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Mokuhanga International • Eugène Carrière • Paupers Press • the V&A

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Mokuhanga International • Eugène Carrière • Paupers Press • the V&A July – August 2012 Volume 2, Number 2 Mokuhanga International • Eugène Carrière • Paupers Press • The V&A in Libya • Highlights from the Fitzwilliam Martin Kippenberger • Picasso’s Vollard Suite • Nicole Eisenman • reThink INK • New Editions • Advancements in Printing • News History. Analysis. Criticism. Reviews. News. Art in Print. Now in Print. www.artinprint.org Subscribe to Art in Print. July – August 2012 In This Issue Volume 2, Number 2 Editor-in-Chief Susan Tallman 2 Susan Tallman On Making Associate Publisher April Vollmer 4 Julie Bernatz Mokuhanga International Managing Editor Anna Schultz 14 Annkathrin Murray Some New Observations on Eugène Carrière’s Prints Journal Design Skip Langer Paul Coldwell 22 The Mechanical Hand: Advertising Manager Artists’ Projects at Paupers Press Pilar Sanchez Gill Saunders 26 The V&A Takes Street Art to Libya Exhibition Reviews 28 Sarah Grant Designed to Impress: Highlights from the Fitzwilliam Museum Collection Charles Schultz Martin Kippenberger’s Raft of the Medusa at Carolina Nitsch Paul Coldwell The Power of Dreams: Picasso’s Vollard Suite at the British Museum Charles Schultz Nicole Eisenman at Leo Koenig Elaine Mehalakes ReThink INK: 25 Years at Mixit Print Studio Boston Public Library Courtney R. Thompson Pulled Pressed Printed in Chicago Editions Reviews 41 Allison Rudnick Cecily Brown’s Monotypes Sarah Kirk Hanley John Baldessari’s Alphabet Cover Image: Ellsworth Kelly at Gemini G.E.L. Karen Kunc, detail of Ecolocution (2011), woodcut, mezzotint, polymer relief & mixed Julia Vodrey Hendrickson media, 29 x 39 inches. Edition of 3. Printed and Alexander Massouras published by the artist. Mit Senoj This Page: Susan Tallman Alexander Massouras, detail of One day, Paul Isca Greenfield-Sanders gilded all the picture frames in his house (2011), hard ground etching with gold leaf. Book Review 49 Printed by the artist at the London Print Studio, Jane Kent published by Julian Page Fine Art, London. Printmaking Revolution— Photo: Alexander Massouras, courtesy of Julian New Advancements in Technology, Page Fine Art. [See review page 46.] Safety and Sustainability News of the Print World 51 Art in Print 3500 N. Lake Shore Drive Contributors 63 Suite 10A Chicago, IL 60657-1927 Membership Subscription Form 64 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. On Making By Susan Tallman A rt is—above all—a playing field for “craft”—whatever deployment of materials newly saturated with reproduction. Over ideas. was required to effect that strategy. the past five decades, the “pinxit v. fecit” This truism is so widely accepted among Printmaking has had a complicated role model has infiltrated every aspect of art contemporary chattering classes and so glo- in all this. For much of the past 500 years, it production as painters, sculptors, instal- rious in its generous, abstract ambition that neatly formalized the distinction between lation artists and new media artists have it seems churlish to point out how limited a creative content and actual facture, credit- outsourced the job of fabrication. We can point of view it represents. In most places, ing the originating artist in the plate with relate to such works because they reflect in most times, when people have chosen to “pinxit” or “invenit,” while the engraver current human experience (or at least wax loquacious about things made by hand would be identified by “fecit” or “sculpsit.” the experience of the privileged lump of they focused on the how of the making. Thinking and engraving were two different humanity that is the contemporary art The what was usually a given—dictated by jobs, like director and cinematographer. audience) at a time when everything from the church or the plutocrat commissioning The periodic, glorious exceptions to this the cars we drive to the letters we write the work, or simply by cultural habit. When division of printerly labor—Dürer, Rem- come into being through processes about Pliny wrote about the birds pecking at the brandt, Goya, Whistler, Hayter—only serve which we are clueless. The current fixation with all things “artisanal” is undoubtedly a reaction to this sense of distance—both geographical and conceptual—from actual making. Publica- tions such as Make magazine or Matthew Crawford’s Shopclass as Soulcraft, activi- ties like electronic hardware hacking, ven- ues like the TechShops now cropping up around the country, all attest to a desire for physical engagement with stuff. There is a dawning perception that the manipula- tion of materials leads to a different form of knowledge—a different relationship to the world at large—than simply delivering instructions does. This issue of Art in Print is largely about that kind of physical engagement—wet, heavy, scratchy, smelly. April Vollmer, a practitioner rather than a theoretician or historian, writes about the global spread of traditional Japanese mokuhanga printing techniques; Paul Coldwell, a printmaker Hans Weiditz (designer) and Heinrich Steiner (printer), Von der Artzney bayder Glück (1522), woodcut, illustration to Petrarch. Augsburg: Steiner. ©The Trustees of the British Museum. himself, reviews the achievements of Pau- pers Press; artist Jane Kent reviews a studio manual for the 21st century. These, along- grapes painted by Zeuxis and of Zeuxis to punctuate the rule. This is not to say that side the other articles and reviews herein, mistaking Parrhasius’ painted curtain for the skills of engravers were not admired should remind us that the path between a real one, his point was not to investigate (Robert Nanteuil inspired Louis XIV to mind, hand and physical stuff flows in both the idea of grape or curtain, but to celebrate make a formal declaration that engraving directions. the skills of the artists. was a “fine,” rather than “mechanical,” art), Playing fields are made of dirt. It took a couple of millennia to get but they were understood to be fundamen- from Zeuxis to Sol Lewitt’s statement that tally different from those of painters. The Susan Tallman is the Editor-in-Chief of “execution is a perfunctory affair” and for valorization of “originality” and individual Art in Print. most of that time craft mattered.1 But the expression that caught fire in the 19th cen- modern concept of art—launched in the tury led to a more disingenuous arrange- 15th century by artists who wanted to be ment: the artist’s name moved from the viewed more like poets than like cabinet- plate to the margin, penciled by hand as if Notes: 1. Lewitt’s oft-quoted phrase, of course, must be makers—has shifted the focus away from on a drawing, but the printer’s name disap- understood as a rhetorical device rather than a per- cleverness of the hand toward cleverness peared entirely. sonal creed; even a quick glance at his work reveals of the mind. Duchamp’s abhorrence of the Things changed again beginning with an artist who cared a great deal about execution. phrase “bête comme un peintre” was inher- Pop: print became conceptually central ited by the second half of the 20th century to contemporary art because its processes as a proscription against confusing “art” and artifacts reflected the concerns of art- (intellectually rigorous and strategic) with ists who found themselves living in a world 2 Art in Print May – June 2012 Claude Drevet, detail of Henri-Oswald de la Tour d’Auvergne (1749), engraving, after Hyacinthe Rigaud, plate 50.6 x 38.0 cm. Given by John Charrington 1933, ©The Fitzwilliam Museum, Cambridge. Art in Print May – June 2012 3 Mokuhanga International By April Vollmer Fig. 7. Karen Kunc, Ecolocution (2011), woodcut, mezzotint, polymer relief & mixed media, 29 x 39 inches. Edition of 3. Printed and published by the artist. he richly colored, visually dynamic from the 8th century. The distinctive multi- After Japan’s ports were opened to Euro- T woodblock technique perfected in colored woodblock technique that would pean traders in the late 19th century, these Japan during the 18th and 19th centuries become synonymous with Japan, however, prints arrived in the West where their com- is known internationally by the Japanese evolved much later, during the two centu- positional inventions, bright colors, black term mokuhanga. The character for moku ries of relative peace between the establish- outlines, flat patterns and use of popular literally means wood, while hanga can be ment of the Tokugawa shogunate in 1603 experiences as subject matter had a trans- broken down into two concepts (each rep- and the upheavals of the Meiji Restoration formative effect on European art. The tech- resented by a separate character), the first in 1868. Mokuhanga was used to reproduce nique itself, however, did not travel: Degas character being han, meaning print, edition books, advertisements, playing cards, signs, borrowed Ukiyo-e ideas for his paintings, or impression, and the second ga, meaning and of course pictorial prints. These popu- Mary Cassatt for her etchings, and Tou- picture. The expression does not describe lar images were called Ukiyo-e—“pictures louse Lautrec for his lithographs, but it the act of printing so much as it refers to of the floating world”—an alternative to was not until the early 20th century that the resulting object, the print. Mokuhanga the mundane, earthbound world and a adventurous Westerners like Bertha Lum produced the Ukiyo-e masterpieces of Hiro- tongue-in-cheek suggestion of religious and Helen Hyde traveled to Japan to learn shige and Utamaro; it inspired European transcendence. ‘Fine art’ in Japan was the mokuhanga technique itself. (Both were artists at the end of the 19th century to largely inspired by Chinese painting and influenced by Arthur Wesley Dow (1857- throw over centuries of single-point per- usually displayed at intimate gatherings of 1922,) who learned about Japanese prints spective and its traditions; it was adopted the well-educated elite.
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