US $30 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 © Estate of Roy Lichtenstein September – October 2019 In This Issue Volume 9, Number 3 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 psycho- analyst 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 inter- disciplinary 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—con- crete or ideational—of things that can- not 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 net- work 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, sur- geons and psychoanalysts, art historians and anesthetists to compare notes. At an initial closed session last spring, partici- pants spoke about brain imaging, pictori- al 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.