US $25 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 Inquiries: 612.871.1326 [email protected] highpointprintmaking.org EMIL LUKAS Dome 4 | 2015 Screenprint Size: 28 1/4" x 28" (71.8 x 71.1 cm) Edition of 35 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 Mof 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 Subscribe to Art in Print. Art in Art in Print Number 4 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.