The “Local” from North Dakota to Beijing • Nancy Friese

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The Global Journal of Prints and Ideas May – June 2016 Volume 6, Number 1

The “Local” from North Dakota to Beijing • Nancy Friese • The No Name Group • Grayson Perry • Kate McQuillen Cape Town’s District Six • Raphael in Reproduction • Julie Mehretu • Grenfell Press • Annesas Appel • News Two New Lithographs Do Ho Suh

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DURHAM PRESS 892 Durham Road | PO Box 159 | Durham, PA 18039 | 610.346.6133 | www.durhampress.com May – June 2016 In This Issue Volume 6, Number 1

Editor-in-Chief Susan Tallman 2 Susan Tallman On the Local

Associate Publisher Art in Art in Print Number 4 4 Julie Bernatz Britany Salsbury Nancy Friese: Still Grove (2016) Managing Editor Isabella Kendrick Chang Yuchen 10 Resistance, Medium and Message in Associate Editor 20th-Century China Julie Warchol Miguel de Baca 15 Manuscript Editor Kate McQuillen on Night House Prudence Crowther Julie Warchol 20 Editor-at-Large Grayson Perry Maps Essex Catherine Bindman for Us All

Design Director Daniel Hewson 25 Skip Langer The View from District Six Susanne Anderson-Riedel 27 A French Raphael: Alexandre Tardieu

Leslie Miller in Conversation 31 with David Storey Voices in Print: Grenfell Press

Reviews Maeve Coudrelle 36 Displaced in Puerto Rico Jason Millard 38 Lost and Found: Norma Bassett Hall Susan Tallman 40 Julie Mehretu’s Syrian Elegy

Prix de Print, No. 17 42 Juried by Thomas Cvikota Metamorphosis music notation by Annesas Appel On the Cover: Grayson Perry, detail of Map International Print Directory 2016 44 of Days (2013), etching from four plates on one sheet, 111.5 x 151.5 cm. Printed and published News of the Print World 51 by Paragon Press, London. ©Grayson Perry and Paragon | Contemporary Editions Ltd. Contributors 64 Guide to Back Issues 65 This Page: Annesas Appel, detail of Metamor- phosis music notation (2015), hand-perforated color piezoprint, each stroke 225 x 7 cm. Unique work. Printed by Bernard Ruijgrok, Amsterdam. Published by Annesas Appel, Haarlem.

Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org Art in Print is supported in part [email protected] by awards from the 1.844.ARTINPR (1.844.278.4677) National Endowment for the Arts. No part of this periodical may be published Art Works. without the written consent of the publisher. On the Local By Susan Tallman

oral solutions to the rival claims by Maeve Coudrelle. Showcasing artists M of the near and the distant are, from across Latin America and the Carib- for most of us, conflicting and confused. bean, the exhibition considered both the Chauvinism is bad but loyalty to the local specificity of place and the propensity is good; globalization is bad but cosmo- of print to be out of place on purpose. politanism is good. In 1930s America The winner of this iteration of the Prix “Regionalism” was heralded as a pro- de Print, selected by Thomas Cvikota, is gressive assertion of alternate values, a Dutch artist Annesas Appel’s Metamor- movement unimpressed by the vacuous phosis music notation (2015), a work that urbanity of certain European exem- deals in translation, transliteration and plars, and committed (like French Real- displacement of a conceptual order. ists a century before) to the gritty truth Norma Bassett Hall, whose print of lives lived at distance from the art catalogue raisonné is reviewed here by world. Three decades later, regionalism Jason Millard, was one of those Ameri- was seen as retrograde—a movement that can regionalists now being rediscovered. had turned its back on the greatest break- A founding member of the Prairie Print throughs of modernism (chiefly abstrac- Makers, she spent most of her career tion) to make populist pictures just this in Kansas, but the method she used to side of illustration. And so it goes. Smart phone location services in Berlin, record the Midwest was an adaptation of These days the term of preference is April 2016. a Japanese tradition that she learned in “local”: to resist monocultures (agricul- ent moments in recent Chinese history, Oregon and perfected in Scotland. Local tural or corporate), thoughtful people Chang Yuchen shows how the woodcut is not the same as sequestered. shop at local bookshops, support local was transformed from an instrument of Finally, this issue includes a conver- breweries and eat locally sourced pro- political resistance to one of oppression, sation between artist David Storey and duce. “Community supported art” (CSA) while the seemingly retardataire prac- Leslie Miller of Grenfell Press. (A video of programs have cropped up to encourage tice of plein-air painting became a secret this interview will be posted in the next collectors to source their art nearby as language of the underground. Susanne few months, launching our new Voices in well. But while consuming locally grown Anderson-Riedel’s essay on Alexandre Print series.) Manhattan-based institu- produce has measurable environmental Tardieu’s engraving after Raphael’s St. tions are inevitably worldly, but Grenfell, and nutritional benefits, the utilitarian Michael Vanquishing Satan (1806) illumi- having occupied the same floor of the good of consuming local art is a bit mud- nates how reproduction can be used to building for more than three decades, is dier. Isn’t one of the jobs of art to tell us embed local meanings in a seemingly also a local entity. about places we have not been and people “universal” image. And writing from Among the beautiful prints produced we do not know? Haven’t prints in par- Cape Town, Daniel Hewson reports on at Grenfell are those of Vija Celmins, an ticular been built to be mobile? This issue how the Apartheid-era destruction of artist whose childhood was a saga of dis- of Art in Print asks us to consider what one particular neighborhood continues placement and whose art is a hymn to the we mean by “local” when it comes to art. to haunt the city. particular and specific. Celmins, like Its topics stretch from North Dakota to That most local of institutions, the Friese, makes unconquerable vastness South Africa, from Essex to West 28th home, is the focus of two artists here: feel intimate by an almost sublime force Street, from the French Revolution to the Julie Warchol looks at Grayson Perry’s of attention. A mile to the south of where Cultural Revolution. mapping of local culture in prints and I sit writing this introduction in Berlin, Nancy Friese’s double-sided spread— residential architecture; and Miguel the hangars of Tempelhof airport are the fourth project in the Art in Art in de Baca speaks with Kate McQuillen filled with refugees, people suspended Print series—depicts a swath of farm- about her cosmic suburban house-wrap, between the exploded places of their past land once settled by the artist’s great- Night House (2015). Julie Mehretu’s new and the unknowable ones of their future. grandfather and now her own, a subject seven-part monumental print, Epigraph, Meanwhile, the kids play on the runways and place to which she returns every Damascus, is also built on an architec- and the grassy bits between, mastering, year. Britany Salsbury details Friese’s tural foundation, but the schematic as children do, the individual bushes, image and its reflection of there and here, buildings glimpsed behind a frantic cloud doorways, voices, habits of clouds and then and now. of marks come from a place she has never odd beetles of this place, building their Locality, of course, is a question not been and may well no longer exist. own local, if only for the moment. just of geography but also of time. As L.P. Displacement, the inversion of the Hartley noted, the past is a foreign coun- local, was the theme of the “4th San Juan Susan Tallman is the Editor-in-Chief of try. In her examination of two very differ- Poly/Graphic Triennial,” reviewed here Art in Print.

2 Art in Print May – June 2016 History. Analysis. Criticism. Reviews. News.

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

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Nancy Friese: Still Grove (2016) by Britany Salsbury

Above: A view of Nancy Friese’s North Dakota backyard with the copper plate under protective cardboard. Right: Nancy Friese, right half of Still Grove (2016), drawing over the soft-grounded copper plate with pencil, colored pencil, blue and black pen on newsprint, 24 x 48 inches.

sense of the local is central to Nancy draw in pencil on a sheet of newsprint Hampshire), reapplying soft ground, then A Friese’s work, which documents laid over the soft ground, looking out, she laying her drawing overtop once again. places and events that are specific and explains, “to the Western horizon—the She changed the nature of her drawing personal, while offering them up to be lilac trees, giant cottonwood trees, box implements with each state, so as to be shared by the viewer. Friese is a land- elder and elm.” The pressure of her pen- able to recognize what she was adding at scape artist, and though she lives and cil, transferred through the newsprint, each stage—pencil was followed by blue works most of the year in Rhode Island, picked up bits of the tacky soft ground, pen, red and orange color pencil, and she spends several weeks each summer exposing the copper in “a particle-like finally black pen. Meanwhile the back- in rural North Dakota on the land her way,” eventually producing an etched side of the paper grew denser and denser great-grandfather homesteaded when he line with the character of a drawn mark. with the brown soft ground that adhered immigrated from Norway.1 It is land she As a way of working it is both direct and to it with every mark. In the last stage has drawn again and again, depicting its unnatural: “One has to draw with her of development she worked the plate expansive fields and seemingly endless hand up high,” Friese explains, “so that directly with aquatint, drypoint and rou- skies, sometimes in vivid paint and some- the palm of the hand never touches the lette. The image thus exists in five places: times in intimate etched lines. surface.” the front of the paper sheet that bears Still Grove was drawn there over the After returning to the East Coast, she her marks in pencil, color pencil and pen; course of a month. The large copper plate, continued to develop the image through the back of the sheet, where those same covered with soft ground, sat on a table subsequent states—etching and proof- marks collected soft ground, pulling it under the trees, and each day from mid- ing the plate (in collaboration with from the plate; the copper plate, where afternoon to early evening Friese would Peter Pettengill at Wingate Studio in New the lifting of the ground left openings for

4 Art in Print May – June 2016 Art in Print May – June 2016 5 6 Art in Print May – June 2016 Nancy Friese, Still Grove (2016), soft ground etching with aquatint, drypoint and roulette, image 24 x 48 inches, sheet 30 x 54 inches. Edition of 20. Printed and published by the artist, Providence, RI. Courtesy of the artist and Cade Tompkins Projects. Assistance by Peter Pettengill, Wingate Studio, Hinsdale, NH.

Art in Print May – June 2016 7 8 Art in Print May – June 2016 acid to eat the metal; the printed etching, where ink has been transferred from those bitten marks in the copper; and this journal, where these iterations are brought together, via photography and digital printing. The image shows a wooded grove densely enveloped in bushes and trees. A small opening at right suggests the sort of place one might find a pleasant surprise while walking in the country, a private spot that invites time spent alone. Grainy soft-ground marks and finer lines of drypoint delineate the leaves and branches of the foliage, expressively but with pre- cision. The degree of detail allows us to distinguish the variety of plant life, from flowering bushes to coniferous trees, inhabiting this snippet of land. The sky is glimpsed only in patches through the vegetation, and the cool black of the ink, like the earthy brown of the soft ground, Above: Nancy Friese, Still Grove (2016), detail of the front and back of the drawing showing the reinforces the shadowy lushness of the brown soft ground transfer. Left: Nancy Friese, left half of the drawing Still Grove (2016). scene. Friese describes herself as a “painter/ printmaker,” using the term Adam Bartsch (1757–1821) adopted to emphasize life, and her attentiveness to the ways printmaking’s role as an original cre- those vistas confirm or depart from her Nancy Friese is a painter-printmaker who resides in Rhode Island and North Dakota. 2 ative domain. Like past masters of the memories. She is represented by Cade Tompkins Projects. landscape print, from Rembrandt in the Friese allows us, sitting with maga- 17th century to the Barbizon School in zine in hand, to glimpse the freedom of Britany Salsbury is the Andrew W. Mellon the 19th, she works from direct observa- open spaces and the emotional valida- Curatorial Fellow in the Department of Prints, tion and eschews exotic locales in favor tion of a place long known. The spill of Drawings, and Photographs at the RISD Museum. of familiar places, valorizing the beauty the image across the two-page spread of the intimately known. She looks espe- echoes at a small scale her panoramic cially to the example of the 19th-century view of the land, and allows us to share Notes: American printmaker Mary Nimmo her pleasure in looking. On the verso we 1. As a child, Friese paid summer visits to the Moran (1842–1899), who often sketched can see the soft-ground transfer on the farmstead where her grandmother grew up and directly on a copper plate en plein air and back of the newsprint drawing—the link her great-uncles farmed. It then passed out of the also employed innovative etching tech- between hand and print—and can follow family, but shortly after 9/11 Friese discovered niques in her depiction of nature. the translation from perception, to con- that the house and land were for sale and bought them. While acknowledging this historical ception, to final image. The work is better 2. Bartsch was the first to systematically catalogue lineage, however, Friese does not adhere understood through the act of turning prints in his Le Peintre-Graveur (1803–1821), to a conservative understanding of land- the page. which differentiated the “painter-printmaker” from scape. The careful topography, the tight In this act of prolonged attentiveness, reproductive engravers. cropping and the gestural sketchiness Friese alerts us to the value of this plot of give the work a diaristic quality that earth in North Dakota, a place at a great calls attention to the durational aspects distance from the urban hubs of the art of its making. We understand not only world. One of Friese’s repeated subjects is that someone sat in this place, but that the line of trees she planted to slow ero- she did so for a long time and that this sion and reduce flooding, a reminder that time and place exist as specific moments landscape is never static: it changes with within a larger framework—there is a the seasons; things appear and disappear before and after, there is land to the east from year to year; and dramatic altera- and west. Still Grove conveys more than tions take place at the hand of both man a scenic view of one particular wood- and nature. In recording a specific site in land—it harbors a story that begins with a specific month, Friese nonetheless med- Friese’s annual departure from her house itates on the past and the present, con- in Rhode Island, her return to a place she veying the wonder of a comfortable and considers “home,” her meditations on familiar place, even as it becomes defined natural vistas she has known her whole by distance.

Art in Print May – June 2016 9 From New Woodcut to the No Name Group: Resistance, Medium and Message in 20th-Century China By Chang Yuchen

rints in general, and woodcuts in P particular, are frequently touted as a political art form par excellence— expressive, inexpensive, easily distributed and visually accessible. In European history printmaking was the upstart form of the Reformation and of all sorts of subsequent anti-authoritarian movements, from Mexico to South Africa. But what happens when the woodcut is adopted as the mandatory vehicle of authority? What happens to the instrument of the proletariat under a centrally administered dictatorship of the proletariat? The New Woodcut Movement (新木刻运动 ) that gained momentum during the 1912–1949 Republic of China strove for popular relevance, made its mark on history and has been well-studied; the No Name Group, which operated in secret during the Cultural Revolution, abjured print for painting, and adopted anonym- ity and privacy as both a philosophical goal and a necessary stratagem of survival. For New Woodcut artists, the print’s Jiang Feng, Kill the Resisters (1931), woodcut, 14 x 17.7 cm. Reproduced from Selection of process, history and potential social util- 50 Years of Chinese New Printmaking, Vol. 1, 1931–1949 (Shanghai: Shanghai People’s Fine Art Publishing House, 1981). ity made it an ideal art form; for the No Name Group, these same qualities made Song dynasty, known for its meticulous were all components of the solution. (In it anathema. Both were responses to, and fidelity to appearances. The “literati contrast, there were Chinese artists who reactions against, the political and social painting” that later flourished under the embraced Western modernism, such as situations of their time. Ming (influenced by Chan Buddhism) Lin Fengmian (林风眠 ), and the members An essential popular Chinese art focused instead on inner sentiment; art- of the Jue Lan Society (决澜社 ) in Shang- form for more than a millennium, in ists’ attention was diverted away from hai.) the early 20th century the woodcut was the external world of objects and toward In 1915 Chen Duxiu (陈独秀 ) published promoted by Chinese progressives for the rich textures and effects of brush and “A Letter to Youth” in the first issue of its Chinese roots and also for the way it ink; away from naturalism and toward the radical journal New Youth (新青年 ), had been employed in the West to advo- metaphysical aesthetics.1 Kang believed in which he called on young Chinese to cate for social change. While in exile in it was vitally important to return to a “Be independent and not enslaved/Be Europe at the turn of the century, the more objective set of principles, for the progressive and not conservative/Be in reformer Kang Youwei (康有为) penned sake not only of Chinese art but of the the forefront and not lagging behind.”3 two books on art theory in which he nation’s economic and social develop- Chen’s article launched the New Culture argued that in order to evolve, Chinese ment, and ultimately of its survival. Movement (新文化运动 ), which promoted painting must embrace the Western Kang and other members of the intel- democracy and science and criticized tra- methods of observation and representa- ligentsia saw the disregard of tangible ditional Chinese culture, especially Con- tion employed by his beloved Raphael. reality as a national “disease,” respon- fucianism, relentlessly. As the movement And yet, just as the Renaissance was sible for China’s aborted transition from grew more political, Chen introduced inspired by Classical antiquity, Kang a feudal society to a capitalist one, its Marxist theory into New Youth, leading also advocated for a revival of pre-Ming technological underdevelopment, and to the emergence of the Chinese Com- dynasty Chinese painting. He praised its military and diplomatic failures.2 For munist Party. Through manifestos, lit- especially the Court Academy of the Kang, science, democracy and realist art erature and art, progressive writers and

10 Art in Print May – June 2016 wounds in the material—integral components of content: “Printmakers as artists do not imitate, do not replicate; the author holds the knife towards the wood, and cuts straightaway.”6 In Lu Xun’s 1930 publication of Carl Meffert’sWoodcut Illus- trations for [Fyodor Gladkov’s novel] Cement (梅斐尔德木刻士敏土之图), he praised the “rough and organized power” of Meffert (a.k.a. Clément Moreau). The phrase can be applied not only to the cement factory that is the focus of the story but also to the visual language of woodcut itself: its composed roughness and organized distur- bance. Woodcut is the perfect instrument for conveying conflict because it requires physical struggle and celebrates powerful contrasts. In 1931, Lu Xun arranged a workshop in Shanghai and invited Japanese artist Uchiyama Kakechi to demonstrate woodcut technique. When Japan invaded China later that year, one of the work- Lu Xun with young woodcut artists in 1936. Reproduced from Selection of 50 Years of Chinese shop students, Jiang Feng (江丰), created New Printmaking, Vol. 1, 1931–1949 (Shanghai: Shanghai People’s Fine Art Publishing House, 1981). Photo: Sha Fei. woodcut flyers depicting heavily armed Japanese forces marching into a vil- thinkers endeavored to wake the Chi- shout in protest. And while the traditional lage in Shenyang. These were posted in nese people from what these reformers printing system separated the tasks of the streets to protest both the Japanese considered their destructive, isolationist drawing, block-cutting and printing, and attack and the “non-resistance policy” dreams rooted in ancient greatness. considered those performing them to be of the Chinese government then under Among these activists, Lu Xun craftsmen rather than artists, New Wood- the leadership of the Kuomintang. Jiang’s (鲁迅) was probably the most significant. A cut artists adopted the attitude of the image departs entirely from the meticu- groundbreaking writer and distinguished Western “original print.” They considered lous and decorative Chinese woodcut critic, Lu Xun was also a cultivated art the marks created by knife and chisel—the tradition, instead employing the chunky, enthusiast and collector with great authority among the left-wing artists. The Morning Flower Society (朝花社), which he established in 1929, published journals that introduced foreign literature and art to Chinese audiences. Two of these volumes were dedicated to modern woodcuts, which he considered the most accessible and efficient vehicle for circulating new revolutionary thought among the masses: “In revolutionary times woodblock is used most extensively—it can be produced immediately.”4 It was also an essentially Chinese form: woodblock printing in China had reached maturity by the Tang dynasty (618–907); the Diamond Sutra scroll, dated 868, is considered to be the earliest extant woodblock printed book.5 The New Year pictures (年画) found in almost every Chi- nese domestic environment have been produced with multi-block color printing since the 17th century. The modern woodcut advocated by Lu Xun, however, departed from this tradition in both con- Jiang Feng, 9.18 Japanese invasion of Shen Yang (1931), woodcut, 15 x 19 cm. Reproduced from tent and process. In place of religious texts Selection of 50 Years of Chinese New Printmaking, Vol. 1, 1931–1949 (Shanghai: Shanghai People’s and folktales, left-wing artists were to Fine Art Publishing House, 1981).

Art in Print May – June 2016 11 Kathe Kollwitz. The pain, sorrow and of the earlier movement. The woodcut’s resistance of Kollwitz’s prints resonated proletarian tradition and effectiveness with Chinese artists, and aspects of her meant it remained the dominant medium style—the centered, theatrical composi- of visual art, but instead of depicting pov- tions; the simplified and consolidated erty and suffering, Yan’an woodcuts cel- outline; the economical and striking ebrated the bright new life supposedly arrangement of lines—had extensive being lived in areas under Communist impact on New Woodcut artists. control. What began as a pursuit of direct During the Sino-Japanese war the communication solidified into rigid, Chinese Communist Party grew more formulaic propaganda. Yan’an woodcut powerful, and Mao Zedong consolidated merged with Soviet-influenced Socialist his authority within the party. In May Realism, which would dominate Chinese 1942, Mao delivered a famous speech at art exclusively in the following decades, the Yan’an Conference on Literature and reaching its peak during the Cultural Art, where he argued: “Literature and art Revolution. are subordinate to politics, but in their In Lu Xun’s 1927 talk “Literature of a turn exert a great influence on politics.”9 Revolutionary Period,” he said “those who Mao quoted a poem by Lu Xun, whom are strong do not talk, they kill,” just as in he admired, to support his view of art’s the natural world, “when a hawk catches Zheng Yefu, Fight (1933), woodcut, 19 x 14.5 function: “Fierce-browed, I coolly defy a a sparrow, the hawk is silent, the spar- cm. Reproduced from Selection of 50 Years of thousand pointing fingers; Head-bowed, row is the one to cry out.”12 Confronted Chinese New Printmaking, Vol. 1, 1931–1949 like a willing ox I serve the children.”10 with a ferocious foreign invasion and (Shanghai: Shanghai People’s Fine Art Publishing Art, Mao declared, “should serve the governmental repression, New Woodcut House, 1981). masses of revolutionary workers, peas- had been the cry of a sparrow, affecting ants and soldiers.” And to do so, “writers and profound. Woodcut as a medium expressive cutting, flat blocks of black and artists of promise must go among the had been empowered by genuine and and bleed compositions of modern Euro- masses . . . go into the heat of the struggle, urgent necessity. When the sparrow had pean prints. the only source.”11 In response, progres- defeated the hawk, however, it no longer In the years that followed, collabora- sive artists and writers moved in great needed to cry but used its voice to trum- tive woodcut workshops were organized numbers to Yan’an to produce art that pet its victory. In a sense, Yan’an wood- by young patriotic artists all over the answered Mao’s call. cuts are more in tune with traditional country: the MK Research Society (MK木 Though Mao had spoken highly of religious Chinese woodcuts, illustrating 刻研究会) in Shanghai; the Wooden Bell New Woodcut, the prints made in Yan’an and promoting a particular ideology. In Woodcut Research Society (木铃木刻研究 differed from—and effectively put an end fact, in accordance with Mao’s instruc- 会) in Hangzhou; China Modern Prints to—the expressionist experimentation tions to “serve the masses,” Yan’an artists (现代版画会) in Guangzhou and the Peking-Tianjin Woodcut Research Soci- ety (平津木刻研究会) in Beijing.7 These organizations produced a profusion of earnest woodcuts meant to spread revolutionary thought as vividly and compre- hensively as possible, by reaching out to the vast majority of Chinese who were not politically active or even literate. In 1933, Lu Xun wrote an introduction to a Chinese edition of Frans Masereel’s wordless woodcut novel Passionate Jour- ney in which he compares the prints to Chinese traditional long scroll paintings, which similarly employ timelines and tell stories without words. “This is very beneficial for the viewers,” he wrote, “for they can grasp the situation right away.”8 Zheng Yefu (郑野夫), another student in Lu Xun’s 1931 workshop and a life- long follower of Lu Xun , created a body of prints that clearly echoed Masereel’s artistic approach and ideological stance, such as Dawn (1933), Fight (1933) and the Hu Yichuan, To the Front (1932), woodcut, 20.5 x 27 cm. Reproduced from Selection of 50 Years 20-woodcut series, Flood (1934). In 1935 of Chinese New Printmaking, Vol. 1, 1931–1949 (Shanghai: Shanghai People’s Fine Art Publishing Lu Xun published The Selected Prints of House, 1981).

12 Art in Print May – June 2016 adjusted their style to accommodate the personal. It was the exact opposite of visual habits of the rural populace. They New Woodcut in every way but one: as abandoned the sharp contrast of black an activity it constituted resistance to and white for dramatic light and shadow tyranny. “Away from people is away from on a figure’s face, and instead used line wolves,” said Yang Yushu, but in this drawing as is traditional in Chinese xiu context nature was less a retreat than a xiang (绣像) woodblock illustration. The chosen battlefield.15 familiarity of style helped the message To smuggle art supplies to the coun- find acceptance; the vast majority of tryside, Yang Yushu and his colleagues undereducated Chinese transferred their fabricated toolboxes that could fit into religious beliefs to the new god, Mao. military messenger bags; most of the Lu Xun died in 1936. Though he had paintings they made during the Cul- played a vital role in the popularization tural Revolution are no larger than a of Marxism in China, he never joined postcard. Even so, they often felt it nec- the Communist Party himself and would essary to burn or bury their paintings so have objected to Mao’s alteration of his they would not be found by Red Guards legacy. In his critical 1908 essay “On the searching for evidence of bourgeois Power of Mara Poetry” (摩罗诗力说), he tendencies. Among the younger artists had argued that “art is a departure from who joined the group in the 1970s was any substantial utility”—an observation Zheng Ziyan (郑子燕), the daughter of that would seem at odds with his vision of Li Hua, China, Roar! (1935), woodcut, 20 x 15 the left-wing New Woodcut artist Zheng art as a tool of social reform. Perhaps he cm. Reproduced from Selection of 50 Years of Yefu. Though he had been attacked as found that living with this painful con- Chinese New Printmaking, Vol. 1, 1931–1949 a “rightist” in 1957, sent to a labor camp (Shanghai: Shanghai People’s Fine Art Publishing tradiction was the price of staying sane, House, 1981). and persecuted throughout the Cultural given that absolute belief in any direction Revolution, Zheng Yefu’s knowledge of carries the danger of fanaticism and bar- Members of the group, which also Impressionism, post-Impressionism and barism. In George Orwell’s 1984, when included Yang Yushu (杨雨澍), Shi Zhenyu other movements meant his daughter Syme talks about Newspeak, he explains (石振宇) and others, had met a decade and her fellows had rare and thrilling that his job is not to invent new words earlier in an amateur class at a private access to information about art and liter- but to destroy existing ones so “thought- art school. Many had been rejected by the ature the rest of the nation lacked. In her crime” would be annihilated, as “there Central Academy of Fine Arts and other memoir she notes that most of the books will be no words in which to express it.” official institutions because of “bad fam- that circulated within the group had He concludes: “The Revolution will be ily backgrounds” (meaning relatives who been stolen from the Ministry of Culture complete when the language is perfect.” had been associated with the political stockpiles awaiting destruction, or were In the case of China, the completion of opposition). All worked day jobs, mostly hand-written copies of those condemned the revolution required all language, heavy labor in factories or on farms, but volumes.16 including visual language, to be reduced they gathered regularly to paint, and in When Mao died in 1976 the “ten years to a handful of repetitive tropes. Wood- July 1963 they initiated their practice of of turbulence,” as the Cultural Revolu- cut, once the instrument of popular resis- plein air painting, taking a 19-day paint- tion is known in China, came to an end. tance, was now an oppressive tool of the ing tour of suburban Beijing.14 Recognizing the need for profession- state. Chinese artists and writers have for als to lead Chinese economic and cul- On 18 August 1966 more than a mil- centuries retreated to nature during dif- tural development, the new government lion members of the paramilitary youth ficult political times. When it has become released and rehabilitated many of those group, the Red Guards, converged on impossible to serve the country as Con- who had been persecuted. Jiang Feng, Tiananmen Square for a personal audi- fucianism advises, they have turned to who had played a crucial role in the New ence with Chairman Mao, who anointed Taoist and Buddhist philosophical con- Woodcut movement, had been labeled them enforcers of the Cultural Revolu- cerns. The Return Home poems of Tao a “rightist” in 1957 and spent 21 years in tion and its goal of purging all vestiges Yuanming (陶渊明, ca. 365–ca. 427), the disgrace. In 1979 the Ministry of Cul- of bourgeois, traditional or alternative landscape ink paintings of Jing Hao ture restored his party membership and thought from the nation. (荆浩, ca. 855–915), and the flower-and- named him the director of the Central That same day a group of young art- bird paintings of Zhu Da (朱耷, ca. 1626– Academy of Fine Arts, and later the chair- ists gathered in the countryside outside ca. 1705) are quintessential examples of man of the newly reconstituted Chinese Beijing to paint together in tranquility. It this tradition of harmony between man Artists Association. Another supposed was a dangerous thing to do. Zhao Wen- and nature. “rightist,” Liu Xun (刘迅), was released liang (赵文量) painted several large trees The Cultural Revolution, however, from prison in 1977 and named head of on a piece of packaging cardboard and politicized every aspect of life. Any the Beijing Municipal Artists Associa- later wrote on the back: “After painting behavior that implied even indifference tion. When he learned about the group this on August 18, 1966, the bloodshed toward the revolution was grounds for of plein air painters who had continued and terror of the ‘Red August’ began. We prosecution. Plein air landscape paint- working under such impossible condi- had to stop painting for 45 days. On Octo- ing supported no revolutionary goals—it tions, Liu Xun organized an official exhi- ber 2nd we took up the brush again.”13 was hand-made, unique, intimate and bition of their work. Zhao Wenliang now

Art in Print May – June 2016 13 Left: Zhao Wenliang, front of August 18, 1966 (1966), oil on paper, 21.3 x 18.2 cm. Reproduced from Gao Minglu, The No Name: A History of a Self-Exiled Avant-Garde (Guilin, China: Guangxi Shifan Daxue Shubanshe, 2007). Right: back of August 18, 1966.

dubbed them the No Name Group. More turies to express resistance to institu- 6. Lu Xun, “Introduction to Selection of Modern than 2,700 people visited the exhibition tional power, became in China the means Woodcut,” Morning Flowers in the Garden of Art on the first day, including the acclaimed of totalitarian indoctrination, while 1 (Shanghai, January 1929). artist Liu Haisu (刘海粟), who, deeply landscape, generally considered the most 7. In these workshops, groups of young artists gathered together to share their skills and revo- moved, wrote the inscription: “Beauty is conservative and conventional of genres, lutionary thoughts, and to produce prints together. here” (美在斯). became in the hands of the No Name MK Research Society was established in 1932 No longer defined by hostile outside Group a dangerously radical practice. and closed down in 1934, when most of the par- forces, however, the group lost cohesive- Politics is a perspective, a way of seeing: a ticipants were arrested. Similar fates befell the ness. Several members went abroad in the work of art may be registered as “revolu- other organizations. 8. Lu Xun, Preface for Passionate Journey by 1980s, some stopped painting, some are tionary” just as a certain hue might Frans Masereel (Shanghai: Liangyou Publishing still painting and still nameless—just as appear to color a white china vase under Company, 1933). they refused to cooperate with politics, particular lighting conditions, then shift 9. Mao Zedong, “Talks on Yan’an Forum on Litera- they are equally resistant to the booming swiftly with a change in weather, when ture and Art,” Liberation Daily, October 19, 1943. market for Chinese contemporary art. the moment passed. 10. Ibid. 11. Ibid. They have been outsiders all along. 12. Lu Xun, “Literature of a Revolutionary Period,” In 2006, an exhibition at the Guang- a talk given on April 8, 1927, at the Huangpu Mili- Chang Yuchen is an artist who currently lives dong Museum of Art addressed this for- tary Academy, included in Eryi Ji (Beijing: Beixin and works in New York. gotten history. In the catalogue, A History Publishing House, 1928). of a Self-Exiled Avant Garde, curator Gao 13. Juliane Noth, “Landscapes of Exclusion: The No Name Group and the Multiple Modernities in Mingly (高名潞) observes that the “art for Notes: Chinese Art around 1979,” in Negotiating Differ- art’s sake” philosophy of the No Name 1. “Literati painting” refers to a school of Chinese ink painting, practiced by scholar-artists who pur- ence: Contemporary Chinese Art in the Global group does not coincide with the tenets sued personal expression rather than naturalism Context, ed. Birgit Hopfener et al. (Weimar: Ver- of postmodern art, with their strong ten- or superficial beauty. lag und Datenbank für Geisteswissenschaften, dency towards social critique or interven- 2. Historian Joseph Needham once observed of 2012), 51. 朱熹 14. For some time the group was called the Yu tion.17 Art history, like history at large, Chinese philosopher Zhu Xi ( ), “before he Yuan Tan Lake School after an isolated park with is an artifact of a community; it exists in could achieve a Newtonian view of the universe, he’d already had a Einsteinian view of the uni- wild natural scenery they painted frequently. the public domain and concerns primar- verse.” Huang Renyu, He Xun River of Chinese 15. Sheng Wei, “On No Name Group,” CAFA ily public matters. In the era of extreme History (Beijing: SDX Joint Publishing Company, Art Info, May 30, 2011, http://www.cafa.com.cn/ collectivism, the No Name Group delib- 1997). Perhaps this is also true of art—before comments/?N=45. erately withdrew from the masses, and Chinese artists could become competent in rep- 16. Zheng Ziyan, “The No Name Group I Know resenting objective reality, they had already mas- (Sequel 1),” Zheng Ziyan Blog, http://blog.sina. thus from the historical record. com.cn/s/blog_da3bc1190101r9mm.html. The official account of 20th-century tered the depiction of intangible and transcendent content. 17. Gao Minglu, “The No Name Group: An Avant- art in China has been largely focused on 3. Chen Duxiu, “A Letter to Youth,” New Youth 1, Garde in Self-Exile from Kitsch,” in The No Name: political orientations rather than aes- no. 1 (September 15, 1915). A History of a Self-Exiled Avant-Garde, ed. Gao thetic values. Political content, however, 4. Lu Xun, “Introduction to Selection of Modern Minglu (Guilin: Guangxi Normal University Press, 2006), 31–80. does not inhere in the medium itself—it Russian Art,” Morning Flowers in the Garden of is a shade cast by circumstance and Art 5 (Shanghai, May 1930). 5. Diamond Sutra. Cave 17, Dunhuang, ink on human manipulation. Woodcut, adopted paper, in British Library, http://www.bl.uk/onlin- by reformers across continents and cen- egallery/sacredtexts/diamondsutra.html.

14 Art in Print May – June 2016 A Home in the Universe: Kate McQuillen on Night House By Miguel de Baca

Kate McQuillen, Night House (2015), printed styrene affixed to the facade of a home.

he epistemology of the home is the night sky. The second is an edition a progressive enclave situated between T complex. Home is a location that, of posters, screenprinted with whimsical working-class suburbs to the north and to quote feminist critic Donna Haraway, inks including glow-in-the-dark, metallic south, Chicago’s notoriously beleaguered makes “claims on people’s lives.”1 It is and varnish, sold to fund the installation. West Side (Austin) to the east, and the a physical place in the world as much Night House was part of the Second more homogenously affluent River Forest as a place in discourse. A home conveys Terrain Biennial (23 August–30 Septem- to the west. The birthplace of Frank Lloyd return. As a site, it is the beginning and ber 2015), an extension of the Terrain Wright’s Prairie style (his Home and Stu- end of a journey. But as a body of knowl- Exhibitions alternative art space founded dio are located there), Oak Park combines edge, home resides within us as indivi- in 2011 by artist Sabina Ott and writer historically significant architecture, lib- duals, a habit of mind. Kate McQuil- John Paulett in the front yard of their eral politics and an atmosphere of toler- len’s dreamy, cosmic project, Night House house, also in Oak Park. Their mission ance similar to what one might find in (2015), plays with our instincts about was to generate a novel conversation artsier quarters of Chicago proper. what, and where, is home. about public art, introduce a new rela- The Biennial expands the Terrain Night House is a print-based work in tionship between contemporary art and Exhibitions idea—“site-specific art made two parts. The first was a site-specific local community (there is an elementary for front yards, balconies, and porches,” installation in which large sheets of sty- school across the street), and challenge according to the website—to sites around rene printed with Hubble Space Telescope stereotypes about suburban space as con- the world. The recent iteration involved photographs were temporarily stapled servative, boring and devoid of emergent 75 artists and three collectives at 60 to the façade of a house in the Chicago culture. locations in the United States, Canada, suburb of Oak Park, in a way that sug- Suburbs, of course, vary in character. Cambodia and Denmark. Ott exercised a gested the structure’s dissolution into The Village of Oak Park happens to be light touch, directly curating only a few

Art in Print May – June 2016 15 projects on her block, while artists and the same acronym as the National Secu- is it that you want to see? homeowners elsewhere were encour- rity Administration). No Such Agency I Night House marks McQuillen’s migra- aged to develop their own collaborations. is a wall-sized agglomeration of black- tion from the ambivalent constructs of Night House was installed on the house and-white monoprinted squares. On the the paranoid homeland to those of the of curator and writer Claudine Isé—a right, a silhouetted female figure drawn home, keeping in play the consequences 1911, American Craftsman, two-story to the proportions of McQuillen’s body is of visibility and invisibility. One of the house with an open porch, gabled roof shown holding a camera aloft, posed as inspirations for Terrain Exhibitions was with wide eaves and exposed brackets. the stereotypical tourist, blithely oblivi- the lawn ornamentation in the yards of Typical of its section of Oak Park, it is ous to billowing plumes of ominous black Sabina Ott’s neighbors, which defied the set back from the street by a modest matter. No Such Agency II applies the common invisibility of suburbia within yard and situated close to its neighbors. same technique to a 10-1/2-foot-tall cylin- metropolitan space. McQuillen’s Night McQuillen’s installation stretched 25 drical pillar rigged with interior lights. House embraces the wonder of strange- feet across the façade, covering the shin- The stateliness of the columnar form is ness in a familiar place. It positions the gled second story and the stucco porch undermined—deliberately, I think—by viewer in front of a house that is also pillars. the irregular seams between the individ- the sky and by extension the universe—a By day, the building showed that ual slips of paper, rendering it decorative, position of compelling coincidence uni- which is usually revealed only at night. mosaic-like. fying the intimate and the vast unknown. In crepuscular light, the façade withdrew No Such Agency shares the themes of One wonders if the human fascination into the blue and purple of the late sum- McQuillen’s X-Rays series (2012), pres- with outer space must in some way derive mer sky. At night, however, the installa- sure monoprints that depict gauzy from our sense of being perpetually mar- tion came alive when interior lamplight lingerie concealing matchbooks and ginal to it, invisible to it, comprehending seen through the windows showed it to pocketknives. Anyone who has traveled our smallness within its expanse. Night be inhabited. In McQuillen’s screenprint through an airport in the last 15 years House accepts being at home as the pre- (which employs the aptly named Neenah will instantly get the point: this is the condition for venturing beyond. “eclipse black” paper), the sliver of a wan- disgruntled mien of the 21st century, in I met McQuillen to discuss Night ing moon at the top left echoes a lit spher- which we surrender privacy in the inter- House, printmaking and the home. The ical lantern in Isé’s home office. Inside est of security. More than the specter following is an abridgment of our conver- and outside collide. of match-wielding fanatics, McQuillen sation. McQuillen’s work, most of which evokes the public consternation over takes the form of prints, has repeatedly the implementation of backscatter X-ray Miguel de Baca What motivated your dealt with the public and private self, the body scans at American airport security interest in Night House? What are the monumental and the vulnerable, and the checkpoints. To decline these scans, in issues present that drive your further pressure between assertion and oblitera- which TSA staff see the contours of the thinking in the printmaking field? tion. I first met the artist during her 2014 body under one’s clothing, means sub- residency at Lake Forest College, where mitting to hands-on inspection. McQuil- Kate McQuillen I think the big motiva- she created a two-part installation of col- len’s prints depict dangerous contraband tor in this project was taking something laged monotypes on the theme of surveil- sheathed within garments of erotic really solid and then turning it into some- lance (the title, No Such Agency, supplies desire, as if to prompt the question: What thing almost immaterial, making it feel

Left: Kate McQuillen, Night House Poster (2015), screenprint, 20 x 16 inches. Open edition. Printed and published by Lights Out Press, Chicago, IL. Right: Kate McQuillen, Night House (2015), printed styrene affixed to the facade of a home.

16 Art in Print May – June 2016 KM The universe is our home. It is the unknown, but it’s also our home. We do live in it. Starlight is something that we see and experience but it started so, so far away. And that, to me, is an amazing thing, that something so far away comes to us here.

MdB Just recently we saw that Albert Einstein’s prediction about gravitational waves was proven—when two black holes collide, there is a sound. And I just think it’s astounding that there are these antennae in Washington and Louisiana that can pick up a sound coming from a billion light years away.

KM I’ve always been interested in things that are unseen or unseeable and making them visible. The X-Ray work that I did earlier was about those same ideas. Kate McQuillen, No Such Agency I (2014), collaged monoprints, site-specific installation at the Sonnenschein Gallery and Albright Room, Lake Forest College, 138 x 168 inches. At that point, I was talking about surveil- lance, that it’s a way to make the unseen transient or changeable. I was interested KM Those works were amazing, and they seen. So this question about light as a in the idea that you could take some- did have that haunting feel, like a rem- metaphor for knowledge, for understand- thing that was steady and make it seem nant of something. The fact that those ing, has been in my work for years. Star- unsteady. And along with that, working images were directly transferred from light in Night House is the evidence of on a really, really large scale. It felt like it newspapers really brought that home. A something so, so far away and our under- needed to be that big in order to get that print is usually something that has come standing of something so, so far away feeling across. off of a matrix. But Rauschenberg’s spe- merging with our understanding of our Night House was essentially a large- cific use of newspaper transfer makes it known space. scale graphic that had a short shelf-life. seem as though we’re the matrix—our There are other contemporary printmak- daily life, that is, in the form of the news. MdB That is a bridge to thinking about ers who are working with these ideas: printmaking, too. The matrix is, in a way, there is a lot of dialogue in Printeresting’s MdB In Night House, you’re cloaking a the invisible thing. Ghost (an online publication developed by home in something that represents the Amze Emmons, R. L. Tillman and Jason universe. KM The matrix is the thing that holds Urban) with artists who are working with ideas of cloaking and ghost-like things that are changeable and fleeting. They were looking at Night House as a cloaking device; that I really liked, and I do think there are ties in print to that. We all know that prints are impermanent in some sense.

MdB That quality is also what is so moving about Robert Rauschenberg’s Hoar- frost solvent transfers on silk and cotton (recently shown in “The Serial Impulse” at the National Gallery of Art; see Art in Print Mar–Apr 2016).

KM It really pulled it together for me to see Rauschenberg’s work on something that was not canvas. Kind of in between a canvas and paper.

MdB When I look at Rauschenberg, I get a sense of inversion or playfulness, but I never Left: Kate McQuillen, No Such Agency II (2014), collaged monoprints, site-specific installation really got the sense of disguise or cloaking, at the Sonnenschein Gallery and Albright Room, Lake Forest College, 126 x 15 x 15 inches. so seeing it on silk was transformative. Right: Detail from No Such Agency II (2014).

Art in Print May – June 2016 17 Left: Kate McQuillen, Matches (2012), pressure monoprint, 30 x 22 inches. Right: Kate McQuillen, Drop Point Blade (2012), pressure monoprint, 30 x 22 inches. Both photos: Stephen DeSantis. all the power. The print goes out into the that they referred to—it’s telling. It’s house. And then over the course of the world and it does its thing, but the matrix comforting. And it was really important few months that I was working with is always there to be replicated and to to me that this piece appeared to have Claudine Isé, I got to know her and her continue that process over and over and the Milky Way in it. The Hubble photos family a little bit. She has a daughter who over. So in Night House, there was just the were way out in space. There was no ref- might be seven or eight, and she and her one printing, but I still do have the digital erence point. It didn’t really feel like what friends would play on the lawn when I file I made from public domain Hubble I see when I look at the stars. So I altered was installing. When I went to take the Telescope photos. I could apply that to that starting image to make it look like final documentary photograph, they other homes in the future. I would love to the Milky Way. I wanted it to feel like were out of town. When I got there, their find more and more homes where I could when you were standing and looking at daughter’s scooter was leaning against do this and then look at them collectively. the house, you were out in the middle of the front door. At first my instinct was to nowhere looking at the night sky. So the take everything away—to have this pris- MdB This is not directly related to what perspective is that of humans on earth tine photo that was just the house. But you just said, but I was also thinking looking at space. then I realized that I wanted to have the about a New Yorker article of awhile ago scooter in the photo as evidence that the discussing this idea that the word “gal- MdB Your digital file is a composite, so it family lives there. axy” is derived from the Greek word for shows a sky that cannot actually be seen That led to other decisions, like leav- “milk,” and how milk has such a strong anywhere. ing the window shades staggered. And connotation with femininity—I guess Let’s talk about this article you for- that was really unexpected. Dionne- more specifically to womanhood, but also warded me by Arièle Dionne-Krosnick, Krosnick’s essay mentions that the house domesticity and nurturing as one type of “What Do Houses Want?,” on the subject takes on the identities of the people who femininity.2 of houses having individual identities.3 live there and then gives back to them Thinking about Night House as an indi- in that way. That was something that I KM The Milky Way is our home within vidual, a character, I was wondering what really wanted to keep in the photograph. the bigger universe. When you look at you think are its dialogues and desires? the Milky Way, it’s like a spilled liquid. MdB That reminds me also of installation It’s something that flows across our sky. KM When I first pitched this project, work or process art. I’m thinking of spe- The Greeks chose milk to be the liquid I was just thinking about cloaking the cifically Anne Wagner’s writing on Gordon

18 Art in Print May – June 2016 Matta-Clark and his architectural inter- but was equally about cultivating a com- MdB That’s a beautiful point. ventions on houses, because I think that munity of artists. Chicago was a foreman work involves a social context that exceeds in a different way. The project was about KM And again that’s visualized through the gesture of cutting the architecture and embracing women’s work and encour- the light, and that’s something I always becomes about the history and the context aging collaboration amongst women, come back to. Internal luminosity is a of that specific site.4 grounded in an ideological standpoint. reflection of a person, an identity or a presence. KM I love his work because it is not only KM It was pretty much all women who destructive, but also constructive at the made Night House happen. Some guys did I extend my thanks to Luca Ferincz and Karla same time. In Night House, thinking about show up at the end to pack up the work Finley for their research assistance. the house disappearing temporarily does on the house. have a somewhat destructive bent to it. If Miguel de Baca is Associate Professor of the house were not there anymore—there MdB You could have done it if you’d Art History at Lake Forest College, where he is is something unsettling in that. wanted to, right? the chair of the American Studies program.

MdB By making it invisible, you’ve KM I didn’t have the insurance required Notes: destroyed it. to do it. But [in terms of domesticity as 1. Donna Haraway, “Situated Knowledges: The a gendered construct] I do think you’re Science Question in Feminism and the Privilege KM Right. If I could do this project again right to notice that this happened on a of Partial Perspective,” Feminist Studies 14, no. 3 in another location, I would do it on a house rather than some other space. It’s (Autumn 1988): 589. home out in the countryside, where I relevant to the project. I’ve thought about 2. David Owen, “The Dark Side: Making War on Light Pollution,” New Yorker, 29 August 2007, could put it up against a really, really executing it on other types of surfaces, 28–33. starry sky. I would make it look more like like warehouse spaces, but the domestic 3. Arièle Dionne-Krosnick, “What Do Houses it was disappearing. element became a huge part of the work Want?” Shift: Graduate Journal of Visual and conceptually. Material Culture 6 (2013): 1–18. MdB As an aside, have you been to the The poster was another way in which 4. Anne Wagner, “Splitting and Doubling: Gordon Matta-Clark and the Body of Sculpture,” Gray Chinati Foundation in Marfa, Texas? The community became part of the project. Room 14 (2004): 26–45. biggest thrill is to see Donald Judd’s 100 It was essentially supported by friends Untitled Works in Mill Aluminum (1982–86) and people who follow my artwork. So inside two artillery sheds adapted with there was the public aspect of the art- floor-to-ceiling windows. When the set- work itself, and then there was the public ting sun illuminates the boxes, they vir- aspect of funding it through the print. I tually disappear into reflected light. You think everybody who bought a poster felt realize the potential of that work to trans- like they had a little piece of this house. form the beholder’s perception of his or her own space because you personally feel MdB In No Such Agency and the X-Ray as though you’ve also been dissolved into Series, personal identity becomes public, the radiant sunlight. It is a really interest- insofar as the works are about your own ing experience, and one that, like you’ve body. In Night House, a family’s home been saying, can only be available to us becomes public. The ideas merge the when there’s no visual interference. personal, intimate, and even emotional. That is, not emotional in a specifically KM In this project, I had an interest in sentimental sense, but the work on sur- taking on the role of a foreman, of some- veillance seems to be about violation and one running a construction project. That measuring one’s personal reaction to how is exciting to me as an artist and as a way much of yourself you’re willing to give of working; I’ve found that I love putting up. You can read that in terms of gender, together projects that involve not only the because I think women are always asked physical making, but also the execution. to give up more of themselves personally than men. MdB In my book on the sculptor Anne Truitt, I consider that when she was liv- KM In the documentary photograph for ing in Japan (1964–67), her studio oper- Night House, the stars are the first thing ated like a small corporation of which you see. But there’s also radiant light she was the chief executive. She had to coming out of the windows that to me, find industrial fabricators, locate places talking about light reaching out, refers to to buy paint, and locate someone to sol- the people inside. That’s their light com- der the edges of the sculptures. Compare bined with the starlight. Although it’s the that to Judy Chicago and Miriam Scha- façade of the house we’re looking at, we’re piro’s iconic Womanhouse (1972), which, really talking about what’s happening of course, physically occupied a house, inside the house.

Art in Print May – June 2016 19 Grayson Perry Maps Essex for Us All By Julie Warchol

A House for Essex (2012–2015), in Wrabness, Essex, United Kingdom. Photo: ©Jack Hobhouse.

n May 2015 Grayson Perry unveiled of 61. For Perry, Julie is the archetypal the borders of class and cultural capital. I his most ambitious and personal work Essex woman: average, hardworking One of the Britain’s most visible and to date, A House for Essex (2012–15), in the and imperfect, but resilient in the face successful contemporary artists, Perry English village of Wrabness on the Stour of life’s obstacles.2 Although the build- was born and bred in Essex, a place that Estuary in Essex, about 70 miles north- ing has become known in the media as is shorthand for a certain working-class east of London. The two-bedroom house the “gingerbread house,” and locally as brashness (not dissimilar to the way is the eighth building commissioned by “Julie’s House,”3 Perry’s title reveals its “Jersey” is used in the States). Describing Living Architecture, philosopher Alain true subject: a particular English county “a county of near-mythic reputation in de Botton’s not-for-profit organization, and its blue collar women. A House for the British popular imagination” in her which invites celebrity artists and archi- Essex and its related woodcuts—Six 2009 monograph on Perry, Jacky Klein tects to design modern vacation rent- Snapshots of Julie (2015)—portray this observed: als.1 Designed in collaboration with FAT geopolitical location not through topog- architect Charles Holland, Perry’s con- raphy or history but by evoking its inhab- Since the 1980s nowhere in the UK has tribution to this urbane endeavor was itants. Given its function as a short-term been the butt of more classist jokes conceived, somewhat subversively, as a holiday rental, A House for Essex has the or clichéd caricatures: the wide-boy livable “temple” dedicated to a fictional potential to bring well-heeled visitors gangster; the boy racer with stereo working-class woman named Julie Cope. into intimate contact with another kind pumping from his souped-up Cortina; According to her concocted biography, of life, one they might not otherwise the white-stilettoed, mini-skirt ladette, Cope (1953–2014) was a twice-married pause to consider,4 while the woodcuts all bleached hair and bling. The stereo- mother of two who died tragically when invert the process, bringing Julie into typing of “Essex Man” and “Essex Girl” hit by a delivery motorbike at the age other people’s homes, further penetrating came, of course, with a strong bias

20 Art in Print May – June 2016 Left: Grayson Perry, Map of Days (2013), etching from four plates on one sheet, 111.5 x 151.5 cm. Edition of 68. Printed by Paupers Press, London. Published by Paragon Press, London. ©Grayson Perry and Paragon | Contemporary Editions Ltd. Right: Grayson Perry, Map of Nowhere (2008), etching from five plates on one sheet, 153 x 112.5 cm. Edition of 68. Printed by Paupers Press, London. Published by Paragon Press, London. ©Grayson Perry and Paragon | Contemporary Editions Ltd. against the apparently tasteless work- British map that shows only the major his world and the circle surrounding his ing class.5 landmarks on the pilgrimage route abstracted body is populated with tiny between London and Canterbury.7 buildings, portraits, flora and fauna, Perry departed Essex to study at Ports- The artist’s first print was an etching, each inscribed with a caption. While mouth Polytechnic, and after moving to Map of an Englishman (2004), inspired Map of an Englishman and Map of Days London in the early 1980s he made several by 16th-century Dutch maps and Emma depict Perry’s emotional life in terms of works that parodied Essex stereotypes, Kay’s large drawing World Map from a fictional topography, Map of Nowhere such as his 47-minute Super-8 film, The Memory (1999). It presents a sprawl- articulates navigation routes between Poor Girl (1985), which includes a deliber- ing fictitious island dotted with build- private instincts and external relation- ately hokey plot about a murderer and a ings, mountains, trees and rivers labeled ships. A cluster of structures that descend female cult of consumerism, and his Essex “Love,” “Anger,” “Tender,” “Narcissism,” along the artist’s left leg are labeled “Lat- Man Leathers (1989), a self-designed biker “Catharsis” and so on. Revealingly, the est must-have,” “Logo board,” “Internet outfit complete with a large schematic “Posh” peninsula (where the village dating,” “Hot curator,” “Project space,” drawing of an erect penis, a tongue-in- of “Svelte” is just down the road from “Metaphor-deficient,” “Meritocracy,” “Aca- cheek comment on the machismo com- “Bulemic”) abuts the territory of “Bloke” deme” and “Metropolitan elite.” These monly associated with biker culture.6 (home to the church of “Car Accessories”). are met with feelings inscribed within These early works, however, lack the ele- The surrounding seas include “Agorapho- Perry’s corpus such as “Doubt,” “Hubris” giac tone of Perry’s observations on the bia,” “Dementia” and “Delirium.” Perry and “Post-Ironic Sincerity.” In Perry’s life of Julie Cope. explained: “A lot of people think it’s gen- etched maps, place is a metaphor for the The ceramics and tapestries for which erally like an Englishman. It is an English- psychological and social experience of Perry is best known address subjects both man. It is me.”8 In the more recent Map the self. A House for Essex, however, uses personal and universal, from his own of Days (2013), he offers a self-portrait in the archetypal Julie as a metaphor for biography and transvestitism to broader the guise of a fortified medieval town, a place—Essex—and its position on the issues of gender, sexuality, social class whose streets carry names such as “Alpha British socioeconomic map. and the contemporary art world. He has Masculinity,” “Self-Sabotage,” “Intuition” Although the life it commemorates is long been fascinated by maps, especially and “Revenge.” These maps chart things pointedly ordinary, Perry’s site-specific those depicting “imaginary lands, feel- as concrete as mountains and as elusive Gesamtkunstwerk is utterly extraordinary ings or social phenomena”; among the as our sense of self.9 in its design. With its copper roof, arched objects he selected for his 2011–2012 Brit- Perry’s Map of Nowhere (2008) was gables, red French doors, patterned walls ish Museum installation, “The Tomb of inspired by the Ebstorf Map, a famous of triangular green and white tiles, and the Unknown Craftsman,” were works 13th-century German mappa mundi green ceramic reliefs of Julie as a nude from the collection that exemplify car- that followed the medieval convention goddess, the exterior is a quirky assem- tography’s inherent subjectivity, such of mapping the world onto the body of bly of architectural elements from as a 19th-century sailing chart from the Christ (the map was destroyed in World English country homes, Islamic archi- Marshall Islands, comprised only of War II but was well documented).10 In tecture and medieval European relief sticks and shells, and a contemporaneous Perry’s etching the artist is the center of sculpture. The interior is decorated with

Art in Print May – June 2016 21 preview of the house. The evening before the preview, Perry and the Julies swapped life stories over wine, discovering a range of shared experiences, including career changes, failed marriages, socioeconomic difficulties and familial tensions. The film culminates with the Julies’ first visit to A House for Essex, which brought one of the women to tears.12 Biographical commonalities are instrumental in the production of what anthropologist Arjun Appadurai calls “locality,” a phenomenon that is “primarily relational and contextual rather than . . . scalar or spatial.”13 For Appa- durai, locality is, above all, a social and phenomenological quality—the result of a community’s shared experiences. Thus a “local” community is not characterized by geographic proximity alone but by the members’ socioeconomic or cultural commonalities.14 As a distillation of the shared experiences of Essex women, Julie Cope is more than a fictional character— she is an expression of Essex women’s locality. She—and, by extension, the house that is her shrine—mirror their lived experiences. The house exists only in Wrabness, but pieces of it have been produced in multiple, enabling Julie’s life story to travel: one can purchase four-meter-high tapestries of her weddings or modest tea towels that map her life in Essex. By far the most thorough treatment, however, is the woodcut series Six Snapshots of Julie, an episodic visual biography, printed in both color and black-and-white editions, based on the wallpaper that lines the living room of Julie’s house. Each print Top: Grayson Perry, A House for Essex (2012–2015), exterior view of ceramic tiles. Above: interior represents one decade of her life; we see view. Photos: ©Jack Hobhouse. her grow from a knobby-kneed child into a rebellious biker teen, a responsible an array of works illustrating Julie’s life: son Perry’s Dream House, followed the mother, an independent woman, and tapestries, woodblock-printed wallpaper, project over the course of three years and finally a happily remarried, middle-aged, a freestanding ceramic Julie goddess, makes clear that Perry considered local world traveler. and a Honda moped—supposedly the women both the inspiration for the house The Snapshots bypass most of the one that killed her—hanging from the and its primary audience. In the planning darker details, such as her first mar- living room ceiling. Its combination of stages, the artist spent many hours in riage to an unfaithful husband and her vibrant colors—which architectural critic cafés, hair salons and other local haunts, untimely death. The garish appearance William Hall likened to “being inside observing and talking with people about of the color impressions—most notice- a migraine”11—and architectural styles Essex women, gathering ideas for the able in the mustard yellow, black and is characteristic of Perry’s penchant for life of Julie Cope. Throughout the build- blood-red skies—does hint at her disad- historical appropriation and flamboy- ing’s construction, he presented his plans vantages and inevitable demise, but the ant ostentation, and offers a fantastical to—and welcomed feedback from—the focus is elsewhere: despite inhospitable testament to the artist’s virtuosic facil- residents of Wrabness at regular town surroundings, Julie appears positive and ity with multiple mediums. It also marks meetings. When it was finished in 2015, cheerful throughout. Julie Cope—so the culmination of his explorations of the Perry invited six “Essex Julies” of different aptly named—is the embodiment of personal, psychological and social impli- ages and professions to accompany him perseverance and making do. cations of representing place. on a bike tour of the county that lasted The last two woodcuts picture Julie’s A 2015 Channel 4 documentary, Gray- several days and ended with a private happy relationship with her second hus-

22 Art in Print May – June 2016 band, Rob, and the final image shows her in front of the Taj Mahal, which was Perry’s conceptual inspiration—he often calls the house “an Essex Taj Mahal”15 or “the Taj Mahal on the River Stour.”16 In the fictional account, A House for Essex is not Perry’s work of art; it is the shrine Rob has built to his deceased wife. And, like the Taj Mahal, Perry’s house lives on primarily as a tourist destination. Unlike the formal, stylized tapestries (Julie and Dave, Julie and Rob, A Perfect Match and In Its Familiarity Golden),17 the woodcuts adhere to the conventions of snapshot photography, marked by the tension between Julie’s contrived poses and the candid immediacy of her surroundings. The scenes themselves are almost entirely unremarkable, which is the point. Like snapshots, which are not self-explanatory containers of meaning but touchstones for anecdotal stories, Perry’s Six Snapshots of Julie require narra- tion.18 As we recite her story, we continue to do the work of A House for Essex— recognizing the valor and resilience of lives that are rarely celebrated in any public forum. For Perry, the act of representing a place requires an intimate understanding of its people—their life stories, cultural customs, social networks and self-images. Perry’s monument to the “trials, tribula- tions, celebrations and mistakes of an average life”19 is simultaneously a portrait of an individual, a community and late 20th-century Essex. Both the building and its mobile artifacts offer tribute to the popularly disdained residents of Essex, and do so through a design language that is at once local and cosmopolitan.20 Their purpose is neither idyllic escape, nor a classist version of exotica, but a celebration of locality and a window into Essex life—or at least Perry’s version of it. Grayson Perry, from Six Snapshots of Julie (2015), series of six woodcuts with lithographic underlay, 75.5 × 48.5 cm each. Edition of 48. Printed by Paupers Press, London. Published by Paragon Press, London. ©Grayson Perry and Paragon | Contemporary Editions Ltd. Julie Warchol is the Associate Editor of Art in Print and the Curatorial Associate at the perrys-dream-house/on-demand/54816-001. and Poverty Chinoiserie (2003), similarly satirize Terra Foundation for American Art in Chicago. 3. See William Hall, “ ‘It is like being inside a class distinctions in the art world. The latter, which migraine’—the first visitor to Grayson Perry’s depicts the poor and homeless milling about an House for Essex reveals all,” The Guardian, last acid-green vase topped with a small ramshackle modified 5 July 2015, accessed 27 February home, can thus be seen as a precursor to A Notes: 2016, http://www.theguardian.com/artanddesign/ House for Essex. 1. http://www.living-architecture.com. The rentals shortcuts/2015/jul/05/first-visitor-grayson-perrys- 5. Jacky Klein, Grayson Perry (New York: Thames can be booked online and are not especially house-for-essex. A House for Essex was called & Hudson, 2009), 39. Perry grew up in the village expensive. That said, the audience most attracted the “gingerbread house” in “Take a walk around of Broomfield and later in Bicknacre, both about to the idea of a holiday in a piece of avant-garde the house that Grayson Perry designed,” BBC 40 miles from A House for Essex. architecture is likely to be fairly culturally sophis- News, last modified 16 May 2015, accessed 28 6. Ibid., 39–40. Perry’s Essex Man Leathers are ticated. February 2016, http://www.bbc.com/news/enter- illustrated on p. 40. For other works inspired by 2. “Grayson Perry’s Dream House,” Channel 4, tainment-arts-32751434. Essex, see Commemorative Plate No. 17 and aired 17 May 2015, accessed 1 February 2016, 4. Several of Perry’s ceramic works, such as Pot No. 30 (1985), 33. http://www.channel4.com/programmes/grayson- for a Wealthy Westerner with Good Taste (1994) 7. Grayson Perry, The Tomb of the Unknown

Art in Print May – June 2016 23 Grayson Perry, from Six Snapshots of Julie (2015), series of six woodcuts with lithographic underlay, 75.5 × 48.5 cm each. Edition of 48. Printed by Paupers Press, London. Published by Paragon Press, London. ©Grayson Perry and Paragon | Contemporary Editions Ltd.

Craftsman (London: The British Museum Press, walk around the house Grayson Perry designed,” Channel 4, http://www.channel4.com/pro- 2011), 111–122. BBC News, http://www.bbc.com/news/entertain- grammes/grayson-perrys-dream-house/on- 8. Perry quoted in Etienne Lullin and Florian- ment-arts-32751434. demand/54816-001. Oliver Simm, eds., Contemporary Art in Print: The 13. Arjun Appadurai, Modernity at Large: Cultural 20. Visits to A House for Essex are booked through publications of Charles Booth-Clibborn and his Dimensions of Globalization (Minneapolis: Uni- Living Architecture by ballot and cost between £94 imprint The Paragon Press, 2001–2006 (London: versity of Minnesota Press, 1996), 178–179. and £150 per person per night. See “A House for The Paragon Press and Contemporary Editions 14. Ibid. For Appadurai, locality becomes less Essex,” Living Architecture, accessed 28 Febru- Ltd., 2006), 326. The emphasis is mine. For more and less grounded in geographic proximity due ary 2016, http://www.living-architecture.com/the- on Map of an Englishman, see Lullin and Simm, to globalization and the increased access to houses/a-house-for-essex/overview/. Although Contemporary Art in Print, 184–185, 325–326. “technologies of interactivity.” I have touched upon the social engineering 9. See Perry, The Tomb of the Unknown Crafts- 15. “Grayson Perry’s Dream House,” Channel 4, inherent in A House for Essex, Perry’s continued man, 111. The artist noted: “We trust maps. Maps http://www.channel4.com/programmes/grayson- engagement with the theme of class in the house are meant to be a trustworthy diagram of reality. perrys-dream-house/on-demand/54816-001. is worthy of further consideration. All maps, though, contain some very human bias. 16. “Take a walk around the house Grayson Perry They can emphasize desirable features and leave designed,” BBC News, http://www.bbc.com/ out the undesirable.” news/entertainment-arts-32751434. 10. Perry quoted in Klein, Grayson Perry, 162. 17. Perry’s tapestries, like his prints, are pub- 11. Hall, “Grayson Perry’s House for Essex,” The lished in editions by Paragon Press. See “Gray- Guardian. son Perry,” Paragon Press, accessed 28 February 12. “Grayson Perry’s Dream House,” Channel 4, 2016, http://paragonpress.co.uk/artists/grayson- http://www.channel4.com/programmes/grayson- perry. perrys-dream-house/on-demand/54816-001. Not 18. For a cogent overview of the conventions and every Essex woman believes Perry’s House for social uses of snapshot photographs, see Cath- Essex accurately depicts her life. In a short BBC erine Zuromskis, “Introduction: The Social Life of video released when the house opened in May Snapshot Photography” and “Intimate Exposures” 2015, one woman claimed it is “not in keeping with in Snapshot Photography: The Lives of Images this part of Essex.” It is worth noting, however, that (Cambridge, MA: Massachusetts Institute of this woman did not seem familiar with the story Photography, 2013), 1–65. behind the house and its making. See “Take a 19. Perry in “Grayson Perry’s Dream House,”

24 Art in Print May – June 2016 The View from District Six By Daniel Hewson

outh Africa’s strong history of print- S making has involved many centers of print production. Under Apartheid, organizations such as the Evangelical Lutheran Center’s Rorke’s Drift (1962– 1982) in present day KwaZulu-Natal and the Community Arts Project (1975–2008) in Cape Town provided vital opportunities for artists of color who were often denied access to educational and professional situations. More recently, David Krut Projects Print Hubspace in Johan- nesburg, the Artists’ Press in White River, and Warren Editions in Cape Town have brought South African prints by contemporary artists to international attention. As the Museum of Modern Art’s 2011 exhibition “Impressions from South Africa” made clear, South African artists have long used prints to document political events and to reflect on social experiences. Though some may make international news, most of these events and experiences are local in nature, Lionel Davis, Mosque District Six (ca. 1980s), linocut, 65 x 46.5cm. Image courtesy the Weltkulturen Museum, Frankfurt. including references to a particular area, a particular town, a particular neigh- lines. The man’s eyes, framed by specta- mute minaret denotes the absence of borhood. Prints are mobile entities, of cles, dart to the side, while a door behind the community that once would have course, and one of the lures of printmak- him swings open, admitting bright light. responded to the muezzin’s call to prayer ing under Apartheid was to make things While the open door seems to suggest the floating across the rooftops. The absence that could travel where their makers possibility of escape, a viewer familiar of figures emphasizes this silence while could not, but something is inevitably with the circumstances of house arrest the telephone pole’s abrupt division of lost in translation. This is certainly the in South Africa would understand that it the picture plane disrupts any sense of case in Cape Town, where the destruc- represents a trap—a seductive invitation cohesion. tion of one neighborhood fifty years ago to break the banning order and be turned Born in Cape Town 12 years after continues to resonate in ways that may in by neighbors on the state’s payroll as Davis, Randolph Hartzenberg taught not be understood by international audi- informers. for many years at CPUT, the whites-only ences. By the time Davis was freed in 1976, school built on the remains of District Lionel Davis was born in Cape Town District Six was no more. It had been Six that came to be seen as “symbolic of in 1936 and grew up in District Six, a declared a “White Group Area” ten years the mindless bullying of the apartheid cosmopolitan, working-class area of the earlier, and some 60,000 residents had state.”5 Hartzenberg refers to the land on city center that included whites, Indi- been forcibly relocated to a township 15 which CPUT is built as “salted”—tainted ans, Xhosa, Muslims and the mixed- miles away; most of its buildings were by the destruction that preceded it. ethnicity groups labeled “Coloured” in razed.3 Davis’s linocut Mosque District The word “SALT” appears prominently South Africa.1 Arrested in 1963 for politi- Six (1979) is a monument to this loss.4 in a number of Hartzenberg’s 1995 Map cal activism, Davis served seven years on Places of worship were among the only of the Neighborhood monotypes. Each of Robben Island and a further five under buildings left standing and by the time of these prints combines a gestural render- house arrest. Davis’s print it was clear that nothing was ing of a head with photocopied images Davis has explained his etching being built around them. Outrage—both on handmade paper, collaged to the sur- Confinement (1982) as a response to the local and international—had stymied face and packed into the composition like trauma of incarceration.2 As viewers we the government’s plans. One educational belongings dropped in a suitcase (in fact seem to be looking through an oval peep- institution, the Cape Peninsula Univer- a suitcase propped open is one of the fre- hole at an anxious man in a small room. sity of Technology (CPUT), was built but quently repeated elements). Hartzenberg A rough black aquatint frames the oval much of the land remains empty to this has often appropriated the suitcase as a window while inside, the face and walls day. The desolation evoked in this black symbol of movement and relocation. In are rendered with quick hard-ground and white image is still present; Davis’s most of these images the head is black,

Art in Print May – June 2016 25 most recently in quite a different situation: working at the Weltkulturen Museum in Frankfurt-am-Main on an exhibition of the museum’s collection of South African prints.9 (See Art in Print, Sep–Oct 2015.) The collection had been put together in 1986 by a German clergy- man, Hans Blum. Lionel Davis’s Mosque District Six was one of many works bought by Blum. Seeing this work in another country and in a museum setting, I felt its sense as a specific record of a time and place fall away and be replaced by a different kind of power—in Frankfurt visual form and syntax exerted a stronger pull than the subject matter. The prints of Davis, Hartzenberg and Erasmus are responses to, and records of, a particular city in three different decades. Each is a portrait of a location and of dislocation. As these prints leave the time and place of their making, the way they are read by viewers naturally alternates as well.

Lionel Davis, Confinement (1982), linocut, 34 x 27cm. Image courtesy the Weltkulturen Museum, Daniel Hewson is a curator, writer and artist Frankfurt. from Cape Town, South Africa outlined loosely in white as if lit by a win- ued to be a focus for printed art in Cape Notes: dow behind. The repetition of objects Town. Jarrett Erasmus’s 2013 transfer 1. This famously vibrant neighborhood has been makes a statement about remembering print series, Cross and Clamour, depicts memorialized in films, plays, poems and books, the past. The implication of a coherent train platforms and other public set- most notably the novel Buckingham Palace, Dis- trict Six by Richard Rive, a near-contemporary of whole fragmented into diverse, moveable tings where people are in flux.8 Doing Davis. parts is clear. research for a video project, Erasmus 2. Yvette Mutumba and Gabi Ngcobo, A Labor of Map of the Neighborhood IV is some- walked around the city taking photo- Love (Bielefeld: Kerber Verlag, 2015), 59. what different in character—executed graphs, recording sound, making small 3. Forced removals is not entirely a thing of the with bold, painterly, scraped brush- drawings and writing poems inspired past in Cape Town, though now it happens under strokes, it is less reliant on collage. The by Cape Town’s train station and taxi the guise of gentrification rather than Apartheid. Kurt Orderson’s documentary Not in My Neigh- head is racially ambiguous, composed of ranks. After photocopying a selection of bourhood looks at events in 2009 when residents black strokes and white, and is paired with these photographs, drawings and writ- of Woodstock, approximately two miles from Dis- a pair of staring eyes. “SALT” dominates ings he exploited the solvent-transfer trict Six, were forcibly removed to Blikkiesdorp, a the middle space, above the less legible technique most closely associated with township on the Cape Flats with little infrastruc- words “TEETH” and “NAI,” a derogatory Robert Rauschenberg, applying mineral ture. See http://azaniarizing.tumblr.com/. 4. The print also goes by the title Muir Street Afrikaans term for copulation. This spirits to the printed pages and rubbing Mosque. might be a portrait of either the victims on the back to transfer their images onto 5. Annie E. Coombes, History after Apartheid: or the perpetrators of injustice, brought Fabriano paper. He then reworked the Visual Culture and Public Memory in a Demo- together through the Truth and Recon- transfers with graphite and ink, produc- cratic South Africa (Durham: Duke University ciliation Commission (TRC) that had just ing images that appear faded, suggestive Press Books, 2003), 143. 6. Phillipa Hobbs, Printmaking in a Transforming started its hearings at the time Hartzen- of experiences imagined or half-remem- South Africa (Cape Town: David Phillips, 1997), berg was making these prints.6 The pro- bered. In Phula-Phula-digital-9 (2013) face- 96. files and the objects that surround them less, ghostlike figures walk away, backs to 7. The prints were made at Jonathan Comerford’s are kept purposefully anonymous, allow- the viewer, accompanied by the typeset Hardground Printmaker’s Studio in Observatory, ing viewers to make their own associa- inscription, “Numbers of bodies bustling Cape Town. Comerford has since relocated to tions, but they are nonetheless rooted in amidst the buildings, the daily murmur England. 8. Jarrett Erasmus is the son of the well-respected a specific history. The work explores the of industry.” The print captures the expe- artist and musician Garth Erasmus, the first stu- general phenomenon of disrupted social rience of bodies moving from one place dent of color to graduate from the Rhodes Univer- networks, but it also maps the absence of to another, abandoning the local for the sity Fine Art Department in Grahamstown/iRhini in a particular neighborhood.7 global, in this contemporary moment of the Eastern Cape. District Six has been gone for 50 years vast migrations and refugee crises. 9. “A Labor of Love,” Weltkulturen Museum, Frankfurt-am-Main, curated by Yvette Mutumba and Apartheid has been gone for 20, but I grew up in Cape Town looking at and Gabi Ngcobo (3 December 2015–24 July the experience of dislocation contin- prints like these, but I saw many of them 2016).

26 Art in Print May – June 2016 A French Raphael: Alexandre Tardieu’s engraving after Raphael’s St. Michael Vanquishing Satan (1806) By Susanne Anderson-Riedel

Left: Fig. 1. Pierre Alexandre Tardieu, after Raphael, Saint Michael Vanquishing Satan/ St. Michel terrassant Satan (1806), engraving and etching, 45.2 x 29.7 cm, published in Musée Français, vol.III. ©Trustees of the British Museum. Right: Fig. 2. Raphael, Saint Michael striking down the Demon (called The Large Saint Michael) (1518), oil on canvas, 268 x 160 cm. Louvre Museum, Inv610. ©RMN-Grand Palais / Art Resource, NY. Photo: René-Gabriel Ojéda.

ierre Alexandre Tardieu (1756–1844), report to the emperor;3 and in 1809 was both the artist’s exceptional technical Pone of the most celebrated French selected as a candidate for the prix décen- skill and his brilliant translation of the engravers of the early 19th century, pre- nal, an award instituted by Napoleon for idioms of a 400-year-old painting into a sented his engraving after Raphael’s St. artists, academics and scientists. Tar- print embodying contemporary aesthetic Michael Vanquishing Satan (1518) at the dieu’s reputation was effectively estab- and political concerns.6 Salon of 1806, where it was highly praised lished by the engraving and he was made Tardieu came from a well-known fam- (Fig. 1).1 The following year it was pub- a member of the Académie des Beaux- ily of Parisian engravers and trained in lished in the third volume of Le Musée Arts in 1822.4 Finally, in 1823, a critic the prominent atelier of Johann Georg Français,2 the grand set of albums rep- for Das Kunstblatt argued that Tardieu’s Wille. His style is characterized by a resenting paintings and sculptures from engraving had set the standard by which dense burin technique that produced a the Louvre (1803–1824); it figured promi- subsequent engravings after Raphael sumptuous tonality and refined textures nently in the Institut de France’s 1808 were measured.5 Its success reflected (Fig. 3). During the Revolution, Tardieu

Art in Print May – June 2016 27 cowering devil are drawn in. The sub- offers an image guided by harmony, clar- ject had particular resonance in France, ity and linearity, with idealized human where the chivalric Order of Saint- proportions represented in a dynamic Michel, established by Louis XI in 1469, human figure suggesting the equilibrium consolidated the allegiance to the of divine authority. But Tardieu also intro- throne of members of the nobility. Thus duced new qualities, some of which reflect St. Michel became a symbol of a powerful strategies for creating similar effects in monarchy. a work of dramatically different scale In 1667 Charles Le Brun (1619–1690) and medium. The print is one-sixth the chose the painting as the subject of his height of the painting; while Raphael’s St. first lecture at the Académie royale de Michael dominates the viewer’s field of peinture et de sculpture.9 The eminent vision on the basis of sheer size, Tardieu’s painter and art theorist compared the could not. To compensate, the engraver angel’s refined yet strong physique to made the angel more prominent in the antique sculptures of Apollo. He saw the composition by moving him closer to the figure’s twisted stance as exemplary of foreground. In place of the painterly prop- Raphael’s solution to the problem of con- erties and chromatic nuances available to veying vigorous motion in a static image; Raphael, Tardieu substituted linear clarity and noted how its energy was offset by and the scintillating contrast of black and the sublime calm of the angel’s expres- white that is the strength of engraving. sion, an assurance of divine power. Le Tardieu’s changes, however, also sug- Brun’s analysis formed the foundation of gest a purposeful updating of the paint- classicism in the French academy, char- ing’s aesthetics. The clearly articulated acterized by idealized forms suggesting muscles, veins and skeletal structure of forceful physical expression, a reduced Tardieu’s figure transform Raphael’s ele- color palette to unify the composition gant young angel into a forceful fighter. In and a clear emphasis on a central idea. projecting the center of the composition

Pierre Alexandre Tardieu, after Raphael, detail In 1803 French printmakers gained further into the foreground, Tardieu made from Saint Michael Vanquishing Satan/ St. membership in the reformed Institut de the field of action shallower. The result- Michel terrassant Satan (1806), engraving and France equal to that of painters, sculp- ing stage-like space reflected the prevail- etching, 45.2 x 29.7 cm, published in Musée tors and architects. Embracing the formal ing neoclassical emphasis on dramatic Français, vol.III. ©Trustees of the British Museum. classicism advocated by the academy, they narratives and figure groups rather than reinforced their position among the other landscapes. Tardieu also renders evil with designed monetary notes and his early fine arts. The unique success of Tardieu’s new descriptive detail: the sharp burin career was largely devoted to portrait St. Michael, as highlighted in the academy’s line emphasizes the devil’s distorted gri- engravings, although today he is best 1808 report to Napoleon and the print’s mace, as well as the power of his claws and known for his incomplete print of circa selection for the prix décennal, reflects its the scaliness of his tail. There are other 1793 after Jacques-Louis David’s painting status as an exemplar of the aesthetics of notable changes: the layered, golden tunic Les Derniers moments de Michel Lepeletier the new academic print. The composi- worn by Raphael’s St. Michael is reduced (Michel Lepeletier on his deathbed, 1793; tion that, through Le Brun’s advocacy, had by Tardieu to an austere garment, more since lost) (Fig. 4). The St. Michael was his shaped academic style and artistic expres- practical than ornamental. For Raphael, first completed historical print, and the sion in France since the 17th century, now the angel’s caligae (special open boots work’s high degree of finish reflects the played a similar role for printmaking. worn by Roman soldiers) offered an oppor- official academic position on the success- Tardieu’s print largely adheres to the tunity to play with light and color; Tar- ful emulation in print of the character ideals Le Brun identified in the painting: it dieu focuses instead on the linear pattern and expression of a painting. The academy saw Raphael as the preeminent artist from whom students might learn the essential precepts of design and the grand goût, a refined, classicizing style considered most appropriate to official artistic programs.7 Raphael’s painting had been a gift to François I and had been placed in the Louvre’s collection by Louis XIV (1638– 1715) at some point before 1667 (Fig. 2).8 It depicts a dynamic and youthful archangel Michael in a rocky landscape, standing on one foot atop the fallen devil and Pierre Alexandre Tardieu, after Raphael, detail from Saint Michael Vanquishing Satan / St. Michel raising his spear, ready to strike; his terrassant Satan (1806), engraving and etching, 45.2 x 29.7 cm, published in Musée Français, vol. III. wings are outstretched while those of the ©Trustees of the British Museum.

28 Art in Print May – June 2016 Left: Fig. 3. Pierre Alexandre Tardieu, Paul Barras (1799), after Hilaire Ledru, engraving and etching, 53 x 38.5 cm. Sächsische Landesbibliothek, Staats und Universitätsbibliothek Dresden (SLUB). Right: Fig. 4. Pierre Alexander Tardieu after Jacques Louis David, Le Pelletier de Saint-Fargeau sur son lit de mort (ca. 1793), etching and engraving, 16.5 x 33 cm. Reproduced from Charles Saunier, Louis David (Paris: Henri Laurens, 1903), 53. found on the shaft of the boots, a detail shattered by violence as Le Brun had done. fascicles of four to five prints each.15 barely visible in the painting. Such altera- While Eméric-David still held Raphael in Napoleon’s personal interest in the tions reflect an aesthetic that championed tremendous esteem, he apparently felt project is well documented; at least two linearity and clarity over the soft modeling that the great Italian master’s work was subscriptions are recorded as being in his of cinquecento painting. not sacrosanct but open to improve- private library.16 The first four volumes The third volume of Le Musée Français, ment. Tardieu’s alterations of Raphael’s were dedicated to him.17 The publication in which Tardieu’s engraving was pub- composition might be understood in a was supported not only by subscription lished, was particularly ambitious. The similar light: Raphael’s art defined the and the sale of individual fascicles but by earlier volumes had received a gold medal classical tradition, but contemporary art- the State: in 1812 Napoleon ordered the at the Exposition des Produits de l’Industrie ists might take the liberty of making it subsidy for the series of 450,000 francs in 1806 for the quality of their engrav- more relevant to modern times and a new over a period of seven years.18 ings as well as for their role in circulating audience. Tardieu’s career continued to flourish French prints to an international mar- This argument was, in fact, crucial after the St. Michael: he engraved after ket.10 Nonetheless Napoleon demanded a to the aims of Le Musée Français. The old masters and modern history paint- higher level of scholarship for subsequent Louvre’s vast holdings had been assem- ings with great success. Elected to the volumes, and the prominent art histo- bled from France’s former royal collec- Académie in 1822, he actively defined rian Toussaint-Bernard Eméric-David tions, annexed church possessions and official aesthetic standards for print- (1755–1839) and the classical scholar spoils of the Revolutionary and Napole- making by evaluating new print submis- Ennio Quirino Visconti (1751–1818) were onic wars.12 The institution symbolized sions, recommending engravers for state appointed to write the analytical texts.11 the political and cultural power of France patronage and directing the educational Eméric-David’s essay on the Raphael St. and Le Musée Français was intended to curriculum for printmaking students at Michael appeared alongside Tardieu’s publicize it. The volumes’ propaganda the École des Beaux-Arts. engraving and broadly followed the anal- value was clearly understood by Eméric- Tardieu frequently engraved paint- ysis of Le Brun. He praised Raphael’s ide- David and by the engraver Charles- ings of particular relevance to only a alized design and the vigorous and noble Clément Bervic, who had composed the specific moment in a rapidly shifting expression of the archangel. He associ- 1808 report to Napoleon on the progress cultural and political landscape, demon- ated the figure of Michael with antique of engraving.13 Indeed, the publication’s strating deft repositioning and adapt- sculptures of Apollo and Minerva, and significance for the French state and for ability. In 1793 he had to abandon his emphasized the movement and action the emperor himself can hardly be over- engraving after David’s Lepeletier follow- that seemed barely to contain the central stated. Published between 1803 and 1824, ing the fall of Robespierre, and in 1815, figure group within the frame. However, the six lavish volumes included prints by after the fall of the Empire, he moved he interpreted the deformation of the 148 French engravers and 33 international quickly to accommodate the Bourbon devil’s body in the area between shoulder engravers, costing about 1.7 million francs restoration, publishing his engraving of and hip as the product of faulty execu- to produce.14 By 1811, some 343 engrav- Marie-Antoinette after François Dumont tion, rather than as evidence of a body ings had been published and were sold in and dedicating it to the Duchesse of

Art in Print May – June 2016 29 Angoulême, the daughter of the guillo- director of the French Academy in Rome, dated 15. Fascicles of four to five engravings were tined queen. While the 1806 St. Michael 20 July 1806, in: Georges Brunel and Isabelle priced at 48 francs “avec la lettre” (indicating a may seem disconnected from such Julia, eds., Corréspondance des Directeurs de final state of the print including the lettering) or overtly political or dynastic subjects, its l’Académie de France à Rome (Rome: Edizioni 96 francs “avant la lettre” in the newspaper Le dell’Elefante, 1984), 2: 852 f. On the reception Moniteur universel, 21 fructidor an XI, 1547–548. citation and reassessment of Raphael’s of Raphael in France see Martin.Rosenberg, The first series, vols. 1–4, was published in an classicism cannot be viewed as isolated Raphael and France: The Artist as Paradigm edition of six hundred while the second series, from the social context in which it was and Symbol (University Park: Pennsylvania State comprising vols. 5 and 6, was printed in an edi- produced. Together with Eméric-David’s University Press, 1995) and Martin Vasselin, “La tion of five hundred. The cost per fascicle is high revisionary discussion, Tardieu trans- fortune gravée de Raphaël en France, aperçu compared to other contemporary print albums, historique et critique,” in Raphaël et l’art français, such as Antoine Michel Filhol and Joseph Laval- lated the treasured painting’s artistic Jacques Thuillier et al., eds. (Paris: Editions de lée’s Galerie du Musée Napoléon (Paris: Filhol, language into a modern idiom that pro- la Réunion des musées nationaux, 1983), 37–45. 1804–1828) and priced at eight francs per fascicle moted the aesthetic concerns of the See also Gilbert Heß, ed., Raffael als Paradigma: of five prints; however, Filhol’s album is much less academy and the cultural and political Rezeption, Imagination und Kult im 19. Jahrhun- lavishly produced and only about half the size. hegemony of the Napoleonic regime. dert (Berlin: de Gruyter, 2012). Nevertheless, purchasers of Le Musée Français 8. Alain Mérot in Les Conférences de l’Académie were probably fairly well to do and included rank- royale de peinture et sculpture au XVIIe siècle ing libraries (Bervic, Rapports à l’Empereur sur (Paris: Ecole nationale supérieure des Beaux- le progrès des sciences, des lettres et des arts Susanne Anderson-Riedel is Associate Professor Arts, 1996), 60. depuis 1789, 213). Unfortunately, no subscrip- of Art History at the University of New Mexico. 9. Charles Le Brun, “Sur le Saint Michel terras- tion list was published (Weißert, Ein Kunstbuch?, sant le démon de Raphaël (7 mai 1667),” in Les 34–37). Conférences de l’Académie royale de peinture 16. George D. McKee, “The Musée Français and the Musée Royal,” 67. Notes: et de sculpture au XVIIe siècle, ed. Alain Mérot 17. The dedication to volume one reads: “A 1. By the critic Pierre-Jean-Baptiste Chaussard, (Paris: Ecole nationale supérieure des Beaux- Bonaparte. Citoyen Premier Consul, Dans le for example, in Le Pausianas Français état des Arts, 1996), 60–67. cours de vos victoires vous avez conquis les prin- arts du dessin en France, à l’ouverture du XIXe 10. Exposition de 1806. Rapport du Jury sur les cipaux chefs-d’œuvre des beaux arts, et vous en siècle: Salon de 1806 . . .. publié par un observa- produit de l’industrie Français, présenté à S.E.M. avez enrichi la France. La collection des gravures teur impartial (Paris: F. Buisson, 1806), 513, no. de Champagny, ministre de l’intérieure (Paris: qui peut les faire connaître à l’Europe entière est 692. Imprimerie Impériale, 1806), 161. un hommage qui vous est dû. Nous vous l’offrons 2. Le Musée Français, recueil complet des tab- 11. George D. McKee, “The Musée Français and avec reconnaissance et respect. Les éditeurs du leaux, statues et bas-reliefs qui composent la col- the Musée Royal: A History of the Publication Musée Français, Robillard-Peronville et Laurent.” lection nationale (1807). of an Album of Fine Engravings” (unpublished Louis-Nicholas-Joseph Robillard-Péronville and 3. Rapports à l’Empereur sur le progrès des sci- manuscript, thesis paper, University of Chicago, Pierre Laurent, eds., Le Musée français: Recueil ences, des lettres et des arts depuis 1789 (on the June 1981), 67, 74; available in the Bibliothèque complet des Tableaux, Statues, et Bas reliefs Development of the Sciences, Letters and the nationale de France, Cabinet des Estampes. The qui composent la Collection Nationale: avec Arts since 1789) change of authorship caused Simon-Célestine l’explication des sujets, et des discours histo- 4. Tardieu was elected to the Académie des Croze-Magnan (1750–1818), previous author of riques sur la peinture, la sculpture et la gravure Beaux-Arts on 4 May 1822. Engraving was all the texts in Le Musée Français, to publish an par S.-C. Croze-Magnan (Paris: Herhan, 1803). represented at the Academy by only two print- anonymous letter to the editor in which he harshly The editors, the engraver Laurent and wealthy makers, Tardieu and Auguste-Gaspard-Louis questioned the abilities of the new contributors businessman Robillar-Péronville, also celebrated Boucher-Desnoyers (1779–1857), and one medal Eméric-David and Ennio Quirino Visconti. Lettre the role of the consul’s military conquests in bring- engraver, André Galle (1761–1844). à M. Robillard Péronville, éditeur du “Musée fran- ing to France the many foreign works of art. 5. “Kunstnachrichten aus Paris; Paris, den 15. çais,” par un souscripteur (Paris, 1806). Émeric- 18. Archives nationales de France, AF/IV/651, April 1823,” in Das Kunstblatt 46 (9 June 1823): David responded to this attack equally forcefully plaquette 5176, no. 32. George McKee, “Une 183. in his Réponse à un écrit anonyme intitulé: Lettre mesure napoléonienne d’aide à la gravure: le 6. William McAllister Johnson, “Le Rapport sur la à M. Robillard-Peronville, éditeur du Musée fran- décret du 17 avril 1812,” Nouvelles de l’estampe Gravure,” in Rapports à l’Empereur sur le progrès çais, par un souscripteur (Paris, 1806). 120 (1991): 7–17. des sciences des lettres et des arts depuis 1789, 12. Marie-Louise Blumer, “Catalogue des pein- ed. Udolpho van de Sandt (Paris: Editions Belin, tures transportées d’Italie en France de 1796 à 1989), 49. While ultimately the prix décennaux 1814,” Bulletin de la Société de l’Histoire de l’Art were never awarded, the print was one of nine Français, 2 fasc., 1936; Cecil Gould, Trophy of engravings recommended in the report of the offi- Conquest: The Musée Napoléon and the Creation cial jury (Rapport du jury chargé de proposer les of the Louvre (London: Faber & Faber, 1965); ouvrages susceptibles d’obtenir les Prix décen- Paul Wescher, Kunstraub unter Napoleon (Berlin: naux, avec les Rapports faits par la Classe des Gebrüder Mann, 1976); Sylvain Laveissière and Beaux-Arts de l’Institut de France, n.d.). Anne Dion-Tenenbaum, eds., Napoléon et le Lou- 7. Charles Clément Bervic’s Rapport sur la Gra- vre (Paris: Fayard, 2004). vure of 1808 emphasized the necessity of a 13. Toussaint-Bernard Émeric-David, “De refined engraving technique in the reproduction of l’influence des arts de dessin sur la richesse des paintings. Raphael’s position as role model for an nations, Mémoire couronné par la Classe des official French style in the arts, expressed by Le Beaux-Arts de l’Institut en l’an XII,” in Histoire Brun and Roger de Piles (1635–1709), was con- de la peinture au Moyen Age, suivie de l’histoire firmed by Chaussard in Le Pausanias Français de la gravure, du discours sur l’influence des de (1806) and in the academy’s teaching practices of dessin sur la richesse des nations, et du Musée the early 19th century. The prints of Gérard Audran Olympique (Paris, 1852), 273; Charles-Clément (1640–1703), who had been inspired by Raphael Bervic, Rapports à l’Empereur sur le progrès des in the development of his grand style, served as sciences, des lettres et des arts depuis 1789,” essential models for young French engravers of ed. Udolpho van de Sandt (Paris: Editions Belin, this period (see Joachim Le Breton, secretary 1989), 219. of the Classe des Beaux-Arts at the Institut de 14. Caecilie Weissert, Ein Kunstbuch? Le Musėe France in a letter to Joseph-Benoît Suvée, the Français (Stuttgart: Verlag Engel, 1994), 55.

30 Art in Print May – June 2016 Voices in Print: Grenfell Press Leslie Miller in Conversation with David Storey

avid Storey I thought a good way D to start our conversation this morning about Grenfell Press would be to find out a little bit about just how everything started—how you got going as Grenfell Press…

Leslie Miller I kind of backed into it—I bought a press I knew nothing about. I went to an auction with a friend and he dared me to bid on it. I bid a hundred dol- lars and nobody bid against me: I owned a 2,000-pound Vandercook.

DS Congratulations! And a Vandercook is a letterpress?

LM It’s a letterpress. It’s made for pulling reproductions of lead type.

DS How did you have it moved?

LM Oh, the hundred-dollar press cost $300 to move three blocks.

DS That sounds about right.

LM Then I got the second press about six years later. That was a $300 press that cost $1,200 to move.

DS Did the press move here to this David Storey, Untitled (1999), linoleum cuts, 31 7/8 x 16/ 13 inches and for 31 7/8 x 13 7/16/ 16 inches. studio? Edition of 15. Printed and published by Grenfell Press, New York.

LM Yes. This was an etching printshop DS When did you decide to start working LM Poets... Peter Cole, Eliot Wein- where I was working at the time. I had with prints? berger—he doesn’t really consider him- it over in a corner. And over a period of self a poet, he’s more of an essayist, but 35 years I rented more and more of the LM It was through the books. The first I think he’s a poet. There’s a lot of fiction. studio. couple of books were just type and then There’s Charles Simic. That was a Whit- I started inviting artists to collaborate ney book that we did many years ago, in DS So you have a background in etching? with writers. 1996. There’s more fiction than poetry. And now that I say that—this is fiction by LM I do. I studied etching in college DS That’s interesting—that even though John Ashbery. quite a bit. I didn’t know anything about you had studied printmaking, you got Vandercooks, but printing is printing. into making prints through letterpress DS And these are silkscreens? I started printing books that were just experience and printing that way. poetry and fiction. LM This whole book is relief print— LM But I’ve always loved books so that polymer—from drawings that he did. DS Did you bind them yourself? made sense to me. This is a book we did with Trevor Winkfield and John DS It’s so unusual to see something so LM No. I have a very good bookbinder Ashbery.1 starkly black and white. named Claudia Cohen who does all the books. She’s probably the best in the DS Who are some of the other poets LM It is so black and white. Although country. you’ve done books with? we did a book last year for MoMA that

Art in Print May – June 2016 31 Trevor Winkfield and John Ashbery, Novel (1998), limited-edition book with 10 drawings by Winkfield accompanying Ashbery’s previously unpublished 1954 text; bound by hand with screenprinted covers, 24 pages, 12 1/2 x 7 inches. Edition of 100. Signed by the author and artist. Printed and published by Grenfell Press, New York. Image courtesy Planthouse. was on fluorescent white paper. Nothing LM That’s something that we should LM Well this paper was really tortured. looks white again after that. look at because it’s a big part, I think, of the prints. DS This paper was a— DS Did you have any preference for younger authors? Emerging authors? ...This is a portfolio [Glyphs] we did in LM Japanese paper. I can’t remember Poets? 1995 with Terry Winters,2 which is lino- which one it is, but it behaved quite a bit leum cuts. After printing the linoleum like cloth in terms of dyeing, which was LM That’s so hard to say. I didn’t have a we died the paper in indigo. Probably the nice. plan. Never had a plan. If I saw a great hardest thing I’ve ever done. manuscript I’d try to think of an artist. DS So you had vats of indigo here? ... I think it was toward the end of the ’80s ...There are times when the artist and that I started doing prints. writer never met; there are times when LM Mmm. Which is this beautiful bright they worked back and forth. Maybe it yellow until it hits the air and then it DS That’s when you worked with Robert started with a poem and then the art- turns blue. It’s quite amazing. Gober and Elizabeth Murray? ist would do something and the writer would respond to that. It’s more fun DS I don’t know if it’s visible photo- LM Well, Elizabeth was in the ’90s. Bob when there’s real back-and-forth. That graphically, but there is this wonderful was in this century. I did a book with Bob results in a sort of three-way collabora- variation in the intensity of the blue, and for the Whitney a long time ago—Heat tion between the printer and the artist almost a little pulling away from the ink, with Joyce Carol Oates—but then we and the writer. But there’s no formula, which gives it an offset, three-dimen- started doing prints probably six or seven that’s for sure. sional property. It’s not very flat. years ago.

DS One of the essential things to talk about is the more sustained collaboration between the artist in the shop and the printer, the person who’s actually making the print happen.

LM There’s no formula for that either. Sometimes the artist has an image in mind; sometimes they have absolutely nothing in mind. Sometimes I’ll pull out a stash of really great paper and that’s where it’ll start.

DS I have to mention something right here about your library of paper— the astounding variety and amount of Wayne Gonzales, Parking Lot (2014), five-color reduction linocut, 11 x 19 inches. Edition of 24. Printed beautiful paper that you have on hand. by Leslie Miller and Brad Ewing at Grenfell Press, New York. Published by Grenfell Press.

32 Art in Print May – June 2016 DS And when was the first solo print that you made and with whom?

LM Either you or Joel Shapiro. Because we did books and the prints—

DS And Joel Shapiro did a woodcut . . .

LM He did a lot—two woodcuts for the book, and about 37 other woodcuts.

DS I think that the prints that Joel did with Leslie are incredibly vivid and present in not just an optical way, not just in terms of image and color, but in a way that almost surpasses the presence of his sculpture. It’s just more vibrantly present intellectually.

LM I think that we’ve done some good prints and this was our very first print... And here we have a David Storey reduction print [Eat Iron Peas (1992)].

DS So what’s reduction printing in a nutshell?

LM The whole print is made from one block. You start by laying down a color Vija Celmins, Ocean Surface (2000), wood engraving, image 20.8 x 25.8 cm. Harvard Art Museums/ and then you start reducing the surface Fogg Museum, Margaret Fisher Fund, M25995 Photo: Imaging Department .©President and Fellows of by cutting away. Harvard College.

DS And then printing the entire block in DS Beautiful paper. Like the Frank Moore print [Prairie a second color. (1999)], which came about as an accident.4 LM Beautiful print. I was pulling a proof on Mylar, but I was LM You’re editioning as you make the talking to Frank at the time and I wasn’t print so you have to be open to the DS Oh, thank you. These were all printed paying attention, and I suddenly, basi- process. on the Vandercook. cally, printed the friction. If you look at DS You’re cannibalizing the block as you the print you’ll see there’s a fuzzy edge go. LM It’s a very good press for that because around the buffaloes. I’m not even sure I it has an adjustable bed so you can put could recreate it, it was such an accident, LM Exactly. linoleum on there or wood and it’s super but we jumped on it. Used it. sensitive. DS Until it gets to be very, very small.3 DS Again I just have to say that the union DS As I recall there’s a size limitation. of ink and paper [in the Moore print] is LM Until there is almost nothing left in out of this world. It’s so different than your case, usually. LM 19 by 26. the whole gorgeous black and white sumptuousness of ink and paper. This DS One of the wonderful things about DS But a lot of the prints you’ve done is luminous and radiant. The colors are working with a beautiful Japanese paper have been larger. I do recall once doing a extraordinary. like this is that the ink—especially the linoleum cut—a long linoleum cut—and first transparent colors that we laid running it through the press. LM Well, that’s all Frank. He was a great down—transforms the paper into some- colorist. thing extraordinarily different than LM Oh, from both ends—that’s a great paper. It’s almost like jellied air or some- print. DS Things made here at Grenfell are thing. A lacquered kind of translucency. in many, many major collections out DS The options of how you can ink with there in the world. How did that start ...What was this? the Vandercook are amazing. happening?

LM That’s a kozo gampi that I had made LM Yeah, there are a lot of different LM You mean my least favorite part of the in Japan. things that you can fool around with. business—selling the art? I do very little

Art in Print May – June 2016 33 Left: Joel Shapiro, Untitled (1988), woodcut, 23 x 23.8 cm. Harvard Art Museums/Fogg Museum, Margaret Fisher Fund, M22256. Right: Joel Shapiro, Untitled (1987), woodcut, 53.3 x 39 cm. Harvard Art Museums/Fogg Museum, Deknatel Purchase Fund, M20602. Photos: Imaging Department ©President and Fellows of Harvard College. selling. I find it really time consuming logues for museums and galleries. And much everything. and I’m not very good at it. I don’t enjoy it, that’s really the bread and butter. so I work with print dealers and galleries DS The market has changed consider- and rare book dealers. DS Did you have preparation for that ably—and yet there is so much going before you started? on in print media right now. It’s a fan- DS I always felt as if your goals and your tastic time with wonderful work being objectives were very much on the same LM No, don’t tell anybody! I learned made—smart, beautiful, innovative wavelength as that of the artist. You truly typography from lead type, just setting work. wanted to make the best print possible type by hand, which is a good way to learn. and you didn’t care that much about how LM I haven’t figured it out. Obviously if long it took or how involved it was or DS I wondered if you might like to talk you’re doing a Vija Celmins or a Robert how complicated— a little bit about what it was like to be Gober, it’s going to sell. But that doesn’t publishing prints in the 1980s. really have to do with printmaking, it has LM You can testify to that! What’s our to do with getting a Gober. But I’ve done a best reduction print? The last one I think LM Oh, it was so much fun—because lot of other prints that are very beautiful was 35 colors. they all sold! You could actually earn a and are very hard to sell. There just aren’t living doing it. And I don’t really know as many print collectors as there used to DS And that I think is remarkable because what happened. Do you know what hap- be. I sold something to a dealer last year that lack of restraint isn’t necessarily pened? and she said, “It’s going to what I basically present with most collaborations with consider the only serious print collector artists and printers in the print studio. DS No, I must’ve been reading a book left in America.” when it changed. LM Well, I think my big advantage is, DS Let me get that name from you . . . I do something else in addition, to earn LM I missed the transition, but it’s not a living, so I don’t have the financial the same market that it used to be. The LM This is a print by Robert Gober. pressure. I’m a graphic designer, I guess first ten or 15 prints we did would sell out The words are wood engraving and the you’d call it: I design books and cata- within a year. That was true of pretty background colors are relief printing,

34 Art in Print May – June 2016 polymer, in an artist-designed, artist- lot of work on the photogravure in terms made frame. So it’s also an object. of burnishing. It’s a pretty thing.

DS So the amount that it’s lifted off the DS It’s a very pretty thing... Something mounting— consistent about a lot of work that comes out of Grenfell is a delightful quality to LM That’s all determined by Bob. He a lot of the work. There is a buoyancy. even set up the jig to do the wrinkling, so It’s animated, right? I think that comes they’re all the same. from artists’ realizing that the process of printing here is unique and custom to DS The little tufts and the perforations? this moment of working on this block or inking up this plate. And it translates well LM That’s all cut by hand. into the aura of the prints themselves. They have that feeling of going beyond DS Very, very delicate work going on in what anyone would expect. the studio! LM I think that’s especially true with the LM OCD I think it’s called. I think all reduction prints—like this one by Wayne printers are. Gonzales [Parking Lot Triptych (2014)]. Because you’re creating the print while DS That’s wood engraving? Wow! you’re editioning it you don’t have any idea what it’s going to look like until it’s LM Well, but it’s laser-engraved. Just to done. And sometimes you lose it and then reintroduce the computer into this one it goes in the garbage. more time. DS That can’t be discounted at all—that’s DS That makes me feel a lot better... One at the heart of the uniqueness of the col- of the last things that popped into my laboration at Grenfell Press. There’s no mind thinking about this dis-cussion was urgency to get it done or do it the way the relationship between Grenfell and all Robert Gober, Monument Valley (2007), wood that’s going to be guaranteed. It’s not a the digital media these days. engraving, 3 5/8 x 1 3/4 inches. Edition of 15. Printed and published by Grenfell Press, New guaranteed result. York. LM We’ve incorporated it into the print- LM No, definitely not. ing here as well with the polymer plates. We could look at quite a few prints like work, I think... This is a [Vija Celmins’] DS Most of the time it far surpasses the the Frank Moore, which is a polymer plate book we did for MoMA, for their Library artist’s expectations. I know that for a with wood engraving, and the Gobers Council fellows program. And it’s called fact. It was way beyond what I thought have a lot of polymer as well as lead type The Stars. was going to happen. Every time. and wood engraving. The computer does play a role sometimes. DS I have to touch the cover. Leslie Miller is the founder and director of ... This is a Vija Celmins wood engraving LM We could start with the cover, which Grenfell Press. from 1995. is an etching. One photogravure plate, and then she worked with Doris Simme- David Storey is a painter who makes prints. DS I think it’s interesting that so many link; I think they made four other plates of the prints that have been done here at to produce this. This is a text by Eliot Grenfell embrace traditional printmak- Weinberger that was translated into five Notes: ing techniques. This is a straightforward other languages, just because we could. 1. Trevor Winkfield and John Ashbery, Novel (1998), limited-edition book with ten drawings wood engraving done with a burin on end by Winkfield accompanying Ashbery’s previ- grain. DS All letterpress. And there are two ously unpublished 1954 text; bound by hand more etchings in here... This is gampi? with screenprinted covers, 24 pages, 12 1/2 x 7 LM Boxwood, I think it is. Either that or inches. Edition of 100. Signed by the author and lemonwood. LM Yes. artist. Printed and published by Grenfell Press, New York. 2.Terry Winters, Glyphs (1995), portfolio of six DS About how long was this in produc- DS This is so thin, I can see my hand linoleum cuts printed on Sekishu paper, hand- tion? underneath it. How did she do that? dyed with indigo. 3. The dimensions of the block itself remain the LM Vija’s prints take a long time. This LM Well, she and Doris are a great team. same but the printable surface is reduced at each was probably a year. The larger one was This was a fun project. She bought a book stage. two-and-a-half years. Not that she was on the street in Japan which she loved 4. Frank Moore, 3 Landscapes (Prairie, For John Muir, Oily Rainbow) (1999), suite of three prints: working on it every day, but she has a very because of the surface. Lothar Osterburg woodcut, wood engraving and photo engraving. slow working process, which shows in the made a photogravure and then she did a Printed on various papers in an edition of 30.

Art in Print May – June 2016 35 EXHIBITION REVIEW Displaced in Puerto Rico By Maeve Coudrelle

Karlo Andrei Ibarra, Remanentes (Remnants) (2011), performance with green plantains, tattoo machine, wooden table, dimensions variable. Image courtesy of San Juan Poly/Graphic Triennial.

“4th San Juan Poly/Graphic Triennial: he San Juan Poly/Graphic Trien- artists who strategically employ a variety Latin America and the Caribbean; Tnial, which recently enjoyed its of techniques.2 By grounding its rubric Displaced Images/Images in Space” fourth iteration, was established in 2004 in the transfer of imagery, the Triennial Antiguo Arsenal de la Marina Española, as a conceptual reimagining of the pre- has sought to create a space reflective of Casa Blanca and Museo de Arte de San vious San Juan Biennial of Latin Ameri- trends in contemporary art at large. Juan, Old San Juan (and various venues can and Caribbean Printmaking, which The theme of the recent Triennial, across Puerto Rico)1 ran from 1970 to 2002. The first Trien- “Displaced Images/Images in Space,” 24 October 2015 – 28 February 2016 nial, curated by Mari Carmen Ramírez, considered the transference of imagery professed to place printmaking within and ideas from one location to another 4th San Juan Poly/Graphic Triennial: the expanded and hybrid field of -con and from two dimensions to three. Cura- Latin America and the Caribbean temporary art, and defined the medium tors Gerardo Mosquera, Vanessa Hernán- 350 pages, fully illustrated not by the technical expertise wielded dez Gracia and Alexia Tala selected By Gerardo Mosquera, Vanessa Hernán- by its practitioners but by the creation 55 artists from Latin America and the dez Gracia and Alexia Tala of meaning through the imprint—what- Caribbean whose work encompasses Published by Instituto de Cultura ever the material or process involved. sculpture, installation, drawing, photog- Puertorriqueña, Old San Juan, Ramírez emphasized that this shift was raphy and intermedia. 3 Puerto Rico, 2015 a response to changes in artistic prac- In the Triennial’s main exhibition tice: many artists employing print in space, the Antiguo Arsenal de la Marina the 21st century do not see themselves Española in Old San Juan, Brazilian art- as “printmakers” but as multimedia ist Waltercio Caldas set the tone with

36 Art in Print May – June 2016 Left: Waltercio Caldas, Cómo imprimir sombras (How to Print Shadows) (2012), molded and engraved acrylic, 32 x 23 x 5 cm. Edition of 40. Courtesy of Carbono Galeria. Photo: Pedro Andrada. Right: SEMEFO, from Dermis (1996), marks left by murdered persons on three sheets, one cloth 200 x 150 cm, two cloths 200 x 180 cm. Image courtesy of Teresa Margolles.

Cómo imprimir sombras (How to Print the imprints of victims of violence. The to Ramírez’s theoretical framework for Shadows, 2012), which uses light as the sheets were removed from ill-run state the contemporary print, especially her transfer medium between two layers of coroners’ offices and stand as evidence focus on image transfer and imprint. The folded transparent plastic, which form of the lack of conscientious oversight of exhibition’s new geographical spread and both the matrix and the receptor surface. these facilities. As indices of human bod- strong selection of innovative work made The transparent acrylic sheet is folded in ies, the stains offer a poetic indication of a fresh contribution to an already rich the shape of a book cover, and the words a departed entity at the same time that history of curatorial experimentation. of the title are “printed” on the lower knowledge of the brutal sources of the surface as shadows cast by the engraved stains provokes shock, exerting a com- letters on the upper plane. The inclu- manding presence within the Arsenal’s Maeve Coudrelle is a PhD student and University Fellow in the Art History department at the Tyler sion of Caldas’s work demonstrates the central space. School of Art, Temple University. Her speciality is exhibition’s broadened purview through Beyond the Arsenal the Triennial modern and contemporary prints in the Americas the very domain—sculpture—for which spread across the island of Puerto Rico, and Europe. Rosalind Krauss first articulated her inhabiting for the first time spaces out- notion of the “expanded field.”4 side Old San Juan, including museums In Remanentes (Remnants, 2011), in Caguas, Santurce and Ponce. It also Notes: 1. For a full listing of the museums and institutions Puerto Rican multimedia artist Karlo incorporated public installations, such included in the Triennial, see http://www.trienal- Andrei Ibarra invokes the more visceral as the 22 life-size woodcut portraits by sanjuan.com. connection between printmaking and Grabadores por Grabadores (Printmak- 2. Mari Carmen Ramírez et al., eds., San Juan tattooing, a mark-marking process that ers for Printmakers), a collective of young Poly/Graphic Triennial: Latin America and the also leaves an enduring ink trace (albeit students and graduates of the Puerto Caribbean (Old San Juan: Instituto de Cultura Puertorriqueña, 2004). without a fixed matrix). Ibarra’s installa- Rico Escuela de Artes Plásticas. Pasted 3. Gerardo Mosquera, “Post-Graphics/Displaced tion consisted of piles of decaying plan- in clusters on public buildings—a der- Images,” in 4th San Juan Poly/Graphic Triennial: tain skins that the artist had tattooed elict façade adorned with a Puerto Rican Latin America and the Caribbean, ed. Gerardo with phrases from the North American flag; a striking pink wall on the side of Mosquera et al. (Old San Juan: Instituto de Cul- Free Trade Agreement (NAFTA). Ibarra’s the Liga de Arte—the prints depicted art tura Puertorriqueña, 2015), 42. 4. Rosalind Krauss, “Sculpture in the Expanded multisensory environment, inflected by world figures such as Andy Warhol, Lili- Field,” October 8 (Spring 1979): 30–44. smell and insects, joins the permanence ana Porter and the Puerto Rican painter/ 5. Mosquera, 38. and authority of print to the unstable printmaker Myrna Báez in graphic gray- afterlife of organic matter, citing eco- scale, often posing casually with the tools nomic policy in the body of a “banana of their craft. This homage grounds the republic.” experimentation of the Triennial in art Teresa Margolles, of the Mexican history—Mosquera takes care to note collective SEMEFO (Servicio Médico that the Triennial acknowledges its roots Forense/Forensic Medical Service), took and continues to make a place for “tradi- on the corruption of the Mexican gov- tional” printmaking.5 ernment in the 1990s in Dermis (1996), a A project with large curatorial aspira- set of three hospital bed sheets that bear tions, the 4th Triennial remains indebted

Art in Print May – June 2016 37 BOOK REVIEW bridge Asian and European sensibilities Bassett Hall studied water-based print exploited the aesthetics of Japanese color processes in Edinburgh with Mabel A. woodblock prints. Six years later, Bas- Royds, a former student of the influential sett moved on to the School of the Art British woodblock artist Frank Morley Institute of Chicago, where she likely saw Fletcher (Bassett Hall had read Fletch- the work of color woodblock artists such er’s book on technique while in Kan- as Gustave Baumann (1881–1971), B.J.O. sas). This experience solidified Bassett Nordfeldt (1878–1955), Edna Boies Hop- Hall’s practice of building images from kins (1872–1937), Ethel Mars (1876–1959), multiple blocks printed with as many as Bertha Lum (1869–1954) and Margaret seven transparent colors. A Street of Ville- Jordan Patterson (1867–1950). It was also franche (1925–27, cat. 20), made during where she met her future husband, the this period, shows her characteristic flat- printmaker and painter Arthur William tened space, chromatic variety, and tight Hall (1889–1981). compositional control. On their honeymoon in 1922 the Returning to Kansas in 1927, the Halls Halls traveled the Oregon coast, result- joined the artistic scene that had grown ing in their first published work, a book up around the Western Lithograph Com- Norma Bassett Hall: Catalogue Raisonné of woodblock prints, Some Prints of Can- pany in Wichita, where their friend C.A. of the Block Prints and Serigraphs non Beach (1922–1923). In images such as Seward headed a division that commis- By Joby Patterson Dragon Trees (1922–23, cat. 2 ) and Along sioned and published both commercial 176 pages, 108 color and 42 black and the Beach (1922–23, cat. 3) we see them and fine art, the first of its kind in the white illustrations experiment with Dow’s adopted Japanese Midwest. In Wichita Seward also initi- Published by Pomegranate techniques—printing blocks in varying ated an annual juried exhibition of Amer- Communications, Portland, OR, 2014 colors for mood or to alter the appar- ican block prints, in which Bassett Hall $50 ($60 CAN) ent appearance of time of day; applying showed repeatedly, leading to invitations gradations of ink to the printing block to join other print organizations around (bokashi) or bypassing the use of key or the country. In 1930 the Halls joined outline blocks. Seward and a number of other local art- Lost and Found: Bassett Hall then joined her husband ists to form Prairie Print Makers, an orga- Norma Bassett Hall in El Dorado, Kansas, where he worked as nization that supported the exhibition a court reporter and she took a job teach- and sales of affordable prints by regional By Jason Millard ing school. In 1925 the couple went to artists. In Kansas she continued to focus Europe for two years, during which time on the evocation of light and atmosphere

he historical obscurity of the 20th- T century landscape artist Norma Bassett Hall (1888–1957) is the result of many factors: she did not find her métier until she was in her thirties; that métier was the quiet medium of color woodblock; and both her style and her landscape subject matter harked back to an earlier Arts and Crafts aesthetic, rather than embracing the modernism of her own time. Finally, she was a female artist who spent much of her career in the rural Midwest and left little written documen- tation of her concerns and processes. The recent catalogue raisonné of Bassett Hall’s prints put together by the Oregon- based art historian Joby Patterson aims to alert a new audience to this underrated artist’s hushed brilliance. Born in the small frontier town of Halsey, Oregon, in 1888, Bassett was one of the first students to enroll at the School of the Portland Art Association in 1909. There she probably encoun- tered the work of Arthur Wesley Dow,1 a significant figure in the American Arts Norma Bassett Hall, Drying Chili (1949), screenprint, 20.3 x 25.4 cm. Image courtesy Pomegranate and Crafts movement whose attempt to Communications, Inc. All rights reserved.

38 Art in Print May – June 2016 through blocks of color in commonplace scenes. The annual Prairie Print Mak- ers gift print for subscribers in 1943 was Bassett Hall’s La Guade—France (cat. 75). Here the lack of outlines and the muted palette evoke the bright haze of a sunlit day, while in the somewhat earlier Golden Maple (1935, cat. 63), dark outlining of the central tree and the small house behind it suggest the crisp clarity of fall. The Halls left Kansas in the early 1940s, moving first to Virginia and then to New Mexico, where they settled per- manently. There Bassett Hall expanded her technical repertoire with serigraphy, producing Southwest scenes characterized by layered, highly saturated color quite distinct from the soft translucency of her woodblock prints. Patterson quotes her observation that in screenprinting, “color can easily be reprinted to harmo- nize with the other colors in the composition,”2 a quality clearly visible in the print Drying Chile (1949, cat. 91). In her last years Bassett Hall turned away from prints to concentrate on watercolor while running a summer art school, Rancho del Ria, with her husband. Patterson, who has previously written on the turn-of-the-century American printmaker and photographer Bertha Jaques,3 establishes Bassett Hall as a sty- listic descendent of Dow and Fletcher. She charts this quiet career in detail over the course of seven chapters and 94 catalogue entries, running from her honeymoon woodblocks of the Oregon coast in 1922 to her last Southwest prints in 1950. The small color reproductions that accompany the catalogue entries are Norma Bassett Hall, Dragon Trees from the portfolio Some Prints of Cannon Beach (1922–23), helpful, but the radiant full-page illustra- woodblock print or linocut, 8.9 x 12.1 cm. Image courtesy Pomegranate Communications, Inc. All rights reserved. tions in the text best convey the charm of these images. The inclusion of preparatory studies alongside final prints clari- fies how she developed her compositions Jason Millard is a freelance writer who remains and reveals the remarkable diligence each fascinated with printmaking, print culture and required. The back matter includes an book history. exhibitions chronology (1925–2014) and appendices that document her processes and her husband’s graphic work, a nod to Notes: the deep influence of her marriage on her 1. Dow’s student Anna Belle Crocker was one of career. Bassett Hall’s instructors at SPAA and also curator of the Portland Art Museum. Patterson thus carefully elucidates the 2. Norma Bassett Hall, Print Letter 28, no. 2 (Pas- creative arc of a printmaker devoted to adena: Print Makers Society of California, 1948– mastering her domain, and reveals an 49), quoted in Joby Patterson, Norma Bassett artist of impeccable compositional and Hall: Catalogue Raisonné of the Block Prints and color sense, rooted in a discipline that, if Serigraphs (Portland: Pomegranate, 2014), 157. 3. Bertha E. Jacques and the Chicago Society of not at the leading edge of its time, con- Etchers (Teaneck, NJ: Fairleigh Dickinson Univer- tinues to have lasting appeal. sity Press, 2002).

Art in Print May – June 2016 39 EDITION REVIEW Julie Mehretu’s Syrian Elegy By Susan Tallman

Julie Mehretu, Epigraph, Damascus (2016).

Julie Mehretu, Epigraph, Damascus (2016) of Mohamed Bouazizi to the downfall of and the title points not to a public square Six framed photogravures with open bite, Hosni Mubarak).1 where a dictator was brought low, but to a sugar lift and spit bite aquatint, 217 x 87 All this is clear from external materi- city shattered by a dictator still standing. cm each. Edition of 16. Printed and pub- als, but the paintings themselves do not In exquisitely printed intaglio, black lished by Niels Borch Jensen, Copenha- spell it out. What the viewer sees are marks hurtle downward and clump in gen. Price on request. Mehretu’s familiar, entrancing flurries clusters; variations in ink transparency of open marks, fine line drawing and provide the illusion of depth—the cloud ulie Mehretu’s Mogamma (A Painting colored confetti moving across adjacent seems to stretch not just vertically and Jin Four Parts) has received a good deal canvases like a summer squall. Up close horizontally but sagittally. Barely percep- of attention since it appeared at Docu- can one make out the underpinning of tible color shifts shape it further—bits of menta in 2012. As the press duly noted, architectural line drawings. But given black-green like a park seen in the dis- Mogamma is the mammoth Egyptian that each canvas is 15 feet high, only the tance at night, a swathe of cordovan like government building—half Chicago bottom quarter or so can actually be seen dried blood. In and around this massed Merchandise Mart, half Albert Speer— up close; the upper reaches slip away into activity wafts a translucent gray mist, and that dominates Tahrir Square in Cairo. generalities that the viewer can only trust beneath it we glimpse airy renderings of The four vast paintings took as their are similarly grounded. urban buildings—upside-down windows subject matter both the Arab Spring of Mehretu’s spectacular new proj- and pediments and steps, some in clear 2010–11 and that most politically volatile ect with Niels Borch Jensen, Epigraph, isolation and some in stammering repeti- of urban spaces, the city square. “I think Damascus, is also an ambitious response tion. architecture reflects the machinations of to events in the Middle East. Across Like many artists who take to print, politics,” Mehretu has said, and the geo- seven vertical panels, 7-1/2 feet high and Mehretu understands images not as graphically specific example of Tahrir a collective 20 feet long, stretches a dark organic wholes but as accretions of parts. provided her with a gateway for connect- cloud of energetic marks, gray haze and In both painting and print, her arrays ing a field of abstractions (human engage- bits of buildings, but the atmosphere is of elegant lines and expressive gestures ment, exchange and shared agency) to a less summer squall than forest fire. This interact without merging, like friends field of events (from the self-immolation is not Egypt in 2012, it is Syria in 2015, waving to each other on either side of a

40 Art in Print May – June 2016 window. Her intricate compositions are built layer by layer—drawn, erased, and drawn again in strata (she is not averse to the archeological metaphor). And she often works in series, using adjacency and sequence to further complicate, or divide, a totality. (See, for instance, the four-part Myriads, Only By Dark [2014], the five-part series Apparitions and Translations [2013] or the 12-part Auguries [2010]). In the case of Epigraph, Damascus, the appearance of a landscape arranged in conjoined vertical panels is strongly suggestive of East Asian screen painting, though at a Brobdingnagian scale. The almost ineffable grays and sudden blacks suggest sumi-e ink painting, while the sense of weather sweeping across occa- sionally visible topography echoes aerial views like Yoshimura Shuzan’s Bird’s-eye view of Osaka, where the city plan peeps out between rolling clouds of gold.2 Both give us the vertiginous sense of peering down on something from on high—the God’s eye view of civilization and the weather it cannot control. With these prints, as with the Mogamma paintings, we don’t know where to stand: the line drawings of building parts require close proximity to be recognized for what they are, while other sections only coalesce when seen from a distance. Whatever position we stake, we are missing something. As subject matter, the Middle East— the birthplace of both civilization and of scientific excavation—is tailor-made for Julie Mehretu, panels 1 and 2 from Epigraph, Damascus (2016). Mehretu: a geographical palimpsest of building, erasure and rebuilding. Nor is it irrelevant—given the artist’s fascination with scale and inconstancy—that all that grandeur, subsidence and survival served as fodder for European romantic visions of Ozymandian ebb and flow. For arche- ologists and poets, the Middle East pre- impossible for us to control—or even sented an enthralling tale of loss. comprehend—what is going on. Beyond Today’s losses are more visceral and doubt, Epigraph, Damascus is an agitated, their implications more difficult to ratio- disconcerting elegy, though whether for nalize or to satisfy in verse. If architec- the past or the future is anyone’s guess. ture reflects politics, does exploded architecture signify the fireworks of a new independence day or the detonation Susan Tallman is the Editor-in-Chief of of an I.E.D.? Mehretu provides a picture Art in Print. of uncertainty, the state change between the complicated and the complex. A car Notes: engine is complicated; global politics is 1. Mehretu in Augustin Pérez Rubio, “Tracing the complex. Both have moving parts and Universe of Julie Mehretu: a Choral Text,” in Julie causes and effects, but the latter has so Mehretu: Black City (Hatje Cantz, 2006), 29. many parts, connected in so many inter- 2. Yoshimura Shuzan, Bird’s-eye view of Osaka (18th century), six-fold screen: ink, color and gold dependent ways and moving simultane- leaf on paper. The British Museum, 2001,0627,0.1, ously at such speed it is effectively AN21032001.

Art in Print May – June 2016 41 Prix de Print N0. 17 PRIX de Metamorphosis music notation PRINT by Annesas Appel Juried by Thomas Cvikota

This iteration of the Art in Print (2015) defy many assumptions about Appel is not rejecting the conventions Prix de Print has been judged by Thomas print: the work exists in an edition of of traditional printmaking; rather she is Cvikota. The Prix de Print is a bimonthly one (plus one artist’s proof), is built from embracing a new standard of production competition, open to all subscribers, color piezo prints (a digital pigment print and creation. Her question, I think, is not in which a single work is selected by process) and uses no traditional print what a print is today, or how can a print be an outside juror to be the subject of a techniques. The entire thing, installed, is made today, but why make a print today? brief essay. For further information more than 40 feet long and plays music. She notes: on entering the Prix de Print, please Challenge accepted. go to our website: http://artinprint.org/ Metamorphosis music notation consists The computer has rendered all equal about-art-in-print/#competitions. of 100 narrow strips of paper installed en and information is arranged differ- masse to produce a room-sized spectrum. ently. In this way, other links arise. Annesas Appel, Metamorphosis music (Think of the total immersion of MoMA’s From a visual analysis of issues, my notation (2015) installation of Monet’s Water Lilies.) Each contemporaries and I discover new Piezo print in 100 strokes, hand perfo- strip is printed a different color and is arrangements that, in their original rated, with music CD, each stroke 225 x 7 perforated with a unique set of holes; if context, had nothing to do with each cm, 225 x 1000 cm overall. Unique work. fed through the small, hand-cranked other. For me it’s a way to get a grip Printed by Bernard Ruijgrok, Amster- music boxes known as Pling-Plongs, the on reality. dam. Published by Annesas Appel, Haar- perforations produce a specific set of lem. Available through Johan Deumens notes. Each also corresponds to a specific Though the artist’s hand may seem Gallery, Amsterdam. $30,000. numeral, zero through nine, in one of ten to be absent, Appel’s digital fingerprints non-Western notation systems (10 x 10 = are all over what we see. Computers are 100), which is “translated” into an indi- a way to locate inspiration and retain vidual hue and specific sequence of notes knowledge—a surrogate brain where by a logical system of the artist’s inven- unstructured ideas float as data, waiting n this iteration of the Prix de Print I tion, applied uniformly to all strips. The to be arranged and presented as tangible I was presented with a very strong artist explains: “proof” that there was an idea. Appel group of works to consider. As I am an regards the act of printing as fundamen- active participant in the world of print, A number refers to mathematics and tal to her art. The “proof” becomes evi- it was inevitable that I would recognize is also part of linguistics. As such, a dence, the concrete and objective result many of the submissions and thus find number can be translated without of a hypothesis. . myself struggling to remain impartial. losing its value. Translations and the Precedents for such a systems-based With so many works deserving recogni- conversion to self-chosen systems approach to creation can be found in the tion, I began to ponder the fundamental result in an image in state nascent, a work of Sol LeWitt, Josef Albers, Daniel question that drives much of the dis- constant metamorphosis of the image Buren and others (and it is worth noting course in this magazine: What is a print as the process continues, resulting in that those artists have also made signifi- today? I hoped the Prix de Print would color images, line notations and music cant contributions to printed art). Nor is be an opportunity to find a project that scores. The following numeral systems Appel the first to use large-scale installa- deeply challenged my understanding of of a selection of non-European lan- tions, sound or digital printing, but her what a print is and what it can be. guages are used: Thai, Khmer, Tamil, logic of translation legitimizes the appli- The image and statement for Annesas Hangul, Indian, Bengali, Chinese, cation of digital print processes, inte- Appel’s Metamorphosis music notation Tibetan, Japanese and Eastern Arabic. grating concept, vision and sound with

42 Art in Print May – June 2016 compelling consistency. Her decision to make noise is the final departure from the norm. Most prints are silent. I wanted to be challenged to think about print in a new way, and Appel has brought me closer to understanding what that might be. Approaches such as hers do not marginalize the traditions of printmaking; they bring it forward to a world that is metaphorically flat. Some 56 years ago Jasper Johns’ use of zero to nine helped usher in a profound rethinking of the function and meaning of the artist’s print; Appel may be pointing the way toward our next adventure. Juror Note: The sum of my experience Above: Annesas Appel, Metamorphosis music publishing, collecting and making prints notation (2015), installation view at Bradwolff Projects, Amsterdam, 2016. Photo: G.J. Van has trained my eye to recognize profi- Rooij. ciency and also the lack thereof. None of the works submitted to the Prix de Print Left: Detail of hand-perforated color piezoprint, were short on ideas, technique or ambi- each stroke 225 x 7 cm. Photo: G.J. Van Rooij. tion. Many exemplified best practices in Right: One stroke of Metamorphosis music lithography, intaglio, screenprint, relief notation being played in a Pling-Plong music monotype and letterpress. For these stal- box. Photo: Daria Tuminas. wart artists, I would like to invoke the appropriated phrase, “No Pressure, No All images courtesy Johan Deumens Gallery, Diamonds.” Press on and shine on you Amsterdam. crazy diamonds. The Prix is ongoing.

Thomas Cvikota is a publisher, writer, curator and dealer whose interest in prints and multiples began in 1968.

Art in Print May – June 2016 43 in New York City and Rheine, Germany. C.G. Boerner International Founded in 2012 by Ann Aspinwall and Knut USA: 23 East 73rd Street Willich, Aspinwall Editions specializes in New York, NY 10021 (until 1 June 2016) Directory 2016 silkscreen, intaglio and relief techniques, 526 West 26th Street, #304 and offers contract printing services in addi- New York, NY 10001 (after 1 June 2016) tion to collaborations with artists. Willich is The International Directory is a listing of Germany: Kasernenstrasse 13 also the founder and chairman of the Print Düsseldorf 40213 Professional Members of the Art in Print Association Bentlage in Rheine, where he community. http://www.cgboerner.com organizes a triennial international print- Artists represented: Jacques Bellange, making symposium. George Bellows, Mary Cassatt, Léon Dav- ent (the Master LD), Albrecht Dürer, Gior- Anderson Ranch Arts Center Atelier Michael Woolworth gio Ghisi, Childe Hassam, Edward Hopper, 5263 Owl Creek Road 2 Rue de la Roquette Antoine Masson, Rembrandt Harmensz van Snowmass Village, CO 81615 Paris, France 75011 Rijn, James McNeill Whistler, Anton Würth, (970) 923-3181 http://www.michaelwoolworth.com Adrian Zingg https://www.andersonranch.org/ Artists represented: Stéphane Bordarier, C.G. Boerner was founded in Leipzig, Ger- Original prints available in our Anderson José Manuel Broto, Miguel-Angel Campano, many, in 1826 and trades exclusively in works Ranch Editions by: Katherine Alexander, Vincent Corpet, Gunter Damisch, Mélanie on paper, prints and drawings from the 16th Eric Avery, Enrique Martinez Celaya, Linda Delattre-Vogt, Marc Desgrandchamps, Jim to the early 20th centuries. C.G. Boerner has Darling, Roy Dowell, Eric Fischl, Don Fritz, Dine, Blaise Drummond, Gilgian Gelzer, offices in Düsseldorf and New York. Luis Jimenez, Karen Kunc, Allison Miller, Richard Gorman, Marie-Ange Guilleminot, Brad Miller, Richard Mock, David Mohal- Bertrand Lavier, Christopher Le Brun, Loic Cade Tompkins Projects latee, Casey Reas, David Saunders, Kenny Le Groumellec, Frédérique Loutz, William 198 Hope Street Scharf, Susan Shatter, David True, Peter MacKendree, Jean-François Maurige, Miquel Providence, RI 02906 Voulkos, Stephen Westfall and many more Mont, Stéphane Pencréac’h, Jaume Plensa, (401) 751-4888 Celebrating its 50th anniversary in 2016, David Shrigley, José Maria Sicilia, Djamel http://www.cadetompkins.com/ Anderson Ranch Arts Center is a premier Tatah, Barthélémy Toguo, Otto Zitko Artists represented: William Allen, Allison destination in America for art making and a American-born printer and publisher Bianco, Victoria Crayhon, Nancy Friese, catalyst for critical dialogue in the contem- Michael Woolworth established his work- Ana Guerra, Melinda Hackett, Susan Hardy, porary art world. The Ranch brings together shop in Paris in 1985. Specializing in Daniel Heyman, Nick Hollibaugh, Sophiya aspiring and internationally renowned art- lithography printed on manual presses, the Khwaja, Beth Lipman, Andrew Nixon, Ser- ists to discuss and further their work in a workshop also produces woodcuts, mono- ena Perrone, Aaron Pexa, Dean Snyder, stimulating environment. Anderson Ranch’s types, linocuts and etchings. Daniel Stupar, Dan Talbot, John Udvardy, printmaking workshops offer a fresh take on Maxwell Van Pelt, Estate of Walter Addi- traditional printmaking, mixing experimen- Baron/Boisanté Editions – Om from India son, Estate of Donnamaria Bruton, Estate of tal attitudes and processes with opportuni- 300 East 33 Street #1P Thomas Sgouros ties to integrate digital technologies. New York, NY 10016 Works available by: Willliam Anastasi, Stella By appointment only Ebner, Kelly Goff, Julia Jacquette, Michael The Annex Galleries http://www.baronboisante.com/ Krueger, Rohini Sen, Aaron Siskin, Barbara 604 College Avenue http://www.omfromindia.com/ Westermann Santa Rosa, CA 95404 Artists represented: Curtis Anderson, Don- Cade Tompkins Projects specializes in (707) 546-7352 ald Baechler, Brian Belott, Jennifer Bolande, contemporary prints with far-reaching http://www.annexgalleries.com/ Louise Bourgeois, Michael Byron, Sandrine viewpoints and techniques, as well as con- Artists represented: Over 6,000 prints on Guérin, Dan McCarthy, Sigmar Polke, Salva- temporary painting, sculpture, installation our website by hundreds of artists tore Scarpitta, Rosemarie Trockel, Not Vital and video. Established in 2009, the gallery Established in 1971, the Annex Galleries is a Baron/Boisanté Editions has been a pub- has presented 31 exhibitions to date as well as salon-style gallery which specializes in 19th- lisher of prints and multiples since 1985. Om showing at SPRING/BREAK Art Show, NYC and 20th-century American, European, His- from India deals in 19th- and early 20th- (2016) and the Editions/Artists’ Book Fair, panic and Asian Fine Prints, which includes century Hindu Mythological lithographs NYC (2006-2013). Cade Tompkins Projects is etchings, woodcuts, lithographs and screen- with one of the world’s most important and a newly elected member of IFPDA, Interna- prints, all created as original works of art and comprehensive collections of early Hindu tional Fine Print Dealers Association. not reproducing an existing work in another God and Goddess prints. medium. Our focus is broad: American Carolina Nitsch color woodcut, Arts and Crafts prints, WPA Bleu Acier Carolina Nitsch prints, Modernist and Abstract Expressionist 109 West Columbus Drive 101 Wooster St., New York, NY 10012 prints from the 1940s through 1960s, prints Tampa, FL 33602 (212) 463-0610 created at Atelier 17 in New York and Paris, http://www.bleuacier.com/ Carolina Nitsch Project Room and California prints and printmakers. Our Artists represented: Dominique Labauvie, 534 West 22nd St., New York, NY 10011 inventory, assembled over a period over forty Pierre Mabille, Paula Scher, Ulf Rungenha- (212) 645-2030 years, consists of over 6,000 works, most of gen, Max Neumann, Hervé DiRosa, Joe Fyfe, http://www.carolinanitsch.com/ which are available on our website, which is Sylvie Eyberg, Steve McClure, Voshardt / Artists represented: Ai Weiwei, Darren changed daily. Humphrey, Marie Yoho Dorsey Almond, Richard Artschwager, Louise As a publisher, Bleu Acier collaborates with Bourgeois, Vija Celmins, E.V. Day, Richard Aspinwall Editions artists on limited editions and multiples Dupont, William Eggleston, Tracey Emin, 315 W. 39th St. #600 that possess the strength and drive of their Inka Essenhigh, Peter Fischli/David Weiss, New York, NY 10018 work in other media. These often very rare Robert Gober, Douglas Gordon, Richard http://www.aspinwalleditions.com/ editions integrate the overall vision of the Hamilton, Jenny Holzer, Donald Judd, Jas- Artists represented: Ann Aspinwall, Karl artist’s oeuvre. As a collaborative and con- per Johns, Martin Kippenberger, Guillermo Bohrmann, Victoria Burge, Bill Hall, Jane tract atelier, Bleu Acier supports the fol- Kuitka, Vera Lutter, Christian Marclay, Kent, Michael Kukla, Morgan O’Hara, Yasu lowing techniques in printmaking: intaglio, Bruce Nauman, Ernesto Neto, Olaf Nicolai, Shibata photogravure, lithography, photolithogra- Gabriel Orozco, Blinky Palermo, Jorge Pardo, Aspinwall Editions is a fine art print pub- phy, relief and monotype. Raymond Pettibon, Gerhard Richter, Dieter lisher, dealer, and studio with facilities Roth and others

44 Art in Print May – June 2016 Carolina Nitsch specializes in drawings and Publisher of fine art limited edition etchings Dolan/Maxwell editions, including prints and monotypes, and woodcuts by major contemporary art- 2046 Rittenhouse Square multiples, photographs, artist books and ists. Philadelphia, PA 19103 installations. We actively publish editions http://www.DolanMaxwell.com with a growing roster of international art- David Krut Projects Artists represented: Norman Ackroyd, Rad- ists, ranging from traditional etching on 526 W. 26th St, Suite 816 cliffe Bailey, Richmond Barthe, Fred Becker, paper or silkscreen to large installations. New York, NY 10001 Morris Blackburn, Robert Blackburn, http://www.davidkrut.com/ Peter Brooke, Michael Canning, Elizabeth Center Street Studio Artists represented: Deborah Bell, Chakaia Catlett, Lynne Clibanoff, Worden Day, Amze PO Box 870171 Booker, Christopher Cozier, Endale Emmons, Perle Fine, Steven Ford, Trenton Milton Village, MA 02187 Desalegn, Faith47, Joe Hart, Stephen Hobbs, Doyle Hancock, Christopher Hartshorne, http://www.centerstreetstudio.com/ Locust Jones, William Kentridge, Vusi Stanley William Hayter, Nona Hershey, Paul Artists represented: Gerry Bergstein, Mat- Khumalo, Kate McCrickard, Aida Muluneh, Keene, David Kelso, Norman Lewis, Thomas thew Carter, Mark Cooper, Aaron Fink, Senzo Shabangu, Séan Slemon, Diane Victor, Lias, Thomas Nozkowski, Helen Phillips, Andy Freeberg, Raul Gonzalez III, Teo Gon- Chuck Webster Martin Puryear, Harvey Quaytman, Rob- zalez, James Hansen, Anne Harris, Lester David Krut Projects is an alternative arts ert Riggs, Judith Rothschild, David Shapiro, Johnson, Markus Linnenbrink, Judy Kensley institution dedicated to encouraging an Benton Spruance, Raymond Steth, Donald McKie, Todd McKie, Carrie Moyer, James awareness of and careers in the arts and Teskey, Shelley Thorstensen, Dox Thrash, Ovid Mustin III, Robert ParkeHarrison, Jeff related literature and media, and to promot- Charles White and Cheryl Warrick, John Perrott, Charles Ritchie, Richard Ryan, Kelly ing contemporary culture in a dynamic, col- Wilson, Paula Wilson Sherman, Laurel Sparks, James Stroud, Bill laborative environment. In addition to the Dealers in distinguished Modern and Con- Thompson, Roger Tibbetts, John Walker, New York exhibition and project space, we temporary prints and works on paper. Rachel Perry Welty, George Whitman, John have arts bookstores and print workshops Wilson, Janine Wong, Bill Wheelock located in South Africa at Parkwood and Arts Dubner Moderne Center Street Studio was established in 1984 on Main, the major new arts hub adjacent to Rue du Grand-Chêne 6, 1003 by artist and master printer James Stroud downtown Johannesburg. Lausanne, Switzerland who publishes print projects in etching, http://www.dubnermoderne.ch/ woodcut and monotype with established and Davidson Galleries Artists represented: Sebastian Blanck, Isca emerging artists. Prints from the Studio are 313 Occidental Ave. S. Greenfield-Sanders, Mahmoud Hamadani, represented in numerous public collections Seattle, WA 98104 Li Jin, Choong-Sup Lim, Matt Mignanelli, across the United States and abroad. (206) 624-7684 Jill Moser, Manuel Müller, Viviane Rombaldi http://www.davidsongalleries.com Seppey Constellation Studios Artists exhibited: Michael Barnes, Leonard Dubner Moderne is dedicated to represent- 2055 ‘O’ Street Baskin, Sean Caulfield, Tony Fitzpatrick, ing established and emerging contempo- Lincoln, NE 68510 Karen Kunc, Robert E. Marx, Frederick Mer- rary artists from around the world who are http://www.constellation-studios.net shimer, Peter Milton, Gordon Mortensen, defining the art scene of today and that of Artists exhibited: Manuel Alba, Maija Barry Moser, Tomiyuki Sakuta, Jenny tomorrow. The gallery exhibits works of all Albrecht, Todd Anderson, Mildred Beltre, Schmid, Carol Summers, Seiko Tachibana, mediums including, paintings, photography Laura Berman, Anne Burton, Sean Caulfield, Akiko Taniguchi, Mikio Watanabe, Carol and sculpture, as well as being a publisher of Bruce Crownover, Jeffrey Dell, Nancy Friede- Wax, Art Werger and more than 150 others limited edition prints. mann, Hayk Grigoryan, Camille Hawbaker, Davidson Galleries, founded in 1973, offers Karen Kunc, Kim Reid Kuhn, Silvana Marti- the largest inventory of original antique, Durham Press gnoni, Midwest Pressed, Debora Oden, Nick modern and contemporary works on paper 892 Durham Road, PO Box 159 Ruth, Tara Sabharwal, Rachel Simmons, in the Pacific Northwest region. The gallery Durham, PA 18039 Mariko Ando Spencer, Juergen Strunck, Bar- is a member of the Seattle Art Dealer’s Asso- http://www.durhampress.com/ bara Tetenbaum, Josef Werner, Ellen Wiener ciation (SADA) and a charter member of The Artists represented: Hurvin Anderson, Polly Constellation Studios is a creative destina- International Fine Print Dealers Association Apfelbaum, Roland Fischer, Chitra Ganesh, tion for artists, a professional studio, with (IFPDA) in New York. John Giorno, Jacob Hashimoto, Emil Lukas, mentoring and education, to explore and Michael Heizer, Beatriz Milhazes, James celebrate the interconnections between Diane Villani Editions Nares, Tom Slaughter, Lisa Stefanelli, Alison traditional and innovative print, paper and 285 Lafayette Street Elizabeth Taylor, Mickalene Thomas, Leslie bookmaking. Collaborative publishing by New York, NY 10012 Wayne, Stephen Westfall, Ray Charles White invitation, with a focus on woodcut and http://www.villanieditions.com Durham Press is a fine art publisher and etching. Opportunities include workshops, Artists represented: Ida Applebroog, Mel workshop specializing in large-scale multi- residencies, internships, exhibitions. Bochner, Red Grooms, Matthew Day Jack- media prints with emphasis on woodblock son, Rashid Johnson, Alison Saar, Paul and screenprint. Artists work at the Press by Crown Point Press Henry Ramirez, Dieter Roth, Fred Sandback, invitation in collaboration with owner Jean- 20 Hawthorne St. Fatimah Tuggar, Julia Jacquette, Suzanne Paul Russell and a group of highly skilled San Francisco, CA 94105 McClelland, Jiha Moon, Nicola Tyson, Amy printmakers and woodworkers. Durham http://www.crownpoint.com Wilson, Michele Zalopany Press has been a member of the International Artists represented: Tomma Abts, Darren Diane Villani Editions, established in 1979, is Fine Print Dealer’s Association for 16 years. Almond, Mamma Andersson, Anne Appleby, a contemporary publisher and private dealer Robert Bechtle, Brad Brown, Chris Bur- in prints. Diane Villani has been a member of Eminence Grise Editions / den, Daniel Buren, John Cage, John Chiara, the IFPDA since 1990, and served as its Presi- Michael Steinberg Fine Art Francesco Clemente, Chuck Close, Robert dent from 2007 to 2009. She now serves as a 136 Baxter Street, New York, NY 10013 Colescott, Richard Diebenkorn, Peter Doig, director on the Board of the IFPDA Founda- http://michaelsteinbergfineart.com/ Leonardo Drew, Pia Fries, Mary Heilmann, tion, which was created to expand the Asso- Artists include: Derrick Adams, Ghada Amer, Sol LeWitt, Brice Marden, Tom Marioni, ciation’s grants and educational programs. Chuck Close, Lauren Comito, Carroll Dun- Julie Mehretu, Susan Middleton, Jockum She also serves on the Board of Directors for ham, Yevgeniy Fiks, Sandrine Guerin, Lyle Nordström, Chris Ofili, Laura Owens, Ed the Fred Sandback Foundation and is a mem- Ashton Harris, Sean Mellyn, Kehinde Wiley Ruscha, Shahzia Sikander, Amy Sillman, ber of ArtTable, a professional organization Publishers of contemporary editions in all Kiki Smith, Pat Steir, Wayne Thiebaud, for women in the arts. media. Richard Tuttle, William T. Wiley

Art in Print May – June 2016 45 Robert Rauschenberg, James Rosenquist, Ed Flatbed Press International Print Center New York Ruscha, Kenny Scharf, Kiki Smith, Janaina 2830 East M. L. King Jr. Blvd. 508 West 26th St., 5th Fl. Tschäpe, Richard Tuttle, Bernar Venet, John Austin, TX 78702 New York, NY 10001 http://www.flatbedpress.com/ Waters, William Wegman http://www.ipcny.org Graphicstudio, at the University of South Artists represented: John Alexander, Terry International Print Center New York was Florida, Tampa, FL is a university-based Allen, Ricky Armendariz, Alice Leora Briggs, established in Chelsea in September 2000 workshop engaged in a unique experiment Michael Ray Charles. Ann Conner, John as the first and only non-profit institution in art and education producing fine art print Robert Craft, Suzi Davidoff, Spencer Fidler, devoted solely to the exhibition and under- editions and sculpture multiples in collabo- Teresa Gomez Martorell, Kenneth J. Hale, standing of fine art prints. IPCNY fosters ration with leading contemporary artists. Trenton Doyle Hancock, Luis Jimenez, Jules a climate for enjoyment, examination and Buck Jones, Sharon Kopriva, Robert Levers, serious study of artists’ prints from the old Mary Fielding McCleary, Denny McCoy, Harlan & Weaver master to the contemporary. IPCNY nur- Samson Mnisi, Greg Murr, Lamar Peterson, 83 Canal Street tures the growth of new audiences for the Liliana Porter, Linda Ridgway, Dan Rizzie, New York, NY 10002 visual arts while serving the print commu- Julie Speed, James Surls, Frank X. Tolbert http://www.harlanandweaver.com nity through exhibitions, publications and 2, Randy Twaddle, Liz J. Ward, Judy Young- Artists represented: Richard Artschwager, educational programs. blood William Bailey, Christiane Baumgartner, Founded in 1989, Flatbed Press has twenty- Louise Bourgeois, Robert Cottingham, Steve Island Press five years experience publishing and exhib- DiBenedetto, Carroll Dunham, Nicole Eisen- Sam Fox School of Design and Visual Art iting fine art prints. Flatbed specializes in man, Joanne Greenbaum, Joey Kötting, Chris Washington University, St. Louis, MO the collaborative development and edition- Martin, Thomas Nozkowski, Michelle Segre, http://islandpress.samfoxschool.wustl.edu/ ing of intaglio, lithographic, monotype and James Siena, Kiki Smith, Mark Strand, José Artists represented: Radcliffe Bailey, Chakaia relief prints. Flatbed’s professional studio Antonio Suárez Londoño, Stanley Whitney Booker, Squeak Carnwath, Willie Cole, Hen- has three master printers who collaborate Harlan & Weaver, Inc. is a workshop and rik Drescher, Chris Duncan, Tom Friedman, with artists to create and produce limited publisher specializing in etching and other Orly Genger, Ann Hamilton, Trenton Doyle editions. Flatbed also does contract col- forms of intaglio printmaking. In their Hancock, Nina Katchadourian, Hung Liu, laborative print development and edition- Lower Manhattan studio, Felix Harlan and Greely Myatt, Shaun O’Dell, Juan Sanchez, ing for other publishers, dealers, artists and Carol Weaver provide the facilities and tech- Lisa Sanditz, Beverly Semmes, James Siena, institutions. Open to the public are Flatbed’s nical assistance for artists to complete a suc- Juane Quick-to-see-Smith showroom and three exhibition galleries. cessful project. Artists working with Harlan Island Press, at Washington University in The galleries feature rotating exhibitions of & Weaver have created some of the most St. Louis, is a collaborative print workshop Flatbed’s published prints and works by rep- notable etchings of the past two decades. committed to creating innovative multiples resented and other invited artists. and advancing the printmaking field through Highpoint Center for Printmaking the integration of research and education. 912 West Lake Street Frances B. Ashforth The press is project driven, tapping into Minneapolis, MN 55408 Ridgefield, CT the place where an artist’s creative research http://highpointprintmaking.org http://francesbashforth.com/ intersects with the language of printmaking, Artists represented: Kinji Akagawa, Carlos Visual artist. setting up unique opportunities for experi- Amorales, Julie Buffalohead, Carter, Wil- mentation with technology, scale and scope. lie Cole, Sarah Crowner, Santiago Cucullu, Gemini G.E.L. at Joni Moisant Weyl Island Press invites two established artists Mary Esch, Rob Fischer, Jay Heikes, Adam 535 West 24th Street, 3rd Floor each year to work in residence for one week Helms, Jim Hodges, Joel Janowitz, Cameron New York, NY 10011 with the master printer and students in the Martin, Julie Mehretu, Clarence Morgan, http://www.joniweyl.com Sam Fox School of Design & Visual Arts at Lisa Nankivil, Todd Norsten, Chloe Piene, Artists represented: John Baldessari, Vija Washington University. There is an annual Jessica Rankin, David Rathman, Linda Celmins, Tacita Dean, Frank Gehry, Robert fellowship residency for an emerging artist Schwarz, Aaron Spangler, Carolyn Swiszcz, Gober, Philip Guston, Ann Hamilton, David as well as a robust internship program for Mungo Thomson Hockney, Ellsworth Kelly, Roy Lichten- assistant printers. Founded in 2001, Highpoint has emerged stein, Julie Mehretu, Bruce Nauman, Robert as a creative force in the world of collabora- Rauschenberg, Ed Ruscha, Analia Saban, Jordan Schnitzer Family Foundation tive printmaking. Highpoint is dedicated to Richard Serra, Joel Shapiro, Frank Stella, 1121 SW Salmon St. Ste. 500 advancing the art form through a variety of Richard Tuttle, Terry Winters and others Portland, OR 97205 programs including Education, Community Gemini G.E.L. at Joni Moisant Weyl, estab- (503) 242-2900 Programs, an Artists’ Cooperative and High- lished in 1984, is the New York gallery exhib- http://www.jordanschnitzer.org/ point Editions, the publishing arm of the iting and representing the publications of the The Jordan Schnitzer Family Foundation non-profit organization. Highpoint’s publi- Los Angeles-based artists’ workshop, Gemini is a non-profit 501(c)3 whose mission it is to cations are held in numerous private, corpo- G.E.L. make the contemporary prints and multiples rate and museum collections. from the collections of Jordan D. Schnitzer and the Jordan Schnitzer Family Foundation Graphicstudio, University of International Fine Print Dealers accessible to qualified museums in diverse South Florida Association (IFPDA) communities. Examination of the artists in 3702 Spectrum Blvd., Suite 100 250 West 26th Street, Suite 405 the collections and the collaborative process Tampa, FL 33612 New York, NY 10001 of printmaking is of particular importance (813) 974-5871 http://www.ifpda.org and supported by educational and outreach (813) 974-2579 (fax) The International Fine Print Dealers Asso- grants. The Foundation also contributes to http://www.graphicstudio.usf.edu ciation (IFPDA) is a non-profit organization the field of artistic scholarship through the Artists represented: Jia Aili, Hernan Bas, of leading art dealers, galleries, and publish- publication of exhibition brochures, texts, Jim Campbell, Sandra Cinto, Chuck Close, ers with expertise in the field of fine prints. and print catalogue raisonnés. Since the pro- Jim Dine, Mark Dion, Keith Edmier, Tere- Members are committed to the highest stan- gram’s inception, the Foundation has orga- sita Fernandez, Iva Gueorguieva, Tren- dards of quality, ethics, and connoisseurship, nized over 100 exhibitions that have been ton Doyle Hancock, Alex Katz, Guillermo and to promoting a greater appreciation of held at over 75 museums. Kuitca, Robert Mapplethorpe, Christian fine prints among collectors and the general Marclay, Allan McCollum, Josiah McElheny, public. Vik Muniz, Roxy Paine, Philip Pearlstein,

46 Art in Print May – June 2016 Jungle Press Editions moting contemporary drawings and works limited editions, Ludion increases the art- 232 Third Street, Suite #B302 on paper. The Kentler Flatfiles, an essential ists’ visibility through exhibitions in collabo- Brooklyn, NY 11215 element of the gallery since its founding in ration with galleries and print departments [email protected] 1990, consists of artworks by more than 230 in museums, while also publishing mono- http://www.junglepress.com/ artists. The Flatfiles have become an impor- graphs and catalogue raisonnés of their Selected artists represented: Mark di Suvero, tant resource for collectors, curators and the graphic work. Nicole Eisenman, Jane Freilicher, Jacqueline general public by revealing the breadth and Humphries, Diana Cooper, Joan Snyder, significance of drawing and prints in con- Manneken Press Gabriele Evertz, Melissa Meyer, Jennifer temporary art. 1106 E Bell Street Marshall, Stephen Westfall, Billy Sullivan, Bloomington, IL Hugh Steers, Brian Wood LeRoy Neiman Center for Print Studies, (309) 829-7443 Jungle Press Editions is a publisher of fine Columbia University http://www.mannekenpress.com/ art prints and multiples by internationally 2960 Broadway, 310 Dodge Hall Artists represented: Carlos Andrade, Melissa renowned contemporary artists. Collabo- New York, NY 10027 Cook, Brian Cypher, Jack Davidson, Rupert rating with master printer Andrew Mock- (212) 854-7641 Deese, LJ Douglas, Rhea Edge, Peter Feld- ler, each artist develops an experimental [email protected] stein, Betty Friedman, Jonathan Higgins, approach to lithography, etching, relief http://arts.columbia.edu/neiman Richard Hull, Gary Justis, Ted Kincaid, printing or monoprint. New editions by: Fia Backstrom, Ernesto Claire Lieberman, Judy Ledgerwood, Jane Caivano, Kiki Smith, Mark Dion, Edward McNichol, Tom Orr, Kate Petley, Justin Kala Art Institute Mapplethorpe, David Altmejd, Sanford Quinn, Jay Shinn, Sarah Smelser, Philip Van 2990 San Pablo Avenue Biggers. Other available editions by: Jas- Keuren, Joan Winter Berkeley, CA 94702 per Johns, Leigh Ledare, LeRoy Neiman, Manneken Press publishes limited edition http://www.kala.org/ Rochelle Feinstein, Trenton Doyle Hancock, and unique prints, artist’s books and port- Artists associated (partial selection): Kathy Rirkrit Tiravanija, Sarah Sze, Tomas Vu folios by contemporary artists. Founded in Aoki, Squeak Carnwath, Enrique Chagoya, The LeRoy Neiman Center for Print Stud- 2000, we publish projects by several invited Roy de Forest, Jessica Dunne, Lawrence Fer- ies is a non-profit fine art printshop within artists each year, working primarily in inta- linghetti, Ellen Heck, Nif Hodgson, Arch- Columbia University School of the Arts. glio, photogravure, relief and monotype. ana Horsting, Max Kellenberger, Amanda Founded by a generous endowment from Manneken Press regularly exhibits at major Knowles, Jimin Lee, Mary Marsh, Yuzo LeRoy and Janet Neiman in 1996, the Cen- art fairs and has been the subject of three Nakano, Gary Nakamoto, Kouseki Ono, ter’s core mission is to promote printmaking survey exhibitions. Kelly Ording, Nora Pauwels, Emily Payne, through education, production and exhibi- Endi Poskovic, Jenny Robinson, Unai San tion of prints. McMillan Fine Prints Martin, Sylvia Solochek Walters, Seiko 345 East 19th St. Tachibana, Peter Voulkos, Richard Wagener, Lower East Side Printshop New York, NY 10003 Donna Westerman, Kazuko Watanabe, 306 West 3th St, 6th Fl. By appointment only Noah Wilson, Lena Wolff New York, NY 10018 http://www.mcmillanfineprints.com/ Founded in 1974 by Archana Horsting and http://www.printshop.org Artists include: Adriaen van Ostade, John Yuzo Nakano as an international workshop The Printshop has recently collaborated with Taylor Arms, Peggy Bacon, Jacques Callot, and forum for ideas, Kala Art Institute pro- artists such as Derrick Adams, Sebastiaan Louis Lozowick, Frank Weston Benson, vides exceptional facilities to professional Bremer, Thomas Dozol, Ryan McGinness, Stanley William Hayter and Benton Spru- artists working in all forms of printmaking, Jennie C. Jones, Chris Martin, Enoc Perez, ance, among others digital media, photography and book arts. Kate Shepherd, Alison Elizabeth Taylor, McMillan Fine Prints is an appraisal firm Located in the former Heinz ketchup factory Janaina Tschäpe and Hank Willis Thomas and dealership specializing in Old Master in West Berkeley since 1979, Kala’s 15,200 Lower East Side Printshop, founded in 1968, through Contemporary prints. We offer square foot facility houses an extensive array is a premier New York City non-profit print- USPAP compliant appraisals for insurance, of art-making equipment, as well as a gallery, making studio supporting contemporary equitable distribution, estate planning and and a vast collection of prints for sale. artists of all career and artistic backgrounds tax and charitable contribution purposes. in creation of new work. Support includes Kayrock Screenprinting Inc. studio space, time, financial and techni- Mixografia 1205 Manhattan Ave #14 cal assistance. Services include residencies, 1419 East Adams Boulevard Brooklyn, NY exhibitions, education in printmaking and Los Angeles, CA 90011 http://kayrock.org/ career advancement skills, and peer-to- (323) 232-1158 Kayrock Screenprinting was started in peer support. With its free Editions/Artists’ http://www.mixografia.com/ 1998 by Karl LaRocca, a.k.a. Kayrock, and Books Fair, exhibitions, artists’ talks and Artists represented: John Baldessari, Louise is currently located in Greenpoint, Brook- other public programs, the Printshop serves Bourgeois, Helen Frankenthaler, Joe Goode, lyn, in a 100-year-old former rope factory. as a junction for artists, collectors, muse- Peter Halley, K’cho, Kwang Young Chun, We specialize in hand-printed fine art edi- ums, galleries and educational institutions Jason Martin, Mimmo Paladino, Jorge Pardo, tions, posters, cards, books, shirts, tote bags, to access and engage in contemporary art. Ed Paschke, Ed Ruscha, Analia Saban, Julião graphic design, custom projects, micro regis- Sarmento, Donald Sultan, Manolo Valdés, tration and the metric system. Ludion Prints Lawrence Weiner, Tom Wesselmann, Rachel Leguit 23, 2000 Whiteread, Terry Winters, Peter Wüthrich Kentler International Drawing Space Antwerp, Belgium Mixografia is a publisher of prints, mul- 353 Van Brunt Street http://www.ludion.be/en/prints tiples and sculptures, working with leading Brooklyn, NY 11231 Artists represented: Barbara Bloom, Raoul contemporary artists at our Los Angeles http://www.kentlergallery.org/ De Keyser, Stan Douglas, Wayne Gonzales, workshop. The unique Mixografia® printing Artists represented: Tomie Arai, Ken Buhler, Kerry James Marshall, Panamarenko, Roger technique allows artists to create prints in Phillip Chen, Takuji Hamanaka, Keiko Hara, Raveel, Luc Tuymans, Hellen Van Meene high relief and with extremely fine surface Leslie Kerby, Karen Kunc, Luce, Karen Helga Ludion is an independent publisher of art detail, expanding the language of traditional Maurstig, Kate McGloughlin, Florence Neal, books and artists’ prints. We were founded editions. The Mixografia Workshop is a col- Ron Netsky, Ursula Schneider, Mary Ting, twenty-five years ago by historian Peter laborative and experimental environment, April Vollmer, Katsutoshi Yuasa Ruyffelaere and went on to become a bench- which accommodates each artist’s unique Kentler International Drawing Space is a mark in the field of high-quality art publica- working style, while pushing the boundaries non-profit exhibition space dedicated to pro- tions. In addition to printing and publishing of traditional printmaking.

Art in Print May – June 2016 47 Niels Borch Jensen Gallery and Editions Open Studio since 1968. He composes, cuts and prints Printshop: Prags Boulevard 49, 2300 401 Richmond Street West his large color woodcuts in his Portsmouth, Copenhagen S, Denmark Toronto, ON M5V 3A8 NH, studio. He also represents the work of Gallery: Lindenstrasse 34, 10969 (416) 504-8238 regional and nationally known printmakers Berlin, Germany http://www.openstudio.on.ca/ and artists such as Alex deConstant, Wil- BORCHs Butik: Bredgade 22, 1260 Open Studio is a charitable, non-profit, artist liam Duffy, Ralph Gorvett, Sean W.J. Hurley, Copenhagen, Denmark run centre dedicated to the production, pres- Sidney Hurwitz, Scott Shenepf and oth- http://www.nielsborchjensen.com/ ervation and promotion of contemporary ers. Don Gorvett works in association with Artists represented: Lewis Baltz, Anna Bar- original fine art prints. Robert Townsend, master printer, of R.E. riball, Georg Baselitz, Inaki Bollinas, Tacita Townsend Studio and exhibits the work of Dean, Thomas Demand, Olafur Eliasson, Paulson Bott Press R.E. Townsend Studios in both galleries. Michael Elmgreen & Ingar Dragset, Kirsten 2390C 4th Street Everberg, Douglas Gordon, Keith Haring, Berkeley, CA 94710 Planthouse Arturo Herrera, Damien Hirst, Carsten http://paulsonbottpress.com/ 55 W. 28th Street Höller, Olav Christopher Jenssen, Clay Ket- Artists represented: Edgar Arceneaux, Tauba New York, NY 10001 ter, Martin Kippenberger, Per Kirkeby, Julie Auerbach, Donald Baechler, Radcliffe Bai- http://www.planthouse.net/ Mehretu, Boris Mikhailov, Albert Oehlen, ley, Chris Ballantyne, Mary Lee Bendolph, Founded in 2013 by Katie Michel and Brad Tal R, Robin Rhode, Matt Saunders, Super- McArthur Binion, Ross Bleckner, Christo- Ewing, Planthouse Gallery is a project space flex, Al Taylor, Rosemarie Trockel, Alan pher Brown, Squeak Carnwath, Kota Ezawa, located on 28th street in New York City. Uglow, Danh Vo Spencer Finch, Caio Fonseca, Isca Green- Planthouse derived its namesake from its Niels Borch Jensens Editions has been mak- field-Sanders, Salomon Huerta, David Huff- original home in the flower district and ing original prints in limited editions, signed man, Chris Johanson, Maira Kalman, Amy recently relocated to the parlor floor of a and numbered by the artist, since the print Kaufman, Margaret Kilgallen, Hung Liu, brownstone in the city’s historic Tin Pan shop was founded in 1979. Among the pro- Kerry James Marshall, Keegan McHargue, Alley. Planthouse is dedicated to exhibiting fessional print shops in Europe, Niels Borch Shuan O’Dell, Martin Puryear, Clare Rojas, and publishing the contemporary work of Jensen has over the years established a posi- Gary Simmons emerging and established artists. tion as one of the most competent in classical Paulson Bott Press publishes, produces, graphic techniques. markets and sells fine art editions. Located Printed Editions in Berkeley, California, we create limited Handel House, 95 High Street Oehme Graphics edition prints in a professional, modern Edgware HA8 7DB, England 2655 Copper Ridge Circle, Unit 1 printmaking studio. Inviting well known http://www.printed-editions.com/ Steamboat Springs, CO 80487 contemporary artists to work with our team Artists represented: Old Masters, Modern (970) 870-6609 of printers directly onto copper plates allows Masters, contemporary and emerging artists http://www.oehmegraphics.com/ us to create exquisite hand-crafted works on Printed Editions is a site that allows collec- Artists represented: Richard Bosman, Kath- paper. tors to source and purchase fine prints and erine Bowling, Katherine Bradford, Farrell multiples direct from more than 150 of the Brickhouse, Eva Bovenzi, Ken Buhler, Diane Pele Prints world’s leading galleries and prints dealers. Cionni, Taiko Chandler, Diana Cooper, Julia 9400 Watson Rd. Printed Editions is the largest portal dedi- Fernandez-Pol, Louise Fishman, Deborah St. Louis, MO 63126 cated to fine prints. Our mission is to inspire Freedman, Nancy Friese, Elizabeth Gilfilen, http://www.peleprints.com art collectors by actively showcasing and Susan Hambleton, Monroe Hodder, Holly Artists represented: Gina Alvarez, Brandon promoting our member galleries and their Hughes, Homare Ikeda, Jeffery Keith, Patsy Anschultz, Laura Berman, Carmon Colan- artworks. Prints range from Old Masters to Krebs, Jason Karolak, Melissa Meyer, Paul gelo, Lora Fosberg, Ben Guffee, Sarah Hinck- emerging artists with many fine examples of Mutimear, Kayla Mohammadi, Jenene Nagy, ley, Alicia LaChance, Grant Miller, Mary prints by important and influential artists Gloria Pereyra, Jason Rohlf, David Row, O’Malley, Benjamin Pierce, Xochi Solis, listed. Catherine Shuman Miller, Susan Thomp- Jessie Van der Laan, Amanda Verbeck, John son, Dorothea Van Camp, Laura Wait, John Wahlers, Ken Wood René Schmitt Druckgraphik Walker, Mia Westerlund Roosen Pele Prints is a collaborative fine art print- Klingster Weg 58 Nestled in the Rocky Mountains in Steam- making studio dedicated to creating lim- 26810 WOL, Germany boat Springs, Colorado, Oehme Graphics ited edition prints and original works of +491726710649 has established itself as one of the country’s art. At Pele Prints, we take a non-traditional [email protected] leading fine print publishers, as it contin- approach to each project and encourage http://www.rene-schmitt.com/ ues to bustle with monthly artist projects, experimentation. The goal is to create a Artists represented: Art & Language, Luis printmaking exhibits, national art fairs and unique body of work that displays the curi- Camnitzer, Michael Mueller, Tal R, Peter workshops. Each year the print studio pub- osity, learning, and constant discovery exem- Saul, Ulay, Rose Wylie lishes six to ten fine print projects with inter- plified in the collaborative process at its best. René Schmitt Druckgraphik is an edition nationally known artists, many of whom focusing on the legacy of printmaking. have previously worked with the director Piscataqua Fine Art Printmaking Studio Expertise of craftsmanship and exploration and Master Printer, Susan Hover Oehme. + Gallery and Perkins Cove Fine Art of the printmaking possibilities are the basic In addition, there will be several juried art- Gallery philosophy of this edition house. All editions ist residencies as well as ongoing exhibitions, Piscataqua Fine Art Printmaking evolve out of close collaborations with the internships and apprenticeships. Studio + Gallery artists and, inside a portfolio, every single 123 Market Street, Portsmouth, NH 03801 edition forms an exhibition on its own. Since Open Gate Press (603) 436-7278 2012 René Schmitt Druckgraphik has edited 719 Farwell Drive Perkins Cove Fine Art Gallery works by Peter Saul, Rose Wylie, Luis Cam- Madison, WI 53704 100B Perkins Cove, Ogunquit, ME 03907 nitzer, Ulay and Tal R. Collaborations with http://www.opengatepress.com (603) 436-7278 Michael Müller, John Armleder and Art & Artists represented: Paula Schuette Kraemer http://www.dongorvettgallery.com/ Language will follow shortly. Open Gate Press is a fine art press owned Don Gorvett, master print maker, estab- and operated by Paula Schuette Kraemer. lished Piscataqua Fine Arts in Portsmouth This artist, who is noted for her strong and New Hampshire as a gallery + studio in 2003. expressionistic drypoint line, creates and Mr. Gorvett has had a presents in Gloucester, prints all of her own works here. MA, Ogunquit, ME. and Portsmouth, NH.

48 Art in Print May – June 2016 Red Trillium Press Silverwattle Bookfoundry Hammersley, Matsumi Kanemitsu, Hung 221 Pine St. 9 Whistler St Liu, Nicola López, Matt Magee, Toyin Odu- Florence, MA 01062 Corinda, Queensland, Australia 4075 tola, Liliana Porter, Hayal Pozanti, David (413) 695-7990 http://www.silverwattlepress.com Row, Fritz Scholder, James Siena, Jaune http://redtrilliumpress.com/ Silverwattle bookfoundry was initiated in Quick-to-See Smith, Kiki Smith, Robert Red Trillium Press creates artists book 1991 by Tim Mosely who, with over 30 years Stackhouse, José Suarez-Londoño, Donald collaborations with Cuban artists. of professional experience, maintains a lucid Sultan, June Wayne and more perspective on the book as a potent medium Tamarind Institute is a dynamic center for fine-art lithography that, since its founding Schema Projects of creative practice. The foundry sustains a in 1960, has made significant contributions 92 St Nicholas Ave conceptual focus on the haptic and collabor- to the art of the print in the United States Brooklyn NY 11237 ative practice underpinned by papermaking, and abroad. Tamarind offers highly focused http://www.schemaprojects.com printmaking and bookbinding. educational and research programs, as well Schema Projects is the first Bushwick gal- as creative opportunities for artists. lery dedicated exclusively to works of art on Steven Vail Fine Arts paper. Housed in a former barbershop store- Historic Teachout Building Tandem Press front, it is the brainchild of New York artist 500 East Locust Street Floor 2 1743 Commercial Avenue Mary Judge, well known for her dedication to Des Moines, IA 50309 Madison, WI 53704 all forms of drawing, both as a studio artist (515) 309-2763 http://www.tandempress.wisc.edu and educator. Schema Projects will feature http://stevenvailfinearts.com/ Selection of artists represented: Jennifer exhibitions of works on paper, such as, but Artists represented: John Armleder, Carlos Angus, Richard Bosman, Andrew Burgess, not limited to drawings, prints, sketchbooks, Amorales, Joe Andoe, Jose Bedia, Carmen Suzanne Caporael, Squeak Carnwath, Robert artists books, limited editions, models and Calvo, Chuck Close, CRASH, Eric Fischl, Cottingham, Lesley Dill, Jim Dine, Valentina diagrams and things not considered painting Mark Francis, Antony Gormley, Adolph Got- DuBasky, Benjamin Edwards, Sam Gilliam, or sculpture, in all disciplines. tlieb, Sol LeWitt, Robert Motherwell, Juame Plensa, James Rosenquist, Joel Shapiro, Bev- Michelle Grabner, Al Held, José Lerma, Nicola López, David Lynch, Ikeda Manabu, Segura Arts Studio erly Semmes, Frank Stella, Bernar Venet, Cameron Martin, David Nash, Dennis Nech- PO Box 773 Andy Warhol vatal, Judy Pfaff, Sandra Ramos, Sam Rich- Notre Dame, IN 46556 Steven Vail Fine Arts –Project Room was set ardson, Dan Rizzie, Alison Saar, Sean Scully, http://segura.com/ up by Steven Vail in 2013 as a Midwestern David Shapiro, Mickalene Thomas Artists represented: Luis Cruz Azaceta, exhibition space for American and European Tandem Press, a publisher of contemporary Claudia Bernardi, Elizabeth Catlett, Enrique modern and contemporary prints and works fine art prints, is a self-supporting unit of the Chagoya, Judy Chicago, Sue Coe, Roy DeFor- on paper. The organization continues with Art Department at the University of Wiscon- est, Tony Delap, Claudio Dicochea, Peter an international, high-profile program of sin-Madison. Founded in 1987, Tandem Press Drake, Terry Evans, Aaron Fink, Lawrence exhibitions. was designed to foster research, collabora- Gipe, Graciela Iturbide, Luis Jimenez, Mark tion, experimentation and innovation in the Klett, Beverly McIver, Vik Muniz, Luis Gon- Stewart & Stewart field of printmaking. zalez Palma, Philip Pearlstein, Faith Ring- 5571 Wing Lake Road gold, Dan Rizzie, Andres Serrano, Maria Bloomfield Hills, MI 48301-1250 Tomasula, James Turrell, Vincent Valdez, (248) 626-5248 Tugboat Printshop Carrie Mae Weems, William Wegman, http://www.StewartStewart.com Pittsburgh, PA Emmi Whitehorse, Matika Wilbur Artists represented: Jack Beal, Randy Bolton, (412) 621-0663 The Segura Arts Studio’s mission is to pro- Richard Bosman, Nancy Campbell, Susan Studio visits by appointment http://www.tugboatprintshop.com/ duce limited-edition fine art prints with art- Crile, Martha Diamond, Connor Everts, Tugboat Printshop specializes in tradition- ists from underrepresented groups whose Janet Fish, Sondra Freckelton, Jane E. Gold- ally hand-crafted color woodcut prints. work tends to address issues of social justice. man, Keiko Hara, John Himmelfarb, Sue Hirtzel, Sidney Hurwitz, Yvonne Jacquette, Founded in 2006 by artists Paul Roden and Valerie Lueth, Tugboat Printshop has grown Shark's Ink Hugh Kepets, Catherine Kernan, Clinton to publish over 100 multi-block woodcut 550 Blue Mountain Road Kuopus, Ann Mikolowski, Don Nice, Katja editions. Many of these editions are metic- Lyons, CO 80540 Oxman, Endi Poskovic, Mary Prince, Mel ulous collaborations between the found- http://www.sharksink.com Rosas, Jonathan Santlofer, Phyllis Seltzer, ers, Roden and Lueth. Tugboat Printshop’s Artists represented: Laurie Anderson, Brad Hunt Slonem, Steven Sorman, Norman evolving narrative is one of resourcefulness, Brown, John Buck, Tom Burckhardt, Kathy Stewart, Paul Stewart sustainability and upbeat attitude. Butterly, Rodney Carswell, Enrique Cha- 2016 marks Stewart & Stewart’s 36th anni- goya, Roy De Forest, Rafael Ferrer, Dianna versary of printing and publishing fine prints Frid, Red Grooms, Susan Hall, Jane Ham- in collaboration with nationally and inter- Wildwood Press 701 N 15th Street mond, Don Ed Hardy, Ana Maria Hernando, nationally recognized artists. Stewart & St. Louis, MO 63103 Mildred Howard, Yvonne Jacquette, Roberto Stewart is one of the first printer/publishers http://wildwoodpress.us Juarez, Robert Kushner, Hung Liu, Hiroki inducted into the International Fine Print Artists represented: Anne Appleby, Michael Morinoue, Rex Ray, Peter Saul, Italo Scanga, Dealers Association (IFPDA) in New York Berkhemer, Josely Carvalho, Christine Cor- Hollis Sigler, Stacey Steers, James Surls, and is among the longest running printer/ Barbara Takenaga, William T. Wiley, Betty publishers in North America. The company day, Damon Davis, Yizhak Elyashiv, Jane Woodman also maintains a diverse inventory of fine Hammond, Valerie Hammond, Tom Huck, Since 1976, when Shark’s Lithography Ltd. prints on consignment from its artists. Jerald Ieans, Mary Judge, Eva Lundsager, Erin opened as a contract print shop, through McKenny, Michele Oka Doner, Gary Paller, the past 40 years of printing and publishing Tamarind Institute Casey Rae, David Scanavino, Juan Sanchez, prints as Shark’s Ink., Master printer Bud 2500 Central Avenue SE Linda Schwarz, David Shapiro, Xiaoze Xie Shark has collaborated with a distinguished Albuquerque, NM 87106 Wildwood Press, founded in 1996 by mas- group of more than 150 artists. Shark’s Ink. http://tamarind.unm.edu ter printer and publisher Maryanne Ellison has produced an eclectic body of work often Artists represented: Clinton Adams, Garo Simmons, is dedicated to experimenta- challenging the assumptions and limitations Antreasian, Polly Apfelbaum, Charles tion and the unexpected. Each year a small of printmaking. Arnoldi, Amy Cutler, Andrew Dasburg, number of artists are invited to collaborate Elaine De Kooning, Roy DeForest, Tony at Wildwood Press, known for both its cus- DeLap, Lesley Dill, Jim Dine, Frederick tom papermaking and as a destination for

Art in Print May – June 2016 49 artists who may choose to meet the challenge of an etching press that is capable of printing five-foot by ten-foot images. Wild- wood Press specializes in unique images, small editions and multiples.

Wingate Studio 941 Northfield Road Become a Professional Member Hinsdale, NH 03451 http://wingatestudio.com Artists represented: Laylah Ali, Ahmed of Art in Print now. Alsoudani, Dennis Ashbaugh, Sebastian Black, Gideon Bok, Louise Bourgeois, Meghan Brady, Sascha Braunig, Ambreen Butt, John Cage, Walton Ford, Dana Frank- fort, Karen Gelardi, John Gibson, Sara Greenberger Rafferty, Xylor Jane, Robert Kushner, Sol LeWitt, Jiha Moon, Jill Moser, Michael Kennedy-Costa, Aaron Noble, Matt Benefits of Professional Membership include: Phillips, Richard Ryan, Cary Smith, Barbara Takenaga, Chuck Webster, Neil Welliver, Joel Werring, Roger White Wingate Studio produces and publishes printed editions, books, and special projects • 6 printed issues of the journal in collaboration with contemporary art- published bimonthly ists. We specialize in intaglio etching and offer the skilled craftsmanship of master printmakers, with an openness to exploration and innovation within and beyond the • Instant online access to all journal content traditional process. The Studio was founded in 1985 by Peter Pettengill, and was given a retrospective by Boston University Art Gal- leries in the fall of 2015, “Printer’s Proof: • News of the Print World, delivered biweekly Thirty Years at Wingate Studio.” to your email inbox and viewable any time online

World House Editions The Carriage House • 12 months of online ads 26 Wheeler Road Middlebury, CT 06762 (203) 758-2662 http://www.worldhouseeditions.com/ • 1 small print ad in the journal Artists represented: Rita Ackermann, Brian Alfred, Caetano de Almeida, Darren Almond, John Armleder, Mike Bidlo, Lizzi Bougatsos, • Option to purchase additional Robert Cottingham, Jane Dickson, Sylvie Fleury, Mark Francis, Antony Gormley, Gary discounted advertising Hill, Nicky Hoberman, Marie-Jo Lafontaine, Julian Lethbridge, Liza Lou, Ryan McGin- ness, Ugo Rondinone, Graciela Sacco, Beverly • Listing in the Print Directory, available online Semmes, Josh Smith, Mitchell Squire, John Tremblay, Bernar Venet, Not Vital, Marijke and published in the journal annually van Warmerdam World House Editions is an active publisher of limited edition prints, portfolios, multiple • 20% discounts available to non-profit objects, photographs and video works by an organizations eclectic group of international artists. We collaborate closely with the artists we publish and work with a select group of contract print workshops and fabricators in the U.S. and Europe. Based in a two-story converted carriage house in the small town of Middle- bury, Connecticut, we are open by appointment only. Subscribe online at www.artinprint.org/subscribe.

50 Art in Print May – June 2016 Amy Cousins, All the Queerness Fit to Print: News of the New York Times 1967-75 (2016) Screenprint on mulberry paper, buttons, wood, Print World foam, 58 x 9 x 42 inches. Unique work. Printed and published by the artist, Philadelphia, PA. $3,000.

Selected New Editions

J.L. Abraham, Especially (2016) Relief (three linoleum plates, four stages), 24 x 24 inches. Variable dition of 8. Printed and published by the artist, New York. $500. Susan Belau, Around Away (2016).

Anne Beresford, Your Call (2015) Monoprinted paper lithograph with mica, 15 1/2 x 10 inches. Variable edition of 11. Printed and published by the artist, Florence, MA. $800. Amy Cousins, All the Queerness Fit to Print: New York Times 1967-75 (2016).

Patty deGrandpre, The Cohesive 4 (2016) Water-based printmaking ink and inkjet print transferred to drafting film, 2 1/2 x 2 1/2 inches each. Unique images. Printed and published by the artist, Beverly, MA. $200. J.L. Abraham, Especially (2016).

Kate Aitchison, Naturally Resourced (2016) Monotype, 87 x 42 inches. Unique image. Printed and published by the artist, Providence, RI. $1,000.

Anne Beresford, Your Call (2015).

Annie Bissett, Relics: Buddha (2016) Watercolor woodblock print (moku hanga), 13 x 13 inches. Edition of 8. Printed and published by the artist, Northampton, MA. $400. Patty deGrandpre, The Cohesive 4 (2016).

Justin Diggle, Notoriously Surveying Avian (2015) Etching and photo etching, 15 3/4 x 15 3/4 inches. Edition of 10. Printed by the artist, Salt Lake City. Published by Guanlan Printmaking Base, China. $550.

Kate Aitchison, Naturally Resourced (2016).

Polly Apfelbaum, Mosaic Mile 1 (2016) Woodblock monoprint, 37 x 70 inches. Unique Annie Bissett, Relics: Buddha (2016). image. Printed and published by Durham Press, Durham, PA. Price on request. Lauren Comito, Brooklyn Containers (2016) Pigment print on hot press, 42 x 49 inches. Edition of 8. Printed by Andre Ribuoli, New York. Published by Eminence Grise Editions, New York. Available through Michael Steinberg Fine Art, New York. $1,800.

Justin Diggle, Notoriously Surveying Avian (2015).

Polly Apfelbaum, Mosaic Mile 1 (2016). Nancy Doniger, The Chase (2016) Monotype, 12 x 12 inches. Unique image. Printed Susan Belau, Around Away (2016) and published by the artist, Brooklyn, NY. $400. Etching and lithography, 9 x 8 inches. Edition of 32. Printed and published by the artist, San Fran- cisco, CA. $400.

Lauren Comito, Brooklyn Containers (2016).

Art in Print May – June 2016 51 Sidney Hurwitz, Red Hook (2016) Ruth Laskey, TWILL WEAVE GRID (OXIDE Etching/aquatint, 17 3/4 x 20 1/2 inches. Edition GREEN, SPRING GREEN, INDIAN YELLOW, of 15. Printed by Robert Townsend, George- PERMANENT YELLOW LAKE) (2015) town, MA. Published by the artist, Newton, MA. Color softground etching, 29 x 29 inches. Available from Stewart & Stewart, Bloomfield Edition of 35. Printed and published by Paulson Hills, MI. $900. Bott Press, Berkeley, CA. $2,000.

Nancy Doniger, The Chase (2016).

Beth Fein, Trace Memory (2015) Photopolymer etching with digital kozo chine collé, 12 x 12 inches. Edition of 10. Printed by the artist at the Kala Art Institute, Berkeley, CA. Sidney Hurwitz, Red Hook (2016). Ruth Laskey, TWILL WEAVE GRID (OXIDE Published by the artist, Berkeley. Available GREEN, SPRING GREEN, INDIAN YELLOW, through Kala Art Gallery, Berkeley. $800. Li Jin, The Offering (2016) PERMANENT YELLOW LAKE) (2015). Drypoint, 33 x 33.7 cm. Edition of 23. Printed by Burnet Editions, New York. Published by Dubner Hung Liu, Fortune (2015) Moderne, Lausanne, Switzerland. $1,650. Two-color lithograph with gold leaf, 14 x 16 inches. Edition of 10. Printed by Valpuri Remling, Tamarind Institute, Albuquerque. Published by Tamarind Institute. $1,500.

Beth Fein, Trace Memory (2015).

nif hodgson, proprioception 1 (2015) Screenprinted graphite powder, 30 x 22 inches. Variable edition of 25. Printed and published by the artist, Los Angeles, CA. $400. Li Jin, The Offering (2016). Hung Liu, Fortune (2015). Kathryn Kain, Cottage Views no. 1 (2015) Monotype with interference, 14 x 30 inches. Carey Maxon, Dreams for the Recruit 101 (2016) Unique image. Printed and published by the art- Lithograph, 15 x 38 inches. Edition of 10. Printed ist, Smith Anderson Editions, Palo Alto, CA. $750. and published by Derriere L'Etoile Studios, Long Island City, NY. €700.

nif hodgson, proprioception 1 (2015). Kathryn Kain, Cottage Views no. 1 (2015). Carey Maxon, Dreams for the Recruit 101 Linda Hunsaker, Fascination (2015) Catherine Kernan, Transit #26 (2015) (2016). Linocut stitched with cotton thread, 10 x 7 Woodcut monoprint, 29 5/8 x 22 1/4 inches. inches. Edition of 25. Printed and published by Unique image. Printed and published by the art- Santi Moix, On som ara? 6 (2016) the artist, Santa Fe, NM. $500. ist, Somerville, MA. Available from Stewart & Hand-painted monoprint with collage, 35 7/8 x Stewart, Bloomfield Hills, MI. $2,200. 47 7/8 inches. Unique image. Printed by Justin Israels and Yasu Shibata, New York. Published by Pace Editions, Inc., New York. Price on request.

Linda Hunsaker, Fascination (2015). Santi Moix, On som ara? 6 (2016). Catherine Kernan, Transit #26 (2015).

52 Art in Print May – June 2016 Carrie Ann Plank, Vestige (Cast Skin) (2016) Elisabeth Stevens, The Sufferers (2015) Cast woodblocks in kiln glass and silver, 36 x 36 Suite of four copper plate etchings with envoi inches. Unique works. Printed and published by and front matter in custom cloth-covered, clam- the artist, San Francisco, CA. Available through shell box, 12 x 10 inches (etchings), 13 x 11 inches Bullseye Projects, Portland, OR. $9,000. (box). Edition of 15. Printed by Bleu Acier, Tampa, FL. Published by Goss Press, Sarasota, FL. $1,500.

Fanny Retsek and Sandra Starkey Simon, Sea Dogs Lost (2016).

Carrie Ann Plank, Vestige (Cast Skin) (2016). Jenny Robinson, Schema (2016) Drypoint on aluminium plate, 49 x 36 inches. Elisabeth Stevens, The Sufferers (2015). Alyson Provax, Diagram 34 (2016) Variable edition of 4. Printed and published by Screenprint monotype, pencil, 22 x 30 inches. the artist, Kala Institute of Art, Berkeley, CA. Shelley Thorstensen, Like a Radio (2015) Unique image. Printed and published by the art- $3,000. Etching, lithography, chine collé, 29 1/2 x 40 1/2 ist, Portland, OR. $600. inches. Edition of 10. Printed and published by the artist, Oxford, PA. Available through Dolan/ Maxwell. $2,500.

Alyson Provax, Diagram 34 (2016). Shelley Thorstensen, Like a Radio (2015). Jenny Robinson, Schema (2016). Academy Records (Stephen Lacey), Skip Sylvia Solochek Walters, Vintage (2015) Softly My Moon Beams (2015) Katia Santibañez, Floating In My Mind (2015) Reductive woodcut with stencils and rubber Four-color lithograph, 30 1/8 x 22 1/2 inches. Linocut reduction in six colors on Hosho paper, stamp, image 17 x 20 inches. Edition of 9. Printed Edition of 30. Printed by Veda Rives, Normal 19 1/2 x 16 inches. Edition of 25. Printed and pub- and published by artist, Oakland, CA. Available Editions Workshop at Illinois State Univer- lished by Mae Shore, Shore Publishing, Tuxedo through the artist or Kala Art Institute Gallery, sity, Normal, IL. Published by Normal Editions Park, NY. Available through Cheymore Gallery, Berkeley, CA. $1,100. Workshop at Illinois State University. $600. Tuxedo Park, NY. $800.

Sylvia Solochek Walters, Vintage (2015).

Exhibitions of Note Katia Santibañez, Floating In My Mind (2015). ALBUQUERQUE Academy Records (Stephen Lacey), Skip Yasu Shibata, 10 Vertical/9 Horizontal (2016) “Neogylphs: Monotypes by Jessica Krichels” Softly My Moon Beams (2015). Japanese woodcut on Kizuki-shi paper, 19 x 19 6 – 27 May 2016 inches. Edition of 10. Printed and published by New Grounds Gallery Fanny Retsek and Sandra Starkey Simon, the artist, New York. Available through Aspinwall http://newgroundsgallery.com Sea Dogs Lost (2016) Editions, New York. $2,000. Monotype: water-based pencil and chine collé, ATHENS, GA 30 x 22 inches. Unique image. Printed and pub- “Frank Hartley Anderson: Forging the lished by the artists, Palo Alto, CA and Adelaide, Southern Printmakers Society” Australia. $1,000. 26 March – 19 June 2016 Georgia Museum of Art https://georgiamuseum.org/

AUSTIN, TX “Goya: Mad Reason” 19 June – 25 September 2016 Blanton Museum of Art Yasu Shibata, 10 Vertical/9 Horizontal (2016). http://blantonmuseum.org

Art in Print May – June 2016 53 Amon Carter Museum of American Art http://cartermuseum.org

And: “Procession: The Art of Norman Lewis” 4 June – 21 August 2016

FRANKFURT “Sigmar Polke: Early Prints” 2 March – 22 May 2016 Stadel Museum http://staedelmuseum.de

ITHACA “The Fire is Gone but We Have the Light: Rirkrit Tiravanija and Korakrit Arunanondchai” 23 January – 29 May 2016 Johnson Museum of Art, Cornell University http://museum.cornell.edu/current-exhibitions

KANSAS CITY, MO “Flowers to Frost: Four Seasons in East Asian Art” 18 July 2015 – 17 July 2016 The Nelson-Atkins Museum of Art http://nelson-atkins.org

In Frankfurt through 22 May: ““Sigmar Polke: Early Prints.” Sigmar Polke, School Print (1972), screen- LONDON “Antony Gormley: CAST” print, embossing on paper with screenprint on vellum collaged to reverse, glitter hand additions, 49 x 13 May – 2 July 2016 64.5 cm. Deutsche Bank Collection at the Städel Museum, Städel Museum, Frankfurt am Main. ©The Alan Cristea Gallery Estate of Sigmar Polke, Cologne / VG Bild-Kunst, Bonn 2016. Photo: Städel Museum–ARTOTHEK. http://alancristea.com

BALTIMORE “Monster Roster: Prints” “R. Crumb: Art & Beauty” “New Arrivals: Matisse Prints & Drawings” 11 February – 12 June 2016 15 April – 2 June 2016 9 December 2015 – 3 July 2016 Smart Museum, University of Chicago David Zwirner Baltimore Museum of Art http://smartmuseum.uchicago.edu/ http://davidzwirner.com http://artbma.org DES MOINES, IA LOS ANGELES BANJA LUKA, BOSNIA AND HERzEGOVINA “GRAAAFICAAA ITALIANAAA” “Julian Opie: Nature 1” “Damien Hirst: New Religion” 22 January – 29 May 2016 6 April – 26 May 2016 17 March – 27 May 2016 Des Moines Art Center Jonathan Novak Contemporary Art The Museum of Contemporary Art of Republika http://www.desmoinesartcenter.org/ http://novakart.com/ Srpska http://bit.ly/1Mu88EG DETROIT “Vitality of New Forms: Designs by “Fifty Years of Collecting: Friends of Alvin Lustig and Elaine Lustig Cohen” BOSTON Prints, Drawings and Photographs 14 November 2015 – 4 July 2016 “London and Edo Cities on the Rise” Anniversary Exhibition” Los Angeles County Museum of Art 3 April – 17 July 2016 15 December 2015 – 18 June 2016 http://www.lacma.org/ Museum of Fine Arts Detroit Institute of Arts http://www.mfa.org/exhibitions/london-and-edo http://www.dia.org/ MADISON, WI “Three Centuries of Japanese Woodblock CAMBRIDGE, UK EDMONTON, ALBERTA Prints from the Chazen Museum “1816: Prints by Turner, Goya and “Sergio Serrano: Records” Collection” Cornelius” 29 April – 11 June 2016 6 May – 17 July 2016 9 February – 31 July 2016 SNAP Community Gallery Chazen Museum of Art The Fitzwilliam Museum http://snapartists.com http://www.chazen.wisc.edu/ http://www.fitzmuseum.cam.ac.uk/ And: MONTGOMERY, AL CANAJOHARIE, NY “The Opening Act: A Survey of “Harmonics: Joe Almyda’s Works on Paper” “Rembrandt: The Consummate Etcher and Jan Xylander Exhibition Posters by 11 June – 14 August 2016 other 17th Century Printmakers” Natasha Pestich” Montgomery Museum of Fine Arts 1 March – 29 May 2016 29 April – 11 June 2016 http://mmfa.org/exhibitions/ Arkell Museum http://www.arkellmuseum.org/current-exhibitions FALMOUTH, MA MONTREAL “Kanreki: A 60 Year Journey” “Toulouse-Lautrec Illustrates the CHICAGO 26 June – 14 September 2016 Belle Époque” “Van Dyck, Rembrandt and the Highfield Hall & Gardens 17 June – 13 November 2016 Portrait Print” http://highfieldhallandgardens.org/ Montreal Museum of Fine Arts 5 March – 7 August 2016 http://mbamtl.org Art Institute of Chicago FORT WORTH, TX http://artic.edu “Louise Nevelson: Prints” 17 February – 31 July 2016

54 Art in Print May – June 2016 And: NORTHAMPTON, MA “The Recovery of Antiquity: From the “Mothers’ Arms: Käthe Kollwitz’s Renaissance to Neoclassicism” Women and War” 12 January – 26 June 2016 29 January – 29 May 2016 Smith College Museum of Art NEW BRUNSWICK, NJ http://www.smith.edu/artmuseum “Infinite Opportunities Offered in Color: Prints by Helen Hyde and Bertha Lum” ODENSE, DENMARK 13 February – 31 July 2016 “Horizons” Zimmerli Art Museum 4 – 29 June 2016 http://zimmerlimuseum.rutgers.edu Fyns Grafiske Verksted http://www.fynsgv.dk/ NEW HAVEN, CT “Everything is Dada” PHILADELPHIA 12 February – 3 July 2016 “Breaking Ground: Printmaking in the Yale University Art Gallery US, 1940–1960” http://artgallery.yale.edu 26 March – 24 July 2016 Philadelphia Museum of Art NEW YORK http://philamuseum.org “James McNeill Whistler Prints” 11 – 27 May 2016 “Jeffrey Dell: Sightings” C.G. Boerner 6 May – 6 August 2016 http://cgboerner.com The Print Center http://printcenter.org “Art for Every Home: Associated American Artists, 1934–2000” And: 19 April – 9 July 2016 “Andrew Fillmore: This Time is In Fort Worth, Texas through 31 July: “Louise Grey Art Gallery, NYU Always the Present” Nevelson: Prints.” Louise Nevelson, Untitled http://nyu.edu/greyart 6 May – 6 August 2016 (1967), lithograph. ©2016 Estate of Louise Nev- elson / Artists Rights Society (ARS), New York. “Suspended Animation: Moving Images And: Amon Carter Museum of American Art, in Print” “Leah Mackin: Portable Document” Fort Worth, TX. 7 April – 4 June 2016 6 May – 6 August 2016 IPCNY http://ipcny.org PITTSBURGH, PA SAN FRANCISCO “Alison Knowles” “Printed Stories” “Jasper Johns Monotypes” 20 May – 24 October 2016 16 June – 10 July 2016 5 May – 25 June 2016 Carnegie Museum of Art de Young Museum Matthew Marks Gallery http://cmoa.org https://deyoung.famsf.org/exhibitions/current http://www.matthewmarks.com/ PORTLAND, ME SEATTLE “The Power of Prints: The Legacy of “Masterworks on Paper” “Kim Osgood: A Quiet Eye” William M. Ivins and A. Hyatt Mayor” 22 January – 5 June 2016 5 May – 29 May 2016 26 January – 22 May 2016 Portland Museum of Art Lisa Harris Gallery Metropolitan Museum of Art http://www.portlandmuseum.org/ http://lisaharrisgallery.com http://www.metmuseum.org/ PORTLAND, OR STANFORD, CA “Edgar Degas: A Strange New Beauty” “Mastery/Emergence” “Myth, Allegory, and Faith: 26 March – 24 July 2016 30 March – 1 June 2016 The Kirk Edward Long Collection of Museum of Modern Art ECOpdx Mannerist Prints” http://www.moma.org/ http://www.ecopdx.com/ 10 February – 20 June 2016 Cantor Arts Center at Stanford University And: “Lifetime Achievement Award http://events.stanford.edu/events/520/52065/ “Dadaglobe Reconstructed” Exhibition: James Rosenquist” 12 June – 18 September 2016 22 March – 18 June 2016 TULSA, OK Pacific Northwest College of Art “Fluid Expressions: The Prints of “Small is Beautiful: Selected Works & http://www.pnca.edu/ Helen Frankenthaler” Books from Thirty Years” 7 June – 17 September 2016 11 May – 11 July 2016 PROVIDENCE The Sherwin Miller Museum of Jewish Art Parkett New York “Drawing Conclusions” http://jewishmuseum.net/ http://parkettart.com 22 January – 25 September 2016 RISD Museum UNIVERSITY PARK, PA NEWARK, NJ http://risdmuseum.org/ “The Prints of Jules Heller” “Impressions of the Natural World: 17 May – 14 August 2016 Japanese Prints from the Special RICHMOND, VA Palmer Museum of Art, Pennsylvania Collections Division” “Jazz: Prints Series by Romare Bearden” State University 18 April – 6 August 2016 19 August 2015 – 26 June 2016 http://palmermuseum.psu.edu/ Newark Public Library Joel and Lila Harnett Museum of Art http://www.npl.org/Pages/ProgramsExhibits/index. http://museums.richmond.edu WASHINGTON, DC html “Recent Acquisitions” 6 November – 30 October 2016 National Portrait Gallery http://npg.si.edu

Art in Print May – June 2016 55 23 – 25 June 2016 Auctions Myth, Allegory, and Faith: University of Basel The Kirk Edward Long Collection of http://bit.ly/1pbJHAA ADMIRALTY, HONG KONG Mannerist Prints “Prints, Photographs and Works on Paper” Bernard Barryte 22 May 2016 New Books 704 pages, 770 illustrations Bonhams Published by Silvana Editoriale, Milan, 2016 http://www.bonhams.com/ Noir: The Romance of Black in $100. 19th-Century French Drawings and Prints LONDON Edited by Lee Hendrix “Prints & Multiples” 184 pages, 111 color illustrations 22 June 2016 Published by Getty Publications, Bonhams Los Angeles, 2016 http://www.bonhams.com/ $39.95. “Evening & Day Editions” 9 June 2016 Phillips https://www.phillips.com/calendar

NEW YORK “Modern & Contemporary Prints & Multiples” 7 June 2016 Bonhams Van Dyck, Rembrandt, and the http://www.bonhams.com/ Portrait Print Victoria Sancho Lobis, with an essay by Benefits Maureen Warren 108 pages, 66 color illustrations NEW YORK Published by Art Institute of Chicago, “10th Annual IPCNY Spring Benefit Dinner” Lucian Freud: A Closer Look. Works Chicago and Yale University Press, 25 May 2016 from the UBS Art Collection New Haven, 2016 International Print Center New York Edited by Michael Juul Holm, Anders Kold, Ste- $30. http://icpny.org phen McCoubrey. Preface by Stephen McCou- brey. Foreword by Poul Erik Tøjner. Text by “Printshop Benefit Sale 2016” Anders Kold, Richard Cork 3 – 20 May 2016 111 pages Lower East Side Printshop Published by Louisiana Museum of http://www.printshop.org/ Modern Art, Humlebæk, Germany and UBS, Zurich and Basel, 2015 “PaperView 2016” $35. 2 June 2016 Manhattan Graphics Center at the Highline Loft Space http://www.manhattangraphicscenter.org/

Colloquia Martin Puryear: Multiple Dimensions CHICAGO Mark Pascale “The Early Modern Portrait Print” 160 pages, 140 color illustrations 20 May 2016 Published by Art Institute of Chicago, Art Institute of Chicago Chicago, 2015 http://artic.edu $35.

Conferences A Terrace in Rome Pascal Quignard AMSTERDAM 128 pages (novel) “Paragons and Paper Bags: Early Modern Published by Wakefield Press, Prints from the Consumer’s Perspective” Cambridge, MA, 2016 9 June 2016 $13.95. Rijksmuseum https://www.rijksmuseum.nl/en/paragons-and- paper-bags

PHILADELPHIA “Print Think 2016: Collaboration with Art in Print” 14 May 2016 Tyler School of Art, Temple University Other News http://tyler.temple.edu/print-think-2016 Call for Entries: Symposia International Print Biennale The 2016 Print Awards are open to international BASEL artists working in print processes including two- “Preparatory drawing, proof print & dimensional, three-dimensional, video, installa- counterproof: the artist's graphic material” tion and site-specific work. The awards are the

56 Art in Print May – June 2016 centerpiece of the International Print Biennale at the Museum as a research assistant in 1998. established by Northern Print in 2009. Among the many exhibitions she has organized The exhibition of selected works will take are “Soldier, Spectre, Shaman: The Figure and the place 16 September–22 October 2016 in galleries Second World War,” with Assistant Curator Lucy in Newcastle upon Tyne; at Northern Print and Gallun (2015); “Rock Paper Scissors and Ideas Not the University Gallery at Northumbria Newcas- Theories: Artists and the Club” with Jodi Haupt- tle, and Vane. The intention is to show a body of man, Senior Curator; and “Wait, Later This Will Purchase work from each selected artist. All Be Nothing: Editions by Dieter Roth” (2013). Entries will be accepted until 20 June 2016, 5:00 PM BST Please go to http://www.interna- Back Issues tionalprintbiennale.org.uk/news/call-for-entries. html for more information. of Art in Print.

Sarah Suzuki, Curator, Department of Drawings and Prints, MoMA. Call for Entries: 11th Biennale de Gravure de Liège The Biennale de Gravure de Liège is organized Robin Reisenfeld Appointed Curator of by the Museum of Fine Arts Liège, in partner- Works on Paper at Toledo Museum of Art ship with the association Les Amis du Cabinet The Toledo Museum of Art has announced that des Estampes et des Dessins de la Ville de Liège. Robin Reisenfeld has joined the museum staff as Selected artists will see their works exhibited in curator of works on paper. Reisenfeld has served 2017 at La Boverie in Liège, and one artist will as course director of Global Contemporary Art receive the Biennial Award of €5,000. The theme in the MA program at Christie’s Education, New for this year’s Biennale is “Drift[s].” Application York, for the past two years and as a full-time fac- is open to all artists and printing techniques. ulty member in modern and contemporary art The deadline for entries is 1 September 2016. for over a decade. Reisenfeld has worked as an For more information and to apply, please go to associate curator of prints and illustrated books http://www.beauxartsliege.be/. at the Museum of Modern Art. She is the author of several exhibition cata- Martha Tedeschi to Lead logues, including: The German Print Portfolio: Harvard Art Museums Serials for a Private Sphere, 1890-1930 and Women’s The Harvard Art Museums has named Mar- Work, Contemporary Women Printmakers from the tha Tedeschi its new Cabot Director, effective Collections of Jordan D. Schnitzer and his Family July 2016. She succeeds Thomas W. Lentz, PhD Foundation. ’85. Tedeschi has spent her entire professional career at the Art Institute of Chicago, arriving Did you know you can as an intern in 1982 and becoming a full curator in 1999. In 2012, she was named to her current purchase any issue of position, deputy director for art and research. Art in Print? Educated at Brown University, the University of Michigan and Northwestern, Tedeschi has spe- cialized in British and American printmaking, Miss the New Editions issue? and has organized exhibitions of watercolors by John Marin and Winslow Homer. She is an expert on the work of James McNeill Whistler. Need the Stanley William Hayter issue for your Robin Reisenfeld. Photo: Andrew Weber. library?

The International Fine Print Dealers Want to give the Renaissance Association Elects Six New Members issue to a friend? for 2016 The International Fine Print Dealers Associa- tion (IFPDA) has announced the appointment All 15 issues of Art in Print of six new members: Benveniste Contempo- rary (Madrid); Cade Tompkins Projects (Provi- are available on MagCloud dence, R.I); Isselbacher Gallery (New York); Mike at www.magcloud.com/user/ Martha Tedeschi. Image ©President and Karstens (Münster); Stamperia d’Arte Berardi- established-2011. nelli (Verona); Michael Woolworth (Paris). Fellows of Harvard College. The IFPDA now includes more than 160 members in 13 countries. Admission to the IFPDA is If you have any questions, Sarah Suzuki Promoted to Curator of based on the caliber of art offered for sale, exhibi- Drawings and Prints at MoMA tions and published catalogues, and the number please contact us at The Museum of Modern Art announced the proof years a dealer or gallery has been in business. [email protected]. motion of Sarah Suzuki to Curator in the Depart- Members represent the full range of specialties ment of Drawings and Prints on 17 March 2016. within the field, ranging from Old Master to Suzuki, who has served as Associate Curator in Modern and Contemporary prints from around the department since 2010, began her career the world.

Art in Print May – June 2016 57 National Gallery of Art Announces Recent Acquisitions The National Gallery of Art (Washington D.C.) has announced the acquisition of a number of important prints and works on paper, including Joan Miró’s book with the Surrealist poet Paul Éluard, À toute épreuve. The book includes some 80 color woodcuts, some with collage elements— torn papers, butcher’s paper, 19th-century wood engravings, etc. In addition, four Edvard Munch prints—The Kiss (1895), Old Woman with Umbrella (1902), Linde Sons (1902) and Munch and Direc- tor Ludvig Didrichsen (1916)—were given by the Epstein Family Collection.

FRANCES B. ASHFORTH WATERBASE MONOTYPES Water Study 40a 30x30, unique monotype, 2015 francesbashforth.com

Joan Miró, from À toute épreuve by Paul Éluard (1958), unbound volume with 80 color woodcuts, some with collage, 335 × 260 x 4 cm. Pepita Milmore Memorial Fund, Eugene L. and Marie-Louise Garbáty Fund, and The Ahmanson Foundation.

The Rauschenberg Foundation Announces Printer/Publisher & Dealer of Fine Prints Since 1980 New Fair Use Policy www.StewartStewart.com The Rauschenberg Foundation recently an- Robert Rauschenberg, Sky Garden (Stoned nounced a new Fair Use policy—the first to be Moon) (1969), lithograph and screenprint, 89 1/4 Cleveland Fine Print Fair adopted by an artist-endowed foundation—that x 42 inches. Edition of 35. Published by Gemini will make images of Rauschenberg’s artwork G.E.L., Los Angeles. ©Robert Rauschenberg 22-25 September 2016 more accessible to museums, scholars, artists and Foundation and Gemini G.E.L. Cleveland Museum of Art the public. The new policy reads as follows:

IFPDA Member The Foundation recognizes and supports the use of images of Rauschenberg artworks, for which the Foundation owns the copyright, under the doctrine of fair use with the goal of foster- ing scholarship, disseminating knowledge and enhancing educational initiatives. Possible uses include: 1. Analytical, interpretive, and/or creative Subscribe to writings/works 2. Online (digitized) collections created for Art in Print public scholarship 3. Teaching including online coursework and study guides now... 4. Print and digital newspapers, periodicals, and magazines 5. Transformative use in artworks 6. Social media Publishing Rauschenberg artwork under fair use does not require permission from or a license agreement with the Foundation. However, in order to ensure accuracy in color reproductions and citations, publishers are requested to contact the Foundation to obtain free authorized Please submit announcements of www.artinprint.org reproductions and citations. See the “Contact exhibitions, publications and Us” page at http://www.rauschenbergfoundation. other events to org/foundation/fair-use. Any use shall not suggest that the Foundation is sponsoring or is [email protected]. formally affiliated with the publisher.

58 Art in Print May – June 2016 The Art in Print Prix de Print No. 18 Deadline: 15 May 2016

The Prix de Print is a bimonthly, juried competition open to all Art in Print subscribers. Each bi-monthly issue of Art in Print features a full-page reproduction and brief essay about the work of one artist, chosen by an outside juror. Jurors include artists, curators, printers, publishers and dealers from around the world.

Who can enter? Anyone with an active subscription to Art in Print can enter. We can accept one submission per subscription per issue. The subscriber can be an artist, publisher, printshop, gallery or other organization.

How do I submit? Submit your entry through our online form. Details can be found under the “Prix de Print” tab at www.artinprint.org.

Deadlines: The deadline is the 15th of every odd-numbered month: 15 January, PRIX 15 March, 15 May, 15 July, 15 September de and 15 November. PRINT

Art in Print May – June 2016 59 SAVE THE DATE

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William Weege WWW.TANDEMPRESS.WISC.EDU Strange Winds Blow #34 “A Foggy Day”, 2015 [email protected] Monoprint 36“ x 24” 608.263.3437

60 Art in Print May – June 2016 COLLABORATIVE SCREENPRINTS WILLIAM CHRISTENBERRY at the HAND PRINT WORKSHOP INTERNATIONAL detail, "Studio Wall" (2012-14); Varied edition of 12; 56.5” x 30”; ink, cold wax medium and oil paint on Arches 88 For information, contact Dennis O’Neil, Director, Hand Print Workshop International — [email protected]

SCRATCHES, SPIT AND VINEGAR A GROUP SHOW CURATED BY ED RUSCHA APRIL 7 - JUNE 6

tom marioni, Walking Drawing (Drypoint), 2006.

CROWN POINT PRESS 20 HAWtHORNE St. SAN FRANcIScO, cA 94105 (415) 974-6273 cROWNPOINt.cOm

Art in Print May – June 2016 61 Mark Klett Saguaro Diptych: 5 16-1 and 5 16-4

2016 Photogravure, ed. of 60 (diptych), 24” x 20”,

University of Notre Dame • www.segura.com • (574) 631-9849

IPCNY’S 10TH ANNUAL SPRING BENEFIT DINNER MAY 25, 2016

HONORING JOHN BALDESSARI BROOKE ALEXANDER ANNE COFFIN

6:30 PM Cocktails & Silent Auction 7:30 PM Dinner & Awards

ArtBeam, 540 West 21st St, NY

John Baldessari. Rollercoaster, 1989−90. Soft-ground, aquatint, and photogravure on irregularly shaped paper, sheet 39 x 67 1/2 in. Edition 45. Publisher: Brooke Alexander Editions, New York. Printer: Branstead Studio, New York; Iris Editions, New York. Image © 2016 John Baldessari. International Print Center New York 508 West 26th St, 5th Floor NYC 10001 ipcny.org/springbenefit2016 [email protected] 212-989-5090 •

62 Art in Print May – June 2016 0 YEARs 4 O G f IN T P A R I R N DON ED HARDY b T E I N L

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Detail of “Ink is King” (2016) s m IN IN s color lithograph, 30 x 22 inches, edition of 30 k • sHARk

Art in Print May – June 2016 63 Contributors to this Issue

Susanne Anderson-Riedel is Associate Professor of Art History at the University of New Mexico. She is the author of Creativity and Reproduction: Nineteenth Century Engraving at the Academy (2010) CALL and has published several articles and book chapters on artistic exchange and the print in 18th- and 19th-century Europe.

Chang Yuchen is an artist who currently lives and works in New York. She graduated from Central Academy of Fine Arts, Beijing (BFA) in 2011 and School of the Art Institute of Chicago (MFA) FOR in 2013. Her solo exhibitions include “Chang Yuchen: Barbaric Poetry at Between Art Lab,” Beijing, 2015 and “Chang Yuchen: Snake and Others at Fou Gallery,” New York, 2013.

Maeve Coudrelle is a PhD student and University Fellow in the Art History department at the Tyler School of Art, Temple University. Her speciality is modern and contemporary prints in the Americas ENTRIES and Europe.

Thomas Cvikota is a publisher, writer, curator and dealer whose interest in prints and multiples began in 1968. Since his first visit to the Print Study Room at the Art Institute of Chicago he has continued a personal and professional involvement with all things printed and editioned. Contemporary art in print has been his focus. However, the long history of printing and prints continues to make an Open to all impression on him today. Miguel de Baca is Associate Professor of Art History and at Lake Forest College where he is the British and chair of the American Studies program. He earned his PhD degree in American Studies from Harvard University in 2009, and has held research fellowships at the Smithsonian American Art Museum and Dumbarton Oaks. His scholarly interests include issues of memory, reference and international abstraction in modern and contemporary American art, and his book, Memory Work: Anne Truitt and artists’ Sculpture was published by the University of California Press in 2015. Daniel Hewson is a curator, writer and artist from Cape Town, South Africa, with a particular focus on printmaking. He recently completed a curatorial residency at the Weltkulturen Museum in interpretation of Frankfurt where he worked on the exhibition, “A Labour of Love.”

contemporary Jason Millard is a freelance writer who worked as the lead digital print technician (2007–2015) at Saint Joseph’s University in Philadelphia, PA, where he earned his MA in creative writing (2011). He remains print processes fascinated with printmaking, print culture and book history.

Leslie Miller is the founder and director of Grenfell Press, where she has worked with artists such as Robert Gober, Vija Celmins, Jane Kent, Elizabeth Murray, David Storey and Terry Winters, and with writers including John Ashbury, Richard Ford, Susan Howe and Ann Lauterbach.

Britany Salsbury is the Andrew W. Mellon Curatorial Fellow in the Department of Prints, Drawings, and Photographs at the RISD Museum. She holds a PhD in art history from the Graduate Center of the Deadline: City University of New York, where her dissertation focused on print portfolios in fin-de-siècle Paris. 20 June 2016 David Storey is a painter who makes prints. He lives in New York and teaches at Fordham University. Julie Warchol is the Associate Editor of Art in Print and the Curatorial Associate at the Terra Foundation for American Art in Chicago. She holds an MA in art history from the School of the Art Institute of Chicago. She has curated exhibitions of 20th-century American prints, photographs and artists’ publications at the Smith College Museum of Art and the Joan Flash Artists’ Book Collection at SAIC.

internationalprintbiennale.org.uk Susan Tallman is the Editor-in-Chief of Art in Print. She has written extensively about prints, issues of multiplicity and authenticity, and other aspects of contemporary art.

64 Art in Print May – June 2016 x161953_ph_AIP_p4_lh.indd 1 07/04/2016 15:22 Back Issues of Art in Print

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