International Review of Contemporary Prints, Book and Paper | 23 Yearbook

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International review of contemporary prints, book and paper | 23 yearbook | 2019

„The mechanical straight lines harmoniously reflect the unlimited emotional overflow in the uncontrolled corrosion and controlled etching which makes the inner tension of the work protrude through the picture. The work is heavy, noble and solemn with the rational pursuit of metaphor and symbol and it is shocking to people.“ (Zhang Minje about Lukasz Koniuszy´s work Habitable Structure) ↑)

contents (4) LIGHT / MATTER: Art at the Intersection of Dear readers, Photography and Printmaking After the opening issue of the renewed Grapheion, whose preparation was somewhat (Walter Jule, with contributions influenced by the limited possibilities associated with continuing the challenging by Tracy Templeton and Ingrid Ledent) project under new conditions, we are offering you another issue today, which we believe is linked to the successful years of printed Grapheion by a richer range of (14) topics. I am pleased that more material than this number can contain has been The Third Macau Printmaking Triennial, 2018 gathered. I am also happy for the responses received from the invited authors, and for (Walter Jule) the fact that the name of the revue (including its logotype) provokes in the witnesses a feeling that this is an act to be signed in again. (21) The International Serigraphy Symposium One of them is Walter Jule, who is the author of two contributions: an article on the Ostrava / isso Light/Matter exhibition, which took place in two reprises in the USA and Canada, (Zbyněk Janáček a Marek Sibinský) and which focused on the presence of photography, its images and technical procedures in prints. In his second contribution, he returns to the Triennial of Prints (24) in Macao (2018) and his role as a jury member of this international print show. Horses in Ballet Shoes, Kings in Costumes, and Actors under Rockets For those who want to refresh the history of the use of photomechanical methods in (Miroslav Kindl) printmaking and polygraphy and to learn what a transformation of these technologies have taken place since their beginnings to the present, my contribution (29) entitled Brief Overview of the Use of Photomechanical Methods in Printmaking and Graphic Art of the Year 2019 Polygraphy is intended. The article of Miroslav Kindl, which commemorates the period of the second half of the 17th century, is also focused on history, when art of (35) print documented splendid festivals and theatrical performances in the production Karel Malich: Energy that of royal courts, which only seemingly are not related to the present and its affection does not disappear in spectacles of all kinds. (Zdeněk Freisleben) Zbyněk Janáček and Marek Sibinský, the organizers of the international symposium (37) of serigraphy at the Faculty of Arts of the University of Ostrava, Czech Republic, A Brief Overview of the History of the whose results have been exhibited several times, report on the fact that a superbly Application of Photomechanical Printing equipped studio at the art school can also become a place for artists to meet and Techniques (Ondřej Michálek) create original works, which have been recently shown in the Gallery of the Central Bohemian Region (GASK) in Kutná Hora. (43) Chronicle / Overwiev of exhibitions, Just as the previous issue, also this one brings the balance of the show and competitions, conferences and competition Graphic Art of the Year 2019, which once again found refuge in the graphic fairs exhibition halls of the Municipal House in Prague. And in its Chronicle, Grapheion offers interesting news on domestic and foreign exhibitions, which have already been or are under way in the world, and which, taken together, testify to the continuing interest in this domain and its presentation. Unfortunately, it also presents obituary of Karel Malich, recently deceased versatile Czech artist and also laureate of the →) Vladimír Boudník Award.

I believe that Grapheion, in this wider form, and also in the new layout, represents a fuller response to the expectations that its readers put into it. And if this is not the case, we will be grateful for any suggestions that you may address to us.

Ondřej Michálek 4 International Print Exhibitions International Print Exhibitions 5

complexity and disguising of temporal- ity occurring in commercial images have driven many contemporary artists LIGHT / MATTER: to seek meaning in the friction between Art technologies. Combining projected photographic images with sculptural at the Intersection elements and sound for instance, artists often mix unmusical elements together until the whole no longer resembles of Photography and the parts. Increasingly, artists utilize any and all technologies available to experiment with virtual reality and Printmaking “immersive environments”. Walter Jule, with contributions by Tracy Templeton and Ingrid Ledent Is this attraction to spectacle the inevi- table outcome of our blind acquies- The histories of art and technology are intimately cence to the scientific and technologi- interwoven. From the firing of clay to the forging cal imperative? Is it technology and the assertions of Post-Post Modernist of steel and the invention of paper, canvas and paint to thought which have driven artists moveable type and the printing press, the marriage away from medium-specific practice to of technology and art has been central to the pursuit “issue based” work? At this juncture, and in an effort to of knowledge and the evolution of creative expression. renew critical discussion regarding the Perhaps more than any other art form, printmaking has relationship between technology and conceptual framework in art, curators, embodied this interaction. For over a thousand years, Tracy Templeton (USA) Walter Jule printmakers have continually adopted new (Canada) and Ingrid Ledent (Belgium) technologies of reproduction to explore ideas and proposed a re-evaluation of the world photo-print movement which began in concepts in the form of multiple-originals capable the mid-twentieth century. LIGHT/ of reaching a broad audience. MATTER: Art at the Intersection of Pho- tography and Printmaking opened at the Grunwald Gallery of Art, Indiana Although artists had long been using explored aerial views, patterns, close- University in the fall of 2017 and trav- tools such as the camera obscura in ups, abstraction, and lack of scale eled to the University of Alberta, Cana- their work, the introduction of the “me- while painting explored the structure da in the spring of 2018. chanical medium” of photography initi- of cinema. While photography contin- ated the uneasy relationship between ued to seek recognition as “art,” print- Bringing together almost 100 works technology, “fine art”, and craft that making, especially in Europe and the (1968–2017) by 45 artists from 22 coun- continues to this day. One side argued Americas continued to be viewed as tries for the first time, the show focus- photographs might be valuable as “doc- the “handmaiden” of painting and es on an example of “simultaneous dis- uments” but should not be considered drawing. covery” in the arts, when printmakers “art” because they are made by ma- Since the mid-twentieth century, around the world, schooled in the tra- chine and lack the directness of work increasingly rapid technological devel- ditional analogue techniques of wood- created by hand. Many artists, how- opment has overshadowed these dis- cut, etching and stone lithography ever, felt an irresistible attraction to tinctions. Today´s “image culture” is started to question the primacy of the sheer scope of information the me- dominated by photography and adver- drawing in graphic art and began “bor- dium offered. tising messages extolling the virtues of rowing” photomechanical techniques Photography had an immediate and consumerism. Enormous Jumbo-trons that were becoming obsolete in com- irreversible effect on the craft of mak- dwarf the architecture of public spaces mercial printing. While often hailed for ing in art. Within ten years of its intro- while the ubiquitous flicker of iPhones it´s technological inventiveness the “ar- duction, photo images outsold hand- commands the attention of pedestrians. rival” of the photo-print phenomenon, drawn prints in most major cities in Overwhelmed by the sheer promis- now approximately sixty years in dura- ↑↑) Tetsuya Noda, Japan Europe. Printmakers took up photogra- cuity of the image environment and the tion, might also serve as an important Diary – April 4th 1987 in Ueno, 1987, phy, and painters began imitating pho- “information enclosures” it creates, one “case study” in how cultural tradition woodcut, serigraphy, 57 × 119 cm tographic approaches, including might be forgiven the belief that all the has influenced the adoption and evolu- ↖) Akira Matsumoto, Japan blurred focus, asymmetrical cropping, possibilities and problems of visual / tion of new print technologies. As in all Fukei (Landscape a Chimney), 1978, serigraphy, 50 × 70 cm and pronounced perspective. pictorial language have been worked art movements, broad cultural factors The invention of stop-motion pho- out through the struggles of art history from within and without the world of ↗) Hideki Kimura, Japan Misty Dutch, 1998, tography brought science into play. In or been rendered irrelevant through art – conscious and unconscious, ideo- screen print, 76 × 56 cm the nineteenth and twentieth centu- the homogenizing effect of technologi- logical and symbolic – serve to simulta- ←) Carl Heywood, Canada ries, moving images and cinema inte- cal globalization. neously enable and inhibit the adop- To Celebrate Seeing, 1977, grated speed and time. Photography Indeed, the flattening of structural tion of new ideas and processes. (1) photo-lithography, serigraphy, 76 × 96 cm 6 International Print Exhibitions International Print Exhibitions 7

At the conclusion of World War II, soci- materialism promoted by mass media. Together, these shows and their cata- the newly inaugurated international celerated global exchange of ideas in caused by the impact of media and tech- eties were in chaos. As new geographi- By the mid-1950s, Eastern Europeans logues allowed print artists around the art festivals in Brazil and the printmak- printmaking. nology on every aspect of life. Photogra- cal boundaries were being imposed on recognized that the portability of prints world to follow each other´s work and, ing biennials in Poland and Czechoslo- In the early 1960´s, during a time of phers commenced a renewed assault on old cultures, an almost universal feel- provided a convenient format for the for the first time, witness new graphic vakia. In a period of economic recovery rather lax copyright laws, US and Brit- the traditional critical separation being of despair led to deep questioning exchange of ideas across hardening trends as they emerged. and growth, the recognition of Japanese ish Pop artists appropriated the collage tween “straight” photography – which of conventional cultural attitudes and borders. The visionary initiatives that In Japan, the printmaking tradition printmakers abroad helped rekindle structures of cubism, borrowing and strives to render the medium and sur- hierarchies. Many artists pursued in- gave birth to the first open juried inter- was so strong, it was able to survive interest in printmaking at home. North incorporating images from advertising face invisible – and “artistic” photogra- creasingly chaotic forms of abstraction national print biennial in Ljubljana in the devastation of the Second World American artists began to discover the to parody the earnestness of the post- phy, mixing two and three-dimensional as an existential response to the de- 1955 soon inspired similar efforts in War and into the 1950´s when Japanese graphic traditions of Eastern Europe war generation and at the same time elements to “reposition their work with- struction of war and the consumerist Krakow, New Delhi, Tokyo and beyond. printmakers began winning awards in and the late 1950´s began an era of ac- replicate the numbing effects of loss in the tradition of the hand made”. (2)

↑) Katsutoshi Yuasa, Japan Listen, Nature is Full of Songs and Truth, 2012, woodcut, 61 × 243 cm

←) Izabella Gustowska, Poland Traits of Ressemblance, Secret I II III, 1989, coloured lithography, 200 × 100 cm

→) Marlene MacCallum, Canada Obvert, artist´s book, 1997, photogravure, 43 × 140 cm 8 International Print Exhibitions International Print Exhibitions 9

It was at this moment of confluence Works by eleven Japanese artists are that printmakers around the world be- represented in the LIGHT / MATTER gan enlisting photo-mechanical tech- exhibition including: Tetsuya Noda niques such as photo-screen printing, (1940) who broke onto the world scene photo-etching and photo-lithography to in 1968 when he won the International create hybrid images that would resist Grand Prize at the Tokyo International categorization within the world of Print Biennial. It was the first time a printmaking while igniting controversy work using photographic images had in the broader art world. received a prize. Combining woodblock and screen-printing, his prints depict The aim of this movement was not to scenes from ordinary life, landscapes invent new technology but to reveal seen from train or car windows, still- the interrelationship between tech- lives of flowers, and portraits of family. nique and aesthetics, to show how He alters or “cooks” photographic im- technological process and the hand- ages through drawing before creating crafted can be combined to create screen stencils using a Gestetner Dupli- meaning and ultimately proclaim cating Machine. His prints seem to “process as medium”. (3) float between the photographed and The printmaking that drove the hand drawn. Lawrence Smith, former world print renaissance often contrasted keeper of Japanese Antiquities at the the spatial language of photographic British Museum, says Noda´s personal, illusion with the lateral graphic lan- deeply felt prints, “carry the electricity guage of drawing and mark -making. of the actual moment the photograph This combination amplified still was taken.” photography´s shortcomings when it Tadanori Yokoo (1936) is one of the came to suggesting temporal sequence. world´s most influential artists. His Where commercial photography still prodigious output of posters, books, functioned as “advertisements for real- prints, and paintings cut across cultu- ity”, the obvious physicality and tactility ral genres while remaining quintessen- (cutting, scraping, etching, layering) tially Japanese. His poster for the Tokyo recorded in a printed image aroused International Print Biennial in 1968 haptic memory and presented the view- highlighted divergent attitudes regar- er with a heightened sense of history – ding the original and the reproduction the melancholy of sequential time. in art. The worked surface of a photo-etch- Tadayoshi Nakabayashi (1937) ing overlaid with the impression of a spent formative years in Kamo-machi woodblock or veil of screened color in Niigata prefecture to escape World could operate like a palimpsest, the add- War II bombings. The experience of na- ing and subtracting becoming a diary of ture – particularly white snow against an excavation that when read back- “fidelity of transfer” became uniquely ↑) Tadanori Yokoo, Japan black earth – left a powerful impression Poster of the 6th International Biennial Exhibition wards, would lead directly to the artists important. When a photographic image of Prints in Tokyo, 1968 on the young artist that continues to hand. Through the synthesis of optical is transferred to an etching plate using offset poster, 108 × 76,5 cm resonate in his rich, monochromatic and tactile qualities, the new prints en- a halftone screen, or from a grainy Xe- etchings incorporating Xerox transfers. ↗) Nils-Erik Mattsson, Sweden couraged a recollection of one´s per- rox copy and then worked by hand, In the Shadow Etat II, 2014, Akira Matsumoto (1936) received sonal experience of both photographic what is gained through the loss of lithography, 23 × 30 cm the first of many awards in the 4th and drawn spaces. A truly comprehen- detail? What is discarded, what is hid- →) Steven Dixon, Canada Northwest International Print Exhibi- sive “reading” required the viewers to den, what is summarized, and what is Mine Site No. 24, 2010, tion in Seattle in 1969. He describes his notice several aspects of the image al- implied but not articulated? photogravure, 45 × 50 cm work as “concrete abstraction” and be- most simultaneously: While pop-art had some impact in ↘) Tracy Templeton, Canada, USA lieves removing emotion from the ex- – the spatial structure of the graphic Japan, particularly in graphic design, The Quiet of Snow, 2016, ecution of his work allows changes in digital print, etching, chine-collé, 41 × 90 cm (drawn) components. ambivalence toward the growing his character to become more visible – the spatial illusion of the photo- American influence provoked a com- over time. graphic elements plex response, and Japanese photo- Sharing this view to some extent – evidence of the pressure of the plate printmaking developed a unique char- was Shoichi Ida (1941–2006). Ida was (embossment) acter. Adopting a hybrid of pop, docu- one of the most important printmakers – the dimension of the ink obtruding mentation and conceptual approaches, in what has been referred to as the on the surface Japanese artists fused screen-printing Golden Age of Contemporary Prints – the texture and color of the paper with woodblock and lithography with which took place in Japan in the late used, and embossing and etching. Using hand- 1960s and early 1970s. He often printed – the sequence of actions involved made paper, they valorized their rich on both sides of translucent sheets to printmaking tradition while recording emphasize the paper as “existing be- In this rich context and against a grow- the conflicting emotions of contempo- tween two actions.” ing popular belief in the superiority of rary life, often with the beauty and These artists, along with Hodaka ever-increasing DPI (dots per inch), brevity of haiku. Yoshida, Ryoji Ikeda, Hideki Kimura 10 International Print Exhibitions International Print Exhibitions 11

and many others placed Japan at the Polish artists seemed fascinated with graphic artists. Her early work in pho- Leslie Golomb (1953) uses photo-gra- forefront of the photo-print movement what might be called the DNA of the to-etching challenged assumptions vure to re-visualize the lines of the and for a short period, the new expre- photo half-tone and through enlarge- about gender and sexual roles in West- imaginary and reality while Deborah ssion was considered to be an “autono- ment, hand-working and intentional ern society and had an almost immedi- Cornell (1947) working in prints, in- mous medium”. By the late 1960´s, Japa- over-etching, their prints often touch ate impact on printmaking across the stallation, video and virtual reality pur- nese prints dominated the international on troubling issues of memory and country. Carl Heywood (1941) studied sues narratives addressing memory, biennials and Japanese print and poster identity. Izabella Gustowska (1948) at Stanley William Hayter´s Atelier 17 time and consciousness. artists were “stars” at home. Some even works in print, painting, performance in the early 1970´s. His experimentation In the UK, Donald Wilkinson had fan clubs and t-shirts. Today, a new and installation. Her influential large with “point-source head” enlargers to (1937) won the first of his many generation of printmakers including scale and three-dimensional litho- create “organic” grain in works combin- awards at the 1974 British Internation- Katsutoshi Yuasa (1978) is exploring graphs are mysterious and powerful. ing photolithography and photo-etching al Print Biennial. He used steel plates the structures of screened and scanned Krystyna Piotrowska (1949) focuses with screen printing won several inter- with a simple photographic stencil, photographic images through traditio- on “group” portraits which he worked by apply- nal hand-cutting and printing. Yuasa is where eyes or mouths are ing aquatint or open biting. at the forefront of a new wave of inte- sometimes switched or His combination of text rest in the re-evaluation of historical “exchanged”. Dorota and image in the series, printing techniques. (3) Nowak-Rodzinska “Mr. Gray´s Journal” reso- The forces of tradition, technology (1976) often uses print nated with artists around and economics played out very diffe- and the figure as a meta- the world. rently in Poland during the same time phor for memories shap- In Ireland, Tim Mara period. As in Japan, all elements of Po- ing the present as well as (1948–1997) won prizes at lish culture are interwoven and inter- elements implying the the British International dependent. As Polish printmaker and future and Wojciech Tyl- Print Biennial in 1982 and writer, Małgorzata Żurakowska, wri- bor-Kubrakiewicz (1974) 1984. While his prints have tes, “Art has taken over the role of pro- combines linocut with been compared to the Pop tecting our only intrinsic cultural values screen print in works that art movements of the such as religion, language and history could be considered figu- 1960´s, the artist saw his (…) Even the most avant-garde influen- rative yet oriented toward work more in terms of “old ces of the 1920´s – 30´s were saturated abstraction. Fascinated by masters in modern dress”. by anima or illuminations – the sense objects, he uses them in Light, clarity and stillness that art transmits spiritual values.” (4) his work almost arbitrari- are used to explore themes Poland´s strong graphic tradition ly, building a collection of of repeated patterns, reflec- has complex roots, but several influen- curiosities or reducing tion and refraction. Marga- ces stand out and can still be recogni- them to symbols. ret Ashman (1959) has zed in contemporary Polish graphic art. While North American been inspired by her early The influence of “Unism” begun by artists were alive to the education in science to ex- Wladyslaw Strzeminski (1893–1952), new developments in Ja- plore associations between held that the mysticism of art was to be pan and Eastern Europe, hearing and seeing, produc- found in the ”...unity of visual means”. the photo-print move- ing photo etchings that His striated fields are echoed in the ment was initially some- explore faith, spirituality linocuts of Stanislaw Fijalkowski and what less coherent here. and emotion. we can detect this enduring influence The economic success of In many new photo in generations of Polish printmakers. Pop art had reinvigorated prints, scale has become an As in Japan, Pop art was an influen- printmaking as a mer- important site of content. ce in Poland, but in reverse. As Zura- chandizing format, en- Vojtěch Kovářík (1976), kowska points out, “In the US, pop art couraging the establishment of profes- national awards in 1980. His highly Czech Republic, award-winning works opened the museum door for tins of sional print workshops and training of nuanced prints focused on the minu- reflect on the daily, immediate reality Coca-cola, while the Polish poster (had printer technicians. While some well- tiae of daily life while engaging the that surrounds him to create enormous the effect of) posting paintings on fen- known painters and sculptors expand- viewer with ideas of spirituality, joy prints by hand-cutting the enlarged ces.” One took public images indoors ed the vocabulary of printmaking oth- and the beauty of the world around us. dot-pattern of scanned photographs while the other brought fine art outside. ers created printed versions of images Steven Dixon (1960) is known for using into linoleum. While he transforms primarily conceived in other mediums. photo-gravure to “picture” deserted three dimensional spaces into two While regional styles and “isms” industrial sites and their surrounding dimensional illusions he incorporates held sway, University printmaking ar- landscapes, emphasizing surface tex- the effects of light and deliberate eas expanded and in Canada, a string ture and composition while acknowl- printer´s errors. Janne Laine (1970) of publicly funded, artist-run print- edging the accumulated history of the Finland, works with photopolymer gra- ↖) Krystyna Piotrowska, Poland, Sweden shops was established where young location. vure to create sweeping, atmospheric Group Portrait with Gregorz, artists could make and display their In the US, Jack Damer (1938) con- images of landscape and Rebecca 1989, etching, 70 × 100 cm work. In North America, the photo- centrates on the act of “making” and Beardmor (1974), Australia, combines ←) Ryoji Ikeda, Japan print movement grew out of the influ- getting hands-on with his creations. screen printing and innovative com- From the Ground, 2015, photoetching, 76 × 56 cm ence of a number of individual artists His work reflects a relationship be- mercial print processes in large scale working in relative isolation. tween imagery and formal invention as works, to create optical oscillation →) Karen Dugas, Canada Jennifer Dickson (1936) is one of it celebrates investigation of process, between different modes of reading Inarticulate Speech of the Heart for Van Morrisson, 1983, etching and embossement, 100 × 70 cm Canada´s most distinguished photo- reworking and variation. (textual and textural). 12 International Print Exhibitions International Print Exhibitions 13

A few accept prints if “at least one layer” is produced through a “traditional” printmaking technique. While in Po- land, artists were quick to adopt digital technology often creating monochromatic prints with “striated” surfaces reminiscent of lino-cut, in Japan and China, digital technology is often seen as a threat to printmaking´s survival. In a sometimes cynical effort to “outrun” these arguments, some artists haven been successful in producing digital images that look like drawings; even using hand-made paper and chine-collé to complete the illusion. But, while most contemporary artists experiment with combinations of pho- to-analogue printmaking at some point in their development, a few, scattered around the world have continued to discover an almost alchemical energy in this juxtaposition, expanding the boundaries of printmaking to pursue a personal vision imbued with originality and creative significance. It is our hope that the exhibition, LIGHT / MATTER: Art at the Intersec- tion of Photography and Printmaking, will serve to re-focus attention, away from either / or arguments toward an appreciation of a hybrid language that has the ability to restructure the way we see.

“Every extension of speech – from painting In addition to remarkable personal and presence that unfold in sequences, ↑) Vojtěch Kovářík, Czech Republic to hieroglyphics to the alphabet to the achievement, many of the artists in the paused layers not unlike film – sculpt- Garage, 2014, printing press to television – also gener- linocut, 133 × 205 cm exhibition have been international am- ing a slow panorama. In moments of ates unique ways of apprehending the bassadors for printmaking: Alicia Can- tentative inquiry and thoughtful exami- ↗) Donald Wilkinson, UK world, amplifying or obscuring different A Heavenly Day (Mr. Gray´s Journal), 1974, diani (1953), Argentina, has traveled nation we find an intimate distillation etching and aquatint, 64 × 45 cm features of reality. (...) Each new medium the world acting as a creative catalyst of time that creates a unique visual lan- of communication re-creates or modifies →) Margaret Ashmanová, UK for artist exchange and new technical guage rarely found in mainstream print A Time to Dance II, 2009, culture in its image.” (5) invention. Taida Jasarevic (1979), Bos- houses or ateliers. Influences from photoetching, 37 × 27 cm Neil Postman nia-Herzegovina, studied in Japan, re- Surrealism can be seen and “tableau” ceiving a Master´s degree from Joshibi photography and the “directorial University of Art and Design before re- mode” dominates as the artists manip- 1. James Brook and Iain Boal, eds, Resisting the Virtual tuning to teach at the University of ulate objects as props, altering spaces Life: The Culture and Politics of Information (San Franci- East Sarajevo while Katsutoshi Yuasa and controlling lighting to impose nar- sco: City Lights Publishers, 1995). (1978), studied at the Royal College of rative or allegorical meanings. Art, UK. Birgit Skiold (1923–1982), UK, With the introduction of inkjet 2. Naomi Rosenblum, A World History of Photography set up the famous printmaking work- printing in 1951, laser printing in 1969, (New York: Abbeville Press, 1984), 574–577. shop in George Street Marylebone in and digital printing in 1991, the need 1958 where several of the Japanese art- for a tangible block or plate disapeared. nial in Opole asked the question, Is It Still 3. Rosenblum, 574–577. ists mentioned above traveled and The word “print” is increasingly used to Graphic Art or Already Photography? worked. describe almost anything produced in Others actively call for a return to 4. Malgorzata Zurakowska with Karin M. Weber, Together, the works in LIGHT / multiples. Artists use digital processes a more precise definition. “Obviously, it Sightlines Printmaking and Image Culture (University of MATTER bring the essence of historical to mimic the look of printmaking, is unfair to compare a print made by Alberta Press, Canada,1997), 6.. graphic traditions into conversation drawing and painting just as musicians hand cutting and printing in the same with contemporary theory and critical use synthesizers to approximate the arena. Just as in sport, bicycles should 5. Neil Postman, Conscientious Objections: Stirring up thinking in visual culture. A shared sounds of the symphony orchestra. not be expected to compete with For- Trouble About Language, Technology and Education emotional tonality inhabits these mula One race cars on the same track.” (New York: Vintage Books, 1992), 32. works. Historical lineage and a deep The debate around the use of photo- (4) Some international print biennials affinity for process often lead to medi- graphic images in printmaking persists. welcome digital work while others ex- tations on identity, memory, absence The title of the 2009 Krakow Print Trien- clude it. 14 International Print Exhibitions International Print Exhibitions 15

It seems quite remarkable that, in the midst of such change and uncertainty, several new print biennials have been inaugurated around the world. Includ- ing: Yerevan, Armenia, Berlin, Germany THE THIRD MACAU and Macau, China. Even though well established organizational models have been followed, the host countries` his- PRINTMAKING tory and culture imbue each new show with it´s own character and resonance. Since the financial crisis of 2007, TRIENNIAL, 2018 the Macau government has focused on economic diversity and today, glistening Walter Jule office towers, state of the art museums and “bling” encrusted casinos create an The Macau Printmaking Triennial is a fascinating case almost surreal counterpoint to the in point. The islands´long and storied history, a blend ancient Chinese temples, and historical of Cantonese culture with influences from East Asia Portuguese architecture (dating as far back as 1569) that together define and Western Europe is unique. Under Portuguese rule Macau`s striking visual landscape. for four-hundred years, it joined Hong Kong as The stage for the Macau Printmaking Triennial, which had it´s 3rd iteration in a Special Administrative Region of the Peoples Republic 2018, was set in 2000 when “Revealed: of China in 1999. Well known highlights of its´recent Harmonize, the Macau International history include international fame as an auto-racing Exhibition of Prints” took place at the newly opened Macau Museum of Art. venue and gambling industry leader since An invitational show – including work the 1950´s – 1960´s. At it´s height, this so-called by 124 artists from 28 countries, its´ catalogue presented detailed and infor- “Las Vegas of the East”generated twice the revenue mative essays on the accelerated devel- as its´ U.S. counterpart. opment of printmaking in Macao since the 1980´s. The current show, presented by the Cultural Affairs Bureau, has The international printmaking bienni- through changes in government, eco- developed incrementally: while the als, which began in Ljubljana, Yugosla- nomic downturns, military incursions first, in 2012, highlighted printmaking via in 1955 and Krakow, Poland in 1966, and natural disasters. in Asia the 2015 edition was open to all were catalysts for a world - wide print Times change. And while printmak- international artists. renaissance which arguably continues ing continues to evolve, both techni- On Oct. 26–27, 2018, seven jurors, to this day. As we celebrate the remark- cally and aesthetically, its´ relevance to including: Zhang Minjie, Mainland able endurance and continued impact contemporary “image culture” is being China; Lin Ping, Taipei; Sou Pui Kun, of these exceptional shows, we might questioned. Many shows that began as Macau; Kwak Namsin, Korea; Luckana also pause to mourn the passing of open, competitive, juried exhibitions of Kunavichayanont, Thailand; Maurice many others, including print biennials prints-executed in the “traditional” Pasternak, Belgium and myself – gath- in Norway, Germany, Korea, Japan and techniques of etching, lithography, ered in the Macau Contemporary Art India, which were suspended after long woodcut, and screen-printing, now Center – Navy Yard No. 1, to review 1, and successful runs. (either happily or hesitatingly) em- 097 works from 39 countries. Smaller The staging of these exhibitions has brace digital output. Others, including pieces were suspended from lines never been for the feint of heart. Se- Tallinn and Ljubljana have chosen to stretched across the gallery while me- cure funding (public and/or private) move beyond the boundaries of the dium and larger works, up to the 120 cm must be in place, as well as appropri- printmaking medium altogether in ate venues, knowledgeable staff and favor of curated “themed” exhibitions willing volunteers. Successful shows that explore notions of “multiplicity” also seem to benefit form the leadership through mixed-media installations, of a charismatic “director” blessed immersive environments and virtual with boundless enthusiasm and nerves reality. For some, this shift has served of steel. To survive, over decades, the to free ideas of the “reproducible image” ↗) Warranutchai Kajaree, Thailand shows must earn favor at home and from antiquated and burdensome tech- The Remains of the Painfull Thing the trust of artists around the world. nical constraints, while others find the mezzotint, 60 × 90 cm Organizers must believe in the timeless resulting exhibitions almost indistin- the 2nd Prize expressive potential of print-art and guishable form the indulgent and →) Zuo Wei, Mainland China put aside any ambition that the shows aggressive mixed – media spectacles Silent and Desolated Mountain woodcut, 56 × 76 cm might serve to promote their own encountered in many museum shows Honourable Mention esthetic preferences. And, this equilib- today – whatever their purported rium must somehow be maintained “content”. 16 International Print Exhibitions International Print Exhibitions 17

allowed in the prospectus – were displayed on walls or carefully presented on the floor on felt – like blankets. The names of the artists and their countries of origin were hidden and through several rounds, jurors were asked to vote without discussion. In the end, 175 works were chosen for the exhibition; gold, silver and bronze prizes given largely on the basis of numbers of votes recorded. Each juror was also asked to select one work to receive an honorable mention award. While the jury format was similar to procedures used in other print competitions, I was somewhat surprised at the decision to obscure the artists´ identities. Since the work of many entrants was already well known to most of the jurors, the effect was to keep unknown artists unknown, at least initially. How- ever, owing largely to the convivial and collegial mood created by the organizers, preparators and assistants, “non-verbal” communication between jurors developed rather quickly. Glances, nods, winks and the “body language”, shared by all artists everywhere, created an active and positive, non-verbal “discussion” which continued in several spoken languages during wonderful meals of Macanese cuisine and at the aptly named Art Hotel after hours. The selected and awarded works are nicely illustrated in the superb, 228 pg. Triennial catalogue which also includes substantial and informative statements (in Chinese, Portuguese and English) by each of the juror´s. Zhang Minjie offers a summary of the juror`s comments in his insightful critique of each award winning print. Reserving special praise for Lukasz

↖) Chalita Tantiwitkosol, Thailand Missing (Som) lithography, 100 × 72 cm Honourable Mention

←) Macau – view of the historic center

↗) Rattana Sudjarit, Thailand The Way of Harvester No 2 aquatint, 61 × 100 cm The 3rd Prize

→) The jury: Sou Pui Kun, luckana Kunavichayanont, Lin Ping, kwak Nandin, Maurice Pasternak, walter Jule, Zhang Minjie 18 International Print Exhibitions International Print Exhibitions 19

Koniuszy´s Gold Prize winning etching, Habitable Structure, he states, ”The mechanical straight lines harmoniously reflect the unlimited emotional overflow in the uncontrolled corrosion and controlled etching which makes the inner tension of the work protrude through the picture. The work is heavy, noble and solemn with the rational pursuit of metaphor and symbol and it is shocking to people.” Regarding the Silver Prize winning work: “The Remains of the Painful Things” by Thai artist, Warranutchai Kajaree, he notes, “It turns the artist´s attention to disaster into a deep exploration of human nature (and) endows the work with a fatalistic sentimentality and the desire for the regeneration of human life.” Similarly, in the Bronze Prize winning print, The Way of the Harvester by Thai artist Rattana Sudjarit, he praises the artist`s ability to use aquatint to create an “intense” image filled with the “real experience of life.” Juror, Lin Ping raises relevant questions about whether size and format restrictions are serving to discourage “diverse creation”, and on a related note Sou Pui Kun questions whether the seeming popularity of “bleed” prints is an effective visual option in some works or whether borders are being eliminated to increase the size of images while still fitting the exhibitions regulations. Luckana Kunavichay- anont writes compellingly regarding the sense of “historical narrative” in many of the works and the focus on the negative impact of our modern, technological society on traditions, cultures and human nature itself. Kwak Namsin makes important note of the shifting demographics of recent international print exhibitions, pointing to a surge in

entries from China, Taiwan and Thai- ↑) Alberto Balletti, Italy land and a decline in submissions from questions about printmaking and print international jurors, the print shows Overconfidence (b2) Japan, North America and Europe. And, exhibitions while offering exhibiting are able to track national movements, etching and ink-jet, 70 × 100 cm Honourable Mention Maurice Pasternak writes, with convic- artists and the public a view of the identify emerging talent and record the tion, ”Some exhibitors present particu- show from the juries perspective. evolution of established artists while ←) Li Can, Mainland China Twilight Series – 2 lar, innovative and singular qualities in The exhibition opened across five sidestepping fashionable curatorial coloured mixed technique, 90 × 90 cm seeking to position themselves as critical venues in Macau and Taipa and has biases and stifling regionalisms. The Honourable Mention witnesses of social organizations, garnered extremely positive reviews. resulting shows are always complex. ↗) Bianca Cork, UK political powers and certain human Sound organization and meticulous Without a clear “conceptual” mooring, The Flow absurdities. The activism displayed is planning and execution have succeeded they can sometimes seem unwieldy, etching and aquatint, 70 × 56 cm Honourable Mention not always universal expression and is in the staging of a remarkable show. even incoherent to the casual viewer. often anecdotal but reflects this utopian There is every reason to believe that With time, however, this becomes their desire to change the world. This will of the Macau Printmaking Triennial will strength. As the public begins to artists and also of our youth in general continue to thrive and grow into the glimpse the infinite possibilities of is what builds what we have best; future. printmaking, print “literacy” increases namely our culture, the only human Of course, while these initiatives and audiences are drawn to the rich trace that goes through time.” chronicle the evolution of creative relationship between technique, The inclusion of jurors` remarks in practice, they also act as catalysts for process and idea. One need only look the catalogue helps to raise important change. Calling on the expertise of at the continuing print traditions 20 International Print Exhibitions Symposiums and their Results 21

Krakow, Wroclaw and Poznań), though also in other countries such as France (Vladimír Škoda), Austria (Gregor Eldarb), Ireland and the USA. In all, The International about 120 artists have been involved so far. The collection that emerged out of the workshops now totals over 250 Serigraphy prints. Together with the collection of prints from the preceding SWO serigraphy symposium, it is a remarkable Symposium Ostrava document of how this printmaking technique has evolved over the past three decades. Is also the largest collec- (isso) tion of screenprints outside museums of art in the Czech Republic. Zbyněk Janáček a Marek Sibinský The collection we are exhibiting In the second half of the 1990s, Eduard Ovčáček here is a curatorial selection that is primarily determined by the given size and Zbyněk Janáček laid the foundations for of the exhibition spaces at GASK. It a screenprinting studio that, from 1999 onwards, also showcases the exceptional and inventive approaches to screenprinting became one of the most recognised centres of and also incorporates the international screenprinting in the Czech Republic and dimension of the symposium. The pre- internationally. It was aimed at promoting the sentation being staged as part of GASK’s Printmaking Crossovers pro- printmaking technique of screenprinting (also called gramme features about fifty prints that, silkscreen and serigraphy) through workshops, together, show the contemporary character of screenprinting. As well as hav- specialist lectures, collection activity and exhibitions. ing a single technique in common, this set of works also shares the phenom- The five editions of the SWO (Serigraphy opened up ‘ongoing’ screenprinting enon of colour, not merely in the sense Workshop Ostrava) that were staged workshops to a series of key figures of of its optical-physical qualities but as from 1999 to 2004 and were accompa- art and art teaching in the field of con- the result of coloured ink passing nied by exhibitions in countries includ- temporary central European printmak- through the stencil of the mesh, thus ing Italy, Slovakia and Poland were ing. Most of these participants are con- creating a dense mark on the paper, followed by ISSO – the International nected with art colleges in the Czech whether in the whole area or in half- Serigraphy Symposium Ostrava. At the Republic (including Prague, Brno, tones. department of drawing and printmaking Pilsen and Olomouc), Slovakia If proper techniques are observed, of the reconstructed Faculty of Art, (Bratislava, Banská Bystrica and the nature of the screenprinting inks Zbyněk Janáček and Marek Sibinský Košice), especially in Poland (Warsaw, thus enables the layering of the ink, its

of Poland and Japan or the booming expensive. Shipping costs continue to tween artists and biennial organizers. print culture of China as encouraging climb and when artists are required to Importantly, it is the exhibitions them- examples. donate their work as a condition of selves with their openings, conferences The aspirational goals of the print entry (as mentioned above) the cost of and symposia that offer the most promis- biennials/triennials can easily be under- participation can becomes prohibitive. ing platform for addressing these mined however, by the exigencies of the Younger artists who have not experi- issues. day. Mounting practical and logistical enced the power of these shows first problems present challenges for both hand sometimes question the value of organizers and artists. Costs of tradition- the jury process and, with global sales ↑) Lee Wen-Jye, Taiwan al printmaking materials have skyrock- of art plummeting, printmakers are Construction Series – Burried Pipes dry-point, 99 × 69 cm eted and some are no longer available. reluctant to experiment with large scale Honourable Mention Digital printing, which initially offered and mixed technique. Most, if not all of the promise of almost unlimited scale, these problems can, I believe, be solved color and detail has also become more through increased communication be- 22 Symposiums and their Results Symposiums and their Results 23

multiplication and transformation with translucent and printed-over layers. This, in turn, creates creative possibilities for both the artist-printmaker and the printer. Supported by the technological expertise of the Ostrava screenprinting centre, this is what makes contemporary screenprinting an innovative and stimulating field. It is important to opening up this printmaking technique not only to trained printmakers, but also to painters and sculptors. A series of exhibitions staged outside the Czech Republic, for example in Slova- kia and Poland, along with lectures at international conferences, have helped to establish a communication forum for artists who work in screenprinting. They have also created an enriching platform for the Ostrava University Faculty of Art itself as well as for numerous other art colleges in the Czech Republic and else- where. The exhibition at the Gallery of the Central Bohemian Region is the largest and most representative survey of screenprinting in the Czech lands over ↑←→) From the exhibition in GASK in 2019, the past three decades. It is also a contri- selection of prints from the International Serigraphy Symposium in Ostrava (ISSO) bution to the broader discourse about 2013–2019 the meaning of screenprinting and graphic art’s place in contemporary art. 24 From the History of Printmaking From the History of Printmaking 25

The authors selected more than a hundred of exhibits to present the festivities and holidays that took place at the court of Emperor Leopold I with a Horses in Ballet broad correlation to the history of Eu- ropean theater, opera, ballet, music, Shoes, Kings equestrian dressage, but also to the general history of aristocratic representation, history of specific fields of in Costumes, and fine art, and the possibility of using graphics reproduction techniques in early modern times. More or less exqui- Actors under site graphics, depicting scenes of musical-dramatic performances, firework performances, ballet intermezzos, cere- Rockets monial city entrances and ephemeral architectures created the most impor- Miroslav Kindl tant line in the exhibition. They told the story, which was complemented by Even in the relatively recent past, the art of relief, exceptional works of art – paintings, gravure, or planographic printing, nowadays called period theatrical costumes, festive hor- graphic art, filled a much wider range of tasks and se harnesses, celebratory books and period historical compendiums. Gra- employed a large number of artists. Some of them led phic art also played a similar role at prosperous and well-known workshops all over Europe, Leopold's Court. It depicted, complemented and co-created a complex story others were an irreplaceable part of the complex of court life, politics and representati- structure of the ruling court, and still others offered on. Although the engravers themselves their services in more or less important centers to more were not standing on the top strata of the structure of court life, and in their or less important commissioning and publishing houses. work, they were subordinate to sceno- We can identify the whole range of contributing artists graphers and architects, it was they who with their long hours of deman- – painters, draftsmen and engravers in signatures placed ding and often very detailed work crea- before professional brands such as pinxit, fecit, invenit, ted important testimonies of the time. delineavit or sculpsit. Backdrops were often torn up, costumes worn out, buildings burned down or were pulled down. However, illustra- While painters and draftsmen often presentation and representation, and ted librettos and leaflets distributed in attached their signatures before the whose most magnificent forms were large numbers have survived decades first four, the fifth – sculpsit and its created within the royal courts and the in at least a few copies. In conjunction counterparts sc., sculp., sculps. – was highest prelates, played a very impor- with the accompanying text and their reserved for engravers who created tant role until the expansion of photo- primary purpose – to document, they illustrations, university theses, celebra- graphy. It documented a wide range of are often more accurate and more im- tory or derogatory leaflets and other events and today it constitutes an inva- portant sources of knowledge for histo- forms of 17th century reproductive gra- luable and often the only testimony of rians (even art ones) than any art work phics. Often as an instrument of slowly important historical events or (in our of dizzying value. emerging political propaganda, tied case) festive moments – the openings Thus, the imaginary narrator of the almost always to the most important of musical-dramatic works, dramatized story of the exhibition were graphic players on the historic chessboard – fireworks and other forms of court fes- prints. They were ordered chronologi- emperors, kings, princes, popes, cardi- tivals. cally starting with the accompanying nals, archbishops or bishops and In 2017, the Museum of Modern Art programs of the Hungarian royal coro- others were depicted in various roles in Olomouc opened an exhibition at the on many reproduced sheets – as guar- Archbishop's Chateau in Kroměříž tit- dians of the world order, protectors of led similarly to this short text, Horses their countries, victorious warlords, in Biscuits. The exhibition was opened ↗) Caspar Merian, Coronation ceremony on the main square in Frankfurt am Main, illustration taken from: heresy suppressors, or vice versa in in the winter of 2018 in the Archdioce- Caspar Merian, Beschreibung und Abbildung […], often derogatory poses like pests, here- san Museum in Olomouc and the muse- Frankfurt am Main 1658.

tics and antichrists. This direct form of um published an accompanying catalo- →) Frans van der Steen after Nicolause political propaganda, often with the gue (Kateřina Fajtlová – Miroslav Kindl van Hoye, Courtyard of Vienna Hofburg at the opening of La Contessa dell'aria features of cartoon, is inherent in our (eds.), Koně v piškotech: Slavnosti na e dell'acqua, illustration taken from: time, too. Alongside this propaganda, dvoře císaře Leopolda I. [Horses in francesco Sbarra. La Contesa Dell’Aria, however, documentary graphics, which Ballet Shoes: Festivities in the Court of e Dell’Acqua […], Wien 1667. was part of more complex patterns of Emperor Leopold I], Olomouc 2017.) 26 From the History of Printmaking From the History of Printmaking 27

years. They document the allegorical architecture of the scenery and carria- ges, the course of the performance and the individual steps of the equestrian ballet. Everything with surprising accuracy, compositional balance and an appropriate ratio of descriptiveness and artistic invention. Fireworks were part of the wedding celebrations as well as of the cultural life of the court, in the second half of the 17th century it was a common part of the most important festivals. Many of them were prepared in collaboration between librettists who wrote a simple story, drawing mostly on ancient mythology and experienced firefighters, often artillery officers, who prepared visual components. The story was interpreted by actors and reciters and drawn by hundreds to thousands of low and high rockets, pumps, grenades, cannons, fireballs and coordinated shots from cannons and muskets. The performances could last tens of minutes and have several acts. A libretto was preserved documenting the most important performances, accompanied by graphic sheets, depicting either individual acts separately, or, unusually, all of the acts together in one space. In addition to the performance itself, the graphics also document the knowledge of gunpowder work, described in detail in extensive and thematically relevant compendiums. nation of Leopold I in Pressburg in 1655 the form of proscenium, theater or in- of Emperor Leopold I. The name of the Il Pomo d'oro, played at the very end through copper engravings documen- stallation of a new monarch and rela- exhibition Horses in Biscuits was a de- of the wedding celebrations on the ting a series of ceremonial entrances ted insignia on the lay. In some cases, liberately exaggerated characteristic of occasion of the 17th birthday of the Em- and related festivities and ceremonies portrayals of scenes have been pre- one of the most important, logistically, press, was the most extensive and again of the imperial coronation three years served separately and not bound in financially and artistically demanding very representatively documented musi- later. The ceremony of election and co- books. To this day, they are a fascina- and at the same time one of the best cal and dramatic performance of the 17th ronation had been codified for centu- ting example of early modern theater documented festivals of Baroque Euro- century Viennese Court. The play was so ries by strictly adhering to the procedu- documenting several other fields besi- pe. The equestrian ballet La Contessa extensive that it could not be staged on a res depicted by graphics throughout des scenery, such as costumes, dances dell'aria e dell'acqua, was played as the single day and was split between July 12 the 17th century in a very similar way. and figures, stage machines and ligh- main event of the long program of cele- and July 14, 1668. Court architect Lodovi- The architectural backdrop of imperial ting. In more complicated cases, they brations of the marriage of Emperor co Ottavio Burnacini prepared 23 scene Frankfurt also changed only slowly. also represent the hierarchy of the im- Leopold I with the infanta Margaret The documentation of scenes of musi- perial court and, in the case of perfor- Theresa of Spain in the inner courtyard cal-dramatic performances (simplified mances composed for evenings in the of Hofburg in Vienna on 24 January and today's operas with ballet intermezza), gardens, they also depict the form of in short form again on 31 January 1667. ↖) Gerard Bouttats after Carla Pasettiho, A float of which were mostly bound to books as garden architecture. In conjunction It is well graphically documented by the element of wind with Juno, illustration taken from: Francesco Sbarra. La Contesa Dell’Aria,E Dell’Acqua […], accompanying documentation of rele- with the libretto, they again tell a story. artistically valuable etchings, the quan- Wien 1667. vant acts in librettos followed in chro- This time the story of historical events, tity and quality of which make the ↗ ↗ →) Melchior Küsel, First, second and nology. In most cases they consisted of as they clearly documented the story of book, in which they are bound, one of third acts of fireworks Von Himmeln the registration of two matrices, the the performance, which reflected im- the most representative records of Cen- Entzindete Und Durch Allgemainen first of which was a printed scene portant moments of court life and his- tral European drama of the 17th centu- Zuruff der Erde sich Himmelwerts erschwingende Frolokhungs Flammen, which was by this time a modern deep torical reversals interpreted by a libre- ry. The artwork was prepared by Niko- ilustrace z: Von Himmeln Entzindete depiction, composed in a perspective. ttist into the literary backdrops of anci- laas van Hoy and architect Carlo Pase- und Durch Allgemainen Zuruff der Erde sich Himmelwerts erschwingende The second imprint was the pre-stage ent mythology. Graphic prints, de- tti, and a total of 27 sheets were engra- frolokhungs Flammen zur Begengnüs – proscenium. The prints of this matrix signed for the most noble or movable ved by Frans van der Steen, Jan van des Hochzeitlichen beylägers Beeder khaiserlichen Maiestäten Leopoldi are observed over time at various per- clientele, were often hand-coloured Ossenbeeck and Gerard Bouttats – all des Ersten Römischen Kaisers […], formances and was changed only in the and became a luxury item. Many of Dutch artists who at that time had alrea- wien 1666. case of its physical wear, changes in them ended up in the private bedroom dy been living in Vienna for several 28 From the History of Printmaking National Competitions and Exhibitions 29

exchanges, all of which were graphically vities and musical-dramatic performan- Although the siege was positive for the This year, 419 entries were submitted, documented by Matthäus Küsel. In this ces are documented and presented at Christian world, and the victory of the of which 213 works and 19 original case (and also in the following one) wit- the exhibition with prints by Matthäus combined imperial troops at Vienna books were exhibited. The exhibition hout proscenium. The sheets were distri- Küsel, Cornelius Meyssens, Johann Mar- started the reconquista of Hungary, the offered a variety of graphic artworks buted as part of the libretto and separa- tin Lerch and Tobias Sattler. In addition documentation of the musical-dramatic GRAPHIC ART and beautiful original books of renowned tely. Within a short time, two more were to ceremonial entrances and ephemeral performances was no longer as gene- graphic designers, students and artists added – the introductory dedication she- architectures, the engravers depicted rous as it had been before in the last with an overlap into various fields. The et engraved by Matthäus' brother Mel- theater scenography and fireworks. decades of the 17th century. At the end OF THE YEAR graphic art of the year is one of the chior Küsel and the interior of the new The beginning of the 1680s was of the 1670s and 1680s, however, Leo- most important and largest exhibitions Teatro sulla Cortina building engraved marked by major crises in the Vienna pold was successful in his family life. In in the country; it is an exhibition pro- by Frans Geffels. It was the libretto to the court. One of the last plagues broke out 1678 the first and desired heir Joseph 2019 ject with a long tradition. Each year extensive Il Pomo d'oro that had received in the monarchy and the imperial court (future Emperor Joseph I) was born, hundreds of renowned Czech authors several luxury colored versions. One of was forced to leave Vienna. Matthäus and in 1685 Charles (future Emperor The Hollar Foundation has held the 26th year of the and students take part in the competi- them, prepared for Emperor Leopold, has Küsel, with whom Cosmerovio pub- Charles VI.). And so they celebrated, tion. The exhibition becomes been preserved in the Österreichische lishing house in Vienna solely coopera- danced, played, fired fireworks, national competition exhibition Graphic Art of the Year a platform for establishing intergenera- Nationalbibliothek. The 1670s were mar- ted since 1668 in the preparation of crowned emperors and, of course, do- and the 25th year of the Vladimír Boudník Award tional artistic relations, allowing both ked by both sadness and celebrations in documentation for a libretto of musi- cumented. At the end of the 17th centu- theoreticians and artists themselves to the imperial court. Leopold’s two wives cal-dramatic performances, died in ry we have only two documented per- The awards ceremony and exhibition opening took evaluate the shift and trends in graphic died – Margarit Theresa in 1673 and 1681. In 1683, Vienna was besieged by formances, both played in the gardens place on Monday, January 27, 2020 at 6 pm in the art every year. Claudia Felicitas of Austria in 1676. He the Turks and military engineers reco- of the Villa Favorita near Vienna. The Municipal House in Prague. The exhibition was open The Vladimír Boudník Award is also organised two weddings – with mmended tearing down the wooden engraving was consistent with Johann a prestigious award for the artist's life- Claudia Felicitas of Austria in 1673 and court theater, Teatro sulla Cortina, for Ulrich Kraus’s work, who depicted the from January 28 to February 29, 2020. long contribution to graphic art. Its Eleonore Magdalene of Neuburg in 1676. fear of a possible fire spread after an scene from a bird's eye view with objective is to express social apprecia- Both weddings and accompanying festi- unfortunate hit with an artillery shell. a wide view of the auditorium and tion of artists for their creative contri- a long, strictly symmetrical perspective bution to Czech graphic art, for their of garden architecture. Over time, and convincing and distinctive collection especially at the end of Leopold's life, of graphic artworks of an innovative the initiative to prepare and create mu- expression or form without time or sical-dramatic performances of the generation constraints. In addition to court was slowly taken over by the Em- significant and art-proven names, it peror's sons and his third wife. Leopold also aims to point out the promising himself preferred shorter and more spi- creative works of younger artists. The ritual music compositions. Under new project is held under the auspices of commissioners and new creators, mu- the Mayor of the City of Prague, Zdeněk sic and musical-dramatic performances Hřib, and the Ministry of Culture of the and scenography began to take on a Czech Republic, co-organized by the new form. The exhibition was conclu- City of Prague, Prague 1 Disctrict. ded by six prints presented as a brief insight into the future – presenting not The awards include: only the history of scenography and its Main prize in category A – large format documentation, but also the exhibition Main prize in category B – small format choreography of the Museum of Modern Main prize in the category C/A – student Art in Olomouc. Johann Andreas Pfeffel works – large format, the Simeona engraved the theater scene according Hošková Award to architect Giuseppe Galli Bibiena for Main prize in category C/B – student Emperor Charles VI. work – small format Main prize in category D – original book Prize for relief printing Prize for intaglio printmaking Prize for lithography Prize for serigraphy Prize for computer graphics ↖) Matthäus Küsel after Lodovico Ottavio Jury Award Burnacini, Cave of Aeolus the god of wind, an Curators of the exhibition: unbound sheet documenting the musical-dramatic performance of Il Pomo d'oro, Österreische Zdeněk Freisleben and Hana Larvová Nationalbibliothek. The Vladimír Boudník Award ←) Johann Ulrich Kraus after Lodovico Ottavio Burnacini, musical-dramatic Ondřej Michálek performance L’Euleo Festeggiante Nel Members of the Jury: Jana Hubatková, Ritorno D’Alessandro Magno Dall’Indie, illustration taken from: Giovanni Petr Ingerle, Markéta Kroupová, Ivan Bononcini (1670–1747), L’Euleo Neumann, Miloslav Polcar, Lenka Vilhel- Festeggiante Nel Ritorno D’Alessandro Magno Dall’Indie, Wien 1699. mová. Nominated for the 25th Vladimír Boudník Prize were: Šimon Brejcha, Oldřich Hamera, Pavel Hayek, Vladimír 30 National Competitions and Exhibitions National Competitions and Exhibitions 31

Jan Hísek – Černý kocour [Black Cat], mezzotint, sheet size 477 × 318 mm ←) Jan Hísek, Tobogan – Černý kocour [Black Cat], Members of the Jury: Šimon Brejcha, 2019, mezzotint, sheet size, 477 × 318 mm Vilma Hubáčková ↓) Veronika Hoppová, Gorazdova 6, Statement of the Jury: 2019, intaglio from stone, sheet size, 333 × 421 mm The jury was intrigued by the richness of the author's inner world, for which he found adequate expression in the ult- ra-mastered technique of the mezzotint.

Main prize in the category C/A – student works – large format, the Simeona Hošková Award (graphic sheets larger than 297 x 210 mm) Gallery Klatovy / Klenová provides the winner with a scholarship.

Veronika Hoppová – Gorazdova 6, intaglio from stone, sheet size 333 × 421 mm Ladislav Sutnar Faculty of Design and Art, University of West Bohemia in Pilsen, 3rd year, Studio of Illustration and Graphic Art, head of the Studio Mikoláš Axmann Members of the Jury: Barbora Kundračíková, Pavel Mrkus, Markéta Hlinovská, Terezie Zemánková, Jakub Zich. Statement of the Jury: Veronika Hoppová's work is not what would be considered gallery type – on the contrary, she profits from her own traditions of the medium intuitively understood as a means of capturing the insight of intimate experience. It is remarkable both aesthetically and formally, including the demands of technology, and artisticly. It does not offer simple interpretations, the mind of the viewer is led through imaginative turns and variations, yet it is concentrated and comprehensive.

Main prize in category C/B – student work – small format (graphic sheets smaller than Kokolia, Jiří Šalamoun, and Jan Vičar. nera Pražské plynárenské a.s. 297 × 210 mm) The meeting of the jury was held on Martin Velíšek – Struhadlo [Grater], Prize of IMA, s. r. o. November 20, 2019. perforated intaglio printing, sheet Tereza Šrámková – Zvíře [Animal], ↑) Tereza Šrámková, Zvíře [Animal], size 1400 × 800 mm aquatint, sheet size 250 × 180 mm, 2019, aquatint, sheet size 250 × 180 mm THE LAUREATES OF THE GRAPHIC Members of the Jury: Petr Babák, Tomáš akvatinta, velikost listu 250 × 180 mm ART OF THE YEAR 2019 Koudela, Hana Larvová, Jiří Lindovský, Academy of Fine Arts in Prague, 3rd ↖) Martin Velíšek, Struhadlo [Grater], 2019, perforated intaglio printing, sheet size Jan Van Woensel year, Studio of Sculpture II, head of the 1400 × 800 mm The jury of Graphic Art of the Year 2019 Statement of the Jury: studio Tomáš Hlavinka →) Bronislava Bakule Malá, Prales – vnitřní was held on January 6, 2020 in the Hall The jury took into account the high- Members of the Jury: Šimon Brejcha, život [Jungle – Inner Life], of Architects at the Old Town Hall. -quality technical design of the graphic PhDr. Vilma Hubáčková. 2019, linocut, sheet size 660 × 960 mm The chairman of the jury was Zdeněk work. The jury was captivated by its Statement of the Jury: Freisleben distinctive rendition, based on a specific The jury appreciated the imagination, object-based approach referring to the the courage for humorous exaggeration, Main prize in category A – large principles of modernity. as well as the ability to make clear state- format (graphic sheets larger than Main prize in category B – small ments excellently expressed on a small 297 × 210 mm) format format. Adequate use of the aquatint The Prize of the main partner Pražská Prize of the Smečka Gallery Endowment technique supported the overall tone of plynárenská a.s.) – Cena hlavního part- Fund the work. 32 National Competitions and Exhibitions National Competitions and Exhibitions 33

Bronislava Bakule Malá – Prales – Sabina Kafková received an award for vnitřní život [Jungle – Inner Life], her experimental and unusually strong linocut, sheet size 660 × 960 mm artistic approach, captured atmosphere Members of the Jury: Ivo Binder, Barbora and at first glance a semi-abstract Kundračíková, Terezie Zemánková image. Statement of the Jury: The linocut of Bronislava Malá is excep- Serigraphy (special prizes for graphic tional in its grasp of the technique redu- art techniques) ced to the necessary minimum, yet The Sutnar Award – The Radoslav and capable of conceiving and expressing Elaine Sutnar Foundation the plastic reality existing in the Petr Kubáč – Chyba [Error], screen- background of the image. The haptic print, 700 x 1000 mm quality that the organic world posse- Faculty of Art and Design, Jan Evangelis- sses, here comes in the print in a cer- ta Purkyně University in Ústí nad Labem, tain symbiosis. The result is a simple, 4th year, Studio of photography, head of clean, musical structure reminiscent of the studio Lukáš Jasanský. This graphic a record, yet remarkably witty – calling artwork was created within the course for speculation about missing halftones Graphic Art, headed by Miloš Michálek. and spatial ‘fillings’. Members of the Jury: Zdeněk Freisle- ben, Vilma Hubáčková, Jiří Lindovský Statement of the Jury: The jury appreciated the print quality. The author accentuates the current ←) Lenka Novotná, Kroj [Folk Costume], 2019, computer graphics, media theme in an unusual way and 145 × 145 mm creates visual tension in the form of color overprints. ↙) Sabina Kafková,Divý kanec [Wild Boar], 2019, lithography, sheet size 500 × 707 mm Computer graphics (special prizes for graphic art techniques) ↑) Robin Kaloč, Krajina [Landscape], 2019, aquatint and relief print, Prize of the Faculty of Education, Uni- sheet size 670 × 960 mm versity of Hradec Králové ←) Kryštof Brůha, Reonar de Inter Solaris, Intaglio printing (special prizes for Kryštof Brůha – Reonar de Inter 2019, print using a robotic arm, graphic art techniques) Solaris, print using a robotic arm, sheet size 1000 × 700 cm The Sutnar Award – The Radoslav and sheet size 1000 × 700 mm. Elaine Sutnar Foundation Members of the Jury: Petr Babák, Robin Kaloč – Krajina [Landscape], Tomáš Koudela, Pavel Mrkus ↓) Petr Kubáč, Chyba [Error], 2019, screenprint, 700 × 1000 mm aquatint and relief print, sheet size Statement of the Jury: 670 × 960 mm The tension between the elementary Members of the Jury: Šimon Brejcha, form of the graphic artwork as opposed Hana Larvová, Markéta Hlinovská to the chosen printing technology of the Statement of the Jury: robotic arm impressed the jury especially The jury appreciated the following in terms of opening up new possibilities artistic aspects: purity, depth, painting in the field. quality, space, calmness, great combination of techniques and the benefit of Jury Prize – Graphic Art of the Year experience. 2019 Prize of Havlíkova přírodní apotéka, s.r.o. Planographic printing – Lithography Patrik Hábl – Tři hory [Three Moun- (special prizes for graphic art tech- tains], own combined technique, niques) sheet size 1230 × 1560 mm Prize of Ladislav Sutnar Faculty of Design All jury members unanimously agreed and Art, University of West Bohemia in on this prize. Pilsen Statement of the Jury: Statement of the Jury: Sabina Kafková – Divý kanec [Wild The prize was awarded to Patrik Hábl Main prize in category D – original Original concept based on ornaments of Boar], lithography, sheet size for a creative and innovative grasp of book folk costumes. Precise digital printing. 500 x 707 mm, litografie the landscape theme and a distinctive Prize of the Teapot Publishing House Imaginatively translated traditional Ladislav Sutnar Faculty of Design and creative approach to traditional gra- Lenka Novotná – Kroj [Folk Costume], theme into contemporary replication. Art, University of West Bohemia in Pil- phic technology. computer graphics, size 145 × 145 mm sen, 3rd year, Studio of Illustration and Faculty of Education, Hradec Králové Relief printing (special prizes for Print Art, head of the Studio Mikoláš For more information, contact University, head of the studio Jaroslava graphic art techniques) Axmann the director of the competition and Severová Prize of the Faculty of Art and Design, Members of the Jury: Julie Kačerovská, the Secretary of the Hollar Foundation Members of the Jury: Zdeněk Freisleben, Jan Evangelista Purkyně University in Jan Van Woensel, Jakub Zich. Kateřina Obozněnková, mobil: Gina Renotière, Julie Kačerovská. Ústí nad Labem Statement of the Jury: 730 107 518, email: [email protected]. 34 National Competitions and Exhibitions 35 obituary 35

universe are beginning to appear. Sin- ce that time, wire sculptures representing an open space in the form of a spiritual event have become the basis of Karel Malich: his work; this space becomes an independent world in which the invisible cosmic forces intertwine and interco- Energy that does nnect with landscape, human figure and sign. In the 1980s, besides sculptures, he also focused on poetry. This is not disappear followed by a remarkable period of pastel and tempera works, which have Zdeněk Freisleben accompanied him throughout his life in various forms. Malich's themes also At the end of last year, we said goodbye to personality include the titles of his works such as Landscape with Eternity, Me and the of fine art Karel Malich, the laureate of the 2016 Other, Behind the Table, or Those that Vladimír Boudník Award, which is awarded by the I Meet. In the 1980s, Karel Srp's publi- Hollar Foundation in Prague. cation entitled Vědomí a kosmické energie [Consciousness and Cosmic

Karel Malich was one of the contemporary artists who significantly influenced Czech art. He was born in 1924 in Holice. He graduated from Charles University (Pedagogical school), and later, in 1950, was accepted at the Aca- demy of Fine Arts. Initially, he devoted himself to painting, printmaking and graphic design.

From the very beginning, we can ob- serve the artist's connection with the landscape in a certain imaginative conception; his work also appears in the form of collages. Important sources and inspiration were his friendship with poets Jiří Kolář and Josef Hiršal, and exhibitions with the Křižovatka [Cross- road] group, in which many future per- sonalities of Czech fine art appear. The important moment of his professional development appears in the 1960s when his work reveals unusual themes expressed with natural phenomena in the form of reliefs and sculptures as well as unusual realizations suspended in space. Metal structures and plexiglass are the key materials he works with.

In the late 1980s, his work was awarded by way of a solo exhibition at the Guggenheim Museum in New York and the Czechoslovak Pavilion at the Bie- nnale of Venice. In his work, passion for inner and outer light, materialized energy and their connection with the

←) Patrik Hábl, Tři hory [Three Mountains], 2019, own combined technique, sheet size 1230 × 1560 mm

→) Karel Malich, Thorn Elliptic Energy, 2011, serigraphy, paper, 120 × 80 cm © Galerie Zdeněk Sklenář 36 Printing Technology 37

Energy] and later the samizdat collecti- to the paper is washed into the bath on, Dech kosmu: Práh věčna [Breath of according to the intensity of light that the Cosmos: Threshold of the Eternal], fell on it, and the image after a five to was published, which also deals with the ten-minute development develops a literary work of Karel Malich. very fine grey scale gradation. As with A Brief Overview daguerreotype, however, only one ori- Since the 1990s, many of his important ginal image is produced. presentations have been held abroad. It was also possible to prepare carbon After 2000 Karel Malich presented him- of the History of pads with different pigments, e.g. yellow, self as a prominent artist at the MoMa magenta and cyan, and to expose them Museum in New York. In 2007, he was to colour negative extracts obtained by given the State Prize for Fine Arts awar- the Application of colour filters that correspond to comple- ded by the Ministry of Culture of the mentary colours. Their gradual over- Czech Republic. His work thus becomes printing onto one substrate gave rise to an important contribution to contem- Photomechanical a colour image (Louis Arthur Ducos du porary Czech art. The artistic and timele- Hauron, 1837–1920, patented in 1862). ss crossovers of Malich's work, in which However, photography, or, photome- we meet the intersection of light and Printing chanical procedures for image recor- energy, the spiritual dimension and phi- ding penetrated rather slowly into losophical connotations, thus represent printing techniques and the production a new sensitivity whose energy does not ondřej michálek technologies of image and text multiples. disappear. For example, when browsing through pages of the Zlatá Praha [Golden Pra-

↑) Karel Malich At the beginning of the 19th century, photography gue] weekly from 1885, we find many (Photo by Jiří Benák) became a considerable challenge. It was only a matter reproductions printed from wood en- ←) Karel Malich, Cosmic Script with Revelation, gravings or their metal copies. Smaller 1985, pastel, paper, 1020 × 735 mm of time before printers and printmakers began line drawings are then surely made as © Galerie Zdeněk Sklenář experimenting with substances that change their clichés, i.e. again by photomechanical properties after being exposed to the sun. At this time, procedure and etching into metal. And then there are reproductions where we some inventions completely overlapped; similar results do not recognize any manual interven- were achieved by a number of researchers, albeit often tion; the halftone screen examined under the magnifying glass is regular, working with a different chemical principle. the print dots scattered on a regular grid have different size and thus create Frenchman Joseph Nicéphore Niépce print. Poitevin also improved photoli- a tonal gradation of the image. (1765–1833), considered along with thography (1855), by transferring a If we search in the past, we will find Louisem Daguerrem (1787–1851) one photographic image onto a lithogra- that etching as a way to obtain a prin- of the inventors of photography, used phic stone using a layer of gelatine or ting intaglio matrix has been used sin- naturally light-sensitive bitumen depo- egg white mixed with potassium di- ce the beginning of the 16th century, sited on a tin plate to record the image. chromate. In the case of the carbon but it got into relief printing technolo- The irradiated areas solidified, while print (1855), the procedure is as fo- gy much later. The first experiments the areas illuminated less or not at all llows: the gelatine with potassium or with an etched letterpress cliché were dissolved in lavender oil mixed with ammonium dichromate mixed with connected with the work of the English turpentine and gradually exposed the black pigment is poured onto a backing eccentric poet and graphic artist mat. In this way Niépce transferred a paper (this temporary backing is usua- William Blake (1757–1827), who used drawing template to the lithographic lly smooth plastic today), in a format this procedure to transmit the hand- stone, where the paper with the dra- delimited by slightly elevated edges. It -written text and the line figural drawing or engraving impregnated with is then exposed to UV light through a wing to the copper plate (probably by oil served as a transparency. Daguerre, negative image and then immersed in the method of transferring the ground on the other hand, used silver iodide. cold water for about 45 seconds. Then from an imprint onto the matrix) and When the metal plate coated with this the so-called transfer paper (it is a defi- etch it into a high relief. Later relief substance was placed in the camera nite substrate) is placed on the exposed printing methods included photoche- obscura, after exposure for several tens layer in a bowl with water, pressed on mical processes in the preparation of of minutes and subsequent develop- with a sqeege and this ‘sandwich’ is the printing plate, where the contrasty ment in mercury vapor, an image con- then weighted down with thick glass. drawing was converted into a film ne- taining even halftones appeared on it. Then, the two layers of paper are im- gative, while the negative of halftone However, another co-inventor of mersed in water approximately 45 °C template was obtained using a grid photography Alphonse Poitevin warm. The softened gelatine is re- that enabled it to be converted to the (1819–1882) did not continue in this leased from the smooth surface of the dot screen of different sized print po- impasse and took advantage of the li- backing, and the two layers can be ints (black and white) in regular raster. ght sensitivity of potassium dichroma- carefully separated after about 15 mi- The modified image on the film was te (K2Cr2O7). His inventions include nutes. In the next stage, the gelatine then exposed by contact to a photo- the so-called carbon print or pigment (containing black pigment) transferred -sensitive layer on a metal plate, which, 38 Printing Technology Printing Technology 39

after exposure to light and develop- Jean-Baptiste Corot (1796–19875) or ment, acted as an acid-resistant ground Jean-François Millet (1814–1875) devo- protecting exposed areas. ted themselves to this simple drawing At the end of the 19th century, much method in the mid-19th century. The attention was paid to this problem on image matrix was a hand-drawn nega- both sides of the Atlantic, as the quali- tive of the image. The drawing was done ty of the dot screen was decisive for the with a needle on glass blackened with success of the print and the speed of its smoke or fitted with black cover and a preparation. Historically the first photo positive image was created by copying reproduced in letterpress by an autoty- the negative with transparent lines onto ping (technical, i.e. regular) raster was photo paper. a picture of the Steinway Hall in Man- However, it was Talbot who sent the hattan, printed in 1873 in The Daily invention of photography to the next Graphic. Stephen Henry Horgan centuries, not only as an exact record (1854–1941). signed this method of con- of reality, but also as a technique for verting photography into print. Shortly reproducing photographs by gravure thereafter, in Europe, the autotyping of printing. His experiments also include Georg Miesenbach (1841–1912) was the first photograms, such as records of made. the shape of the leaves of plants or To abandon illustrative practice of their seeds. However, the quality of the day and replace graceful wood en- photographs developed as such were ting in that he replaced the asphalt colour intensity of printing points sepa- gravings with rasterized photographs not permanent, and so Talbot decided aquatint grain, which he first used rated by a network of non-etched lines may seem to us today, with the benefit to convert them into gravure using et- himself, with a photomechanical grid of the original surface. This fine grid, of hindsight, as a depletion of prints ching technique into a copper plate. He consisting of a fine crossing of transpa- with its lines between the print points, and books. We can easily picture them, improved the whole process of applica- rent lines on an opaque background delimited the abutment surface on the fine illustrations in books by Jules tion of carbon paper, which was after (1895). The regular photomechanical which a scraper blade could be moved Verne, in home counsellors or magazi- exposure and development overprinted grid was used in letterpress (since to remove excess paint without scraping nes such as Květy, Zlatá Praha or Světo- on a copper plate, on which the layer of 1873), but in this case it was its nega- the reliefs of varying depths of miniatu- zor known in the Czech region. Further gelatine formed an irregularly permea- tive version; that is, light did not reach re wells, as would be the case with the development of the printing practice ble porous cover. In order to achieve the sensitive layer through the transpa- usual aquatint. was not inclined to this laborious tech- a better result, he supplemented this rent faces, but first through this trans- When printing from such a prepared nique; although later it was possible to procedure with an aquatint. The grain parent “warp” of fine lines intersecting plate, however, it is necessary to use prepare for the facsimile woodcut en- covered the plate with another screen, at right angles. On the first exposure to fluid ink or ink containing a binder in gravers an image on the matrix using a through which a rich range of halfto- light-sensitive gelatine paper, it deline- addition to pigment, which dilutes its photograph of the reproduced artwork nes could be obtained by successive ated a network where the solidified concentration. If the ink were too opa- (Thomas Bolton, 1860). The new me- etching in ferric chloride (FeCl3) soluti- gelatine was not washed away later. que and not partially transparent, this thods have seized the control over the ons at various concentrations (paten- During the second exposure, the expo- method would not work. A shallow entire manual and hitherto used matrix ted in 1852). sure of the halftone pattern, a regular hole would print almost as well as manufacturing techniques in favour of Karel Václav Klíč (1841–1926), structure of equally spaced miniature a deep hole because their ground plan the speed and accuracy of photochemi- a brilliant draftsman, political cartoo- flats of varying degrees of exposure size is the same. However, with a cal transcription. nist and tireless innovator, perfected was formed on the carbon paper thus transparent ink with pigment, a diffe- Photochemical procedures penetra- and adapted Talbot's heliogravure tech- screened. After developing the gelati- rentiation occurs on the impression: a ted into the gravure printing process nique for printing large volumes for ne, overprinting on the copper plate, small amount of ink in a shallow hole on the principle of the aforementioned business purposes, for printing books washing it and etching it in various contains much less pigment than a lar- carbon print and are signed by the Bri- and illustrations. His invention was to concentrations of ferric chloride, a re- ger amount of the same ink in a deeper tish William Henry Fox Talbot (1800– equip a photogravure printing press gular structure of recesses of different hole. Therefore, the dot imprinted from 1877). It was this inventor who, among with a scraper knife which later deve- depths was formed on the matrix corre- a subtle hollow is lighter than from the other things, opened up for photogra- loped into a unique invention of rotary sponding to an impression of different deeper one that received more ink. phy the dimension of reproduction scraping gravure printing from 1890. However, traditional photogravure technology, where an unlimited num- His contribution to the field of helio- (heliogravure) does not use this grid; ber of copies of a positive image can be gravure or photogravure is also interes- its stochastic dot screen corresponds obtained from one negative. A translu- to the fineness of the gelatine paper cent negative with an induced silver and the subsequent aquatint, so that it iodide (AgI) layer was copied by con- ↖) William Henry Fox Talbot, is closer to the original Talbot method. The Ladder (from the series The pencil of Nature) tact onto a paper substrate coated with about 1845, image on salty paper Although photogravure has still a silver nitrate layer (AgNO3) and, after many fans among printmakers precise- development, stabilized with table salt, ←) Jean-Baptiste-Camille Corot, ly because it is a traditional and also Young Mother at the Entrance to a Wood, later with sodium thiosulfate 1856, cliché-verre, 55,9 × 40,6 cm very complicated method, the require- (Na2S2O3·5H2O). He patented this me- ment to use photography in artistic ↗) William Henry Fox Talbot, Seeds thod as the so-called kalotypie in 1841. about 1845, photogravure, 7,6 × 10,5 cm gravure has eventually demanded pro- A similar reproduction technique ba- cedures that are simpler, more strai- →) Scheme of industrial intaglio sed on photomechanical copying was the printing with wiper blade ghtforward and less demanding in so-called ‘cliché-verre’; cliché – the French terms of processing precision and et- word for a phototype, verre – glass). ching of the matrix. For the purposes of 40 Printing Technology Printing Technology 41

rasterized negative of the original

contact of both layers

grid

camera lens

halftone original

↑) Converting a halftone original to a raster on a film

→) Top: Exposing the negative grid on light-sensitive gelatin paper ↓) Regular grid composed of points of different sizes (detail) ↑) Reproduction of Albert Bierstadt's painting Below: Diagram of the principle of creating The Last Bison about 1888, photogravure, 62,2 × 87 cm lighter and darker printing dots depending ↓↓) Etched rasterized printing block (detail) on the depth of etched "cups" and amount ↓) Steinway hall in Daily Graphic, 1873 of the ink they hold.

printmaking, however, nothing new mate bath, reacts to light in the way not mind using industrial materials. had to be invented; photo-emulsion-ba- that the areas exposed to UV light soli- One of the first discoveries was the rea- sed technologies exposed to light dify while the areas protected from li- lisation that a photocopier, still the op- through the positive image on the ght swell when wetted. When ink is tical, analogue one, not the today's ver- transparencies have been used for rolled onto the dampened surface of sion with a scanner and printer, can many years. It was only a matter of the gelatine altered in such a way, the easily produce fine-grained transparen- how to transfer these routine procedu- ink adheres only to the hardened are- cies on a regular foil usable for photo- res of printing techniques into artistic as, while the areas retaining water in gravure or serigraphy. The fine toner creation. And, as I recall, their onset its pores repel it. Joseph Albert (1825– powder is dispersed on the plastic sur- was a revelation of their time, because 1886), a print engineer from Munich, face in a stochastic screen and does thanks to these technologies the gra- who bought the original idea from Jakub not stick in dark places. Another me- phic image got rid of all limits. Taking Husník (1837–1916). thod of splitting image on transparen- photographic elements into its expre- Interestingly, in many countries this cies into an irregular dot pattern was ssion, it offered the connection and technique was primarily used to print to expose the negative image to a hard contrast of all elements of the visual postcards, holiday postal items without film through sanded glass. world. an envelope. In its monochromatic de- In most cases, however, these proce- However, before moving on to the sign, however, it was able to imitate sses involve the use of large film formats recent past, let us stop by planographic the original very faithfully, because the with its silver compounds and, in the printing and photochemical techniques natural screen of pores in the gelatine case of gravure printing, the treatment applied in this area. In addition to the was very fine. Therefore, this technique of non-ferrous metals with aggressive gravure printing and their first applica- was often used to reproduce historical etchants. Soon, therefore, there was a tions (J. N. Niépce and A. Poitevin), it is documents or important works of art, change due to promoters of more envi- necessary to mention the technique such as Documents décoratifs by ronmentally friendly practices, who the printers departed from only at the Alfons Mucha (1902) or the cycle of 34 suggested using a whole new material. end of the 20th century – collotype frottages by Max Ernst in Histoire In this case too, it was the use of indus- [Lichtdruck]. This method of reprodu- naturelle (1926). trial technologies that replaced the old cing image is based on Poitevin's disco- Printmaking, however, did not want practice of letterpress using metals and very of 1856. The gelatine, which has to follow the path of ever more perfect acids with more modern techniques. It passed through the potassium dichro- reproduction, although print artists did was found that a fine layer of polymer 42 Printing Technology Chronicle 43

film laminated to a copper plate can cial exhibitions. PDPS Members are art lovers, only be developed with a soda solution artists, collectors, scholars, docents, teachers, and no longer needs to be etched into Exh com perio con →)FA I and students. the copper plate mass. The plate can be →) →) printed already from this stage, be- ibit peti dic feren rs Ludwig Petrovich Asetskiy →) cause the developed layer of photopoly- ions tio exhibi ces Chronicle of Life. Annals mer is so strong and tough that it can of the Country distinguish printable and non-printable ns tions Minsk/Belarus areas in its relief just like metal does, Over There, Over Here Print, Drawing & Photo- The National Art Museum of Belarus and can withstand high pressure in the American Print Makers Go graph Society (21. prosince 2018–21. ledna 2019) press. However, industry only uses po- to War, 1914–1918 50th Anniversary lymer technology for high-end relief Wichita/USA Baltimore/USA printing (flexography), since the descri- Wichita Art Museum The Baltimore Museum of Art bed gravure printing process allows (25 July 2018–17 February 2019) (28 August 2018–5 October 2019) only about 50 copies to be obtained without any matrix damage. With the advent of digital imaging and printing technologies, not only printing but also art of the print have expanded. Transparencies have di- sappeared from offset, letterpress, roto-

gravure and some serigraphy printers, ↑) Ludwig Petrovich Asetskiy – At the Pier, from the series Everyday Life of the Navy, 1971, etching, 490×630 mm. From the collection of the National Art Museum of the Republic of Belarus. Inv. No. 612

The exhibition was dedicated to the 90th ↗) Postcard made using the technique of collotype (Lichtdruck) circa 1936, 9,2 × 14 cm ↖) Sybil Andrewsová – Racing, 1934, linocut. The Balti- birthday of the Honored Artist of the BSSR, more Museum of Art: Purchased as the gift of the Print graphic artist and book illustrator Ludwig →) Inkjet printer for printing up to 5 m & Drawing Society, BMA 2001.339. © The Estate of wide strip of material Sybil Andrews, Glenbow, Calgary, Alberta, 2018 Petrovich Asetskiy (1929–2005). The exhibition featured over 40 book illustrations and original ↑) John Taylor Arms – Wasps (aka Aircraft Patrol Muzeum umění v Baltimoru oslavilo 50. graphics from the Museum’s collection and was and In Search) 1920, color etching and aquatint, výročí nejstarší skupiny svých přátel-sběrate- complemented by 13 illustrated books, as well 194 × 133 mm. Wichita Art Museum, C. A. Seward Memorial Collection lů, The Baltimore Museum of Art celebrated as photographs, documents and awards. the 50th anniversary of its oldest collectors’ Ludwig Asetskiy belonged to the brilliant Historian R. J. O. Adams tells us that World friends group, the Print, Drawing & Photograph galaxy of Belarusian artists that formed in the as they have been replaced by Compu- War One "changed in some way the lives Society (PDPS), with an exhibition highlighting dynamic 1960s, marked by an upswing in the ter to Plate technologies with laser dot and futures of every man and woman on the a selection of works that PDPS has helped the development of the Belarusian graphic school screen in matrix production. However, planet." American writer Gertrude Stein, who BMA acquire over the years. An installation was and fanned by the search for new substantial they mostly remained in artistic prints, lived in France during the 1914–1918 conflict, organized in two six-month presentations, each and plastic solutions in the Belarusian fine arts probably as a necessary witness to the characterized the abrupt cultural shift the included 20–30 prints, drawings, and artists’ as a whole. In his works, Asetskii created the fact that drawing is the basis of all war generated by stating that it was only books dating from the late 19th century throu- chronicle of the country, reflecting significant techniques that use photo-emulsion after the war’s end that "we had the twenti- gh present day. events in the life of the republic, and acted as a and transparencies, namely serigraphy eth century." PDPS was first established in 1968 as the chronicler of the life of compatriots, capturing and lithography from offset printing different intersection of the required This exhibition explored the little studied phe- Baltimore Print Club, an independent orga- the everyday life of Soviet people. Therefore, plates. Today's software allows endless qualities. While quality, profitability and nomenon of American print makers and their nization with the objective to “further the the main form of artistic representation is a transformations in image editing and speed are important to industrial prin- artistic responses to the watershed catacly- understanding and appreciation of the various series of graphic works that are diverse in style, image generating, and digital printers ters, in printmaking it is primarily the sm of WWI. It included powerful images of media of graphic arts,” and to support the BMA form, technique and themes. produce them in the desired mode on ability to convey expression and original soldiers on the battlefield, while also showing by enhancing public interest in these media. The The strength of his talent was combined with transparencies, whether these are re- thought, with the notion of the term qua- the effects of the war at home – including the club changed its name to The Print and Drawing his exceptional efficiency and accuracy of his gular foil, tracing paper, or paper addi- lity having quite different concept, and prints of those artists in Wichita and in Kansas Society and was absorbed into the BMA in work. The artist tirelessly sought and found tionally translucent with a greasy the broader context of technology choice who artistically reflected the city’s booming 1974. This offered members further educational plastic solutions that make the image memo- agent. And naturally, digital printing relates more to content than to profitabi- aviation business in 1914 and following. opportunities, including lectures by renowned rable and invariably provoking an emotional itself has become a part of contempora- lity or speed. On the 100th anniversary of the conclusion of scholars and artists, curator-led tours of the reaction. ry art, although many international Compared to the clear priorities of the Great War, WAM is pleased to collabo- BMA, and visits to art collections and museums print exhibitions have a reserved atti- printers, printmaking in its technological rate with guest curator Barbara Thompson across the region. Many works in the exhibition Mortimer Menpes tude towards it.. anchoring and search may seem to beha- to reconsider the resonance of WWI – in the were acquired with funds raised through the Impressions of Brittany Industrial techniques and graphic art ve a bit like an unpredictable ‘enfant United States and in Wichita. Thompson is the Baltimore Contemporary Print Fair, which PDPS Adelaide/Australia printing techniques have often emerged terrible’: on the one hand, it rejects eve- granddaughter of Wichita printmaker C. A. has hosted since 1990. This event has brought Art Gallery of South Australia from a common ground, and although rything that stands in the way of expre- Seward (1884–1939), the artist who was the numerous art dealers from across the country (21 December 2018–3 July 2019) each of these branches has long main- ssion and that does not correspond with driving force behind the Prairie Print Makers. to Baltimore, with the proceeds supporting con- tained its independence, they are inter- current tendencies and contents but at In the museum’s continuing study of art in Wi- temporary acquisitions for the BMA’s collection This selection of works on paper by Mortimer nally interconnected. They refer only to the same time it will not forget anything chita, the Prairie Print Makers and the group’s of works on paper. Over the past half-century, Menpes (1855–1938) presents a snapshot of different starting points, where each of that might one day come in handy. Hone- activities and impact remain very significant. PDPS has helped acquire more than 325 works the young Adelaide-born artist’s time in Britta- them finds reasons for its existence at a stly: isn't that an ideal strategy after all? in the BMA’s collection and has supported spe- ny. Between 1881 and 1883 he and his young 44 Chronicle Chronicle 45

rent media have participated. The show was In/su/la The works by Shonibare in the Davis collections would be better suited as an accompaniment originally curated, organized, and financed by An Artist Project on and exemplify his theatrical depictions of beauty than other works of the Art Informel of the the Cuban artists themselves with the support to the Island of Ventotene and violence. With allusions to literary and film 1950s and 1960s from the collection? The sheet of foreign sponsors and the above mentioned Berlin/Germany traditions such as Westerns, science fiction, and was framed by drawings by Hans Hartung, Julius institutions. Galerie Parterre Berlin ethnography, Shonibare’s new woodblock print Bissier and Swiss artists such as Hugo Weber, This catalog of La Huella Múltiple / The Multiple (30 January–24 February 2019) and collage series Cowboy Angels takes up Franz Fedier, Lenz Klotz and the Basel-based Print from 1999, belonging to the MOLAA icons of between-ness: not only cowboys and Werner von Mutzenbecher. The second cabinet collection, is composed of 54 prints in which angels, but also African masqueraders, Harlequi- was dedicated to donated works produced in different techniques, themes, and styles are ns, stock tables, and the familiar wax print the area of Basel. In particular, there were dra- ↑) Charley Harper – Gazelle in the Grass (Nighttime), expressed from the field of abstraction to circa 1961, gouache. Museum Purchase Bequest of cloth. Whether engaged in a duel or astride a wings and watercolors by Gustava Iselin-Hae- ↑) Mortimer Menpes – A Pig Market, 1883, etching, figuration. Mr. and Mrs. Walter J. Wichgar, 2008.16, © Estate of horse, these characters are ready, with their ger, Karl Dick, Rudolf Maeglin, Carlo King and drypoint, plate tone printed in brown ink on paper, Charley Harper 253×365 mm. G. & P. Packer Collection. Gift of H.E. guns drawn—but for what uncertain futures? In Andreas His. The new additions were related Bowden and M.J.M. Carter AO through the Art Gallery Dea Trier Mørch Thom Shaw, many of the artworks have rarely Cowboy Angels, Shonibare combines Christian to older exhibits to introduce each artist with a of South Australia Foundation 2013, Art Gallery of been displayed, and 25 works will be on view imagery of angels, representations of African small selection. South Australia, Adelaide Into the World Humlebaek/Denmark ↑) Pietro Babina, Flavio de Marco – Scheme for a Ma- for the first time. Moreover, the exhibition masks, cowboy tropes of the American West, family lived in Pont-Aven, where they formed Louisiana Museum of Modern Art nifest in the Form of a Boat (Schema für ein Manifest showcases the accomplishments of celebrated and a windswept treatment of wax print fabrics. Fire garden, Poetry in Form eines Bootes), 2017, coloured pencils, folded part of a lively colony of international artists. (17 January–28 July 2019) paper, 297×210 mm artists living and working in the community, Each print contains a cowboy—recognizable by and Intaglio Printing Menpes, who later achieved success as a travel such as John A. Ruthven, Gary Gaffney and his posture and dress—with angel wings and a Rome/Italy artist and portraitist, was attracted to the The art festival In/su/la is based on the idea of Constance McClure. face substituted by a canonical type of African Museo dell’Istituto centrale per la French region’s rustic charm and connection to an artists’ residence of short duration, when The Academy initially opened in 1869 as the mask. On each print, the artist has written grafica (14 February–14 April 2019) history. His works in this display depict every- a close connection between a heterogeneous McMicken School of Design, which evolved “Angel.” Shonibare has also added swatches day Bretons going about their daily activities group of artists (writers, visual artists, direc- into the School of Design of University of of wax print fabric and printed paper to create and capture their distinctive clothing, customs tors, musicians), philosophers and the island Cincinnati. In 1887, known as the AAC, the an abstracted background on the polychrome and vibrant village life. Ventotene, its history and their stories was to school moved to the building adjacent to the woodcut prints. This portfolio reflects the be made. For its first edition in summer 2017, museum. The AAC and Cincinnati Art Muse- breadth of Shonibare’s oeuvre in medium and ↑) Dea Trier Mørch – Winter’s Child (Vinterbørn), 1976, La Huella Múltiple linocut, 420×290 mm In/su/la decided to be an ephemeral festival um remained side-by-side until the Academy themes, particularly addressing his current Long Beach/USA without social media and photos. announced its separation from the museum in theme of immigration and xenophobia in Europe Museum of Latin American Art A pioneering and popular figure of feminist art Ventotene served Roman emperors as a place 1998. In 2005, the AAC opened a new campus and North America. (12 January–12 May 2019) in Denmark, Dea Trier Mørch (1941–2001), is of exil, the fascist regime imprisoned political in the Over-the-Rhine neighborhood in down- known especially for her writing. The exhibition opponents there. Among them were Altiero town Cincinnati, where it stands today. The New Acquisitions ↑) One of the workstations of the artists in the engraving workshop of MArt Into the World was the first museum exhibition Spinelli, Ernesto Rossi and Eugenio Colorni, AAC operates presently as a private college of Kupferstichkabinett of the artist’s graphic work viewed as visual art. who wrote The Manifesto of Ventotene in of art and design with a mission to create and Basel/Switzerland The project, curated by Federico Bertolazzi Most of the exhibition’s works have rarely been 1941. It is considered one of the most impor- sustain forward-thinking, contemporary visual Kunstmuseum Basel (professor of Portuguese literature at the De- exhibited before. Dea Trier Mørch’s family, who tant early programmatic sketch of European artists and designers whose creative contribu- (11 February–23 June 2019) partment of Literature, Philosophy and Art His- handle her archive today, have generously made integration. tions make a substantial difference in the world. tory at the University of Rome Tor Vergata) and the exhibition’s c. 90 works available – works Through its involvement with the history, MArt (a space for design, learning and artistic with a focus on the period 1967–77, when gra- Ventotenes offers an occasion for the artistic Yinka Shonibare MBE experimentation in Lisbon), included about sixty phics played a major role in her artistic activities. work. Another was the question of what role Guns Drawn works by 26 Portuguese artists, coordinated by Her linocuts range motivically from intimate art should play as a mediator in social develop- Wellesley/USA Ana Natividade, who has collaborated with the depictions of childbirth and everyday life – with ment processes and if and what role it can play Davis Museum na Wellesley College MArt collective since its foundation. The artists a distinctive body-oriented activism and feminist in overcoming current global challenges. (7 February–19 June 2019) were asked to freely interpret the verses of the touch – to political subjects depicting political Presented in the exhibition were the works poetry collection Fire Garden (Horto de Incên- prisoners and freedom fighters, with the strong produced there, each on A3 paper. In addition, dio, 1997) of the multifaceted Al Berto (a pen human portrait at the centre. At this distance a book was planned as part of the festival and ↑) Maria Lassnig – Expressif, 1951, drawing. © Maria name of Alberto Raposo Pidwell Tavares, Coim- ↑) Lázaro Saavedra González – Digital Self Portrait Lassnig Stiftung, Foto: Roland Krauss (Autorretrato Digital), n.d., photo screen print on paper, from her own time, it is Dea Trier Mørch’s faith now realized. It does not reconstruct what bra 1948 – Lisbon 1997), poet, painter, publisher 254×210 mm. Gift of Darrel Couturier in the value and legitimacy of the individual happened on the island in July 2017, but called and Portuguese intellectual, whose translation La Huella Múltiple/The Multiple Print is a that shines through the works. She turns her for a second contribution from all concerned. The collection of the Kupferstichkabinett is into Italian was edited by Federico Bertolazzi collaborative project that was developed in gaze to the childbearing mother, the newborn constantly expanding through purchases, but for the publishing house Passigli in 2018. The 1996 by artists Sandra Ramos, Belkis Ayón, child, the new father, the senior citizen, the 150 YEARS OF CINCINNATI also numerous gifts. Although the newly added same freedom of action was left in the choice of Abel Barroso, and Ibrahim Miranda with the worker, the cleaning woman in the hospital, the ART ACADEMY works usually appear in the Online Collection the specific technique used, from the direct and collaboration of Ludwig Foundation, el Consejo freedom fighter and the young soldier. The links THE CELEBRATION OF or are mentioned in the annual report, they are indirect intaglio printing (engraving, etching, Nacional de las Artes Plásticas, the Unión de between the intimate, close life and the political ↑) Yinka Shonibare – Cowboy Angels V, 2017, woodcut often seen in an exhibition much later. Especia- drypoint, soft-ground etching, aquatint, mono- DRAWING AND PRINTMAKING with fabric collage, 699×945 mm, museum purchase, Escritores y Artistas de Cuba, and the Centro currents of the time are part of an overall Cincinnati/USA Erna Bottigheimer Sands (Class of 1929) Art.Acquisiti- lly the large number of works on paper makes type, linocut) to drawing (graphite, charcoal, de Desarrollo de las Artes Visuales of Havana, project, which aims to get art out into life and Cincinnati Art Museum on 2018.59.6 © Yinka Shonibare. All Rights Reserved, it impossible to show all new acquisitions in a acrylic, pastel). DACS/ARS, NY 2018DACS/ARS, NY 2018 Cuba among many others. La Huella Múltiple into the world. Trier Mørch began as a visual (1 February–28 April 2019) timely manner. The drawing Expressif (1951) seeks to gather the best graphic works produ- artist – at the age of 16 she was admitted to the Born in London and raised in Lagos, multime- by Maria Lassnig, donated by Prof. Hartmut Painted Words ced by established and emerging Cuban artists. Royal Danish Academy of Fine Arts (she studied In honor of the Art Academy of Cincinnati’s dia artist and Member of the “Most Excellent Raguse in 2018, now provided the opportunity Poets and Painters Through this collaborative project, artists seek in Prague later, too) – but she had her popular (AAC) 150th anniversary celebration, the Order of the British Empire” Yinka Shonibare to once again exhibit new entries in the graphic in Print, 1869–1967 to expand the concept of printing, incorpora- breakthrough as a writer with Vinterbørn, which Cincinnati Art Museum selected more than 90 explores the inheritances of colonialism in our cabinets. The gift came about as a result of Memphis/USA ting media that include photography, perfor- follows 18 women in the maternity ward of the masterful drawings and prints by AAC alumni contemporary, globalized world. Best known the retrospective of Lassnig’s drawings and Memphis Brooks Museum of Art mance, installations, and new technologies. Copenhagen University Hospital. Moreover she and faculty from the museum’s permanent co- for using wax print cloth to represent historic watercolors, shown in the Kupferstichkabinett (16 February–4 August 2019) La Huella Múltiple was a triennial that took was co-founder of the artist collective Røde Mor llection. Created by widely-recognized artists cultural and economic interdependence, Sho- in 2018. However, this sheet was not part of the place twice in Havana in 1996 and 1999. Artists (Red Mother), which combines visual art, rock including Tom Wesselmann, Elizabeth Nourse, nibare also has long plumbed a rich palette of exhibition and therefore never seen in Basel. The exhibition showcased three volumes from different generations and using diffe- music and theatre, in 1969. Charley Harper, John Henry Twachtman and other media and symbols—including firearms. Reason enough to present the work – and what that combine literary and visual art through 46 Chronicle Chronicle 47

contemporary African Americans, depicted in sculpture. It was this that prompted Haden to The New State ideal portraits and everyday scenes. He exto- rebel against this and form a new society, the Contemporary Etching lled their dignity, humanity, and heroism in the RE. A work by each of the RE Presidents from in Ireland face of the country’s long history of racial inj- the Society’s beginning to the present day fe- Dublin/Ireland ustice and encouraged his viewers and fellow atured in this exhibition, giving an overview of Graphic Studio Gallery artists of color to project their own self-worth. printmaking produced throughout the chapters (15 March–6 April 2019) White created non-violent images despite esca- of the RE’s history. The RE continues to thrive lating racial tensions; only in the mid-1960s did today with over 130 elected members. The he become frustrated with the slow progress current members of the RE have been invited and begin to infuse his work with allusions to to produce a new print which responds directly the continuing violence, poverty, and disparity to their Society’s heritage. Each artist chose ↑) Schelte à Bolswert – Triumph of the Eucharist over Idolatry (Triumph des Abendmahls über den Götzendi- of educational, housing, employment, and another RE member, past or present, or one ↑) Kelly Clark – door sign for the Grand Western Cana- enst, from the Triumph of the Eucharist series (Triumph voting opportunities. of the other artists involved in the Society’s dian Screen Shop, circa 1968, paint on card. University der Eucharistie), around 1630, copperplate engraving, of Regina Archives and Special Collections (2009–32). 630×905 mm Two concurrent and complementary exhibiti- history reflected in the Print REbels exhibition, Photo: Trevor Hopkin ons were on view in Los Angeles. Life Model: who has inspired them as a printmaker. From the 16th to the 19th century – before Charles White and His Students at LACMA’s Screen Shop. The exhibition returns to the the development of photography and offset ↑) Alexander Calder – illustration for an untitled poem from Paroles Peintes III, 1967, etching. Memphis Brooks satellite gallery at Charles White Elementary Making their Mark Canada of the 1960s and 1970s to contextualise printing – printmaking was the only visual me- Museum of Art; Gift of Isabel Ehrlich Goodman and School, formerly Otis Art Institute, where the Irish Painter-Etchers ↑) Hilary Kinahan – Bog Series #3, etching, 500×500 mm the Screen Shop within a time characterised by dium through which inventions by great artists Charles F. Goodman 90.18.38g artist taught for many years, and Plumb Line: & the Etching Revival personal and political consciousness-raising and could be spread throughout Europe. Unlike printmaking. Since the late-nineteenth century, Charles White and the Contemporary at the Dublin/Ireland The exhibition celebrated a new generation of dynamic change within the arts. artists like Lucas van Leyden or Rembrandt the tradition of peintre-graveur ("painter- California African American Museum. National Gallery of Ireland artists, and acknowledges their place within, Artist and provocateur William (Bill) Lobchuk van Rijn, however, Rubens did not create or -engraver") in France imagined printmaking as (2 March–30 June 2019) and the importance of their contribution, to (born 1942) established what was to become a etch the plates himself. As head of the largest a natural synthesis of the verbal, visual, and Print REbels the legacy and future of printmaking. colourful hub of artistic engagement, education, painter’s workshop of his time, he was rather manual arts. The exhibited works, which range Haden, Palmer, Whistler Over the history of art, the medium of etching experimentation and production in Winnipeg. used to organizing the manufacturing process from Paris in the 1860s to New York in the and the Origins of the RE has been recognised as being among the most Attracted to the neglected Exchange District, according to the division of labor. Usually, 1960s, combine poetry and graphic work to Aberystwyth/Velká Británie artistic of printmaking methods. While other the Screen Shop was born at the beginning of the best artist of his workshop first made a test not only the bounds of each art form, but Galerie Aberystwyth University’s techniques such as metal engraving, relief the arrival of artist studios and galleries to the drawing after the painting, which then – after also the bounds of printmaking itself. School of Art printing, lithography, screen-printmaking and area. At its core were a youthful group of artists the correction by the master – served as a (18 February–3 May 2019) digital processes have all been employed to critical of modernism, Eurocentrism and Ameri- template for the engraver. In contrast to his Charles White (2018–2019 touring exhibition) serve commercial interests, etching has been can imperialism. More specifically, there existed paintings, the engraved sheets were accessi- A Retrospective primarily identified with the fine arts. a desire to create space for a contemporary art ble and affordable for everyone. They served Los Angeles/USA The artists on display in this exhibition de- dialogue that was felt to be reflected in neither many artists of the 17th and 18th centuries as Los Angeles County Museum of Art monstrate a range of approaches in etching; the local, institutional art establishment nor the a model and at the same time were coveted (17 February–9 June 2019) ↑) Edward L. Lawrenson – Sognefjord (detail), 1924. from the creation of finely-drawn introspective national arts media. A key aspect of the Screen collector’s items right from the start. Even his The British Museum: © The Trustees of the British works, to richly coloured painterly compo- Shop’s success was its function in facilitating contemporaries were fascinated by his new, Museum sitions, to explorations of memory through the peer-to-peer exchange that energised its highly vivid style of presentation, which mas- This exhibition introduced audiences to the photographic means. Each of these artists communities. Screenprinting was the primary tered even complex themes in large compositi- work of early modern painter-etchers of Irish was invited to work on a relatively large scale, mode of production; a natural choice for its ons with many figures sovereignly. In the 19th birth or heritage. These artists made a signifi- signifying their ambitious intent for both the economy and anti-elitist ethos. The exhibition century, Rubens finally became the model and cant contribution to the so-called Etching Re- process and content of their work. included prints by many Screen Shop cohorts, cult figure of the Belgian nation state. vival of the 1880s, earning the recognition of The emergence of the Graphic Studio Dublin among them Don Proch, Winston Leathers, In eight themed rooms, the extensive co- their peers and contemporary art critics. The in the early 1960s marked an important miles- Judith Allsopp, E.J. Howorth, Tony Tascona, llection of the Bergisch Gladbach collector ↑) Paul Drury – September, 1928, etching exhibition comprised approximately 50 original tone in Irish art. The role of the print studio in Gordon Bonnell, Christopher Finn, Louis Bako, Wolfgang Vomm gave an insight into the work prints by artists such as Edward Millington Ireland over the last 60 years allowed printma- Lenard Anthony and Gordon Lebredt. The exhi- of Rubens and its spread over the centuries. Print REbels celebrated the 200th anniversary Synge, Estella Solomons and Myra Hughes. king to become a primary means of expression bition also featured work by Jackson Beardy, Da- of the birth of the founder and first President The exhibition included a recent acquisition, for many artists and later other print studios phne Odjig, Alex Janvier and Carl Ray, members Claire Nicole of the Royal Society of Painter-Printmakers Figures in a Boat, 1883, by John Lavery: his would emerge, including the Black Church of the burgeoning Professional Native Indian Engraved Moments (i. e. RE), Sir Francis Seymour Haden. A presti- only known print. Another recent acquisition Print Studio (1982), Cork Printmakers (1991) Artists Incorporation and frequent Screen Shop Vevey/Switzerland gious collection of works has been brought featured in this exhibition is Shipbuilding at and the Leinster Print Studio (1998). The New participants. Musée Jenisch Vevey

↑) Charles White – Seed of Love, 1969. Los Angeles County together to show prints produced by Haden Viareggio, Tuscany, early 1900s, by Robert State includes works by artists from each of (15 March–26 May 2019) Museum of Art, Museum Acquisition Fund, © The Charles along with those who inspired him such as Charles Goff. Prints by influential artists such these organisations. After Rubens White Archives, photo © Museum Associates/LACMA Rembrandt and Dürer, and his contemporaries, as Walter Sickert, Francis Seymour Haden, Graphic Works from including Samuel Palmer and JAM Whistler. Francis Walker and James Abbott McNeill Superscreen Three Centuries The first major 21st-century museum retro- In 1880, the time the RE was founded, artists Whistler contextualised the Irish artists’ work. The Making of an Artist- Bergisch Gladbach/Germany spective on this famed mid-century artist such as Haden, Palmer and Whistler were con- Co-curator Angela Griffith of Trinity College -Run Counterculture and Kunstmuseum Villa Zanders traces White’s career and impact in the cities sidered revolutionary in their championing of Dublin said: “This is the first exhibition of its the Grand Western (10 March–26 May 2019) he called home: Chicago, his birthplace; New printmaking as a creative medium. In mid-Vic- kind to be held in Ireland. It tells the story of a Canadian Screen Shop York, where he joined social causes and gained torian England, printmaking was seen primarily small but dedicated and talented group of Irish Regina/Canada The extensive painterly work of the Fle- acclaim; and Los Angeles, where he develo- as a means to make reproductions of artworks, artists who worked in the medium of etching. MacKenzie Art Gallery mish painter Peter Paul Rubens (1577–1640) ped his mature art and became a civil rights and many printmakers only made a living wor- Each of those represented in this exhibition (9 March–20 May 2019) unfolded his esteem and exemplary influence activist. The exhibition included approximately king as a copyist. These printmakers were not gained recognition for their contribution to not least through the medium of printmaking. 100 drawings and prints along with lesser- eligible for membership of The Royal Academy, Irish and international printmaking, critically The exhibition looked at the activities, social The printmaking made his brilliant image ↑) Claire Nicolová – Metamorphosis 08/9, 2008, drypoint -known oil paintings. A superb draftsman, as creative printmaking was not recognised as and institutionally, in their own lifetime.” environment and legacy of the Prairies’ first discoveries known throughout the world and on China paper prepared with walnut husk and applied on White focused on images of both historical and an art form on the same level as painting and artist-run centre, the Grand Western Canadian established his fame as an artist. velin BFK Rives, 384×483 mm. Collection of the artist 48 Chronicle Chronicle 49

Twenty years after a solo exhibition at the and dying. Crowds are ruled by a current that the construction, presentation and dissolving of ncised and Stabbed collaborate with Webb to print the recipes. Cantonal Cabinet of Prints, Claire Nicole (born manifests the presence of immaterial, spiritual, the artist’s ego and the relation between The Graphic Works An artist whose practice has explored the 1941) was invited to present her graphic works magical bonds. The energy of the line unveils observer and artwork. An important term in this of Günter Brus importance of landscape to the New Zealand at the Pavillon de l’estampe. From the first the untold bonds that link men, to each other, context is "Queerness", which is no longer only Graz/Austria psyche since the 1960s, Webb decided to create lithographs to the latest drypoints, the artist to their past, to their environment and beyond, a succinct formula of the LGBTIQ* movement, Neue Galerie Graz a body of work that was also a form of activism. tirelessly pursues her research around the to the feeling of mystery. They form rounds, but rather a position criticizing the conception (29 March–18 August 2019) Her recipes in Taste Before Eating criticise Prime notion of a variant. Inking, applied papers, cling, curl in a vortex. Circles spin endlessly, and of identity and society by upsetting and Minister Robert Muldoon’s Think Big projects of monotypes, highlights, inverted matrices … so in the moment they move away men become undermining "normality". In this sense, all works the 1980s, which saw the government borrow many elements make up the poetic universe will-o’-the-wisps. Charley Case is a painter, on display in this show were "queer". large sums of money from overseas sources of Claire Nicole. In her studio nestled on the in the Asian sense of the word, that is to say The exhibition puts an emphasis on works (and incur equally high debt), to fund industrial heights of Lausanne, Claire Nicole has created practicing black and white with Indian ink. Unde- dating from the 1970s and 1980s; an era in energy projects. These projects focussed on graphics for over thirty years. She has enriched niably an engraver, he experiments fruitfully which due to the protests of 1968 role models using New Zealand’s natural resources, such the graphic art by her practice of painting in with all the processes. The lithography allows were destroyed and called into question more ↑) Zdenka Rusova – Figures (Figurer), 1973. Foto: Øystein as building the Clyde dam. While Taste Before Thorvaldsen / Henie Onstad Kunstsenter order to emboss her prints, before or after him to rediscover the invested gesture of the openly than ever before. Eating was made almost forty years ago, these printing. Similarly, the artist varies the color of calligrapher, the brush and the ink. "It is for the been a pioneer, both artistically as one of Nor- prints still ring true to the concern many New inking, the papers or the sense of the printing, depth of the black that I liked the lithography." Bojan Kovačič way’s foremost graphic artists, and academica- Zealanders have about the continued exploitati- according to her desires and inspirations. When Chase uses drypoint, his line is sharp PRINTMAKING WORKSHOP lly as the first female principal at the Academy on of our environment in the name of industry The exhibition brough together some fifty and tender. With the gouge or the grinder, he OF NATIONAL GALLERY of Fine Arts in Oslo from 1987 to 1992. This and economic prosperity. works – a majority of small compositions and a practices the white cut in wood engraving, in IN SLOVENIA 2004–2018 exhibition gives insight into the career of an Marilynn Webb (born 1937) was accorded the few more pieces imposing also a portfolio and negative. It is akin to the most archaic engra- Ljubljana/Slovenia energetic artist, who at the age of 80 is still honour of an Officer of the New Zealand Order artists’ books. For the graduate work Wooden ving, to the incision of flint. In residence at the National Gallery of Slovenia full of vigor and vitality. It is particularly within of Merit in 1999, and in 2010, Webb was awar- suite (Suite au bois), composed of forty-eight museum’s studio, Charley Case explored carbo- (21 March–19 May 2019) the graphic arts of printmaking and drawing ded a Doctor of Laws Honoris Causa, by Otago etchings on Japanese paper, hand-tinted and rundum engraving. He first uses a very smooth that Rusova has made her mark in Norway. University in recognition for her contribution to presented in extenso alongside a monumental glue and then drawing comes by the calligra- ↑) Günter Brus – Stabbing Steel (Stichstahl), She excels with a superb craftsmanship, a high art education among many other awards. drypoint of almost two meters high (this is a pher’s gesture. Extracts from an introduction to 1978/1985, drypoint on steel, 4 sheets, each 325×245 degree of precision and technical expertise. mm. Bruseum/Neue Galerie Graz, Universalmuseum true feat of the artist and the printer Raymond the catalog by Virginia Caudron Joanneum, Photo: Universalmuseum Joanneum/N. Lackner The exhibition has been created in collaborati- Pulled In Brooklyn Meyer), Claire Nicole did not hesitate to on with Sørlandets Kunstmuseum and will be New York/USA use unusual instruments: a fork and a pasta Stereo_types Brus has said of himself that he is no great presented there during the autumn of 2019. International Print Center New York cutter. Over the last ten years, the artist has Works from the Graphic innovator of the graphic arts. He has worked privileged the technique of drypoint which, by Collection consistently in the conventional techniques of Marilynn Webb its direct action in the plate, makes it possible of the Kunstmuseum Bonn drypoint, lithography and screen printing. The Taste Before Eating to judge immediately the progress of the work. Bonn/Germany appeal for him was in the various forms of ex- Lower Hutt/New Zealand Her abstract work inspires everyone with a Kunstmuseum Bonn pression that each process brought with it: ‘For Dowse Art Museum different atmosphere and invites reflection. (21 March–2 June 2019) ↑) Bojan Kovačić in the workshop me, it’s purely about the artistic intensity of (30 March–21 July 2019) the injury done to the given metal. Perhaps the Charley Case For fifteen years, Professor Bojan Kovačič term “copper murderer” would sometimes be The Unnamed (1949–2017) led printmaking courses in the appropriate.’ Brus has worked the metal plate Gravelines/France NGS. Before his unexpected death in late 2017, with steel needles, penknives, scissors and ↑) Alex Dodge – In the Wake of Total Happiness, 2013, Musée du Dessin et de l’Estampe his courses were attended by one hundred wire brushes, practically attacked it. The Actio- UV screenprint with braille texture on museum board, originale (17 March–25 August 2019) students. The educational programme included nist injury to the surface and the restless work, 508×813 mm, printed by Luther Davis, Axelle Editions; published by Forth Estate Editions. Image courtesy the training in classical intaglio printmaking to the point of exhaustion, is shown in virtually artist, Forth Estate Editions, and Klaus von Nichtssagend techniques, such as drypoint, etching, aquatint, paradigmatic fashion in the sheets shown in Gallery. © 2019 Alex Dodge vernis-mou, sugar-lift aquatint, and their the exhibition. As with his drawings on paper, combinations. In comparison to other members Brus always operates directly into the plate, (4 April–15 June 2019) of the Ljubljana Printmaking School, Kovačič without sketches or preliminary drawings. He experienced a different kind of training. He was has remained true to direct art since the early ↑) Marilynn Webb – Mt. Cook Supreme (detail) from This exhibition was the first in-depth exploration the series Taste Before Eating, 1982, monotype print. a student at the Brera Art Academy and at the Actions. Incised and Stabbed was the first Collection of The Dowse Art Museum, purchased 1983 of the vibrant network of artists, printers, and same time worked in printmaking workshops complete collection of Günter Brus’ graphic workshops that has developed and flourished in ↑) Charley Case – Us, 2016, wood engraving printed that produced prints for some of the most works: from the early works in spirit printing Brooklyn since the early 1990s. This monumen- in black, suite of 9 boards, 297×493 mm. Collection outstanding members of the School of Paris. processes for the invitation to the Direct Art In Taste Before Eating (1982), Marilynn Webb tal exhibition was also IPCNY’s first to occupy musée de Gravelines ↑) Walter Dahn – A Man with a Mask, 1984, black chalk and ink on paper His printmaking routine was focused on Festival (1967), via the stencilling and screen (Ngā Puhi) has created luscious, hand-coloured two adjacent spaces, more than doubling the Born in Brussels in 1969, Charley Case is a technical control, while improvisation and ex- printing of the 1970s, to the large etchings of prints that depict the New Zealand landsca- scale of previous presentations. The archived traveling artist, a citizen of the world, he calls This exhibition focused on graphic works by perimentation with the medium paved the way the 2000s. Most of the works come from the pe. Each image is accompanied with a recipe, webpage (https://www.ipcny.org/pulledinbrook- himself "earthling". His graphics connect and tell artists who deal with questions of role to innovation. He was the first to print from Bruseum collection. written in the tone of cookbooks by twentieth lyn) features videos at several of the printshops the story of a journey, the map of landscapes ascriptions, gender identities and the sustainabi- perforated plates, a feature Bogdan Borčić, one century radio personality, Aunt Daisy. However, along with close looks at the shops through a that have always been traversed by mankind. lity of social norms. The artists whose works of his teachers, systematically integrated into Zdenka Rusova in Webb’s renditions the flow of each recipe digital directory. Works by 101 artists created These are the paths of migrants today and in were on display have made it their artistic his working method. In 2009 Bojan Kovačič A Norwegian Pioneer is interrupted with unusual ingredients that across twenty-six printshops and book arts the past. "We all have nomadic ancestors, we mission to dispute the alleged normality of donated his entire production of prints to the Høvikodden/Norway underline the negative impacts economic impe- workshops reveal a close-knit and generous are all surviving survivors." Charley Case follows heterosexuality and heteronormativity and to Gallery. In 2018 his widow Elena Martello Ko- Henie Onstad ratives can have on the environment. This series community, supported by a collaborative spirit the paths of life, from the shamanic circles en- create visions of sexual diversity in art and vačič completed his donation by adding prints (29 March–28 July 2019) was commissioned especially for The Dowse and a network of shared expertise. Motivated by graved in the caves, to the rise of swirling cos- society. These aspects may, however, not be produced between 2011 and 2017. The exhibiti- by former Director James Mack (1941–2004), problem solving, the printers in all these shops mic bodies. Part of a great whole, the universal discussed without taking into consideration on was dedicated to the teacher’s memory and This exhibition presented works by the in celebration of the opening of a new wing to approach printmaking like a puzzle, enabling man is at the heart of his subject. They are men other dimensions of social coexistence, as they to his students at the Gallery, a selection of Czech-born artist Zdenka Rusova (born 1939) the museum’s building. Mack also engaged a artists to deconstruct how they see and create on the move, on the march, in a trance, nascent are directly connected with the exploration of their best prints was put on show. spanning the course of over 50 years. She has Lower Hutt local, Alan Loney of Hawk Press, to their work through invention across traditional 50 Chronicle Chronicle 51

processes and new technologies. If a technical is to make the movement understandable not members forcefully articulated a call for radical Puvirnituq studio adopted the modern sosaku- room for the talented work of Herleik Kristian- solution is elusive, printers can call upon the only as an artistic but also as a socio-political change, advocating for decolonization or majo- -hanga “self-printing” method, whereby the sen (born 1947), made in cooperation with Knut experience and resources of their local peers. event since the 1960s. rity (nonwhite) rule in South Africa and in the graphic artist cut his/her own block and prin- Fjørtoft. At the age of 16, Kristiansen moved to The innovative nature of these prints—reflected Symbolist Prints neighboring countries of Angola, Mozambique, ted the images, in contrast to the division of Trastad Gård, the first institution for mentally in the close collaboration between printers and London/United Kingdom Namibia, and Zimbabwe. Medu, meaning “roots” print labour that had emerged in Cape Dorset. disabled children in Northern Norway. Faced artists—is apparent in the varied works on view, in the Sepedi language, evolved organically and The Puvirnituq studio submitted its first prints with many challenges, he started his life-long from artist books and affordable screenprints operated underground, as its name suggests. to the Canadian Eskimo Arts Council advisory artistic career at the institution. Fjørtoft, who and relief prints, to complex, mixed media editi- Persecuted by the South African Defense Force, board in 1962. The community released its first passed away in 2017, was also represented with ons and unique works. The history of Brooklyn Medu members lived and worked in exile just annual collection in that year as a co-release the work Petrarommet. as a hub of industry situates the borough as ↑) Vasiliy Dranishnikov – Vishera River. Homeward across the South African border in Gaborone, with Cape Dorset (subsequent releases would from On the Northern Ural. Vishera series, 2010–2014, an ideal nexus for print production. Many of pencil on paper. © Russian Academy of Arts Botswana. Defying a ban on their existence, be independent). The Puvirnituq co-operative A Lasting Impression these shops occupy former factories or are in the Medu collective at its height numbered as built a studio facility in the community, and Gifts of the Print Club neighborhoods that were once major ports for A retrospective exhibition has got visitors many as 50 South African and international printmaking expanded, with exhibitions across shipping, retaining an architectural record of acquaint to silkscreens, lithographs, etchings, artists, musicians, and writers. This was the Canada, the US and internationally. Puvirnituq their industrial and mercantile past. ↑) Albert Besnard – Morphinomanes, 1887, woodcuts, watercolors and so on, on display first-ever exhibition on Medu in North America. prints are known for their direct, “unpolished” etching, 238×372 mm were the unique works of prominent contem- Featured among its 130 objects are more than look, the frequent inclusion of text, and hun- Fluxus British Museum porary artists. Particularly noteworthy are 60 posters by members of the ensemble and ting, myth, and historical scenes. Ulm/Germany (12 April – 18 July 2019) those illustrating the publications that succe- related makers, all recently acquired by the Art Printmaking began to decline in Puvirnituq ssfully participate in Russian and international Institute of Chicago. Collaboratively executed in the 1980s. A fire gutted the studio, which Symbolism began as a literary movement in book illustration competitions. The exposition and often printed in the hundreds, Medu’s effectively ended printmaking in Puvirnituq in France in the 1880s. It rejected naturalism, presented monographs, exhibition catalogs, and offset lithograph and screen-printed posters 1989. Featuring works on paper donated by preferring to depict the world through sugges- publications from the Academy’s library. combine sobering and revolutionary imagery Margaret McGowan (Artsci’78), this snapshot ↑) Jasper Johns – Savarin Suite: Savarin 5, lithograph, ted ideas, or ‘symbols’. In 1886 the manifesto The works of the members of the Graphics with bold slogans that mobilized citizens to exhibition shows the early years of printma- 1978. The Cleveland Museum of Art, Gift of the Print of the movement appeared in the newspaper Department of the Russian Academy of Arts support causes in social and economic justice king in the community, including rare experi- Club of Cleveland, 1983.219.5. © Jasper Johns and Le Figaro, written by the poet Jean Moréas. In convey a wide range of areas of contemporary and encouraged pan-African solidarity. mental prints made before its inaugural annual ULAE / Licensed by VAGA, New York, NY it he singled out fellow poets Charles Baude- graphic art, performed in a variety of graphic Surviving examples of Medu posters that were collection of 1962. of Cleveland laire, Paul Verlaine and Stéphane Mallarmé for techniques and are distinguished by a large the- smuggled into South Africa and mounted in Cleveland/USA ↑) George Maciunas – Companeras and Companeros, their subjective use of the idea over straight- matic, stylistic and genre variety. The exhibition public spaces are exceedingly rare, as they were The Cleveland Museum of Art 1970, movie poster, colour offset lithography. Merrill C. Berman Collection, New York, Foto: Galerie Michael forward, realistic description. From the 1850s provided an opportunity to get acquainted with regularly confiscated or torn down on sight. . (5 May–22 September 2019) Hasenclever, München © George Maciunas Foundation onwards, artists such as Rodolphe Bresdin a large layer of Russian graphic art of recent / VG Bild-Kunst, Bonn 2019 and Gustave Moreau used symbolism in their decades, to comprehend the complex semantic Puvirnituq Graphic Arts Organized in celebration of the centennial of Museum Ulm prints and paintings of mysterious, dream- and formal searches of modern Russian mas- the Print Club of Cleveland, this exhibition (5 April–7 July 2019) -like subjects. They had great influence on ters, to see and re-evaluate the rich possibilities presented a selection of significant prints artists drawn to the Symbolist movement, who of ancient and forever young graphic art. generously donated to the museum by the club Fluxus was one of the most revolutionary art began to seek subjects from their imaginati- ↑) From the exhibition space over the past 100 years. Since its founding in movements of the 20th century, which emerged on and emotional life. The Norwegian artist The People Shall Govern! 1919, three years after the museum opened, the simultaneously in Europe and the USA at the Edvard Munch was also drawn to Symbolism Medu Art Ensemble and Imprints Print Club—the first museum affiliate group in beginning of the 1960s. The initiative of visual and would have been familiar with many of the Anti-Apartheid Poster Tromsø/Norway the United States—has supported the Cleveland artists and musicians radically broke with fami- the artists on show in the display such as Nordnorsk Kunstmuseum Museum of Art through its twofold mission liar notions of art and fundamentally changed Paul Gauguin, Maurice Denis, Max Klinger (4 May–31 December 2019) to enrich the institution’s world-class print the boundaries between art and everyday life. and Odilon Redon. Like Munch, these artists ↑) Noah Quinuayark – Hawk(e)/Hawk and Prey, collection and to promote interest in the history 1961, stonecut on paper. Gift of Margaret McGowan Fluxus artists were united by the intermedial made prints as part of their artistic practice Arts’78, 2017 (60-003.01) Photo: Bernard Clark Nordnorsk Kunstmuseum congratulates Norske of printmaking. A Lasting Impression, which approach of their works, which moved within and contributed to the plethora of illustrated Grafikere (Norwegian Graphic Artist Union) includes more than 70 gifts by masters such as the boundaries of the genres of music, visual journals and magazines that began to appear in the 1960s with their 100-year jubilee! To celebrate, the Albrecht Dürer, Rembrandt van Rijn, Francisco arts, literature and theatre. The diversity of in the latter part of the 19th century, enabling Kingston/Canada Museum present Imprints, a wide presentation de Goya, Edgar Degas, Käthe Kollwitz, Pablo Pi- artistic forms of expression produced bizarre their work to reach a wider audience. From the Agnes Etherington Art Centre of graphic arts from its own’s collection. The casso, and Jasper Johns, thematically traced the performances, humorous objects and playful languid morphine addicts depicted by Albert (27 April–5 August 2019) standing and popularity of graphic arts has history of European printmaking over the course events Everyday actions, gestures and sounds Besnard to the disturbing smiling spider in the varied greatly since the union was founded of six centuries, through subjects ranging from became part of the artistic actions. They freed lithograph by Odilon Redon, all of the prints Puvirnituq [Povungnetuk], in Nunavik [Arctic in 1919. Focusing on northern artists, this landscape to abstraction and techniques such the viewer from his passive role and encouraged on display came from the British Museum’s Quebec], was among the first communities to exhibition explored a wide variety of techniques as woodcut, etching, and screenprint. The depth him to become aware of his own thinking, wri- rich collection of graphic work. develop a print studio, when the artist Gordon and expressions. Both art, print plates and and quality of these works underscore the Print ting, speaking, acting and living. Fluxus under- Yearsley was hired by the co-operative to tools were on display. The Museum presented Club’s transformative effect on the Museum’s stood itself as a worldwide acting movement Graphic Art 2019 administer a print program. Yearsley focused the history of graphic arts, starting with Rolf internationally recognized print collection. The ↑) Medu Art Ensemble (Thamsanqa Mnyele) – Art with the aim to create new collective forms of Moscow/Russia toward Social Development, 1982. Gift of Artworkers upon the stone-cut relief and stencil technique. Nesch’s prints from theatre life on the road in Club was founded by a group of community life. Its founder George Maciunas (1931–1978) Russian Academy of Arts Retirement Society. © Medu Art Ensemble Artists such as Noah Quinuayark, Thomassiapik Northern Norway and Anna-Eva Bergman’s non- members who established a model that most conceived and organized not only the artistic (17 April–12 May 2019) Sivuarapik, Leah Qumaluk, and others, created -figurative art from the 1950s. The golden age American museums follow today. It initially fo- activities of the group, but was also editor and Chicago/USA their first experimental prints in 1961. That of Norwegian graphic arts was the radical 70s, cused on educational programs and sponsorship, designer of numerous Fluxus editions. The The exposition comprised of more than 100 Art Institute of Chicago same year, printmakers from Cape Dorset, here seen primarily in the politicised art of the but throughout the past century the group has focus is on graphic works that make typography works demonstrating the versatility of graphics (27 April–2 September 2019) which was the first Inuit community to begin GRAS collective. Present artists included both established a wide range of lasting traditions. visible as an artistic event. Especially in the as a form of fine art, the depth of views, the printmaking, traveled to Puvirnituq to share veterans of the medium, like Arnold Johansen Each year a contemporary printmaker creates an context of Fluxus, text elements have their own sincerity of expression and the breadth of expe- The Medu Art Ensemble formed in the late their knowledge. Yearsley left due to differen- and Are Andreassen, and a new generation original print edition for all club members and individual pictorial character, which finds expre- riments, the embodiment of academic traditions 1970s in opposition to South Africa’s apartheid ces with Father Andre Steinmann, the influen- returning to analogue methods from video and visits Cleveland to discuss the work. Since 1985 ssion in the practical design of posters, announ- brought up, honored and preserved by many policy of racial segregation and violent injustice. tial Catholic missionary. Victor Tinkl was hired digital installations, like Mattias Härenstam and the group has brought its passion for collecting cements and programmes. The central concern generations of outstanding graphic artists. Through graphic design and poster production, in 1962 to continue the print program. The Tom Stian Kosmo. The museum has made extra to the public at the annual Fine Print Fair. These 52 Chronicle Chronicle 53

Lithic Impressions publishin leads to the seizure of all techniques Ojibwa artist Carl Beam (1943–2005) was a From Stone to Ink Paper without a priori, the most traditional (metal critical figure in recent First Nations art in Ca- Brussels/Belgium and wood engraving, lithography, screen prin- nada, and he was the first artist of Indigenous Museum Kunst & Geschiedenis ting, etc.) to the most innovative (photoengra- ancestry to have works purchased by the Na- (7–31 May 2019) ving, digital print, wall paper, etc.), to play with tional Gallery of Canada as contemporary art. the limits of the print (gigantism, substrate He shunned traditional style, working in the other than paper, seriality, collage, etc.), to modern mediums of prints and photo-transfer, finally question the modes of representation inserting the personal and the symbolic (both as the systems of image making. Many major Indigenous and Euro-centric) alongside the ↑) Auguste Louis Lepère – The Palace of Justice, Seen players in the field of art of the last fifty years historically renowned in powerful visual com- from the Notre-Dame Bridge (Le Palais de Justice, vu have taken up this intellectual, visual, technical binations that also used text and colour freely. du Pont Notre-Dame), 1899, colour woodcut. Bequest of Harry Drake 2013.35.628 and economic challenge, including the thirty- Included in this exhibition of works from our -six artists (Pierre Alechinsky, Georg Baselitz, permanent collection was his masterpiece, the the lives of the haves and the have-nots. They Jim Dine, David Hockney, Frédérique Loutz, iconic Columbus Suite of 1990. recorded celebration and desperation. Thanks ↑) Rubbing Julie Mehretu, Richard Serra a Antoni Tàpies, to the collecting interests and generosity of etc.) in the exhibition. Positions the late St. Paul native and Mia trustee Harry This is an itinerant project exploring the Graphic Arts in East Berlin Drake, we can enter this beautiful, moody time technique of full scale replication by rubbing. ↑) Celestina Vičević – Life, etching, aquatint, ↑) Prue MacDougall – Age of Exploration, 2019, Berlin/Germany machine. Rubbings are obtained by applying wet paper on drypoint intaglio photopolymer, 600×470 mm Stiftung Stadtmuseum Berlin textured surfaces. When almost dry, the paper (18 June–8 September 2019) Collection Close-Up is dabbed in ink. Steles and epigraphy, but also the Cabinet of Graphics of HAZU for the second in Navigating Worlds is part of a series of The Graphic Work pictorial carvings, are reproduced, diffused and time. After art books and spatial installati- narratives, playing around with concepts and of Dorothea Tanning transmitted through rubbings. Material culture ons / objects of woodcuts on Japanese paper eclectic mixes of images to express an idea or Houston/USA is turned into ink on paper, and it is reborn to a and serigraphy on foil, presented at the 2013 emotion. For her third exhibition in Pātaka’s The Menil Collection literary life. In the visual arts of Ancient China, exhibition, the artist takes on a new challenge Toi Galley, MacDougall has created a series (28 June – 13 October 2019 rubbing, collecting, travelling are part of the of layered technical process. Attracted by that explore the European heritage of most same toolkit as calligraphy, landscape pain- seeing nature as the land art of the Universe, New Zealanders. Using her recently uncovered ting and seal carving. At the occasion of Lithic and masterfully layering graphic techniques maternal family tree, she presents themes of Impressions, 37 students and teachers in graphic such as intaglio printing (etching, aquatint and journeying, both physically and chronologi- design and illustration from the École supérieu- drypoint) and close-ups, she forms striking red cally, and the effect these experiences have re des Arts St-Luc and 11 students and teachers and silver summaries of intimate landscapes. on our identity. Fascinated by ephemera and ↑) Vito Acconci – Three Flags for One Space and Six ↑) Manfred Butzmann – At the S-Bahn (An der in Chinese painting and calligraphy from the The smooth harmony of graphism and colorism antique curiosities, MacDougall often browses Regions, 1979–1981, photogravure on six sheets of S-Bahn), 1980, watercolor. © VG Bild-Kunst, Bonn Rives BFK paper, 1,845×1,626 mm, published by Crown Institut belge des hautes études chinoises were of these stylized vegetable-floral imaginations junk shops, bottom drawers and natural histo- 2019 | Reproduktion: Michael Setzpfandt Point Press, San Francisco, printed by Nancy Anello, given four days in Mount Tai (Taishan) and its of personal impressions of modest meadows ry collections. Using this as her starting point, Crown Point Press, San Francisco. Paris, Centre surroundings to produce their own compilation and home gardens reflect the breadth of Celes- she creates complex collages that highlight national des arts plastiques © Vito Acconci, ADAGP, The fifth presentation in the Photo-Graphic of rubbings. Mount Tai, a center of political, tina’s artistic point of view and her openness the layering of memory, time and travel. Prue Paris, 2019 – Cnap – Photo Yves Chenot Cabinet offers a cross-section of artistic per- religious and artistic expression where gene- to the fusion of elements opposite graphic MacDougall has a Bachelor of Fine Arts from spectives in East Berlin from the late 1940s to rations of emperors and literati have left their traditions – the atmosphere of the 19th-century Elam School of Fine Art (1985). She’s travelled Carl Beam: the end of the GDR in 1990. The content ran- mark, offered the participants of the workshop Far Eastern woodcut landscapes and the linear extensively since then, developing her practice One Who is Brave-Hearted ges from the optimistic spirit associated with an encyclopedic overview of the Chinese stone style of the etchings of Western old masters. through close examination of master works in Fredericton/Canada the founding of the Republic to the often criti- heritage. They were left free to integrate all Celestina’s plant kingdom is actually a visible galleries and museums in Europe, the UK and Beaverbrook Art Gallery cal metropolitan melancholy of the 1970s and dimensions of their in situ perception and expression of the inexplicable coded content the USA, and participating in postgraduate (1 June–15 September 2019) 80s and the alternative scenes that existed in ↑) Dorothea Tanning – Third Peril (Troisième péril), their understanding of the Chinese calligraphy of the dichotomous unity of the dual principle study at international art schools. MacDougall Výtvarník Carl Beam (1943–2005) pocházel niches even during the most repressive days of 1950, lithograph, 505×324 mm. Gift of Barbara and and landscape painting, mixing rubbing and of cosmic rhythm. The semantic layering of the has exhibited in galleries around New Zealand the Wall. Realistic graphics, mostly figurative/ Jim Metcalf and the Gallery of Surrealism. 2017-16.1.3. brushwork techniques. On the occasion of mysteries of the plant, of this red and silver and is represented in collections here and expressive, hung alongside abstract works. INK Brussels 2019 (see the separate text), a (white) color, transforms the emergent world overseas. This presentation in the permanent exhibition American artist and author Dorothea Tanning thousand years of epigraphy from the collection into a symbolic-metaphysical focal point of a BerlinZEIT at the Märkisches Museum was a (1910–2012) created more than 100 graphic of Eastern Han funerary stone slabs, medieval powerful biological and magical charge, as well XXL Contemporary supplement to the current special exhibition works between 1950 and 2001. Thanks to a Buddhist steles and Tang epitaphs on display as of a spiritual and universal order. Embodying Monumental Prints East Berlin. Half a Capital in the Ephraim-Palais recent generous gift to the Menil Collection at the Royal Museums of Art and History were the universal change in the transient renewal Caen/France Museum. from Barbara and Jim Metcalf, the Menil now presented in dialogue with an experiment in and renewal transience of the magic of life, the Caen Fine Arts Museum owns the complete set, many of which were contemporary rubbings in ink on paper. artist warns us that nature is the center of the (25. května–15. září 2019) A Weakness for French displayed for the first time in this exhibition. return of primordial balance and the place of Prints Complementing works on paper, Tanning’s Celestina Vičevićová healing of alienated life and time that we do not The Fine Arts Museum has chosen to explore The Harry Drake Collection sculpture Cousins (1970), one of the highli- Život feel our own. the world of contemporary printmaking with a Minneapolis/USA ghts of the Menil’s Surrealist collection, is Zagreb/Croatia focus on the most spectacular and heterodox Minneapolis Institute of Art also included in the exhibition. When Tanning Cabinet of Graphics, Croatian Academy Prue MacDougallová productions. Five hundred years after Albrecht (22 June 2019–8 March 2020) moved to Paris in the 1950s, she encountered of Sciences and Arts Proplouvám světy Dürer, whose impressive Triumphal Arch of a thriving industry around the beau livre—a (10–29 May, 2019) Wellington/New Zealand Maximilian I assembled no less than 36 printed Stroll the streets of Paris and explore the limited-edition book that pairs text with beau- Pātaka’s Toi Gallery sheets, the artists are more than ever in favor French countryside in a time before cars clo- tifully printed illustrations. Tanning worked on By exhibiting the newly created graphic cycle (24 May – 30 June 2019) of the large format, the print is no longer a gged the lanes and boulevards. In the late 19th several such artist’s books over the next two Life and presenting a portfolio of the same conveyor for the diffusion of the image but a and early 20th centuries, printmakers found decades. In the most accomplished of these ↑) Carl Beam – Sitting Bull and Whale [from the Co- name (the 17th graphic portfolio in the Argola Globe-trotting New Zealand printmaker Prue field of experimentation and a way of doing lumbus Suite] (detail), 1990, etching on Arches paper, inspiration along riverbanks, in narrow alley- projects, In Flesh and Gold (En chair et en or), edition), Celestina Vičević presented herself in MacDougall is a visual story teller. Each work work. Going beyond the rules of the common gift of Douglas A. Hendler ways, and down back roads. They observed 1973, Tanning created ten etchings to accompa- 54 Chronicle Chronicle 55

ny the same number of her own haiku-like ver- movement focused on creative woodcuts and, Moving Forward, Wars and Crises in the Ryoji Ikeda tecture while avoiding images.” She succeeds ses. Portions of the Menil Collection Library’s after producing work portraying both urban Looking Back 20th century Solo Exhibition in doing so by meticulously doing researches, copy of In Flesh and Gold were on display. and rural scenery, eventually found the theme Prints from the Anderson Graphic Cycles and Taipei/Taiwan by gathering information and creating a dense These prints and illustrated books feature that most inspired him: mountains. On wooden Graphic Arts Collection Sculptures from the BLMK Taipei Fine Arts Museum net out of them. In the exhibition of ETH’s images that range from representation to near blocks that were comparatively modest in size, San Francisco/USA Frankfurt (Oder), Cottbus/Germany (10 August – 17 November 2019) collection of prints and drawings, there was a total abstraction, demonstrating the breadth he depicted the large, powerful forms of peaks De Young Museum Brandenburgisches Landesmuseum particular focus on the impact of drawing and of Tanning’s formal innovation. Experimen- such as Mount Asama and Mount Ishizuchi, (27 July 2019 – 2 February 2020) für moderne Kunst other works on paper for the first time. These ting with lithography, etching, and aquatint, establishing his reputation as the Printmaker (4 August–13 October 2019) works enable the viewer to understand how Tanning produced a variety of surface textures, of Mountaineering. He moved to Machida’s the artist approaches her topics. With its focus some crystalline, others cloud-like. She often Tsurukawa district in the mid-1970s and spent on works on paper, ETH is expanding our view introduces reoccurring motifs into her dream- his twilight years here, being made an honora- of the work of this important artist and at the like spaces. Her ambiguously erotic embracing ry citizen of Machida City in 1997. same time presenting a previously less-known figures are the most recognizable. Tanning’s ↑) Ryoji Ikeda – systematics [nº1], 2012, punched area of her work, as the artist has previous- highly personal work addresses universal War and Rumours of War tape for vintage computers, acrylic panels, LEDs, ly been known mainly for her installations. stainless steel. © Ryoji Ikeda, courtesy of DHC/ART human emotions and experiences of ecstasy, 1940s British Works on Foundation for Contemporary Art (photo by Richard- Drawings, photographs, newspaper cuttings elation, anxiety, and obsession. Paper from The Hepworth -Max Tremblay) and statistics provide a new and unexpected Wakefield insight into her work. Almarcegui’s ‘wasteland Mountaineer in My Heart Bath/United Kingdom Ryoji Ikeda Solo Exhibition features artworks guides’ are being presented, as well as abstract Woodcut Prints Victoria Art Gallery including sound sculpture, audiovisual in- drawings produced for example in connecti- of Umetaro Azechi (6 July–15 September 2019) stallations, light boxes, and two-dimensional on with her exploration mineral rights. Also Tokyo/Japan ↑) Käthe Kollwitz – Riot (Sturm), #5 from The works. The works of Ryoji Ikeda are grounded included in the exhibition were some almost Machida City Museum of Graphic Arts Revolt of the Weavers series (Ein Weberaufstand), in computer software coding and algorithms. expressive sketches concerned with projects (6 July–23 September 2019) 1893–1897, lithography, engraving. © BLMK He deploys a complex devise mixing sound using heaped-up building materials, and the and image. These classic elements embody the lists of raw materials used for a building or for The period of exhibits extended from the turn argument many people have made that digital a city such as São Paulo. of the 19th century to the 1970s. At both lo- technology has become the main subject of cations (Frankfurt (Oder) and Cottbus) a total art today. Each work in this exhibition revealed Multiples and Their Proper- of about 180 graphics and 20 sculptures by 35 how Ikeda makes use of the dependable ties 20 Years of an Edition ↑) Robert Rauschenberg – American Bellini #1, 1986, artists were presented. While the graphics ge- language of mathematics to express his own Madrid/Spain color photoetching, aquatint, and etching, 1480×972 mm. Printed by Craig Zammiello; published by nerally refer to concrete historical events and ideas, concretely yet concisely providing a Galeria La Caja Negra ↑) Leslie Cole – W.A.A.F.s Working inside a Balloon, Universal Limited Art Editions. Fine Arts Museums to collective traumas of war and violence, the bounded yet infinite image of the cosmos, (12 September–23 November 2019) 1941, watercolour. Presented by His Majesty’s Govern- of San Francisco, Anderson Graphic Arts Collection, sculptures aim through their physique on the space and time. The placement of the works ment and the War Artists Advisory Committee in 1947 gift of the Harry W. and Mary Margaret Anderson (photograph Norman Taylor). Courtesy The Hepworth Charitable Foundation, 1996.74.414. © 2019 Robert visualization of another, often more individual, was coordinated with the architectural design Wakefield Rauschenberg Foundation almost perceptible experience of suffering. of the museum to create a metaphysical, spiri- The twentieth century was marked by two tual space. The intent was to immerse us in a The exhibition was drawn largely from The For centuries, artists have copied the work of world wars, economic crises, revolutions, mass perceptual, physical environment that visually Hepworth Wakefield’s outstanding collection others as part of their professional training. In murders and dictatorships. Art reacted and and aurally manifests the world as the body of 1940s British works on paper (supplemen- the traditional Academic system, artists were reacts with differentiated modes of repre- perceives it. ted by loans from the Ingram Collection of taught to copy earlier experts before ever sentation: as in the 19th century, fighting and Modern British Art, the Radev Collection and gaining the freedom to invent a composition dying for a nation, an idea, a community were Lara Almarcegui a private collector). The material allowed us of their own. Only after successfully rendering glorified. Contrary to this, the victims of the Deep Inside – Out to revisit a decade of anxiety, austerity and copies—first of prints, later of plaster casts, agitation and the war positioned themselves Zurich/Switzerland idealism that resonates strongly with the pre- live models, and finally of paintings—were as a pictorial counter-stroke. Two main work Graphische Sammlung ETH Zürich ↑) Umetaro Azechi – Mountaineer II, 1953 sent day. Many of the works in this exhibition they encouraged to develop compositions of strategies of the artists can be identified: On (28 August–17 November 2019) were commissioned for the nation through the their own. Even then, many sought out the the one hand, they react timely to events such Many works by Umetaro Azechi (1902–1999), War Artists Advisory Committee. It sought to examples of others, incorporating compositi- as Ernst Barlach and Otto Schubert with their ↑) Carlos Bunga – Nomads (Nómadas), 2009, who has been dubbed the Printmaker of provide opportunities for artists to create ‘not onal elements that subscribe to established lithographs on the First World War and Hans etching and drypoint, 540×380 mm Mountaineering, feature the expressive simply a record of the facts, but of what the tropes of a particular subject. Over the past and Lea Grundig with parabolic-like etchings faces of mountaineers. His woodcuts depict war felt like’ for the benefit of future genera- fifty years, many artists have developed new on the fascist terror in the 1930s. The same This exhibition commemorated the first twenty these men’s rising spirits before climbing the tions. These pictures, many by women artists, materials and syntax, yet the practice of lo- applies to Wolf Vostell, who commented on years of Gallery. During all this time of work, mountains, the joy of encountering ptarmigans reveal the impact of war on the home front. oking back for inspiration, and occasionally to the US military invasion of Vietnam. Winfried exhibitions and fairs, the most beloved activity in harsh outdoor environments, and the deep The part that the city of Bath played in this replicate content, has remained routine. Wolk reacted with his screeprints on the and of which the institution is most proud blue sky found at the summit of a peak. Azechi, story centres around the Baedeker Raids of The exhibition highlights the practices of military coup in Chile in 1973. On the other have been the editions, carried out in collabo- who consistently portrayed in his prints those April 1942. The resulting devastation was quotation and stylistic reinvigoration by some hand, it can reflect past events, as well as ↑) Lara Almarcegui – Sketch for project Spanish ration with more than 40 artists throughout Pavillon, Venice Biennale, 2013, drawing on inkjet- things that had made an impression on him documented by artists including Norma Bull, of the most daring and prominent artists literature and myths can give impulses to the -print, 380×610 mm. © Courtesy of the artist these two decades. Within the gallery work, during his own excursions into the mountains, Leslie Atkinson and Clifford and Rosemary held in the Museums’ Anderson Graphic Arts image. Famous is the cycle The Revolt of the the edition of graphic series implies a total described them as “the mountaineers in my Ellis. These exhibits enabled visitors to appreci- Collection. The exhibition presents the works Weavers (Ein Weberaufstand, 1897) by Käthe In her work, the international acclaimed collaboration between the artist and the editor heart.” Focusing primarily on his Mountaineer ate the impact of the war on local people. of Jennifer Bartlett, Jim Dine, David Hockney, Kollwitz. Less well known are the lithographic Spanish artist Lara Almarcegui (born 1972) in the project, in the decisions on techniques, series of prints, the exhibition featured around The exhibition showcased 60 outstanding Roy Lichtenstein, and Robert Rauschenberg, Epitaphs (Epitaphe, 1972) on the Holocaust by investigates urban zones, she explores the printing, format and characteristics of the 100 works by Azechi. Born in rural Ehime, artworks, artists featured included Henry Mo- showing how these artists adapted the creative Roger Loewig, who was the first German artist relation between construction, decay and edition, in addition to economic implications Azechi left his hometown at the age of 16 and ore, Graham Sutherland, Barbara Hepworth, spirits of their predecessors—those of Gio- to exhibit with this cycle in 1992 in the State regeneration of our built world and engages necessary for the financing of the edition. worked in a variety of jobs before beginning Vanessa Bell and John Piper. vanni Bellini, Henri Matisse, Claude Monet, and Museum of the former Auschwitz concentra- with property situations of natural resources. We must remember that it was precisely to make woodcut prints. He learned from pio- Pablo Picasso, among others—to inform and tion camp. Almarcegui describes her approach as follows: graphic publishers (Vollard, Kahnweiler), neers and other adherents of the sosaku-hanga advance their individual practices. “I am searching for a way to talk about archi- the precursors of the gallery owner’s job, 56 Chronicle Chronicle 57

due to the commitment they experienced as NATI edition are the result of experiments Arte Sin Fronteras to recall the achievements of one of the most publishers of graphic work series. In fact, the conducted by artists in collaboration with the Prints from the Self Help important Polish graphic artists of the turn contemporary edition constituted a revolutio- masters of Piranesi Lab. Graphics Studio of the 19th and 20th centuries, a moderator nary change in the artistic world and allowed Austin/USA of artistic life before World War I and during to expand access to art to new and wide strata Landfall Press Five Decades Blanton Museum of Art the Second Polish Republic. In recognition of of population. An edition is the fruit of the of Printmakinking (27 October 2019–12 January 2020) Łopieński’s merits, the NMW intended to honor conceptual work of the artist, has a support Milwaukee/USA his creative work with an exhibition that was of thought that structure, and requires the Bradley Family Gallery, Milwaukee Art prepared for autumn 1939 (the 50th anniversa- collaboration of other agents: the editor, the Museum ry of his artistic work). The war thwarted these ↑) Brieuc Dufour – The black island (Île Noire), computer graphic, 1st Prize in category 19–25 years workshop that performs the printing processes (3 October 2019–9 February 2020) plans. This is the first such comprehensive pre- ↑) Jusuf Abbo – Ženská hlava, 1923, © Foto: Herling and the gallery that presents and exhibits it. sentation of Łopieński’s works, which would be Each edition has a "civil rights" theme: the right / Herling / Werner, Sprengel Museum Hannover, The knowledge of all of them comes together © Angela Abbo, Brighton shown in a broader – European – perspective. to housing, violence, the planet, etc. The theme to achieve an original, multiple and unrepeata- In addition to the prints, printing plates, studio of this 7th edition was transhumanism, „the ble work of art. Palestine. From 1913, he studied painting and drawings, watercolors, bronze plaques and human increased, or extreme inequalities?“ sculpture at the Academy of Fine Arts in Berlin- medals designed by the artist are presented. The exhibition presents those selected by the Very Important Message -Charlottenburg thanks to the mediation of the jury. 203 young people were registered, 56 New Archive of Multiplied German architect Otto Hofmann, who worked in Frans Dille Award presented their images among those 15–18 Art 2019 Jerusalem. He belonged to the circle of friends 2018–2019 years old, 80 among 19-25 years old. Moscow/Russia around Else Lasker-Schüler and Kurt Schwitters Antwerp/Belgium Tretyakov Gallery ↑) Alex Donis – Rio, Por No Llorar [I Laugh, So and exhibited like this one in the Hannoversche Museum Plantin-Moretus Category 15–18 years I Don’t Cry], 1988, screenprint, 1044×660 mm. (27 September–3 November 2019) Blanton Museum of Art, The University of Texas at Sezession and the Galerie von Garvens in Ha- 26 January 2019 1st Prize: Samuel Verjans, Marie-Thérèse Austin, Gift of Gilberto Cardenas, 201 nnover. In the 1920s, the Hanoverian collector Institute in Liège August Nitzschner and the Provinzialmuseum 2nd Prize: Maria Orens, IPES in Wavre This exhibition focuses on a gift from Dr. acquired the works that today form the basis of 3rd Prize: Zoé Nizet, Marie-Thérèse Institute in Gilberto Cárdenas, a leading collector of Latinx his work in the Sprengel Museum Hannover. Liège ↑) Robert Cottingham – Roxy, 2002, color lithograph, 1,170×1,170 mm. Courtesy of Landfall Press, Inc. art, of prints produced at Self Help Graphics Like a stateless person, he had to flee to Jury mentions: Sam Inoussa Moussa, Loïc © Robert Cottingham and Landfall Press, Inc. and Art. Located in East Los Angeles, this London in 1935, where he could no longer artis- Saucin, both Marie-Thérèse Institute in Liège printmaking workshop and cultural institution tically gain a foothold and died impoverished in This exhibition celebrates the history and has been a mainstay in the city’s arts communi- 1953. The Kunststiftung Bernhard Sprengel und Category 19–25 years innovation behind one of America’s most ty since 1972. Sister Karen Boccalero and two Freunde received a donation of eight graphic 1st Prize: Brieuc Dufour, La Cambre ↑) Adriaan Marin – The liar, etching on paper, renowned printers-publishers on the occasion Mexican-born artists, muralist Carlos Bueno, works from the estate of his daughter in 2018. 2nd Prize: Rebecca Moreau, ART2 in Mons 415×615 mm, Frans Dille Award recipient of its fiftieth anniversary year. Founded in 1970 and photographer Antonio Ibáñez, founded the In 2019, another large donation of 52 drawings, 3rd Prize: Jean Blanchy, Haute École de la by publisher and master printer Jack Lemon, institution to support the local Mexican graphics and sculptures from the collection of The Frans Dille Award is awarded every three province de Liège in Chicago, Landfall Press has cultivated American community through art classes and Ernst J. Kirchertz, Bad Münder, was handed over years for promising talent in drawing and/or Jury mention: Mathilde Laurent, École a uniquely collaborative environment and cultural experiences. They provided printma- to the Museum. The exhibition includes around graphic arts to students and recent graduates Supérieure des Arts Saint-Luc, Liège produced work for many artists at different king training and studio spaces for artists and 80 works, graphics, drawings and sculptures of from higher art education. The Award has points in their career. Landfall has produced organized an annual celebration of the Dia de this unjustly forgotten exile artist. been established in homage to the artist Frans 11th BIENNALE OF STUDENT 3,500 editions and collaborated with a diverse los Muertos. In late 1982, Self Help Graphics Dille (1909–1999), a celebrated graphic artist, ↑) Olga Kroytor – Care to Know? from the Necessary PRINT ART 2019 Condition series, 2019, silkscreen, 700×500 mm range of artists from all over the world, often inaugurated their Experimental Atelier An Exhibition that Wasn’t draftsman and watercolorist, and an inspiring Poznan/Poland helping them further develop their skills or Program, still ongoing. They invite local and Ignacy Łopieński – graphic teacher. He donated almost his entire graphic Arsenal Municipal Gallery The Tretyakov Gallery and the Shaltai Editions even launch their careers. As a printer of visiting artists to produce limited edition art restorer oeuvre to the Print Room of the Plantin- (5 April–5 May 2019) Gallery of Printmaking presented the project lithographs, etchings, woodcuts, books, and screen prints. Sometimes the ateliers focus on Warszaw/Poland -Moretus Museum. This time, the jury chose of the New Archive of Multiplied Art (Новый архив тиражного искусства, multiples, Landfall Press is known for being a specific theme or group of artists. Since its National Museum in Warsaw winners from 21 participants with 37 works. Jury: Janusz Akermann, Małgorzata Warli- NATI) – a unique collection of works by leading innovative and having exacting technical inception, the program has produced over a (6 December 2019–16 February 2020) The following exhibition shown the works of kowska of ASP Wrocław, Anna Perłowska Russian contemporary artists. The theme standards. The press has operated out of Santa thousand prints by hundreds of artists. the winners and the laureates. proposed to artists in 2019 was “listen to me Fe, New Mexico, since 2004. The exhibition Dr. Gilberto Cárdenas, former professor at the – a very important message.” Each work was features approximately 100 editioned prints University of Texas at Austin, was one of the Frans Dille Award: Adriaan Marin issued in a circulation of 30 copies. The first and printmaking materials from the Museum’s earliest supporters of Self Help Graphics. In 2nd Prize: Leen Nuyts

edition of the NATI project was released in Landfall Press Archive, established in 1992, 1986, he founded Galería Sin Fronteras in Very honorable mention: Henri Ardui ↑) Olga Mularczyk – Unintended (Niezamierzone), 2018. It became a homage to famous folders and reveals the various and often complex Austin, as a way of helping disseminate the Honorable mention: Edoardo Cucciarelli 2018; Grand Prix of the MANI – Moscow Archive of New Art – processes that go into printmaking at Landfall. output of the Experimental Atelier Program compiled by artists of Moscow conceptualism. Stories from the workshop are brought to life and supporting the work of Latinx and Chicanx 7th Digital Picture – Weiser, Marek Basiul, Rafał Kochański, Each NATI edition unites authors of different through photographs, videos, and documents, artists. In 2017, Dr. Cárdenas donated to the Contest Zdzisław Olejniczak, Piotr Szurek, Martyna generations, only one participant remains and a lithography press and printing materials Blanton Museum of Art over 350 prints from Transhumanismus Rzepecka, Marcin Surzycki of ASP Kraków, unchanged – the inspirer of the project and showcase the hand-printing process that the Self Help Graphics, spanning from the late La Louviere/Belgium Marta Anna Raczek – Karcz, Lidia Głu- the author of the first MANI folder – An- workshop sustains and advances. In addition seventies to the late nineties. Centre de la Gravure et de l’Image chowska, Barbara Chojnacka, Agnieszka drei Monastyrsky. The exhibition combined to published prints, the Archive includes thou- imprimée Salamon – Radecka, Krzysztof Balcerowiak works created within the NATI project with sands of materials central to the printmaking Jussuf Abbo ↑) Ignacy Łopieński – A Sculptress – Portrait of Iza (30 March–8 September 2019) exhibits from the collection of the Tretyakov process: color separations, proofs, etching Hannover/Germany Daniłowicz-Strzelbicka, 1906–1907, aquatint, drypo- Grand Prix: Olga Mularczyk, University of the int, paper, 356×256 mm. Property of the Muzeum Sprengel Museum Hannover Contest and exhibition organized with the help Arts Poznan Gallery. The works of the project participants plates, preparatory drawings and lithographic Narodowe w Warszawie performed in silkscreen were presented in stones. These objects demonstrate how the (4 December 2019–29 March 2020) of the Wallonia-Brussels Federation. This digital 1st Prize: Kajetan Karczewski, University of one ehhibition space with paintings, drawings, Landfall editions were made and capture the 80 years after the jubilee, which did not take image contest is organized every two years by the Arts Poznan objects and installations from the museum’s collaboration between artists and printers. The Jewish artist Jussuf Abbo (1888 Safed, place, and on the 155th anniversary of the birth the Center de la Gravure, and is aimed at young 2nd Prize: Zuzanna Kamińska, University of collection. All the works included in the new Ottoman Empire – 1953 London) came from of the Master (1865–1941), the NMW would like people from the Wallonia-Brussels Federation. the Arts Poznan 58 Chronicle Chronicle 59

President of the University of the Arts by a jury that awarded one of them a prize of Acqui Terme Award 2019 IPCNY’s New Prints Program was created in Poznan Award: Szymon Szymanowicz, EUR 8,000. The contest takes place in two The 14th International 2000 as a platform for artists from a wide Academy of Fine Arts in Warsaw stages: during the first stage, 10 candidates are Biennial for Engraving range of backgrounds working in the medium President of the Academy of Fine Arts in being selected for the collective exhibition; in Acqui Terme/Italy of print. The biannual open-call exhibitions Warsaw Award: Paulina Panuś, Kazimierz the second stage, the jury chooses the winner various venues feature prints in a variety of formats and Pułaski University of Technology among them. (15. června–3. července 2019) techniques produced in the preceding twelve and Humanities in Radom months. Juried by stakeholders in the field, the ↑) Eline Brontsema, the Netherlands – Livingroom S., President of the Academy of Fine Arts in Winner: Jeanne Rebillaud Clauteaux woodcut, 400×300 mm, winner of the contest resulting exhibitions offer snapshots of what Gdansk Award: Wiktor Wiater, Jan Matejka artists are contending with in the moment, Academy of Fine Arts in Krakow Walter Koschatzky Art The contest is open to anyone. Artists can leading a sense of immediacy to each presenta- President of the Academy of Fine Arts in Award 2019 submit one piece of work on a paper size of tion. In 2017, IPCNY expanded the exhibition Cracow Award: Olga Żukowska, Władysław ↑) Jane Walker ARE – Monochrome Jugs, reduction Wien/Austria 300×400 mm. The work must be completed in series by offering each cohort of exhibiting Strzemiński Academy of Fine Arts in Lodz linocut, 450×400 mm. Tess Sidey Print Purchase Prize, MuMoK the last couple of years. The work must have artists further opportunities to receive further Aberystwyth School of Art Museum and Galleries; Art President of the Academy of Fine Arts in (28 May 2019) been made using any traditional printmaking training, guidance, and exposure. After each Angels Publishing Prize & The Mike Brennan Memorial Wroclaw Award: Jagoda Jaworska, Mikołaj Award techniques, including screenprinting, lithogra- exhibition is selected by the jury or juror, the Kopernik University in Torun phy, etching, collagraph, monotype, electro-et- exhibiting artists are invited to apply for the President of the University of Zielona Góra Art Angels Publishing Prize: Jane Walker ARE ching, woodcut, photopolymer, etc. Digital three components of the Program. The jury or Award: Malwina Domaradzka, Eugeniusz The Awagami Paper Award: Ruth Uglow RE prints are not accepted. However, digital juror then selects six artists – two Artists-in- Geppert Academy of Fine Arts in Wroclaw Canns Down Press Prize for a recently ↑)Joanna Paljocha, Poland – Yellow Meadow, linocut, processes can be used to elaborate prints that -Residence (a month-long program, divided President of the Academy of Fine Arts in graduated or emerging artist: 435×330 mm, Premio Acqui recipient are traditionally printed. The print with the between IPCNY’s workshop space and its Katowice Award: Dominik Tkaczyk, Eugeniusz Raphael Appignanesi ARE most creative printing process was awarded partners at EFA Robert Blackburn Printmaking Geppert Academy of Fine Arts in Wroclaw Clifford Chance LLP Acquisition Prize: The exhibition has been established from an this year for the first time. The 10–15 shortlis- Workshop, Lower East Side Printshop, or President of the International Print Triennial Stephen Lawlor ARE idea by Giuseppe Avignolo, president of the ted artists of a previous year exhibit at the Manhattan Graphics Center), one Mentorship Society in Cracow Award: Szymon Wircha- For Arts Sake Framing Prize: ↑) Kristin Albrecht, Germany – Revolutionary Ambition, homonymous Association and sponsored by Sala aLfaRa, Oviedo (Asturias). The jury is honoree (the program provides the artist with nowicz, Academy of Fine Arts in Gdansk Merlyn Chesterman RE pencil on paper, 500×700 mm, 1st Prize Rotary Club Acqui Terme, the Piedmont Region composed of international artists and critical feedback, career guidance, and Dean of the Fine Arts Department of the Hawthorn Printmaker Supplies Prize: and the Municipality of Acqui Terme in 1991. professionals of the printmaking world: introductions in the field), and three Sponso- Mikołaj Kopernik University in Torun Award: Lisa Chang Lee ARE The Walter Koschatzky Art Award is organized The prints could be admired in three places: Alistair Gow, UK, visual artist and studio red Coursework honorees (which funds Lidia Galica, University of Fine Arts in Poznan The Heatherley’s School of Fine Art Open biennially by the Rotary Club Wien-Albertina. along the arcades of Via XX Settembre, in the printer at the Glasgow Print Studio; Sonia workshops or classes of the artist’s choice) – Dean of the Arts Department of the Marie Studio Prize: Giulia Zaniol RE Eligible to participate are works on paper Camminamento del Castello dei Paleologi, Hernández, Spain, writer and art critic; based on merit, need, and commitment to Curie-Skłodowska University in Lublin Award: Intaglio Printmaker Prize: except for pure graphic or digitally unedited which houses the Engraving Museum, and KyeongAh Min, Korea, Hongik University developing their print practice. Agnieszka Warcaba, Polish-Japanese Academy Ashleigh Thompson ARE photography (maximum dimensions: inside the Sala delle Pietre in the splendid Villa adjunct Professor, winner of 2018; Dulce of Information Technology in Warsaw Lawrence’s Printmakers Prize: 1,000×1,400 mm) by artists up to the age of 35. Ottolenghi Wedekind. Pérez, Spain, director of Sala aLfaRa; Elvia 2019/Winter awardees Dean, Vice-Dean and the Printmaking and Margaret Ashman RE Jury: Karola Kraus (chairperson), Director of Jury: Matteo Ragni, architect and designer; Perrin, USA, lecturer of the Texas State Artist residency: Allison Conley, USA Visual Communication Department UAP The Mike Brennan Memorial award: MuMoK Vienna; Gabriela Koschatzky-Elias, Glauco Lendaro Camiless, graphic designer; University. Artist mentorship: Lucy Holtsnider, USA Award: Oksana Budna, Mikołaj Kopernik Jane Walker ARE cultural publicist; Eva Schlegel, artist; Eleonora Odorizzi, architect designer; Andrea Sponsored coursework: Kyung Eun You, USA University in Torun Printmaking Today Prize: Bruno Gorlato ARE Otto-Hans Ressler, art expert witness; De Simeis, printmaker, winner of the 2011 Winner (1st prize, EUR 1,000): Rarytas Foundation Award: Marta Koguc, St Cuthbert’s Mill Award: Christian Seiwald, President of the Rotary Club Premio Acqui Giovani; Alina Kalczyńska- Eline Brontsema, the Netherlands, Livingroom 2019/Summer awardees Academy of Fine Arts in Warsaw Stephen Mumberson RE Wien-Albertina; Patrick Manhardt (executive -Scheiwiller, artist S., woodcut, 400×300 mm Artist residency: Tia Blassingame, USA; Inês Honorary mentions: Natalia Paczyńska (ASP producer), Rotaract Club Wien-Albertina Process Prize (2nd prize, EUR 300, for the Martins, Germany in Katowice), Alicja Wiśniewska (UAP), 16th GRAViX Award 2019 The three winners were chosen among most creative printing process): Artist mentorship: Miguel A. Aragón, USA Joanna Saloni (ASP in Warsaw), Anna Sobczyk Paris/France 1st Prize (EUR 6,000): Kristin Albrecht, 13 finalists: Géraldine Daniel, France, Portrait, color Sponsored coursework: Amirah Cunningham, (UAP), Magdalena Banaś (ASP in Wroclaw), Fondation Taylor Germany, Revolutionary Ambition, pencil on Premio Acqui: Joanna Paljocha, Poland, Yellow photoetching printed on 6 overlayed papers, USA; Stephanie Mercado, USA; Katarzyna Fedro (ASP in Wroclaw), (9 May–1 June 2019) paper Meadow, linocut, 435×330 mm 400×300 mm Cassandra Stancil Gunkel, USA Andriej Korotkov (ASP in Cracow). 2nd Prize (EUR 4,000): Tihana Karlović, Premio Consorzio Brachetto d’Acqui: Croatia, Post, 1-2,3, Creation 1-2,3, woodcut, Daniela Cataldi, Italy, Journey of Uranus, New Prints Ulsan International RE Original Prints 2019 papercut, chine-collé on paper etching, aquatint, soft-ground etching, Artist Development Woodcut Print Biennale London/United Kingdom 3rd Prize (EUR 2,500): Beatrice Richter, 195×490 mm Program Ulsan/South Korea Bankside Gallery Germany, Herbarium (vol. 3) #04, indian ink, Premio Acqui Giovani: Davide Schileo, Italy, New York/USA Ulsan International Woodcut Print (3 May–1 June 2019) graphit, acryl and collage on paper, painted The Temptation of St. Anthony, etching, International Print Center New York Biennale mat behind plexiglass aquatint, soft-ground etching, drypoint, (11 July–28 September 2019) (19–22 July 2019) Annual exhibition of the Royal Society of Jury’s mentions: Alexa Fermeglia, USA, 369×500 mm Painter-Printmakers showcasing current work Aquarius, ink on paper; Abundant, ink on by the Society’s members, who are amongst the paper; Annika Friedrich, Austria, Gabriel on the 5th Annual ‘On Paper’ UK’s leading printmakers. Embracing both floor, colored pencils on paper; International established and experimental techniques, the Zoran Georgiev, Bulgaria, Teamwork Tool 7, Printmaking Award 2019 diversity of printmaking will be on display. The watercolor on paper; Tabita Hub, Germany, Oviedo/Spain original prints in this exhibition endeavour to ↑) Jeanne Rebillaud Clauteaux – Figure 118, Con mi amigo, photograph, collage, painting; Sala aLfaRa 2018, drypoint on copper, 500×500 mm, Winner inspire artists and delight visitors. Sebastian Kaltenbrunner, Austria, Start to the (4–31 July 2019) women’s 200-meter breaststroke, watercolor Exhibition prizes The purpose of the GRAViX Endowment Fund on paper, collage; Kavachi, Turkey, Bon On Paper is a project to promote the art of ↑) Kim Sangku, Korea – No. 1197, 2018, woodcut, Tessa Sidey Print Purchase Prize, Aberystwyth is to promote contemporary printmaking and Appétit, mixed media on paper; Boohri Park, printmaking and develop connections between ↑) Allison Conley, When There is Only One Shadow, 560×760 mm, Grand Prize School of Art Museum and Galleries: to inform on the various printmaking tech- South Korea, Openings, ink on paper printmakers around the world. It is based in Where to Go? from the Competing for Light series, 2018, collagraph, 1,676×635 mm, printed and Stephen Lawlor ARE, Frans Wesselman RE, niques. For the sixteenth time, GRAViX Barcelona and run by an art association with published by the artist, edition: 2. 2019/Winter Jury: Prof. Kwak Nam-Shin; Prof. Song Dae-Sup; Jane Walker ARE organized a group exhibition of artists chosen Nuria Melero as a main organiser. awardee, artist residency Ko Chung-Hwan, art critic 60 kronika kronika 61

Grand Prize: Kim Sangku, Korea the competition will transfer one of the works Runner-up Prize (JPY 100,000): Sakiko Ooba, men (known as the Taylor Foundation) has Gold Prize: Praween Piangchoompu, Thailand that were shown at the festival to the Japan, My cup, my chair, my friends, etching been carrying out the mission entrusted to it Silver Prize: Modhir Ahmed, Sweden collection of the Yekaterinburg Museum of Excellence Prizes (JPY 50,000): by its founder, Baron Taylor, to develop the Bronze Prize: Karol Pomykała, Poland Fine Arts. The collection of the modern Monika Mitkute, Ireland, Eoghan, digital print knowledge of the arts through the mutual Special Prizes: Kim Dongki, Korea; Son Kihwan, mezzotint museum now has more than 1,100 hand drawn with colored pencil; assistance of artists and the generosity of This multifaceted event included a keynote Korea; David Frazer, Australia, Dianne Fogwell, graphic sheets. Also, as part of the festival, Nobutoshi Kishinaka, Japan, Shot, woodcut, those who support them. The legatees and lecture, panels, and interactive breakout ↑) Ariane Fruit, France – Crime scene (Scène de Australia; Tomasz M. Kukawski, Poland; crime), linocut, 2,150×2,850 mm, 1st Prize was presented a special “Blue Rocker Project” etching; Tomoko Suzuki, Japan, A; Hiroshi Tago, donors, as well as elected representatives of sessions featuring international, national, and Wu Song-Ming, Taiwan; Annu Vertanen, Finland; in order to protect the ocean environment and Japan, Standing time, mezzotint; the artistic world, on a voluntary basis, local presenters who are variously engaged in Denis Steen, Sweden San Lorenzo de El Escorial. Each artist can support the activities of the environmental Shimpei Yamada, Japan, The afternoon when manage and redistribute the sums collected. the world of printmaking. The symposium was participate with only one work, realized not organization “Sea Shepherd”. The project a golden cloud floats, woodcut, baren These provisions allow diversified activities held in conjunction with the exhibition Graphic 11th Printmaking Award of prior to 2018, the size of 210×300 up to brought together 26 artists from 16 countries. Awagami Factory Prize (JPY 30,000): that range from the awarding of scholarships Revolution: American Prints 1960 to Now. the City of Bietigheim-Bis- 760×1,120 mm. The following printmaking Especially for the project, each participant Hans Oosterom, the Netherlands, In freedom, to the awarding of prizes and the organization Keynote lecture: Then and Now: Aliens Sans singen techniques are accepted: engraving (burin, created a mezzotint on a topic related to the digital inkjet print; Yoshiaki Murakami, Japan, of exhibitions. The Taylor Foundation currently Frontières, Enrique Chagoya addressed the Linocut Today etching, aquatint, drypoint, etc.), relief printing environmental problems of the seas and Board game, woodcut, baren; has more than 5,000 members. The unique ways his art reflects on the cultural contrasts Bietigheim-Bissingen/Germany (woodcut, linocut, etc.), lithography and oceans. And then the prints are to be shown at Eduardo Augusto Muylaert Antunes, Brasil, membership, "for life", gives the opportunity to and collisions he has experienced during his Městská galerie Bietigheim-Bissingen silkscreen. No digital reproduction is allowed, the MATOU Poster Museum (Toulouse, France). The window, digital photoprint participate in grand prix contests and lifetime living in different parts of North (20 July–6 October 2019) except if mixed with the aforementioned. Yoshinogawa City Mayoral Prize (JPY 30,000): exhibitions. America and Europe. He discussed his concepts The winners Miyuki Kondo, Japan, Moon ship, woodcut, baren of “reverse anthropology” and “reverse 1st Prize (EUR 1,000): Jesús Mateos Brea, Grand Prix: Deborah Chapman, Argentina Minoru Fujimori Prize (JPY 30,000): Grand Prix Léon-Georges Baudry 2019 modernism,” while reflecting on the role of Phoenicopterus ruber Prize for Full Correspondence of Technique Haremi Shinohara, Japan, If your dream comes (EUR 20,000): Dominique Sosolic print media in his art. Panels: The Alchemy of 2nd Prize (EUR 500): Paz Vicente, Intrappolata and Imagery: Amorn Thongpoing, Thailand true, woodcut, baren Aimed at a known French artist, man or woman, the Process: Problem Solving in the Printshop; Prize for Adhering to the Traditions and Skills Yoichi Fujimori Jurors’ Prize: Hiroyuki Mita, at least 55 years old, painter or sculptor of Art and Publishing, an Evolving Dialogue 5th International of Graphical Work: Sarah Gillespie, Great Britain Japan, Signpost (orange), woodcut, baren, preference and a real excellent talent for the Mezzotint Festival Prize for Originality and for Breaking Classical engraving; Yukiko Ikeda, Japan, Around a pot, quality of all his work. This prize is awarded SGCI 2019 Yekaterinburg/Russia Boundaries: Linda Whitney, USA aquatint alternately in painting, sculpture and engraving. Texchange Museum of Fine Arts & International Keisei Kobayashi Jurors’ Prize: Dallas/USA Art Centre „Main Prospect“ 4th Awagami International Hidemitsu Tokuhiro, Japan, Even if you run Paul Gonnand Award 2019 (EUR 6,000): Fairmont Hotel and other venues (17 August–29 September 2019) Mini-Print Exhibition away but you think you will win, woodcut; Serge Marzin (6–9 March 2019) Tokushima/Japan Yoshinori Kurimoto, Japan, Flower, woodcut Created by Henriette Gonnand in memory of Awa Japanese Paper Museum “Inbe Art Tetsuo Miki Jurors’ Prize: Nao Ikuma, Japan, her husband, engraver (1899–1973). This SSGC International is an educational non-profit Space“ Dehiscence, etching; Akihiro Misaki, Japan, award, intended for a printmaker of French organization representing artists of original ↑) Kim Sangku, Korea – No. 1197, 2018, woodcut, 560×760 mm, Grand Prize (5 October–10 November 2019) Emergence, lithography nationality, is possibly divisible ex aequo. prints, drawings, books and handmade paper. Mitsuru Hiraki Jurors’ Prize: Akira Suzuki, Texchange engaged the capacity of printmaking The Award has been organized every three Japan, Y 2019, mezzotint; Naomi Mitamura, Kiyoshi Hasegawa Award 2019 (EUR 2,000): to act as an agent of transformation in its years. This time 503 international artists from Japan, Elephant cage, mezzotint Nicole Bouharmont practices within the field, contributions to other 30 countries have entered. After a pre-selecti- Hideki Kimura Jurors’ Prize: Shoji Miyamoto, Created by Janine Buffard and Yves Dodeman, art media, and larger cultural roles. Prints were on, on the basis of submitted photos, 128 Japan, Sushi phone, woodcut, baren; in homage to their great-uncle, the painter and celebrated for the ways in which they spread candidates from Mexico to Australia, from Juan Escudero, Spain, Two degree warmer sea, engraver Kiyoshi Hasegawa (1891–1980). This images, information, ideas, and political views. Great Britain to Senegal were invited to submit etching prize is awarded to an artist residing in France Through shared spaces and collaborations, their works. Works by 44 artists were The Tokushima Modern Art Museum Jurors’ presenting ten monochrome prints. printmakers influence other artists, innovators, displayed. Prize: Yasuko Tachi, Japan, Memory trace and disciplines. With printmaking, we create ↑) Ryoji Suzuki, Japan – Nest, lithography, Grand Prize Jury: Wulf Herzogenrath, Director, Visual Arts (Blue), lithography; Tomomi Yokota, Japan, Go Marie and Léon Navier Award 2019 (EUR change together. The conference took place at Section, Academy of Arts Berlin; Alexander A.I.M.P.E was first held in 2013. The 2019 ahead, digital print 2,000): Lynn Shaler the Fairmont Hotel in the Dallas Arts District. Johannes Kraut, winner of the year 2001; edition featured a total of 1,628 miniprints Tokushima Newspaper Jurors’ Prize: Created by Lucie Navier, painter (1910–1996), in Programming also took place at Brookhaven Barbara Strieder, head of the graphics ↑) Jesús Mateos Brea, Phoenicopterus ruber, 1st Prize submitted from 1193 artists from 61 countries. Yumiko Koguchi, Japan, Meditation, aquatint, memory of her parents. This prize is awarded to College, Texas Christian University, University of collection, Stiftung Museum Schloss Moyland; A.I.M.P.E’s unique feature is that all works etching, deep etching; Seiko Osaki, Watashi wa an artist working in ex-libris or in small format Dallas, University of North Texas, and University Stefan Benning, head of the Cultural Office of The IMF is the only international exhibition for must be printed on any type of Japanese washi "mug"de, aquatint, etching prints. of Texas Arlington. Bietigheim-Bissingen; Isabell Schenk-Weininger, mezzotint artists in the world held in paper of dimensions just 210×297mm. This head of the City Gallery Bietigheim-Bissingen Yekaterinburg (Russia) biennially since 2011. guideline was established in a concerted effort Paris/France Grand Prix Graphic Revolution Selected exhibitions: The IMF focuses on the achievements of to introduce artists to the unique character Paris/France Behind the Scenes of the The Ambos Lados International Print Exchange 1st Prize: Ariane Fruit, France contemporary artists who choose for creativity and beauty of washi. All prints submitted were Print Boom 1960 to Now expanded the dialog between the two cultures, 2nd Prize: Philipp Hennevogl, Germany a rare and sophisticated technique of mezzo- displayed at the exhibition. Saint Louis/USA as there are strong printmaking communities 3rd Prize: Sabine Ostermann, Germany tint. Traditionally, the festival includes two Jury (not final): Yoichi Fujimori (chairman), Saint Louis Art Museum in both the US and Mexico, but the Purchase Prizes: Thomas Kellner, Germany; sections: an open competition and a parallel director, Awagami Factory; Keisei Kobayashi, (1. února 2019) printmakers are not familiar with each other. Katharina Krenkel, Germany program. The competition was entered by 87 printmaker; Tetsuo Miki, director, Hyogo Muse- The prints Conflict Zone: Bridging Communica- artists from 32 countries (from Argentina, the um of Ceramic Art; Mitsuru Hiraki, printmaker; The Saint Louis Art Museum presented tion through Printmaking resulted from 20th Printmaking Award USA and Canada to Iceland, Japan and Hideki Kimura, printmaker; Toshio Takeuchi, a unique opportunity to hear from artists, collaboration in Houston in 2018 between San Lorenzo del Escorial Australia). The judges – including museum senior curator, Tokushima Modern Art printers, publishers, and scholars about the Nancy Willis and a group of Yazidis from Madrid/Spain experts, gallery owners, curators, collectors Museum; Yoshitaka Muya, Tokushima vibrant state of printmaking in the United Northern Iraq creating monotypes about their ↑) Dominique Sosolic – Fields of resonance (Les Casa de Cultura and artists – selected among 350 new works Shimbun; Fumiaki Fukita (advisor), printmaker Champs de résonnances), chisel, etching, aquatint and States over the past six decades. The cross- daily lives. (14 August 2019) created by the authors from 2017 to 2019. Two mezzotint, Grand Prix Léon-Georges Baudry 2019 -pollination of ideas among practitioners active Print-smithing featured collaborations years later, as part of the next festival, the The winners in this print boom has tested boundaries and between Printmaking and Metalsmithing Opened for all artists in residency in Spain or winners will show their personal exhibitions in Grand Prize (JPY 300,000): Ryoji Suzuki, Since 1844, the Association of Painters, resulted in unconventional formats that match students and faculty at the University of North in Saint-Quentin, a French city twinned with Yekaterinburg. In addition, each participant in Japan, Nest, lithography Sculptors, Engravers, Architects and Drafts- the challenges of emerging subject matter. Texas. 62 Chronicle Chronicle 63

A Collaborative Print Project: ImMigration: Los Selected events: Haigh Award: Ian Phillips Four satellite locations partnered with INK HIT 2019 Awards colours are painted onto this extraordinary Angeles Printmaking presents a special Print Augmented: an exploration of the McClures Award: Michael Devereux Brussels 2019: the gallery and art residency Jury: Rita Marhaug, Thomas Kilpper a Cecilie A. material and transferred to paper through exhibition that asks artists to respond to the possibilities of augmented reality for printed Chris Benefield Memorial Award: Kelly Stewart ODRADEK with Contemporary Inks, a Størkson a press. It offers an immediate, gestural and complicated and layered themes around art: Augmented Reality (AR) is an exciting new Founders’ Award: Simon Tozer collective show on ink and intercultural subtle way to make a series of explorations. “migration”. technology that can mix the digital and Hawthorn Printmaker: Anja Percival dialogue between four practitioners of ink on The Seglem Prize of NOK 100,000, funded by Gelli Printing: Flexible type of mono printing, physical together, providing all sorts of Handprinted: Helen Murgatroyd paper East and West, the art spaces Garage Trygve Seglem: Idun Baltzersen, Norway, Rop a versatile method using a flexible rubber-like Selected awards: possibilities for printed artworks. Louis TPFramework: Moira McTague Cosmos and ArtWeCare, as well as the Royal i skogen (Shout in the Woods), 2018, woodcut plate. Great for nature prints, textures, stencil The SGCI Lifetime Achievement in Printmaking Rastelli, manager of the Distroboto art vending Museums of Art and History with Lithic printed on textile, collage, 2,600×2,600 mm work, and layering colour to create beautiful is awarded to an individual who has made an machine network, presented an overview of an INK Brussels 2019 Impressions (see the respective PR). The HIT Prize of NOK 50,000, funded by images and patterns. outstanding contribution to the professional AR printed art exploration project involving Brussels/Belgium Haugalandmuseet-Haugesund Museum of Fine Mokulito – lithography with wooden plates: an development of printmaking as a fine art: artist-run centres, where AR works were Faculté d’Architecture Haugesund International Art: Ciara Phillips, UK, Every time there is a alternative lithographic technique, where the Alison Saar created using traditional printing techniques. La Cambre-Horta ULB Festival of Artistic Relief suggestion there is a suggestion – Gertrude printing surface is made of plywood instead of The SGCI Excellence in Teaching Printmaking An evening of project presentation inspired by (6–12 May 2019) Printing Stein (1914), 2018, relief printing, screen a stone block. Wooden plates can be cut into as Award is awarded to an individual who has the Pecha-kucha formula. The 6:40 minute Haugesund/Norway printing, monotype, 2,400×1,200 mm well as draw onto, building up contrasting lines, made an outstanding contribution to teaching presentations (20 images each scrolling for 20 Haugesund Museum of Fine Art The Goa Prize of NOK 30,000, funded by textures and atmospheric imagery. printmaking and has demonstrated excellence seconds) provide a concise portrait of a subject (10 May – 4 August 2019) Haugesund Art Society: Jayeeta Chatterjee, Landscape Mono Screen Printing: The quickest in his or her own creative work: Carolyn Muskat related to the Festival’s theme. About ten India, Yellow Journey 1–4, 2018, colour and simplest of screen printing techniques, The SCGI Printmaker Emeritus award is given speakers will talk about various initiatives that woodcut, varying sizes design is traced, then the paint is blobbed and annually to a senior printmaker of established push print art out of its scope. Honourable mentions: Ragna Misvær the print pulled with a squeegee. reputation: Judy Youngblood BBQ sauce lithography: Lithography is not an Grønstad, Norway; Wu Jiantang, China; SGCI Student Fellowships are awarded to art that is confined to professional workshops. Douwe Mulder, the Netherlands; Per Kristian 16th Annual Roadworks individuals who exhibit outstanding promise in The Atelier Circulaire offered the opportunity Nygård, Norway Steamroller Printing the fine art practice of printmaking: Jaz Graf, to learn how to make lithographs with Festival University of Iowa; Grace Johnson, Indiana elements that you can find in your kitchen. Medway Print Festival San Francisko/USA University Rochester/United Kingdom San Francisco Center for the Book Awagami Award: Benjamin Kraemer, Tyler Printfest various venues (22 September 2019) School of Art at Temple University Ulverston/United Kingdom (7–23 June 2019) Gamblin Emerging Artist Award: Taro Takizawa Coronation Hall INK Brussels 2019 (Semaine de l’Encre) (4.–5. 5. 2019) combined conferences and workshops in the ↑) Idun Baltzersen, Norway – Shout in the Woods (Rop i Skogen), 2018, woodcut printed on textile, Montreal Printed Arts field of contemporary ink held in Auditoire collage, 2,600×2,600 mm, The Seglem Prize Festival Victor Bourgeois and Espace Architecture at Montreal/Canada the Faculté d’Architecture La Cambre-Horta. From 2008 and onward the collecting strategy various venues This week of theoretical and practical events of the Haugesund Museum of Fine Art came to (4–14 April 2019) investigated the quest for abstraction in the focus more specifically on relief-printed art. The Medway Print Festival celebrates the strong practice of calligraphy and painting with a collection contains art from all corners of the local tradition of printmaking and the wider The Montreal Printed Arts Festival (MTLPAF) specific angle on Chinese writing, offering the world, thus putting the works by Norwegian cultural landscape. In its fourth year the festival The SFCB’s Roadworks Steamroller Printing displays the incredible vitality of the printma- opportunity of direct contacts between the artists in a broader context. To generate was bigger than ever and featured 51 events in Festival is a day-long public printmaking and king scene in the Montreal area, from the public and invited artists and scholars. This attention and interest in the field of art the city 16 locations. Running for two weeks, MPF19 book arts extravaganza that includes free perspective of overstepping the marks. It ↑) Anita Klein – The Owl, linocut, 500×410 mm, travelling event (Venice 2018) functions as a of Haugesund has been working to hold a events and activities enable people of all ages hands-on printmaking and book arts activities, comprised a programming of various free Printmaker of the Year Award collaborative enterprise between ink artists, festival dedicated to art and relief printing as an and abilities to try their hand at a wide range of demonstrations, 50 arts and crafts vendors, activities, such as exhibits, workshop visits, curators and academic or cultural institutions art form. The HIT Festival (Haugesund printmaking techniques and showcase some of art gallery and studio tours, and more. During technical demonstrations, meetings with Printfest is dedicated to the exhibition and sale in the host country. Paysage écrit/Ecriture Internasjonale Tresnittfestival) is Norway’s first the best printmaking around as well as the Festival they print linocuts using a 7-ton artists, lectures and a huge printed art fair of contemporary hand-made prints, it is a rare peinte, a collective exhibition of 50 artists international festival of relief printing. It aims at highlighting the fascinating history of the 1924 Buffalo Springfield steamroller combined (more than 50 artists and organizations that opportunity for some of the best of the UK’s combining contemporary calligraphy and celebrating tradition and innovation within medium. To commemorate the 150th anniversa- with the road surface of Rhode Island Street as are selling posters and printed art), which printmakers to gather under one roof, to share landscape painting, was also held then. The relief print, woodcut and linocut. The HIT ry of Charles Dickens’ death, Rochester Art an enormous makeshift printing press. The provide an opportunity to discover the practice and learn from each other. Printfest show gathered artists from all origins who festival is a juried exhibition, open for all print Gallery hosted a special print exhibition. resulting "Featured Artists Roadworks" prints evolution of contemporary printmaking, in its offers visitors the experience of making work with ink and paper as main media, (de) artists. The first prize winner is invited to give a Printmakers were invited through an open call are then sold for $500 (3’x3’) and "Roadworks multidisciplinarity and hybridism. artwork purchases direct from the artists. construct calligraphic geometries, engage in separate exhibition in the Museum in 2021. competition to create a new cover or illustrati- ‘Personal Prints’ Artists’" prints (the first 50 This year’s Festival theme aims to explore the Printfest was founded in 2001 and is the UK’s decoding and writing the landscape or The Avtrykk Festival is Haugesund Kunstfore- ons for The Mystery of Edwin Drood, his dark people to sign-up with the opportunity to "other" spaces occupied by the printed arts, i.e. foremost artist-led printmaking festival. experiment with language and gesture. A ning (art society) and Norske Kunstforeninger’s unfinished novel set in a fictional Rochester. design and carve) are sold for $40 each as a public and virtual spaces. In their relationship progressive itinerary looked at how each (all of Norway’s art societies) national art The selected prints were exhibited alongside fundraising activity to benefit San Francisco to the public space, the printed arts see the Awards: contemporary literati or letter artist departed festival, organized in connection with the Victorian treasures from the Guildhall Museum. Center for the Book. boundaries of the medium and the constraints Printmaker of the Year, awarded with a from traditional artistic practices to explore annual meeting for the societies, this year in In a special three-week exhibition START: Special Guest: Since 2006, The Sketchbook of technology dissolving and opening up to residency: Anita Klein (2020), Sadie Tierney the ways of abstraction. The exhibition Haugesund. With the themes of printed art and Primary Print for MPF19, over 200 pupils from Project at Brooklyn Art Library has been new possibilities. By occupying the public (2019) unfolded in two parts, one devoted to nature ‘the art of making art accessible’, Avtrykk local primary schools have printed artworks platform for creative people to share their space, printed art occupies the social space. Printmakers’ Printmaker (the exhibiting artists and the other to culture, based on the basics focuses on how it is possible to facilitate the inspired by treasures from the Guildhall story. From doodlers to professional illustra- The virtual space makes it possible to use the nominate their favourite printmaker), awarded of Chinese landscape painting: that a landscape wider public’s engagement with contemporary Museum, i.e. historic local landscape paintings tors, thousands of artists around the world languages and aesthetics of the printed arts a free stand: Helen Murgatroyd is not to be seen or painted, but read or art. The two festivals have worked together to or historic coins. An artwork inspired by the have been connected through the project. while redefining them and proposing new Visitors’ Choice Award, sponsored by James written. The versatility of nature, mountains create a programme that includes diverse same themes and made especially for the With over 2 million spreads of individual codes and new readings. The digital technolo- Cropper PLC: Anja Percival and rivers allows Paysage écrit/Ecriture peinte learning-and-engagement activities for children exhibition by each artist, was displayed artwork, The Sketchbook Project is a resource gies that have, in recent years, shaken up Best Newcomer Award, sponsored by Zillah to encompass a range of experiments dealing and adults, workshops, seminars, and a parallel alongside the pupils work. of global creativity, completely funded by traditional practices offer a whole new space Bell Gallery: Amy Hutson with the materiality, tools and gesture of programme with local people working in the participation. The Sketchbook Project is in Cali- for experimentation and dissemination. Awagami Paper Award: Jane Mowat writing, the limits of readability or perception, fields of art and culture. Selected workshops: fornia for a residency with the Bookmobile, Cranfield Award: Debby Akam; Babs Pease and geometries of ink and water. True Grain Monoprinting: Translucent layers of which holds about 1,200 volumes. 64 Chronicle

Contemporary printmaking crosses many boundaries as it seeks to transform and realize a multitude of ideas. This symposium seeks to create a dialogue on the transformative nature of contemporary approaches to printmaking; through the exploration of new techniques, innovative directions and concepts, or the crea- GRAPHEION 23 tion of new avenues of dissemination. International review of contemporary prints, One of keynote speakers was Shaye Remba of book and paper Mixografia Workshop in Los Angeles. Mixografia is somewhat unique in that it has PrintExpo, BinFest is a print sale, where artists Yearbook 2019 ↑) Janet Parker-Smith – State of Flux, 2019, six developed techniques for creating three-di- can submit original prints backed by foam core colour screenprint with glitter. Photographic credit: Janet Parker-Smith, Sydney, New South Wales mensional prints out of cast paper processes. and wrapped in plastic for collectors to flip Published: The Gittins Gallery also hosted PaperWest, the through. During PrintExpo is exhibited the Hollar Foundation 2nd National Juried Works on Paper Exhibition. Trade Portfolio: Printmakers of all levels are A Meeting of Cultures Print related exhibitions were held in several eligible with an edition of 12 prints for an This magazine is issued one time a year in Czech and Japan and Australia Print Salt Lake City Galleries (selected): Poiesis is a exchange. Ten of the prints are redistributed to part of them also in English Symposium Greek philosophical term that refers to a other participants in a random selection Sippy Downs/Austrálie creative process or activity in which a person process, and the organizers mail 10 random The issue is freely available on the web site: University of the Sunshine Coast brings something into being that did not exist prints following the same process to each www.nadacehollar.cz a www.grapheion.cz (21–22 September 2019) before. This exhibition featured artists who are printmaker. The two remaining prints from each creating print based artworks that have gone edition are retained and sold as a fundraiser for Contact address: Over two days, the symposium provided a beyond the two dimensional surface often PrintAustin. [email protected] forum for the presentation and discussion of becoming a 3 dimensional object. Transconti- issues, ideas and research from the printma- nental Railroad – There are the obvious Woolwich Contemporary Editor, Hollar Foundation: king sphere by bringing together scholars, benefits that came from linking east and west, Print Fair Mgr. Kateřina Obozněnková artists, and representatives from cultural but at what cost? Environmental destruction, Woolwich (London)/United Kingdom institutions through keynote addresses, panel exploitative labor, displacement of Indigenous Royal Arsenal Editorial Board Chairman: discussions and artist talks. The Symposium populations, etc.; Concerning Craft and the (7–10 November 2019) Ondřej Michálek coincided with the Kyoto Hanga International Power of Print – This show aims to bring up a Print Exhibition: Japan and Australia 2019 at direct conversation around existing in this Editorial board: Caloundra Regional Gallery, 19 September – 10 modern world as Artists and Printmakers and Olga Frídlová, Jana Jiroutová, November 2019. Keynote presentations: Akira how we are each finding ways of remaining Barbora Kundračíková, Alena Laufrová, Kurosaki: the evolution of ukiyo-e and woodcut relevant with our work post Academia. Each Pavel Noga, Jana Šindelová prints by Prof. Atsuhiko Musashi and The artist is navigating spaces of experience as a poetics of flow: the enfolding of matter, Fine Art Printmakers while growing within the Translations: memory and print by Dr Jan Hogan. Panel roles of Artists as Business Owners, Activists, ↑) Louisa Boyd (exhibiting at the Fair) – Platonic Jan Biggles Hanzlík, Jana Jiroutová, discussions: Politically correct: printmaking Teachers and Healers. Train Tracts – this is a Solids, paper sculptures, etching, marbled paper Ondřej Michálek, Kateřina Obozněnková, and social change; Found in translation: stories series of twelve traveling chapbooks—tracts— Alexandra Vysloužilová, Olga Frídlová of cultural exchange; Sensing place: materiality which were unleashed in Amtrak stations in Woolwich Contemporary Print Fair is the only and process in contemporary print practice; February 2019. Each tract is a collaboration fair in London to deal solely in contemporary Corrections: The outliers: printmaking as disputed territory between a writer and a printmaker—stories of printmaking, and the largest of its kind in the Olga Frídlová, Jan Biggles Hanzlík, movement and connection bound into sensual UK, set in the impressive former cartridge Ondřej Michálek, Kateřina Obozněnková 5th Rocky Mountain printed volumes. factory at the Royal Arsenal, Woolwich. Printmaking Alliance With over 500 specialist artists and exhibitors, Graphic design: Symposium PrintEXPO WCPF celebrates every aspect of printmaking Pavel Noga Transposing Attitudes Austin/USA - from etching and lithography, to woodblock Salt Lake City/USA Blue Genie Big Top and screen-printing, exciting emerging talent ISBN 978-80-906630-4-6 (online ; pdf, english version) University of Utah (2 February 2019) sits alongside established practitioners such as ISBN 978-80-906630-3-9 (online ; pdf, czech version) (9.–11. 10. 2019) Grayson Perry, Tracey Emin and Norman PrintAustin’s mission to the Austin art Ackroyd RA. The accompanying programme of community and galleries is to share our activities and events led by industry experts enthusiasm for printmaking by helping galleries offer visitors of all ages an insight into the curate, exhibit, and promote works on paper practice of printmaking and what to look for and to engage a wider audience through when starting to build their own collection. The project is supported by in-house artist talks, signings, panels, printma- the State Fund of Culture of the Czech Republic king demonstrations, and print-focused art happenings. PrintAustin was founded in the summer of 2013. PrintAustin’s annual print fair PrintExpo provides an opportunity for local, national, and international artists, galleries, and ↑) Elpitha Tsoutsounakisová (návrh/grafika), dealers to share their work with seasoned and Chantal V. O’Keeffeová (autorka textu) – Co jsem se naučila od babičky, exponát z projektu Vlakové new collectors. There is a night launch party – traktáty 2019 (Train Tracts) the Printmaker’s Ball. Held in conjunction with