H. Axsom Stephen Woodall Centre for Engagement Science, Imperial Col- tus at the Madison Museum of Contemporary for artists’ books at the Achenbach Foundation for lege London. He leads the Centre for Engage- art, and Professor Emeritus of Art History at the Graphic Arts, Fine Arts Museums of San Francisco. ment and Simulation Science at Imperial College University of Michigan. London and the Royal College of Music—Impe- Kit Smyth Basquin is an art historian and Journal Articles rial Centre for Performance Science. In 2019 he a writer; her biography of pioneer animator became the 14th Royal Academy of Arts Professor Mary Ellen Bute will be published in 2020. Irene Brückle is Professor and head of the paper of Anatomy. He also presents Countercurrent, a conservation course at the Staatliche Akademie is a printmaker, painter, writer fortnightly iTunes podcast featuring 40-minute Brian D. Cohen der Bildenden Künste in Stuttgart. She was for- and educator. conversations with people whose interests and merly chief conservator at the Kupferstich- careers cross boundaries. http://apple.co/2n5ROy1. Stephen Goddard is associate director and a kabinett in Berlin, and Professor in Art Conserva- senior curator at the Spencer Museum of Art. tion at Buffalo State College, Buffalo, NY. Karen Köhler is a paper conservation graduate student completing her MA at the Staatliche Roslyn Bakst Goldman has been an appraiser Paul Coldwell is Professor in Fine Art at the Akademie der Bildenden Künste in Stuttgart with of fine art for 38 years, specializing in original University of the Arts London. As an artist his a specialization on works of art on paper. prints. work includes prints, sculpture and installation. He has written widely, particularly on printmak- Megan N. Liberty Megan N. Liberty is the Art is an independent print Sarah Kirk Hanley ing, and is the author of Printmaking: A Contem- Books section editor at the Brooklyn Rail. Her specialist and critic based in the New York area. porary Perspective from Black Dog Publishers. writing on artists’ books, ephemera, and the co-founded with Carol Weaver the broader landscape of artistic publishing and Felix Harlan is head of the Department of New York print workshop and publisher Harlan Stephan Doering printmaking also appears in Artforum.com, Frieze, Psychoanalysis and Psychotherapy at the Medical & Weaver. ArtReview, the Los Angeles Review of Books, the University of Vienna, Austria. He is co-editor of New York Review of Books Daily, Hyperallergic, and Julia V. Hendrickson is a curator, editor, writer two scientific journals and vice president of the elsewhere. She has an MA in Art History from the and book lover based in Austin, TX, and Los German Society for Research and Treatment of Courtauld Institute of Art, London. Angeles. Personality Disorders (GePs). Ruth Morgan is Director of the UCL Centre for Faye Hirsch is Visiting Associate Professor of Adam Gibson is Professor of Medical Physics the Forensic Sciences. One of the World Eco- Art + Design at SUNY Purchase. and Heritage Science at University College Lon- nomic Forum’s Young Scientists in 2019, she is a don, where he works with the Centre for Digital is a British artist and Senior Editor for the journal Forensic Science Alexander Massouras Humanities and Institute for Sustainable Heritage writer. International: Synergy, and was Specialist Advisor on multispectral imaging and hyperspectral to the House of Lords Science and Technology Leslie Mutchler is Chair of the Foundation imaging. His research in medical physica led to Committee. Department at Pratt Institute and lives and the first 3D electrical impedance images of adult works in Brooklyn, NY. brain function and the first 3D optical tomogra- Ruth Pelzer-Montada is an artist and lecturer phy images of the neonatal head. in visual culture at Edinburgh College of Art, Mark Pascale is Janet and Craig Duchossois University of Edinburgh. She has exhibited in Curator of Prints and Drawings at the Art Insti- Judy Hecker is director of the International Scotland and abroad, and her essays on contem- tute of Chicago. Print Center New York (IPCNY), and former porary printmaking have appeared in Art Journal, assistant curator of prints and drawings at the Robert Ross is a Los Angeles collector with Visual Culture, and elsewhere. particular interest in early Modern prints. Museum of Modern Art. Tanja Staehler is Professor of European Phi- is an architectural writer, histo- Allison Rudnick is Assistant Curator in the Owen Hopkins losophy at the University of Sussex. Her recent Department of Drawings and Prints at the Met- rian and curator. He is senior curator of exhibi- books include Plato and Levinas: The Ambiguous ropolitan Museum of Art. tions and education at Sir John Soane’s Museum Out-Side of Ethics (2010) and Hegel, Husserl and in London and was previously architecture cura- the Phenomenology of Historical Worlds (2016). is Keeper of Prints and Christian Rümelin tor at the Royal Academy of Arts. His most recent She has published articles on phenomenological Drawings at the Musée d’art et d’histoire in book is Mavericks: Breaking the Mould of British method, art, literature, dance, sexuality, preg- Geneva. Architecture (2016). nancy and childbirth. is Associate Curator of Prints Britany Salsbury Jason Ions is an artist and educator who works is Professor of Astrostatistics and Drawings at the Cleveland Museum of Art. Roberto Trotta in a variety of digital and analogue technologies. and Director of the Centre for Languages, Cul- He has been a non-executive director of the Print Jacob Samuel is a printer and publisher, ture and Communication at Imperial College and founder of Edition Jacob Samuel in Santa Studio, Cambridge for the past two years. London, where he explores ways to connect cosmology and astrophysics with everyday life. Monica. Phineas Jennings is a curator at Rise Art His award-winning book, The Edge of the Sky is the founder and master online gallery. He studied philosophy at the Erika Schneider (2014), explains cosmology using only the most printer at Bleu Acier Press, Tampa. University of Sussex; his ongoing research project “Shame and Emotional Reactions to Art: common 1,000 words in the English language. is an independent scholar based Rachel Stella A Feminist Approach” explores gendered differ- is Rare-Books Librarian at in Paris. Tabitha Tuckett ences in our experiences of contemporary art. xx University College London, with particular re- is an artist who lives and sponsibility for academic support and events Sergei Tsvetkov is lecturer in Irish and mod- works in Boston, Massachusetts. Róisin Kennedy across their Special Collections. ern art at the School of Art History and Cultural Policy at University College Dublin. She is former Susan Tallman is Editor-in-Chief of Art in Print.

76 Art in Print September – October 2019 Back Issues of Art in Print

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Art in Print September – October 2019 77

Volume 9, Number 1 Benjamin Edmiston, Untitled (12 Grid) Etching (sugarlift, aquatint, and softground) with chine collé 32 3⁄4 x 26 1⁄2 inches, Edition 16

At EXPO Chicago Editions + Books, Booth #435 September 18-21, 2019 Featuring editions by Lisa Anne Auerbach, Ben Edmiston, Diana Guerrero-Maciá, David Humphrey, and Dario Robleto