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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, activities like electronic hardware hacking, venues 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- Twoodblock 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. Ukiyo-e prints, on from the art historian Ernest Fenollosa.) in the early 20th century by American art- the other hand, were mass-market prod- These artists employed Japanese tech- ists on both coasts as a tool of modernist ucts aimed at the growing merchant class niques, and worked with Japanese crafts- aesthetics. After an eclipse during the first that evolved during economic changes of men; their prints reflected a nostalgia for half of the 20th century, interest in moku- the Edo period (1603-1868). Their subjects old Japan while remaining fundamentally hanga as a tool of contemporary art has included Kabuki popular theater (which Western “original prints”—autographic, been growing since the 1980s. Today moku- evolved from refined Noh plays during the hand-crafted, personal expressions. hanga is being practiced alone or in com- same period), famous actors and courte- In the classic Japanese publishing bination with other techniques both inside sans, festivals and views of travel destina- arrangement called hanmoto, a publisher and outside Japan, by professional printers tions that were newly part of the national coordinated the work of the artist who as well as individual artists, to create chal- consciousness. Ukiyo-e artists made many designed the print, the block-cutter, the lenging new prints that combine old and saleable bejin-ga, prints of beautiful women printer, and other specialists, all usually new ways of thinking about multiples. and explicitly erotic “spring pictures,” shun- working in different workshops. In the The earliest Japanese woodblocks were ga. Art and commerce were equal partners early 20th century, however, Japan adopted black and white copies of Buddhist sutras in the production of Ukiyo-e. the Western preference for ‘original’ prints

4 Art in Print May – June 2012 directly made by the artist. In the sosaku European woodcut, and the unavailabil- made basically using the hanmoto sys- hanga or Creative Print Movement, Japa- ity of Japanese tools and paper in the West tem: Toda acted as printer and organized nese artists opted to design, cut and print made it difficult to conceive of how moku- the work of other craftsmen, including their own work rather than to collaborate hanga was even done. In Japan, university his block carver Shunzo Matsuda. Brown with specialists under the direction of a art departments were more likely to sup- would bring the artists to Toda’s small stu- publisher. Kanae Yamamoto cut and print- port Western style lithography, etching dio in Kyoto, and their experience of Japan ed his Fisherman, thought to be the first and silkscreen than Japanese traditional was an integral part of the printmaking of this kind of printing, in 1904; he trav- woodblock printing. Japanese master print- process.2 When the Crown Point project eled to France and across Russia, returning ers and carvers survived by doing small ended after ten years, however, no other with international utopian ideas. Koshiro jobs and printing reproductions of classic major print publisher pursued collabora- Onchi (1891–1955) is considered the father ukiyo-e prints. tion between Japanese printers and inter- of creative printmaking; Shiko Munakata In the early 1980s, Kathan Brown of national contemporary artists.3 (1903-1975), whose individualistic work was Crown Point Press became intrigued by the Japanese artists interested in learning characterized by direct cutting and a spe- possibilities this sophisticated technique mokuhanga techniques in the late 20th cial respect for his materials, was widely offered contemporary artists. Crown Point century had two options. There are still recognized in the West. had been producing eloquent etchings for workshops practicing the traditional han- The Shin hanga movement ran counter 20 years and was looking for a new adven- moto system, such as the highly regarded to sosaku hanga by maintaining the han- ture. There were, at the time, a limited num- Adachi Institute of Woodcut Prints in moto system of specialized labor. These ber of master printers in Japan whose level Tokyo, that specialize in reproductions of prints were aimed largely at Western audi- of expertise matched Brown’s demands, and woodcut prints, re-cutting old blocks and ences and promoted a nostalgic view of tra- fewer still who were interested in work- printing them using the same techniques ditional Japanese subjects such as beautiful ing with foreigners on contemporary art. as ukiyo-e craftsmen. These master print- women and landscapes in contrast to the Tadashi Toda (1936–2000) fulfilled both ers pride themselves on preserving tradi- individual expressions of the sosaku hanga these requirements, and his work with tional carving and printing skills from the printmakers. The tensions between these Crown Point effectively transformed the art Edo period. Hiroki Morinoe, an important movements reflect the stresses within the world’s perception of the medium. teacher of mokuhanga in Hawaii, studied Japanese art world. Hiroshi Yoshida (1876- Toda came from a family of woodblock with such master printers after receiving 1950) was the most influential of the shin printers in Kyoto that had made prints for his MFA at the California College of Arts hanga printmakers, and his carefully print- generations and was expert in all aspects of and Crafts; he has developed his sensitive, ed scenes of old Japan and his own world mokuhanga. He was the first in his family organic prints with a personal creative travel are well known outside Japan.1 to work closely with Western artists, and he touch. Takuji Hamanaka also learned his By the middle of the 20th century, how- studied their work in detail. Between 1983 craft from a traditional workshop that still ever, the mokuhanga technique was widely and 1988 Toda made prints with 23 Crown operated within the hanmoto system. He considered old-fashioned and inappropri- Point artists, including Chuck Close, Helen has used his skills as the foundation for his ate for contemporary expression. German Frankenthaler, Wayne Thiebaud, and Rob- non-traditional collaged prints (Fig. 1), and Expressionism had revived interest in the ert Kushner. The Crown Point prints were now works in New York, teaching moku-

Fig. 10. Mike Lyon, Sarah Reclining (2006), woodblock print from 17 cherry plywood blocks, dry pigment and neri-zumi, 42 x 77 inches. Edition of 8. Printed and published by the artist. Art in Print May – June 2012 5 Fig. 1. Takuji Hamanaka, Simmering (2010), woodblock, gampi collage, 28 x 22 inches. Edition unique. Printed and published by the artist.

6 Art in Print May – June 2012 Geidai), Michael Schneider (Austria), Tyler Starr (US), Roslyn Kean (Australia), and others from Turkey to Korea to Pakistan. At Kyoto Seika University, a prominent art school in Japan’s most culturally conser- vative city, Akira Kurosaki also promoted traditional mokuhanga technique as a tool of contemporary art. Kurosaki, who was born in Manchuria during World War II and grew up in Kobe, worked in the US and England during the 70s. While his outlook is international, his contribution to printmaking has much to do with his revival of the hanmoto system in which specialized tasks were accomplished at separate workshops. In the face of the Creative Print Movement’s emphasis on hand-facture by artists, Kurosaki sought to reconnect artists with traditional artisans. For his own ambitious body of abstract prints (Fig. 5), Kuro- saki relied on master printers such as Keizo Fig. 2. Tetsuya Noda, 410 Diary: Aug. 6th, ‘00 (2000), woodcut silkscreen, 20 x 31.5 inches. Edition of 25. Sato (who has himself taught mokuhanga Printed by the artist. techniques around the globe.) Kurosaki also launched a papermaking program at Kyoto Seika as an integral part of the printmaking program, a commitment reflected in his own use of handcrafted papers as seen in his catalogue raisonné.6 Kurosaki’s students include the virtuosic carver Shoichi Kitamura, who teaches in Kyoto and has worked with western artists such as Florence Neal, and many foreign students, who have often found it difficult to locate training in Japan. Rebecca Salter, a London-based abstract artist who studied with Kurosaki, has published a book on the history of woodblock, Japanese Wood- block Printmaking7 and has written many shorter articles about woodblock for the Japan Times. In 2011 her work (Fig. 6) was exhibited at the Yale Center for British Art. The American artist Karen Kunc (Figs. 7, 8) was Kurosaki’s research fellow in 1993, and artists such as Wayne Crothers (Australia), Elizabeth Forrest (Canada), Ralph Kig- gell (Thailand), Wuon-Gean Ho (UK), and Fig. 3. Tetsuya Noda, 453 Diary: April. 2nd, ‘07 (2007), woodcut silkscreen, 24 x 37.5 inches. Edition of 10. Noah Breuer (US) have also studied with Printed by the artist. Kurosaki. More recently, the Nagasawa Art Park hanga privately. Only a few of these old tute to work with students, providing a link Artist-in-Residence program offered a dife- style workshops survive, however. Today between the traditional workshop system most art training takes place in universities, and the modern university. He also nur- and two prominent Japanese artists—Tet- tured contacts with the West, and his 2004 suya Noda at Tokyo University of the Arts retrospective at the San Francisco Museum (Tokyo Geijutsu Daigaku) and Akira Kuro- of Asian Art clearly showed the influence saki at Kyoto Seika University—are largely of his study of Western art,5 combining responsible for the new international wave mokuhanga backgrounds photo-screen- of mokuhanga awareness. printed scenes of everyday life (Figs. 2, 3). In Noda headed the woodblock depart- 1998 Noda came to Columbia University’s ment at Tokyo Geidai from 1991 until his LeRoy Neiman Center for Print Studies to retirement in 2007.4 Cultural exchange and teach mokuhanga to New York area print- the promotion of Japanese art forms are makers. Many of the artists now teaching both part of the university’s mission, and mokuhanga internationally studied with Fig. 5. Akira Kurosaki, Nekropolis 1, Winter Straits Noda spearheaded an innovative program Noda, including Seiichiro Miida (Fig. 4) (2006) woodblock, Korean kozo paper, 39,5 x 59 cm. Edition of 50. Printed by the artist. ©Akira in which traditional Ukiyo-e master print- (who has now taken Noda’s place at Tokyo Kurosaki by courtesy of Galerie Miyawaki, Kyoto, ers came each year from the Adachi Insti- Geidai), Raita Miyadera (also at Tokyo Japan. Art in Print May – June 2012 7 Left: Fig. 9. Katie Baldwin, The River Parcenta (2010), installation with mokuhanga (people and snake), screenprint, felted wool, spray paint, cut paper and mica, 5 x 5 feet. Unique image. Printed and published by the artist.

Right: Fig. 4. Seiichiro Miida, Image from a Floating Place 2 (2011), woodcut printed with Sumi and Graphite pigment on Washi paper, 24 x 24 inches. Unique image. Printed and published by the artist.

Below: Details of mokuhanga woodblocks.

Mokuhanga differs from western wood- teristic is the washi paper made by hand blind embossing, are abundant, reflecting block in three significant ways: it uses from kozo (the inner fiber of the paper the flexibility of the technique and the water-based sumi ink, watercolor or mulberry Broussonetia papyrifera); paper- ingenuity of the printers. One important gouache brushed onto the block rather makers process the strong, resilient fibers reason for the appeal of mokuhanga is that than oil-based ink rolled on; it is printed so they remain absorbent and dimension- its water-based color penetrates the paper with a hand-held baren rather than a ally stable for printing multiple times without clogging the surface fibers of mechanical press; and it employs the while damp, as necessitated by moku- handmade papers. This evident physical- accurate kento registration system, cut hanga printing. Refined techniques like ity sets mokuhanga apart in a print world into the block, allowing for easy registra- bokashi gradation printing, goma zuri increasingly dominated by digital work on tion of multiple blocks. A fourth charac- sesame seed texture printing and kara-zuri coated papers.

8 Art in Print May – June 2012 Fig. 8. Karen Kunc, Ecolocution (2011), woodcut, mezzotint, polymer relief & mixed media, 29 x 39 inches. Edition of 3. Printed and published by the artist. rent model for artists and educators interested in mokuhanga. Founded by Keiko Kadota in 1997 with Japanese governmental sup- port8 and the involvement of Tadashi Toda. After his death, the program continued with other eminent master craftsmen including carvers Shunzo Matsuda and Shoichi Kita- mura, and printers Shinkichi Numabe and Toru Ueba. Located on Awaji Island in Hyo- go Prefecture, a rural, rice-growing area now popular as a retirement community, the residence was an immersive experience. Parts of the island look much the way they did a century ago, with small terraced rice fields tended by individual families. Artists were housed in local accommodations and classes were held at a community center in a traditional tatami room lit through shoji paper screens, and suffused with the soft, raking light that is optimal for viewing prints on washi. Students were expected to sit on the tatami mat floor at low tables to carve and print, which was not always easy for West- erners. Residencies lasted several months, and participants alternated between learning from master printers and carvers and Fig. 6. Rebecca Salter, Quadra 1 (2010), woodblock on Torinoko paper, 30 x 30 cm. working on their own. Printed by Sato Woodblock Workshop, Kyoto. Art in Print May – June 2012 9 Fig. 11. Yasu Shibata, Color Chart (3) (2011), set of four Japanese woodcuts on Kizuki paper, each 11 x 8 1/2 inches. Edition of 12. ©Yasu Shibata, Photo: Pace Prints.

10 Art in Print May – June 2012 In the 12 years between 1997 and 2009, 83 artists participated in the program, including Katie Baldwin (Moore College of Art and Tyler School of Art) (Fig. 9), Hen- rik Hey and Nel Pak (Netherlands), Daniel Heyman (RISD), Dariuz Kaca (Poland), Kar- en Kunc (University of Nebraska), Elspeth Lamb (UK), Yoonmi Nam (University of Kansas), Eva Pietzcker (Druckstelle Work- shop, Berlin), and Michael Reed (New Zea- land.) Many more artists have been influenced by the ideas these residents brought back with them from Japan. In 2009 government funding for the Nagasawa Art Park Program was discontin- ued, but Kadota’s new Artist-in-Residence program, Mokuhanga Innovation Labora- tory (MI-LAB), opened last November at the foot of Mount Fuji in Yamanashi Prefec- ture.9 MI-LAB offers a variety of programs for international artists, both beginners and experts, as well as training in related techniques such as paper mounting. The first artists-in-residence were Ralph Kiggell (Bangkok International University, Thai- land), Hiroki Morinoue (Donkey Mill Art Center, Kona, Hawaii), Jacqueline Gribbin (Charles Darwin University, Australia) and Keiko Hara (Whitman College emeritus, US). Meanwhile, artists from the original Nagasawa Art Park program have remained in contact through conferences such as the IMPACT! meetings in Berlin, Tallin and Bristol. The First International Mokuhanga Conference (IMC) was held in Kyoto and Awaji in June of 2011 barely two months after the Tohoku Earthquake. Over 100 artists and educators from 22 countries met to exchange ideas, exhibit work and learn Fig. 12. from masters specializing in mokuhanga Chuck Close, Emma (2002), 113-color woodcut, image 36 x 30 inches, paper 43 x 35 inches. Edition of 55. Printed by Yasu Shibata, Pace Editions Ink, published by Pace Editions, Inc. ©Chuck Close, and related crafts such as papermaking and photo courtesy Pace Prints. baren making. Akira Kurosaki and Tetsuya Noda both served as an Honorary Board Members and their work was exhibited at careful practice in his own studio. His exhibiting artists), but the diaspora of art- the Art Forum Jarfo during the conference. innovative approach combining traditional ists trained by them and by the Nagasawa The Second International Mokuhanga Con- printing skills with computer program- program has spread around the world. The ference is planned for 2014 in Tokyo. ming is well-documented on his website.13 Finnish artist Tuula Moilanen trained with The internet is also a critical purveyor of Around the world, artists have found Kurosaki and became a woodblock instruc- knowledge about this ancient technology. ways to merge these techniques into new tor at Kyoto Seika. With Kari Laitinen and Artist Annie Bisset’s informative blog10 is and innovative forms. Karen Kunc com- Antti Tanttu, she wrote The Art and Craft devoted to sharing news about mokuhanga, bines oil-based woodblock printing and of Woodblock Printmaking (sadly, out of and David Bull’s online encyclopedia has mokuhanga, creating rich surfaces with print).14 Originally published in Finnish by become an essential resource for many art- stencils and cut marks, overprinting many the University of Art & Design (now Aalto ists.11 Bull, a self-trained woodblock artist layers. Katie Baldwin has incorporated University, Helsinki), then translated into with a studio outside Tokyo, offers stories mokuhanga in her print installations, and English, the volume documents Japanese about his own work, documentation from Michael Schneider has taken his Japanese woodblock techniques for an international the many elderly craftsmen that he inter- training to a new level by performing his audience. Aalto University offers the most viewed, and a forum for discussion that block making (using stones rather than extensive mokuhanga training program focuses on sharing information through standard cutting tools) to music in front outside Japan—a prime example of the way print exchanges.12 Sources like these have of an audience. In my own work, I make Kurosaki’s influence extends through the enabled artists like Mike Lyon (Fig. 10) large prints by rotating and printing blocks work of artists he has taught. to develop singular techniques for their multiple times. Such varied approaches are The Kurosaki student who has taken own practice: Lyon, whose education also illustrative of the new directions moku- the technique of mokuhanga the furthest, included a week long class with Hiroki hanga has taken outside Japan. however, must be Yasu Shibata (Fig. 11), Morinoe, has taught himself to print large- Noda and Kurosaki are now both retired who now works as a master printer at Pace format images through his research and from teaching (though they remain active as Editions in New York City. After receiv-

Art in Print May – June 2012 11 ing his BFA from Kyoto Seika in 1991 he Kadota who see how traditional techniques printed at Tyler Graphics for a decade. An can serve contemporary art. Encouraged by accomplished artist himself, Shibata has interest from a newly global art world, with taught at Cooper Union since 1998. He has Crown Point’s Japanese print project as a continued working with some of the artists crucial turning point, mokuhanga has who had been involved in the Crown Point retained a significant link to the past while Press project, including Chuck Close and recreating itself as a vital medium for Helen Frankenthaler. The blocks he cut for expressive thought today. the Chuck Close baby portrait Emma (Fig. 12) were exhibited as part of “Chuck Close: Process and Collaboration,” the exhibi- April Vollmer is a New York-based artist and instructor who specializes in Japanese woodblock The Rumour / Luc Tuymans The Rumour tion of Close’s prints that traveled the U.S. between 2003 and 2008.15 Most recently printing. Prints by at Pace, Shibata has completed an edi- Luc Tuymans tion of Yoshitomo Nara woodblock prints. Notes: RaouL de KeyseR Immersed in anime and pop culture, Nara’s 1. His son, Toshi Yoshida, was also an artist who traveled widely, and the Yoshida family includes art- HeLLen Van meene child-like drawings of bad girls and bad ists and educators who participated in the changes in boys, printed with extreme refinement, are the Japanese art scene up to the present day. Ayomi Graphic matter / antwerp, Belgium exactly appropriate for the technique (Fig. Yoshida is known for her installations that include [email protected] 13). The scale is big and American, and the mokuhanga printmaking. visit us at www.graphicmatter.be 2. Breuer, Karin, Ruth E. Fine and Steven A. Nash. images are 21st century, but the new prints Thirty-five Years at Crown Point Press: Making resonate with classic Ukiyo-e sensibilities— Prints, Doing Art, (Published in association with The the fascination with fashion and com- Fine Arts Museums of San Francisco),1997. 3. Toda continued to pursue opportunities to work merce, the edgy attitude and great techni- with international artists, however: in 1995 he cal skill. worked with students from Whitman College brought Yasu Shibata’s work with Yoshitomo to Japan by Keiko Hara, and from 1997 he taught Nara brings mokuhanga full circle to its international artists through the Nagasawa Artist in Residence program. Japanese roots, but that circle now encom- 4. The university is known for its extensive printmak- passes the expanded world of the interna- ing program, which also offers etching, silkscreen tional art scene. From mokuhanga’s early and lithography. 5. Johnson, Robert Flynn. Days in a Life: The Art of function as a purveyor of protective Bud- Tetsuya Noda, Asian Art Museum, San Francisco, dhist prayers, to its quintessential expres- 2004. sion of idealized leisure amidst complex 6. Miki, Tetsuo. Complete Works of Akira Kurosaki, class change in Edo period Japan, it has Catalogue Raisonne: Woodcuts & Paper Works 1965-2006, ABE Publishing, Ltd., Tokyo, 2006. always been responsive to the political and 7. Salter, Rebecca. Japanese Woodblock Printing. spiritual evolution of Japanese culture. Printmaking Handbooks, London, 2001. Relations with the West are also embedded 8. Awaji City (formerly Tsuna Town) received finan- in these images. Ukiyo-e’s daring composi- cial support for an Artist-in-Residence Japanese woodblock program, called the Nagasawa Art Park tions, decorative vigor and popular appeal Program. Keiko Kadota and her organization, The changed how the west thought about what Center for the Science of Human Endeavor, created art was, while Japan’s own 20th-century and ran the program. 9. www.endeavor.or.jp/mi-lab/. prints, adopting western pictorial conven- 10. http://woodblockdreams.blogspot.com/. tions, illustrate the contradictions implicit 11. www.woodblock.com/encyclopedia. in westernization. During World War II 12. www.barenforum.org. the sosaku print movement provided an 13. www.mlyon.com. 14. Laitinen, Kari, Tuula Moilanen, & Antti Tanttu. The identity that sustained Japanese artists in Art and Craft of Woodblock Printmaking, Woodblock a complex modern world, at the same time Printmaking with Oil-based Inks and the Japanese ifpda printfair 201 2 as American soldiers took home copies of Watercolor Woodcut, University of Art and Design, ukiyo-e prints that reflected an entirely dif- Helsinki, 1999. 15. The blocks can still be seen on the exhibition’s ferent reality based on idealized visions of website: http://www.chuckclose.coe.uh.edu/process/ Japan’s past. The cross-fertilization of ideas emma_b_1.htm. November 1 – 4 was made possible by the easy portability of Park Avenue Armory prints. It was the persistence and dedication of New York many craftsmen that shepherded Japanese woodblock through the multitude of The International Art Fair changes since the Edo period. The master printers who maintained small workshops for Prints and Editions during the decades of war and disruption Old Master to Contemporary from the Meiji era through the end of

World War II, and through the benign neglect that followed, preserved a valuable patrimony. Those traditions were given www.printfair.com new value by educators like Akira Kurosaki and Tetsuya Noda during their long university tenures, and by individuals like Keiko

12 Art in Print May – June 2012 Fig. 13. Yoshitomo Nara, S.O.S. (2010), woodcut, 16 1/2 x 11 3/4 inches. Edition of 50. Printed by Yasu Shibata, Pace Editions Ink, published by Tomio Koyama Gallery and Pace Editions, Inc. ©Yoshitomo Nara, photo courtesy Pace Prints.

Art in Print May – June 2012 13 Some New Observations on Eugène Carrière’s Prints By Anna Schultz

Fig. 4. Eugène Carrière, Réalités ayant la Magie du Rêve (D. 2) (1888), etching (4th state), 8.5 x 14 cm. Illustration for Jean Dolent’s publication Amoureux d’Art, 1888. Private collection, Berlin.

ugène Carrière (1849–1906) was a cen- rière’s lackluster posthumous reputation peers and the number of his paintings E tral figure in the art world of finde has meant that his oeuvre has led a quiet that were reproduced by other artists as siècle Paris.1 His Académie Carrière was existence for the last 100 years. wood engravings and etchings for pub- popular, his works were admired by his It is only recently, with the popular lications such as Revue de l’art ancien et contemporaries and his face even adorned rediscovery of Symbolist art, that Carrière moderne. Reproductive printmakers like collectable chocolate cards issued for the has reentered art historical discourse with Emile Lequeux, achieved remarkable Exposition Universelle in 1900 (Fig. 1). Car- a number of exhibitions3 and in 2008 the results in etchings such as Mère et Enfant rière’s signature palette of browns and grays publication of a comprehensive catalogue (Fig. 2) (c. 1897), made after the painting and his domestic subject matter—fam- raisonné of his paintings.4 Less attention Maternité (Suffering)(1896–97). 7 Though ily scenes, intimate portrayals of motherly has been paid to Carrière’s other work: disregarded now, such prints were sought- love, portraits of friends—made his work he was an excellent draughtsman, able to after collectors’ items at the time. instantly recognizable. These same quali- capture landscapes and figures with a few The subject of this essay, however, is the ties, however, could also cause his work undulating lines,5 and he was a techni- body of lithographs made by Carrière him- to appear monotonous, gloomy and senti- cally proficient and intriguing printmaker, self in the last decade of the 19th century. mental. Both Whistler and Degas used the whose prints can be found in most impor- Carrière’s career as a printmaker coincided phrase “smoking in the nursery” to describe tant European museum collections.6 with a shift away from the earlier emphasis Carrière’s style, anticipating the critical Carrière’s 19th-century popularity is on intaglio exemplified by the Société des disinterest of the following century.2 Car- attested to by both the writings of his Aquafortistes and toward lithography, the

14 Art in Print May – June 2012 By 1878, when he returned to Paris, to the spread of art collecting among the Carrière had begun to establish a reputa- bourgeoisie was the production of beauti- tion as a painter, and was able to abandon fully made, limited-edition prints, which commercial lithography, which he said presented a more accessible alternative to had “nothing to do with artistic lithog- oil paintings. ‘High’ art became affordable raphy.”11 During the following decade and available to a wider audience.17 This his involvement with print was sporadic. popularity led to a growing number of col- Around 1885 he designed a small poster/ lectable publications, usually printed in cover sheet for Henri Bornier’s opera12 editions of 100–250, which featured prints Les Morts d’Amour (D. 8) (Fig. 3). It shows or at least a printed frontispiece, often his connections to commercial printing, accompanied by the comments of famous but in the motif of the floating couple and art critics such as Carrière’s friends Claude the merging of bodies and drapery one Roger-Marx or Charles Morice. There were can perhaps sense the emergence of his often two versions of these publications—a individual style. Carrière also made a few regular one and a luxury edition printed on attempts at etching during the 1880s.13 Japanese paper. These were small-scale works such as L’Estampe Originale, published by André Réalités ayant la Magie du Rêve (D. 2, 1888) Marty, was a lavish affair that appeared in (Fig. 4), which served as the frontispiece editions of 100 in nine quarterly install- of his friend Jean Dolent’s book Amou- ments between 1893 and 1895.18 The com- reux d’Art and the drypoint Rêverie14 (D. 4), plete run contains 95 prints by the most which was published in his friend Gustave remarkable printmakers active in Paris.19 Geffroy`s publication “La Vie Artistique.” Carrière published some of his most splen- Both are based on paintings.15 Carrière did prints, such as Madame Eugène Car- seems to have realized, however, that the rière of 1893 (D. 15) and his portrait of his linear properties of etching did not lend daughter Nelly (D. 18) (Fig. 7) in L’Estampe Fig. 1. Chocolate card issued by Chocolat Dauphin, themselves to the nuanced tonal effects Originale. (He also worked with other pub- Paris (1900), 10.3 x 6 cm. Private collection, Berlin. that defined his style. lishers: in 1894 L’Appel (D. 17) appeared in Finally, in 1888 Carrière, encouraged by Les Peintre-Lithographes20 and Elise riant in so-called rénouveau. At the time Paris was his friend Albert Pontremoli,16 turned his Maurice Dumont’s L’Epreuve.) the unrivalled centre of European print talents to ‘artistic lithography.’ Between Carrière and Marty’s close relationship production; Bonnard, Toulouse-Lautrec, 1890 and 1902 Carrière produced 36 is documented in letters that survive at Vuillard, Redon and Pissarro were at their lithographs that embodied his skills as a the Getty Research Institute (Carrière to peak, and Edvard Munch8 moved there draughtsman, the atmospheric riches of Marty) and the Bibliothèque Centrale des from Berlin in 1896, one of many artists his paintings, and the domestic intimacy of Musées Nationaux at the Louvre (Marty attracted by its printers and publishers. which prints are capable. He also developed to Carrière).21 The two men were clearly Carrière in fact had been trained as a a personal set of techniques and working friends as well as business partners. Marty, commercial lithographer who produced methods, which have been insufficiently having worked with the most outstanding visiting cards, programs, vignettes and studied. Most of these prints are individual printmakers and printers of the day, was advertising posters. He worked first in portraits—some depict family members, very knowledgeable with regards to litho- Strasbourg between 1864 and 1867 for the but most famous are Carrière’s portraits of graphic techniques and Carrière told him company of August Münch and probably important figures in French arts and letters about his ideas and plans. also for a lithographer called Groskost.9 In who were also friends of Carrière, a group 1868 he went to work for Moreau, a lithog- he called his “Pantheon.” rapher in St. Quentin,10 and the following To print his lithographs, Carrière worked year relocated to Paris where he studied primarily with the Lemercier company, painting under Alexandre Cabanel at the which was at the time the largest and most Ecole des Beaux-Arts whilst earning a living renowned printing firm in Paris. Carrière in the lithography shop of Alfred Clochez. prepared stones at his studio, which were After being taken prisoner in Germany dur- then brought to the premises of Lemercier ing the Franco-Prussian war, he returned where he worked closely with the printer to Paris and in 1872–3 was employed in the Eduard Duchâtel, an acclaimed technician. atelier of the famous poster designer Jules An invoice to Carrière for the printing of Chéret, probably as an assistant with little Jean Dolent (D. 37) (Fig. 5) in 1898/99 has independent artistic output. In 1877 he survived in the Musée Eugène Carrière. It moved with his young family to South Lon- states that 100 impressions had been pulled, don and worked, presumably as a printer, for provides details of the quantity and quality Marcus Ward & Co, a company that made of the paper, and notes furthermore that calendars and greeting cards and worked “three blacks” had been printed for each with illustrators such as Kate Greenaway. sheet. This portrait of Dolent (Fig. 6) seems These earliest prints of Carrière’s, churned to be one of the few prints Carrière pub- out in large numbers, were not viewed as lished himself. The majority of his litho- worthy of collecting and few survive. (The graphs appeared in limited edition albums. loss is perhaps not great, given that most Numerous attempts have been made to Fig. 3. Eugène Carrière, Les Morts d’Amour (D. 8) would have been text-based, allowing little explain the sudden popularity of lithogra- (ca. 1855), lithograph, sheet 35,0 x 27,1 cm. space for creative expression.) phy at the end of the 19th century. Integral Private collection, Berlin. Art in Print May – June 2012 15 In an undated letter22 Carrière writes about an unidentified print that he “tried something [a technique] which is unusual for me and I have no idea how it will come out. It might be horrible. If I see there’s nothing we can do with it [if it doesn’t work] I will retouch it for you, or start again.” In a letter in Paris, Marty, possibly referring to the same print, regrets that Carrière’s method had not been very suc- cessful: “I told you, didn’t I, at the beginning of summer, how sorry I was that your magnificent stone did not come out as we had hoped for because of the new process.” He goes on to persuade Carrière to contribute to his publication: The success of ‘L’Estampe Originale’ going stronger by the day (Rodin, Gué- rard, Raffaelli, Lepere, Besnard, Fantin etc. have indeed already collaborated to it), I wouldn’t want the publication year to end without publishing a plate by you in the fourth issue, which will appear in late October. I already have a large drawing by Puvis de Chavannes for this issue. This collaboration makes it one of the most important works. This is why, for your own glory, you must contribute to this issue as well. Tell me, my dear Carrière, when I can come and see you and bring you a sample of the issues that have already been published? I would be most grateful.23 Marty supplied Carrière with stones and organized their delivery to his studio. These large stones were valuable and would, after the edition was printed, be ground down to remove the image so the stone could be reused. (Delteil’s common remark “pierre détruite” does not mean destruction of the stone, but rather a cancellation of the image.) A (probably unique) impression of the mesmerizing portrait of Nelly printed from the cancelled stone (Fig. 8) survives in the INHA. Other stones on which Carrière worked belonged to Lemercier & Cie. One (for Le Pardon,24 D. 22, 1895) was passed down in Carrière’s family and survives in the Musée Eugène Carrière. It is stenciled “Lemercier & Cie, 1895” with an inventory number, “6326.” As the stones would have been stored on shelves, this number was also added on the side for easy retrieval. The technique Carrière developed for his lithographs was called the manière noire or mezzotint manner. After covering the stones with a lithographic tusche or bitumen,25 he used abrasives (such as sand- and

Fig. 5. Invoice for the printing and paper of the Portrait of Jean Dolent from Lemercier & Cie to Car- rière, Espace Eugene Carrière, Gournay sur Marne.

Fig. 6. Eugène Carrière, Portait of Jean Dolent (D. 17) (1898/99), lithograph (second state), 22.8 x 17 cm. Private collection, Berlin. 16 Art in Print May – June 2012 Left: Fig. 7. Eugène Carrière, Nelly Carrière (D. 18) (ca. 1895), lithograph (with a dedication to Gallimard), 46.5 x 35.8 cm. Private collection, Berlin. Right: Fig. 8. Eugène Carrière, Nelly Carrière (D. 18) (ca. 1895), lithograph, impression from the cancelled stone, 60.0 x 42.7 cm. Bibliothèque de l’Institut National d’Histoire de l’Art, collections Jacques Doucet. inv. NUM Mfilm 347 (02, 462).

glass-papers) or scratching tools such as ings to the stone.30 Only one such draw- called him the “twilight Velázquez,”34 but needles to scrape out fine lines. He used this ing is known to me, a preliminary sketch the transformation of old master works process in the so-called Panthéon prints, in pencil and chalk on transfer paper in a when reproduced through one-color photo- which included portraits such leading private collection.31 It illustrates how Car- mechanical means may have had as great an cultural figures such as Edmond de Gon- rière traced outlines and defined the lines impact on him as the originals. When, dur- court26 (D. 25, 1896), Paul Verlaine (D. 26, of Rodin’s head from a painting now in the ing the Franco-Prussian war, Carrière found 1896), Puvis de Chavannes (D. 31/32, 1897) collection of the Musée Rodin (M.-N. No. himself stuck in Dresden, he used the time and Rodin (D. 33, 1897) (Fig. 9). In these 699).32 It is highly probable that this draw- to his advantage, visiting its art collections tour-de-force prints, faces seem to emerge ing was used to transfer the image onto repeatedly and acquiring a poster of Rapha- from the darkness, floating and transient the lithographic stone. A touched-up proof el’s Sistine Madonna, the upper part of which yet—and this becomes very apparent when impression in the collection of the National he kept for the rest of his life. Much has been comparing them to photographic images of Gallery in Canada33 (apparently unknown made of the influence this painting—and the sitters—striking likenesses. The dream- to Delteil) still prominently shows the more particularly its sepia tone reproduc- like quality of his lithographs and his ability traced lines, which would have given the tion—had on Carrière’s artistic output. to capture the mood and personality of his artist some guidelines with regards to com- Hitherto unregarded is another photo- sitters featured prominently in discussions position and proportion. The modeling of graphic reproduction Carrière owned and of Carrière, especially those by his con- the face with finely scratched lines would which, crumpled, creased and torn, sur- temporaries.27 He produced images which, have been printed from a second, more vives in the Musée Eugène Carrière—that as Dolent pointed out, “bear the reality of heavily inked stone in the final state. Car- of Holbein’s Family Portrait (c. 1528/29) dreams.”28 rière could also have avoided the mirroring (Fig. 10) in Basel, Öffentliche Kunstsam- Many of these prints are based on paint- of the image by turning the transfer draw- mlung, Kunstmuseum. This remarkable ed compositions. It is possible that for prints ing over, but he apparently decided not to portrait of the artist’s wife and children, such as the Rochefort (D. 27, 1896) portrait do so. intimate and rather melancholy, seems to Carrière used a photographic technique It is instructive to note that the trans- have served as a starting point for a number to transfer his earlier painted image to the fer of images between paintings and prints of Carrière’s paintings, including Suffering stone,29 and he also used tracings. Accord- went both ways over the course of Carrière’s (c. 1891–92) in the collection of the Nation- ing to Hirsch, in early lithographs such as career. His sophisticated appreciation of al Museum Wales, Cardiff.35 The profile of Le nouveau-né au bonnet (D. 9, 1890), Carri- old masters was noted during his lifetime Holbein’s son in the painting inspired Profil ère used stencils (pochoir) to transfer draw- by critics like Edmond de Goncourt, who d’enfant, 1895 (N.-M. 661) and it was certain-

Art in Print May – June 2012 17 Left: Fig. 9. Eugène Carrière, Rodin (D. 33) (1897), lithograph (proof state), 53.1 x 34.9 cm. Bibliothèque de l’Institut National d’Histoire de l’Art, collections Jacques Doucet, Paris. inv. NUM Mfilm 347 (02, 434). Right: Fig. 14. Eugène Carrière, Elise riant (D. 19) (1894/95), lithograph printed in red, 33.3 x 23.4 cm. Published in L’Epreuve. Bibliothèque de l’Institut National d’Histoire de l’Art, collections Jacques Doucet, Paris. inv. NUM Mfilm 347 (02, 469). ly a starting point for one of Carrière’s most in chromatic reduction, but in chromatic the finest white scratches without smudg- remarkable lithographs, the portrait of his delicacy: he printed the stone for Maternité ing, and helped to achieve very delicate, daughter Nelly (D. 18) made in 1895. (D.38) (1899 in Germinal) (Fig. 12) in a light detailed impressions. Given the extreme These works display the most distinc- grey, a dark grey and a deep black to define delicacy of finish, no two impressions are tive quality of Carrière’s late style: his the background and add to the richness of the same, and it can be difficult to differen- radically reduced palette. While contempo- the image. A very small number of impres- tiate between states.)40 raries such as Toulouse-Lautrec and Pierre sions from the individual stones were also Many questions regarding the edition Bonnard favored the decorative effects of pulled though probably not intended for history of Carrière’s prints remain. The vibrant colors, Carrière went the opposite sale, and examples of these rare documents standard catalogue raisonné of prints (pub- direction.36 This limited palette, which is of the different states survive at the INHA. lished as Volume 8 of Loÿs Delteil`s famous even more prominent in Carrière’s prints Similarly, for monochrome prints such 31 volume work, Le Peintre-Graveur Illus- than his paintings, evoked comparisons as Méditation (D. 14) (Fig. 13a, 13b) published tré,)41 was first published in 1913 and with contemporary ‘Pictorialist’ photog- in “L’Artiste” in 1893, Carrière used at least reprinted in 1968. It is still the most com- raphy, especially the works of Carrière’s two stones and a variety of inks, diluted prehensive list, but is incomplete and friend Edward Steichen (1879–1973).37 to different degrees in order to produce in need of updating as some of the private In fact the tonality of Carrière’s paint- delicate, painterly and nuanced impres- collections it mentions have since been dis- ings was achieved through remarkable sions. There are also a handful of prints persed. In the case of the outstanding col- chromatic complexity. One of his actual issued in “deluxe” editions printed in “bis- lection of Jacques Doucet,42 there are a palettes (Fig. 11) survives at the Musée tre” (dark brown) or “sanguine” (red) on number of undescribed states and an unde- Eugène Carrière in Gournay sur Marne China paper, for example Elise riant (D. 19) scribed etching.43 This essay does not and illustrates vividly how Carrière mixed a (Fig. 14), which appeared in 1894–95 in the aspire to be a comprehensive addendum to large number of bright colors to achieve his journal L’Epreuve.38 (The thin China paper Delteil’s catalogue raisonné, nor does it subtle shades of brown. In his printed work on which Carrière usually printed chine give a full account of Carrière as a print- also, Carrière demonstrated an interest, not collé39 soaked up the ink, brought out even maker. My aim was to share some observa-

18 Art in Print May – June 2012 search_the_collection_database/search_results.asp x?searchText=Eugène+Carrière&fromADBC=ad&to ADBC=ad&numpages=10&orig=%2fresearch%2fse arch_the_collection_database.aspx¤tPage=3. 6. Substantial print collections are held in Geneva (http://www.ville-ge.ch/musinfo/bd/mah/collections/ result.php?type_search=simple&lang=fr&criteria =Eugène+CArrière&terms=all), the British Muse- um, The National Gallery in Washington (available online http://www.nga.gov/cgi-bin/tsearch?artist=4- 3697&title=), the Berlin Kupferstichkabinett, the Dres- den Kupferstich-Kabinett and the Bremen print room. For more information on Carrière prints in European, mostly German collections, see Anne Röver-Kann Eugène Carrière und die neue Lithographie in Kann, 2006, pp. 118-134. An outstanding collection is kept at the Institut national de l’histoire de ‘art (INHA) in Paris (http://bibliotheque-numerique.inha.fr/collectio n/?esq=Carriere&esa=resetall&x=0&y=0), including many rare proofs and prints undescribed in Delteil (See footnote 13) such as an impression of the mesmerizing portait of the artist’s daughter Nelly printed from the cancelled stone (Fig. 8). 7. National Gallery Wales, Cardiff, Inv. NMW A 2434. Fig. 10. Photographic reproduction of Holbein’s 8. Some of Munch’s lithographs, such as his famous Family Portrait (painting ca. 1528/29) from Self-portrait with skeleton Arm (which was first Fig. 2. Edouard Lequeux, Mère et Enfant (c. 1897), the collection of Eugène Carrière in Basel. made in 1895 in Berlin before he went to Paris, but after Eugène Carrière, etching with aquatint, plate Öffentliche Kunstsammlung, Kunstmuseum. reprinted c. 1900 with the bone removed), bear a strong resemblance to Carrière’s, but the relation- 25.9 x 19.8 cm. Printed by Ch. Wittmann, published Espace Eugène Carrière, Gournay sur Marne. ship between the two artists’ owrk has only been in the Revue de l’Art ancien et moderne. Private explored superficially, mainly due to the lack of con- collection, Berlin. crete source material. There is some confusion as Canada, 2011. In Germany, a large private collec- to whether they consulted the same printing firm, tion formed the basis of the exhibition “Intimität der Lemercier, as suggested by Schiefler. According to tions regarding a number of hitherto unde- Gefühle“ in Bremen, 2006, to mark the centennial Roever-Kann, the latter used Alfred Porceboeuf, see scribed prints and Carrière’s techniques of Carrière’s death. The most recent exhibition in BREMEN 2006, p. 132 that I have made during the last few years. I France was “Rodin/Carrière” at the Musée d’Orsay 9. Delteil 6; see also Eugène Carrière 1839-1906, in 2006, which examined parallels and overlaps in exhibition catalogue, Marlborough Fine Art (London), hope that this excursion may encourage the oeuvres of these two friends who were inspired 1970, p. 34. further exploration of Carrière’s litho- by each other’s works and ideas. For a review of 10. Bantens, p. 31. graphs and help reestablish Carrière’s right- the latter, see http://www.guardian.co.uk/artand- 11. “Le mot lithographie aujourd’hui évoque des design/2006/aug/26/art.art. idées d’art, mais la lithographie industrielle ètait ful place as an exceptional printmaker of 4. Veronique Nora-Milin, Eugène Carrière (1840- contraire de tout art.“ Carrière 1911, p. 63. For more the late 19th century. 1906): Catalogue raisonné de l’Oeuvre peint, Galli- information about Carrière’s stay in London and his mard, 2008. The catalogue lists and illustrates a total employer, see Bulletin Annuel de la Societé des Amis number of 1340 paintings. d’Eugène Carrière, no. 7, 1996 and no. 9, 1998. 5. A comprehensive collection of Carrière’s drawings 12. Words by Edouard Gressin, music by Eugène Anna Schutz is a Berlin-based art historian is kept in the Louvre (http://arts-graphiques.louvre.fr/ Lamare. and writer. fo/visite?srv=mtr&quicksearchinput=CARRIERE+E 13. Delteil lists six etchings, but there are at least UGENE&radiobutton=oeuvre) and in the Musée de two others: Enfant, les bras levés at the INHA and Saint-Cloud. See Guide du fonds Eugène Carrière, one depicting A Child held between two Women published to coincide with the exhibition “un autre (inv. 1949,0411.2398) at the British Museum and Notes: regard”, 15 June–22 December 2006. The British available through their website http://www.british- 1. The largest museum collections of Carrière’s Museum owns a sketchbook that can be viewed museum.org/research/search_the_collection_data- work are at the Musée d’Orsay, and (surprisingly) in online. http://www.britishmuseum.org/research/ base/search_object_details.aspx?objectid=334958 Tokyo (Museum of Western Art) and Cardiff (National Museum Wales) (ill.2). The main centre of research is a small museum in the artist’s hometown, Gournay sur Marne near Paris. The Musée Eugène Carrière Paupers Press (http://www.eugenecarriere.com), led by Sylvie Le Gratiet, a great connaisseuse and vivid enthusiast, holds a number of important paintings, drawings and prints. The museum also maintains an extensive library and preserves Carrière ephemera, an invaluable source. I am greatly indebted to Mme. Le Gratiet for generously sharing her extensive knowledge of Carrière’s prints. This essay depends heavily on the sources made available to me by Mme. Le Gratiet and could not have been written without her contributions and support. She is of course not responsible for any mistakes. 2. Degas called Carrière “an inconsiderate man, smoking a pipe in a sick child’s nursery“ (Henri Loy- rette, Degas, Paris 1991, p. 594). Looking at Car- rière’s painting ‘Mother and Child’ at the Musée du Luxembourg, Whistler stated that he found it “obscene to be smoking like this in a nursery“ (In: Das lachende Atelier, Künstleranekdoten, nacher- zählt von Karl Scheffler, Vienna 1943, p. 58). Both Jake & Dinos Chapman quotes (in German) from Kann, 2006, pp. 40 and 46. etching / 25 x 18 cm / edition of 100 3. The most extensive collection of Carrrière’s paintings in North America is that of Nick Vlachos, which www.pauperspublications.com was recently shown in the exhibition “Shadow and Fig. 11. Carrière’s palette at the Musée [email protected] Substance“ at the Hamilton Art Gallery, Ontario, Eugène Carrière. Art in Print May – June 2012 19 Fig. 12. Eugène Carrière, Maternité (D.38) (1899), lithograph (final state), 40.8 x 32 cm. Published in Germinal. Private collection, Berlin.

20 Art in Print May – June 2012 6&partid=1&searchText=Eugène+Carrière&fromAD technique would have been involved. I have tried BC=ad&toADBC=ad&numpages=10&orig=%2frese to not focus too much on this as I have dedicated arch%2fsearch2 fsearch_the_collection_database. a whole essay in the 2006 Bremen catalogue to aspx¤tPage=3). Carrière and photography. See http://www.moma. 14. Helen Hirsch has pointed out that an impression org/m/explore/collection/art_terms/10110/0/1. of a state not listed in Delteil can be illustrated with iphone_ajax?klass=term. a print in Geneva. See: L’effet magique de la palette 30. Ibid. p. 6. noire d’Eugène Carrière dans son Oeuvre graphique 31. The drawing is in a private collection. For more in the Bulletin de la Societé des Amis d’Eugène Car- information and an illustration, see PARIS/TOKYO rière, no. 14, p. 5. 2006, cat. 3, rep. 15. The painting for D. 2 (N.-M. 289) is in Cardiff (c. 32. For the painting, see ibid., cat. 1, rep. 1888, 55 x 73 cm, oil on cavas, National Museum 33. For the lithograph see http://www.gallery.ca/en/ Wales, Cardiff, Inv. NMW A 2434) and Réverie (N.- see/collections/artwork.php?mkey=15796. M.425, 1891, 56 x 46cm) is in the collection of the 34. Edmond de Goncourt, Journal: Mémoires de la Musée Bourdelle, Paris. vie littéraire 1889-90, 14 May 1890, vol. III, Paris 16. See Hirsch 2003, p. 3. 1959, p. 1187. 17. It is worth noting that this development, which 35. Nora-Milin Nr. 415. See also http://www. eventually resulted in a mass-production of prints, museumwales.ac.uk/en/art/online/?action=show_ would eventually also lead to the ‘oversatisfaction’. item&item=326. Eventually, the rénouveau became a victime of its 36. Carrière’s large-scale poster for the magazine own success. Aurore (D.34/35, 1897) is the most obvious excep- 18. This publication is currently the subject of an tion to his preference for monochrome. Its coloration exhibition at the Minneapolis Institute of Arts (until 9 was undoubtedly due to its purpose of advertising December 2012) see http://www.artsmia.org/index. and the need to attract the public attention. php?section_id=2&exh_id=4413). For more informa- 37. See Anna Schultz “Eugène Carrière im Dialog mit tion, see D.M.Stein and D.H.Karshan, ‘L’Estampe der Photographie in BREMEN” 2006, pp. 136-144. Originale, a catalogue raisonné’, New York 1970 38. Altogether 215 impressions were pulled. A small Janine Bailly-Herzberg, ‘Dictionnaire de l’Estampe number, presumably 15, in color in were intended for en France 1830-1950’, Paris 1985, p.356, Zimmerli the luxury edition. Impressions in sanguine are kept Museum 1991 and Amsterdam 1992, ‘L’Estampe at the INHA and in Washington, National Gallery of Originale, artistic printmaking in France 1893-5’. A Art, Virginia and Ira Jackson collection, Partial and complete set that belonged to Whistler is kept at the Promised Gift, Inv. 1996.151.2 (See WASHINGTON Hunterian in Glasgow. 2000, cat. nr. 32 A, p. 105 repr.). Surprisingly, these Fig. 13a. Eugène Carrière, Méditation (D. 14) (1893), 19. For more information, see Griffiths/Carey, 1978, prints did not meet the expectations of the audience lithograph, 24,1 x 15,4 cm. Published in L’Artiste. p. 17. of collectors. Röver-Kann in BREMEN, 2006, op.cit. Private collection, Berlin. 20. One of the editors was Léonce Bénédite who 39. La Lecture (D. 29, 1896 in Etudes de Femme) is also wrote about Carrière’s prints. an example of a print not (or at least not exclusively) 21. Mme. Le Gratiet kindly drew my attention to printed on chine collé. these letters. http://library.getty.edu/vwebv/holdings 40. Delteil’s catalogue, with its rather dark illustra- Info?searchId=218&recCount=25&recPointer=48&b tions lacking in contrast and quality, offers general ibId=104907. guidelines for identifying states but one soon discov- 22. Getty, document 870528. ers its limitations and gaps. 23. I would like to thank Charlotte Lepetoukha for 41. Loÿs Delteil, Le Peintre-graveur illustré: Vol- helping me with the translations. ume VIII: Carrière, catalogue raisonné, Paris, 1913. 24. The print was published under the title L’Etreinte Reprinted by Da Capo Press, New York, 1968. in DUBRAY, 1931, p. 31, rep. 42. For more information on Doucet’s print collection, 25. Röver-Kann, p. 129, Hirsch, p. 39 (refers see: De Goya à Matisse: estampes de la collection to Kappstein, 1916, S. 16). For more informa- Jacques Doucet, Bibliothèque d’Art et d’Archéologie, tion on the asphalt-lithography technique, see Paris, 1992. http://rdk.zikg.net/gsdl/collect/rdk-web7.10.07/ 43. For this print, Enfant, les bras levés, seexhttp://bib- files/pag/01/01-1145-1.html?/gsdl/cgi-bin/library. liotheque-numerique.inha.fr/collection/3613-enfant- exe?e=d-01000-00---off-0rdkZz-web7.10.07- les-bras-leves/xandxhttp://bibliotheque-numerique. -00-1--0-10-0---0---0prompt-10---4------inha.frcollection/3612-enfant-les-bras-leves-petite- 0-1l--11-de-Zz-1---20-about---01-3-1-00-0-0-11-1- planche/. 0utfZz-8-00&a=d&c=rdk-web7.10.07&cl= CL1.1&d=Dl178&&&&&&zur%20vorheri- gen%20Seite&&&%3Cimg%20class=’icon’%20 Bibliography: src=’/gsdl/collect/rdk-web7.10.07/images/ Robert James Bantens. Eugène Carrière: his Work prev.gif’%3E&&&2&&&zur%20nächsten%20 and his Influence, UMI Research Press, Ann Arbor, Seite&&&%3Cimg%20class=’icon’%20src=’/gsdl/ Michigan, 1983. collect/rdk-web7.10.07/images/next.gif’%3E&&&.) Eugène Carrière. Ecrits et Lettres choisis, Paris: 26. An impression in sanguine is in the collection in Societé du Mercure de France, 1907. Geneva, a rare proof state at the INHA. For more Loys Delteil. Le Peintre-graveur illustré: Volume VIII: information, cf. Cahiers Goncourt no. 2, 1993 (1994) Carrière, catalogue raisonné, Paris, 1913. Reprinted and www.freres-goncourt.fr. by Da Capo Press, New York, 1968. 27. The first substantial publication in English was Antony Griffiths and Frances Carey. From Manet to Robert James Bantens’s Eugène Carrière: his work Toulouse-Lautrec, exhibition catalogue, The British and his Influence. UMI Research Press, Ann Arbor, Museum, London, 1979. Michigan, 1983, which also includes a ‘Survey of the Helen Hirsch. “l’Effet magique de la palette noire Literature’ up to date. d’Eugène Carrière dans son oeuvre graphique,” Bul- 28. Jean Dolent: Amoureux d’Art, Paris, Alphonse letin annuel de la Société des Amis d’Eugène Car- Lemerre Éditeur, 1888, p. 240 „Eugène Carrière rière, no. 14 (April, 2003). exprime ce que je sens, il montre l’objet même de Anne Röver Kann (ed.). Intimität der Gefühle: mes constantes tendresses: des Réalitès ayant l Eugène Carrière zum 100. Todestag, exhibition amagie du Rêve!“ catalogue, Kunsthalle Bremen und Clemens-Sels- 29. Though Carrière never mentioned using photo- Museum Neuss, 2006. graphy, a variety of early photolithographic tech- Auguste Rodin—Eugène Carrière, exhibition cata- niques were developed in the 19th century. It is logue, Tokyo Museum of Western Art and Musée striking how close some of the images are to pho- d’Orsay, Paris, 2006. tographs of the sitters. Carrière was very close to Phillip Dennis Cate, Gale Barbara Murray, Richard a number of ‘Pictorialist’ photographers and would Thomson. Prints Abound: Paris in the 1890s: from have been familiar with the possibilities. In the dark the Collections of Virginia and Ira Jackson, exhibi- areas of some lithos there are some „bubbles“ which tion catalogue, National Gallery of Art, Washington, Fig. 13b. Eugène Carrière, detail of Méditation (D. may be regarded as a sign that a photographic 2000. 14) (1893), lithograph. Published in L’Artiste. Art in Print May – June 2012 21 The Mechanical Hand: Artists’ Projects at Paupers Press By Paul Coldwell

or more than 25 years, Paupers Press tion with the wide range of artists that have Marlborough (Paula Rego), Paul Stolper F in London has been making finely craft- used their services since 1986. Founded by (Keith Coventry’s spectacular Copper and ed, adventurous, and sometimes eccentric master printers Simon Marsh and Michael Silk portfolio), White Cube (Jake and Dinos prints with British painters, sculptors and Taylor, the studio first opened in the der- Chapman), and most prolifically with Para- conceptual artists. Their 25th anniversary elict offices of a funeral parlour. It moved to gon Press (Damien Hirst, Elizabeth Magill, was recently marked with an exhibition its current location in the heart of Hoxton Grayson Perry, and Rachel Whiteread). of more than 200 prints at the Gallery in in the East End of London in 1992, before They also publish prints under their own Kings Place, an exhibition space located in the area had attracted the likes of Jay Jop- name, particularly, as Taylor explains, “pro- the new cultural quarter of Kings Cross in lin’s White Cube Gallery and the burgeon- jects that other publishers would be unable the very centre of London. Accompany- ing London art scene. Paupers have thus or unwilling to take on, ie. artist book pro- ing the exhibition, which will tour to the been ideally placed to work with some of jects that last a year (Stephen Chambers) Northumbria University Gallery, Newcastle the leading so-called YBAs: Damien Hirst’s (Fig. 1) or large scale colour photogravure (6 July–24 August 2012) is The Mechanical iconic butterfly and skull gravures were projects for an artist whose gallery has no Hand: Artists’ Projects at Paupers Press, a lav- produced there, as were Mat Collishaw’s knowledge or market for prints (Mat Colli- ishly illustrated book produced with Black Insecticides (2010) and Jake & Dinos Chap- shaw).”1 (Fig. 2) Dog Publishers. man’s Etchasketchathon (2005) etchings. The exhibition at Kings Place includes The exhibition is a testament to the Paupers have worked for galleries and prints by these artists as well as Chris breadth of techniques and approaches publishers such as Alan Cristea (Cornelia Ofili, Tony Bevan, Glenn Brown, Hughie that Paupers have developed in associa- Parker), Counter Editions (Tracy Emin), O’Donoghue, Sue Webster & Tim Noble, Jenny Saville, Jock McFadyen, Eileen Coo- per, Christopher le Brun, Andrejz Jackows- ki, Catharine Yass, Charles Avery and Bob & Roberta Smith. The works on view represent only a selection of those produced at Paupers over the last 25 years, but it demonstrates how rich and vibrant printmaking can be. Prints by Chambers, for example, testify to a creative exchange between artist and printer, where technical accom- plishment always remains at the service of artists and their intentions. The exhibition featured a number of his suites, including the intimate chine collé etchings of Trou- ble meets Trouble (2012), which show what a clear eye this artist has for making a memo- rable graphic image even on a small scale. The title chosen for this retrospective view—“The Mechanical Hand”—echoes the seminal Arts Council of England exhibition “The Mechanised Image,” curated by Pat Gilmour in 1978, which in turn referenced Walter Benjamin’s 1936 essay “The Work of Art in the Age of Mechanical Reproduction.” It places front and centre the questions of “craft” and mechanization that have plagued prints for centuries— what is the proper balance between technique and concept? Or between the artist’s autographic mark and the printer’s technical skill? Or between the single moment in which that mark was made and the multiple objects that are the result? The studio offers a catholic approach to all things printed, but has its areas of spe- ciality, as Taylor explains: “although we Fig. 1. Stephen Chambers, William Gladstone (2012), etching with chine collé, 16,5 x 14,5 cm. Edition of 35. have at various times used both silkscreen Printed and published by Paupers Press. and relief printing, Paupers’ core media

22 Art in Print May – June 2012 Fig. 2. Mat Collishaw, Insecticide 15 (2009), photogravure etching, 70 x 70 cm. Edition of 35. Printed and published by Paupers Press. has always been etching and lithography, particularly diverse. Their productions with a sense of personal history. covering all hand made, photographic and range from the colourful landscapes of Two series of works by Chris Ofili pro- more recently, digitally made images.”2 The Elizabeth Magill (Fig. 3) to the conceptu- vide striking evidence of the technical task of working collaboratively with art- ally driven work of Cornelia Parker (Fig. 4). range offered through Paupers Press. One ists who are not primarily printmakers is Working with Paula Rego since 1998, they is the beautiful set of etchings, London-Ger- a complex one—technical expertise and a have enabled her to work both on increas- many-USA (1993-95), each made from either gift for spontaneous problem-solving are ingly larger etchings while also providing small dots or line, creating intense pat- necessities, but so is a certain kind of psy- an opportunity to test out lithography as terns that evoke surfaces and textures—an chological reassurance. Taylor wants artists a means of realising her disturbing and abstract travel log, complete with the date to experience the ‘playful, experimental charged narratives (Fig. 5). In contrast, and place where they were drawn (Fig. 7). creativity’ of printmaking.3 Rachel Whiteread’s 12 Objects, 12 Etchings Paradise by Night (2010), on the other hand, Paupers Press have, like many studios, (Fig. 6) uses the process of photogravure to is a series of multicoloured lithographs in developed long-term relationships with a render an assortment of what one imagines which a painterly, wistful side of the artist group of artists, but Paupers’ stable seems to be discarded objects, and imbue them comes to the fore, with echoes of the late

Art in Print May – June 2012 23 artisans. It follows in the tradition of such surveys as Thirty-Five years of Crown Point Press (1997), Gemini G.E.L.—Art & Collabora- tion (1985) and more particularly relevant for its UK context, the Paragon Press’ Con- temporary Art in Print (2001). The book is copiously illustrated throughout, focusing on 26 artists with whom the press has worked. For some, it concentrates on single projects, with others it surveys on-going relationships. Each artist is given a brief introduction and then in some cases the work is allowed to stand alone, the image taking precedent over the word. In other cases there is a more developed narrative; the prints of Jake and Dinos Chapman and Stephen Chambers are con- textualised by the writer and critic Martin Herbert, while Mike Taylor offers interviews with Glen Brown, Cornelia Parker and Katherine Yass and an additional essay on Paula Rego. Grayson Perry provides background by responding to a number of set questions, and Christopher le Brun Fig. 3. Elizabeth Magill, Parlous Land (2006), lithograph, 61.0 x 84.5 cm. Edition of 35. Printed by Paupers Press, published by Paragon Press. describes the value he places on printmaking and the nature of collaboration com- pletes the book. Ceri Richards. images in a period of just two weeks. The There are a number of voices represent- Through their Artists International Venice experience was similarly produced in the book, which together provide the Print Project, Paupers have also worked tive for Stephen Chambers, for whom the reader with an understanding of the crea- intensely with invited artists at the facili- process offered the ideal means to mix and tive investment required by both artist and ties of the Scuola de Grafica in Venice. They match and develop narratives freely from printer in order to bring prints through to have used this site particularly to explore one image to another. resolution. I would have liked more infor- the potential of monotype. Amongst those The Paupers book highlights the impor- mation about each print, such as the paper that have benefited from this special col- tance of the hand in the craft production used, the edition size and the relationship laboration is Tony Bevan (Fig. 8), who used of prints and explores what can be gained between image and sheet (all the images it as an opportunity to take a number of through the collaborative process of artists are cropped). I remain curious about what images through variations, producing 80 working within a print studio with skilled actually constitutes an artist’s project at

Fig. 4. Cornelia Parker, Untitled (2008), lithograph, 24 x 23 cm. Edition of 75. Printed by Paupers Press, published by The House of Fairy Tales, and Fig. 6. Rachel Whiteread, 12 Objects, 12 Etchings (2010), 27 x 24.5 cm. Edition of 42. Printed by Paupers Press, published by Paragon Press. 24 Art in Print May – June 2012 Left: Fig. 5. Paula Rego, Stitched and Bound (2009), etching, 119.5 x 108 cm. Edition of 35. Printed by Paupers Press, published by the artist & Marlborough Fine Art.

Right: Fig. 8. Tony Bevan, Heads Horizon (2007), etching, 48 x 64 cm. Edition Paupers and how the press works in rela- of 15. Printed by Paupers Press, published by the artist. tionship to other publishers. The book provides few details about Paupers’ history, who is involved, how it came into being, and might have benefited from a timeline over what has obviously been a very fruitful 25 years. That said, the book acts a useful reference and makes visible the role that printmaking has had within this group of predominantly British artists. It also tells us valuable things about the working relationship between the artist and the printer and the value of a studio, which offers such a broad range of expertise and media. “The Mechanical Hand: Artists’ Projects at Paupers Press” on view 27 April - 22 June 2012 Kings Place Gallery, London; 6 July - 24 August 2012 University Gallery, North- umbria University.

Paul Coldwell is Professor in Fine Art at the Univer- sity of the Arts London.

Notes: 1. Email correspondence. 2. ibid. 3. Michael Taylor in Emma Hill, “Coffee Break: Pau- pers Press,” RA Magazine (Spring 2012). http://www. royalacademy.org.uk/ra-magazine/spring-2012/coffee-break-paupers-press,336,RAMA.html.

Fig. 7. Chris Ofili, Brooklyn 21\11\95, from the series London-Germany- USA (1993–1995), etching, 24.5 x 19.5 cm. Edition of 10. Printed by Paupers Press, published by the artist. Art in Print May – June 2012 25 The V&A Takes Street Art to Libya By Gill Saunders

Fig. 1. Anonymous street art, Benghazi, 2011.

t the invitation of the Minister for astic audiences, including school groups, of protest unleashed by the Arab Spring. A Culture and Civil Society in Libya’s in Tripoli (Dar Al Fagi Hassan Gallery, 31 The prints we selected to go to Libya National Transitional Council the Victoria March–12 April) and Benghazi (Qasr Al- were carefully chosen to reflect not only and Albert Museum (London) organized an Manar Art Gallery, 21 April–1 May.) the diversity of ideas embodied in street exhibition of street art prints this spring for Prints by artists from the UK, France, art, from the playful to the political, but venues in Tripoli and Benghazi. In 2010, the Italy, USA and Brazil were shown alongside also to connect with the events and aspira- museum had produced “Street Art: Con- photographs of iconic examples of street tions of the Libyan revolution itself. Works temporary Prints,” an exhibition drawn art in situ in the UK and in Libya itself such as Ben Eine’s Change (2011) (Fig. 2), from the V&A collections that has been (Figs. 1, 4). The colours of the rebel flag, Sickboy’s Save the Youth (2011) and Lucy making its way around the UK.1 Including caricatures of a humiliated Gaddafi, the McLauchlan’s Warrior Bird (2006) echoed works by Banksy, Miss Tic, Jon Burgerman words ‘freedom’ and ‘Libya’—these were the many powerful manifestations of revo- and Shepard Fairey, among others, it offers the motifs that dominated urban walls. The lutionary street art in Tripoli, Benghazi, a visual argument for the interdependence slogans were often in English, a sign that Misrata and beyond. The spray-can style of urban density, political activism, graphic these artists were consciously speaking not graffiti of Sickboy’s screenprint offered a design, and what might be called anarchist only to their neighbours and brothers-in- visual counterpart to the elegant Arabic visual entrepreneurship. arms, but to a global audience as well. The calligraphy on the walls of Tripoli. Eine’s Given the extraordinary flowering of exhibition also included T-shirts by local assertive presentation of the word ‘change’ street art in North Africa in the course of artist Mohamed Ellafi printed with graffiti- summed up the urgency of Libyan artists’ the Arab Spring, we felt that this subject style graphics and pro-revolution slogans, calls for freedom and action to erase the would be topical, relevant and appealing as well as brilliant cartoons by Tareq Abu past and start afresh; it resonated too with to audiences in Libya. With the support Ayana (unpublished of course) that skew- the ‘just do it’ energy which had fired up of the British Council, the exhibition—the ered Gaddafi’s pretensions and delusions the rebels. Shepard Fairey’s Obey Giant and first from an international institution since and placed him firmly in the pantheon of Sweet Toof’s Roller Toof each in their dif- the revolution—has been seen by enthusi- murderous dictators threatened by the tide ferent ways served as subtle reminders of

26 Art in Print May – June 2012 Fig. 2. Ben Eine, Change (2011), screenprint, 76 x 54 cm. Edition of 20. Fig. 3. Speto, Inoscencia (2007), screenprint, 66 x 48 cm. Edition of 150. ©Ben Eine. Photo: Nelly Duff Gallery. ©Speto. Photo: Nelly Duff Gallery.

the power of images in public places, whilst Matt Small’s sensitive portraits of margin- alised youths had an evocative melancholy reminiscent of the martyr portraits that could be seen on walls and posters around Tripoli. The optimism of Libya’s newly lib- erated people was reflected by Justin Fines’ Peace Grows, Swoon’s Boy (Strong) and Speto’s Inoscencia (Fig. 3). The exhibition was warmly received in Libya, where young Facebook users posted comments such as “V&A: Inspiration in Everything.” Nafissa Assed in the Libya Her- ald thanked the V&A for a “brilliant exhibition” and observed that in Libya street art “has given a voice to truth. And with this sense of public exposure has come exuber- ance,”2 which is what street art is all about. For those interested in learning more about the exhibition and wishing to see further examples of Libyan street art, selected images can be found on Flickr, courtesy of the British Council [www.flickr. com/photos/bclibya/.]

Gill Saunders is Senior Curator, Word & Image Department, Victoria & Albert Museum, London.

Notes: 1. The Herbert, Coventry, 9 October 2010–16 Janu- ary 2011; The Civic, Barnsley 28 January–23 March 2011; Black Rat Press Gallery, London 14–29 April 2011; Nottingham Castle and Museum 2 July–25 September 2011; Chatham Historic Dockyard, Kent 8 October–27 November 2011; Ulster Museum, Belfast 9 December 2011–4 March 2012; Brad- ford One Gallery 17 March–10 June 2012; Tul- lie House, Carlisle 22 September–9 December 2012.xhttp://www.vam.ac.uk/content/articles/t/ touring-exhibitions-street-art/. 2.xhttp://www.libyaherald.com/street-art-from-the- victoria-and-albert-museum-london-and-libya/. Fig. 4. Anonymous street art, Tripoli, 2011. Photo: Courtesy of Mohamed Almani. Art in Print May – June 2012 27 Designed to Impress: Highlights from the Fitzwilliam Museum Print Collection By Sarah Grant

here is an undeniable charm to his- from the collection that count either beau- Schongauer, Raimondi, Van Dyck and T toric print rooms and the Charrington, ty, strength of feeling, idiosyncrasy, rarity, Whistler, the curators have made an admi- the setting for this display of highlights skilfulness or invention among their chief rable attempt to showcase an array of more from the Fitzwilliam’s print collections, is qualities and in particular works that “use unusual offerings from such well-known just such a space, a calm retreat lined with the vehicle of printmaking with a potency printmakers. The Fitzwilliam boasts one presses and tucked away behind a suite that would not have had the same effect (or of the most important collections of Rem- of galleries where one can well imagine affect) in another medium.” brandt prints in the United Kingdom, and visitors have whiled away many an hour While “Designed to Impress” duly fea- here is a wonderful opportunity to see two over the years. “No more delectable way tures the work of such artists one would impressions of Rembrandt’s (1606–1669) of spending a morning could be pursued” hope and expect to find in a collection of The Three Crosses (‘Christ Crucified between a visitor to a similar print room enthused the Fitzwilliam’s quality, including Dürer, the Two Thieves’) side by side, including the in 1825, “than in feeding the mind, without toil to the body, by such a medium.” Para- mount to the pleasures of these edifying experiences were “an urbane smile, a quiet room refreshingly cool, easy chairs and magnificent folios.”1 Though established in 1936, and therefore comparatively young by the standards of other great British and European print rooms, the Charrington exudes the atmosphere of quiet study necessary for any thorough perusal of works in this intimate medium. Here the Fitzwil- liam’s print curators mounted an ambitious programme of displays, including the current show of ‘highlights’, a small selection of works from the Fitzwilliam’s collections of around 100,000–125,000 prints. According to one of its curators, Elenor Ling, the display has been scheduled to coincide with the museum’s busiest tour- ist season, when staff typically receive a marked increase in requests from visitors for well-known prints by famous artists. Highlights displays can be tricky, and the Fitzwilliam’s curators have set themselves quite a task, space constraints dictating they represent the cream of over 430 years of printmaking in just 36 objects. Attempt- ing to cover such an expanse of artistic production without a central theme to connect the works, as the curators have done, might easily run the risk of a disjointed and ultimately unsatisfying display. Ling confirms that, inevitably, many deserving works fell by the wayside in the selection process. Perhaps in an attempt to excuse such omis- sions, the curators are swift to emphasise in their introductory text panel that the display is not intended as a historical survey of printmaking. In truth, however, any selection of work that includes some of the medium’s finest practitioners arranged in a more-or-less chronological order will inevitably assume this role for much of its audience. At any rate, the display easily Fig. 1. Claude Drevet, Henri-Oswald de la Tour d’Auvergne (1749), engraving, after Hyacinthe Rigaud, fulfils its stated objective, to reveal works plate 50.6 x 38.0 cm. Given by John Charrington 1933, ©The Fitzwilliam Museum, Cambridge.

28 Art in Print May – June 2012 Fig. 1. Hendrik Goltzius, Icarus (1588), engraving, after Cornelis Cornelisz. van Haarlem, plate 33.2 cm in diameter (sheet trimmed irregularly on platemark). Given by the Friends of the Fitzwilliam Museum 1990, ©The Fitzwilliam Museum, Cambridge. only known impression of this state on vel- Los Caprichos bound with a contemporary and collectively they are thought to be the lum. Through such means the viewer gains handwritten text. artist’s jubilant response to the humilia- an invaluable insight into the printmaker’s One of the display’s principal aims is tion of Philip II of Spain on the defeat of mode of working, notably the degree to to convey the “outrageous skilfulness” of his Armada (Fig. 1).3 Rippling musculature which he altered a composition over suc- the printmaker and here it excels with the was the perfect channel for Goltzius’s pio- cessive states, described by one scholar as inclusion of examples of virtuoso engravers neering technique of intersecting curved a ‘restless probing’,2 and is reminded of his Hendrik Goltzius (1558–1617) and Claude and swollen lines and Icarus’s limbs pul- experiments printing on other surfaces Drevet (1697–1781). The appeal and merits sate with life as he shields his eyes from such as silk and vellum. To such rarities can of Goltzius’s oeuvre transcend time. There the blinding glare of the sun, plummeting be added Albrecht Altdorfer’s (c. 1482/5– is a startling freshness, even modernity, to his death. The sensation of falling is 1538) Landscape with a shaded cliff, with its to his illusionistic rendering of Icarus’s ill- heightened by the extreme foreshortening early foreshadowing of expansive romantic fated flight, the second plate from The Four Goltzius employs, creating the trompe l’œil landscapes, one of five known impressions, Disgracers series. Each plate depicts the effect that Icarus is on the point of tum- and a first edition set of Goya’s (1746-1828) downfall of a different mythological figure bling through the picture plane.

Art in Print May – June 2012 29 as an example of Degas’s evolving artistic practise, comprising the first stage in a process devised for a series of monotype base pastels that occupies a rather singular position in the artist’s œuvre (Fig. 3). This dark and rather gloomy impression would have received a second layer in pastels, adding colour and depth to the printed foundation. Many such monotypes, unfinished works waiting to receive their pastel over- lay, were found languishing in Degas’s studio after his death. 5 For those visitors perhaps less interested in the technical potential and nuances of the medium there are other prints that will capture the imagination. Louis-Jean Desprez’s (1743–1804) grotesque vision of a chimera (Fig. 4) depicts the monster mid- feast—the chimera was described on a later state of the print as a devourer of animals and “unwary travellers.”6 Its symbolism may continue to be debated but Max Klinger’s (1857–1920) Bear and Fairy doesn’t fail to delight and one hopes the artist’s work, which currently enjoys something of a cult status among print specialists, will continue to gain a wider audience beyond this realm (Fig. 5). In light of the recent record-breaking auction result for Edvard Fig. 3. Edgar Degas, Woman at her toilet: the washbasin (c.1880-83), monotype, plate 27.5 x 30.8 cm. Bequeathed by A. S. F. Gow through the National Art Collections Fund 1978, ©The Fitzwilliam Museum, Munch’s (1862–1944) pastel version of The Cambridge. Scream at Sotheby’s, New York,7 the artist’s eerie and claustrophobic etching Desire Two centuries later a similar pinnacle of the most exciting example of this artist’s makes a topical addition to the display. engraving was reached by the Drevet dynas- foray into printmaking, the rudimentary Owing perhaps to a not unnatural desire ty, represented in the display by its young- nude on display is nonetheless significant to showcase the great strengths of the Fit- est member, Claude Drevet. In his lifetime Drevet only engraved nine portraits, five of these after Hyacinthe Rigaud, but the results clearly show him to be the equal of his more famous and certainly more pro- lific relations. The sitter here is the much- decorated Cardinal of Auvergne, later Archbishop of Vienna, Henri Oswald de la Tour (Fig. 2). Drevet’s supreme mastery of engraving is the star thoughout; wielding the burin with characteristic precision he records every detail of the luxurious textiles that reinforce La Tour’s image as a man of wealth and position. The lace rochet, the ermine cape, the plush velvet tunic, the lus- tre of the silk damask upholstery - all are rendered with a sublime realism designed to overwhelm the 18th century spectator with their conspicuous opulence and to underscore the skill of the printmaker. The staggering amount of labour and degree of dexterity required to execute such a composition were commonly interpreted as an act of homage to the sitter on the part of the artist.4 In their selection the curators are also eager to illustrate the role of printmaking in the broader artistic repertoire. A monotype by Degas, an artist not popularly associated with printmaking in the public conscious- Fig. 4. Louis Jean Desprez, Chimera of Mr. Desprez (c.1770), etching, plate 32.5 x 38.1 cm. ness, is an interesting addition. Though not Bought 1993, ©The Fitzwilliam Museum, Cambridge. 30 Art in Print May – June 2012 zwilliam’s collections—its old masters— and no doubt also to the ever-dwindling acquisition budgets faced by many British museums, visitors will find 20th-century prints thinly represented by Picasso, Georg- es Roualt, Adja Yunkers and Richard Ham- ilton. Similarly, the work of one solitary contemporary printmaker is included: Christopher Le Brun’s Untitled (2005), a monotype created to accompany the Fifty Etchings portfolio, the artist’s second major collaboration with Paragon Press and a recent gift from the Friends of the Fitzwil- liam Museum. Indeed, if there is a discern- ible thread uniting this display, aside from the outstanding riches of the Fitzwilliam’s holdings, it is to what extent the collections have been shaped by successive patrons. Of the prints on display all but six are bequests or gifts. This is also how the collection began, with Lord Fitzwilliam’s founding 1816 bequest to the University of Cam- bridge, which was transferred to the new museum in 1848. A century of acquisitions later, an editorial in The Burlington observed, “it would be difficult to think of a single Museum in Great Britain which has benefited to the same extent from private patronage, ever since its foundation and more especially in recent years.”8 The museum wryly acknowledges its debt to a former director whose “appearances” at collectors’ deathbeds resulted in numerous important gifts.9 As any museum or gallery will bear witness, such generosity often brings its own disadvantages. An institution that depends heavily on donations and bequests to augment its collections is not in a position to do just as it pleases and often treads a difficult line between the desire to maintain a living collection and the need to exercise a selective and discerning eye. For- tunately for the Fitzwilliam, its benefactors have consistently shown the most excellent taste and the visitor who perceives any lacunae in the parade of works on display can take comfort in the knowledge that the museum plans to make these highlight displays an annual fixture complementing its Fig. 5. Max Klinger, Bear and Fairy (1881), etching and aquatint printed on chine collé, plate 42 x 28.8 cm. regular programme of prints displays with a Bequeathed by Henry Scipio Reitlinger 1991, ©The Fitzwilliam Museum, Cambridge. continual rotation of objects. If future displays are anything like the first they will be a welcome addition to the print enthusiast’s calendar. This small but well-con- Notes: in the Working Method of Degas - I, The Burlington ceived and accessible display, containing 1. Anonymous, Original. “St. Monday, A Journey Magazine, Vol. 109, No. 766 (Jan., 1967), pp. 20- both canonical works and curiosities, will Through Burning Streets To The British Museum, &c. 27, 29. delight an informed audience and convert &c.” in “The Literary Chronicle and Weekly Review,” 6. Victor I Carlson, “Jean-Louis Desprez’”in Carlson Saturday, 25 June 1825, compiled in “The Literary and Ittmann (ed.s), Regency to Empire: French the most reluctant to this notoriously spe- Chronicle” for the year 1825, London: Davidson, 2 Printmaking 1715-1814, Baltimore: The Baltimore cialist medium. Surrey Street, Strand, p. 414-415. Museum of Art and The Minneapois Institute of Arts, 2. Museum of Fine Arts, Boston and Pierpont Morgan c. 1984, p. 237. Library, New York. Rembrandt: Experimental Etcher, 7. On the 2nd of May 2012 at Sotheby’s, New York, Boston: Museum of Fine Arts, Boston, 1969, p. 9. one of Edvard Munch’s versions of The Scream sold 3. Walter L. Strauss (ed). Hendrik Goltzius 1558-1617. for $119,922,500 / £73,921,284 / €91,033,826. Sarah Grant is Curator of Engraved Ornament in The Complete Engravings, Etchings and Woodcuts, 8. The Fitzwilliam Museum, The Burlington the Prints Section at the Victoria & Albert Museum. New York: Abaris Books, 1977, Vol. 2, p. 442. Magazine, Vol. 90, No. 540 (Mar., 1948), pp. 63-64. 4. Susan Lambert. Prints: Art and Techniques, 9. “The Collection of prints at the Fitzwilliam London: Victoria and Albert Museum, 2001, p. 49 Museum,” http://www.fitzmuseum.cam.ac.uk/dept 5. Eugenia Parry Janis. The Role of the Monotype pdp/prints/history.html, accessed 21/05/2012. Art in Print May – June 2012 31 Martin Kippenberger’s Raft of Medusa at Carolina Nitsch By Charles Schultz

Fig. 1 Martin Kippenberger, Raft of the Medusa (1996), suite of fourteen lithographs, edition of 26, various sizes on various papers, each signed and numbered, in portfolio; portfolio measures 58.42 x 47.62 cm. Edition of 26.

artin Kippenberger was the sort all at once, not because the canvas is so rather pays it quiet homage, doleful as a M who might crack a joke during a large, but because the scene is so complex. dirge. It’s possible that Kippenberger iden- funeral procession, and it would probably Kippenberger’s work approximates that tified with the historical scenario of Géri- be a self-abasing knuckle-biter. He had a complexity by breaking it up, which might cault’s painting, namely that of the fame- coy sense for the tragicomic, a dipsomaniac also be read as a metaphorical alternative to seeking young painter out to achieve his with a diva’s fondness for the spotlight. His the outcome of the story. In Kippenberger’s glory with a spectacular canvas writhing late work, Raft of Medusa (1996), recently version, the raft goes to pieces and no res- with horror and hope. It’s a disaster story in on view at Carolina Nitsch accompanied cue boat arrives. which Kippenberger could play every role, by a pair of drawings on hotel stationary As Kippenberger surely knew, Géricault’s and those who read his inclusion of beer and a few collages, captures the anguish painting was the fruit of much research and labels in the prints as evidence of playful- and urgency of a vivacious personality con- many preparatory sketches, which seems to ness have no idea of the true terror that fronting a grave reality. One year after Kip- be the phase Kippenberger was most inter- addiction visits on the alcoholic mind. penberger portrayed himself in the guise ested in recreating. Rather than copy from One wonders, as Kippenberger posed as of Géricault’s dying men, the great Ger- Géricault’s canvas, Kippenberger reen- the survivors, how much of their suffering man artist passed away from liver failure. acted the work of the model (Figs. 2, 3). He he tried to feel. Many of the figures in the Raft of Medusa is comprised of four- arranged to have himself photographed in lithographs are face down or expression- teen lithographs (Fig. 1), none of which the positions of the desolate and desper- less. Others appear downcast or gazing approach the epic scale of Théodore Géri- ate survivors pictured on the raft, and from upwards as if caught in moments of exis- cault’s 1819 masterpiece of Romantic melo- these photographs he composed his pic- tential crisis or sudden realization. The will drama.1 When the lithographs are collec- tures. Kippenberger’s loose draftsmanship to survive is a central theme of Géricault’s tively displayed, however, the effect is one and focus on the figure further corresponds painting—it’s the very reason for the raft, of cumulative power. The series was hung with the drawings Géricault produced as he after all—but in Kippenberger’s version salon style at Carolina Nitsch, a format that tested various arrangements in his search that will or instinct seems depleted and the encourages one’s eyes to roam in a dynamic for an ideal portrayal. figures more at ease with death’s looming manner, connecting one scene to the next. Kippenberger’s sense of irreverence is presence. Of them all, the lithograph I This presentation sets up a parallel with legendary, and though Raft of Medusa has found most chilling depicts a crude sche- Géricault’s masterpiece insofar as his paint- been described as a work of parody, I think matic the raft’s edge. It’s the image that ing, teeming with figures, was essentially it may also be an instance of sincere trans- proves Kippenberger’s research into Géri- a composition of interdependent images ference and even respect. The work neither cault’s painting went beyond the painting yoked into a particular formation. Géri- lambasts nor celebrates the 19th-century itself, but it also hones in on a very impor- cault’s famous depiction is difficult to see studio tradition in which it was made, but tant division, quite literally for those on the

32 Art in Print May – June 2012 Figs. 2, 3. Martin Kippenberger, Raft of the Medusa (1996), two from the suite of lithographs. raft, between the ocean and the floating vessel. One side held out the possibility for life, the other was almost certain death. If there is an argument for humor in this work it’s bound up in the punning caption below the raft, in the negative space that would be water. As I read it, the caption refers at once to the raft’s actual edge as well as to the historic tale upon which the picture is based. In hindsight, one might also read the caption as a haunted prophecy of the artist’s own death to come. It says, “the end.”

Charles Schultz is a New York-based art critic.

Notes: 1. The Raft of the Medusa (1818-19) was based on an incident in which a French ship was wrecked off the coast of Africa. The captain filled the lifeboats with officers and dignitaries who were on board, and put the crew on a jury-rigged raft when was then cut loose. Of the 147 people originally placed on the raft, only 15 survived to be rescued 13 days later. Géri- cault’s imaginative reconstruction depicts a moment when the survivors see a ship on the horizon and try to attract its attention. Art in Print May – June 2012 33 The Power of Dreams: Picasso’s Vollard Suite at the British Museum By Paul Coldwell

Fig. 2. Pablo Picasso, Two Catalan Drinkers (29 November 1934), plate 12 of The Vollard Suite (VS 12), etching, 23.7 x 29.7 cm. ©Succession Picasso/DACS 2011.

he exhibition “Picasso Prints—The ing the content of dreams, this must be it In this exhibition and the accompany- T Vollard Suite” at the British Museum and, furthermore, if ever there was needed ing catalogue, the British Museum shows is the result of an extraordinary act of gen- an argument for supporting the role of the itself at its best; the clear presentation of erosity through which the complete suite specialist curator, this is surely evidence in the prints, the precision of scholarship, the of one hundred etchings that forms the plenty. The resulting exhibition is literally a insightful text by Coppell, but also in the Vollard Suite has been presented to the dream come true. deft addition of specific works from the museum by Hamish Parker in memory of Between 1930–1937 Picasso worked on museum’s collection to further animate his father. It was a consequence of a con- this far-reaching series of prints for the readings of the prints. Amongst these addi- versation he had with the curator of prints publisher Ambroise Vollard, completing 40 tions, an Etruscan mirror with a line draw- and drawings, Stephen Coppell, during etchings in the series in one six week period ing of a running Sun god sets up a dialogue which Coppell mentioned in passing his of intense work during 1933. The suite rep- with Picasso’s engraved line; the etching of dream for the museum to acquire what is resents an outpouring of ideas, an almost the artist drawing the model by Rembrandt undoubtedly Picasso’s greatest series of demonic need by Picasso to visualise his establishes how much Picasso learnt and etchings. If ever there was a case for shar- furtive and often dangerous imagination. was inspired by the old master; and a beau-

34 Art in Print May – June 2012 Fig. 3. Pablo Picasso, Portrait of Vollard II (4 March 1937), plate 98 of the Vollard Suite, aquatint, 34.5 x 24.5 cm. Presented by the Hamish Parker Charitable Trust in memory of Major Horace Fig. 1. Pablo Picasso, Blind Minotaur Led by a Little Girl in the Night (22 September 1934), plate 94 of Parker. ©Succession Picasso/DACS 2011. The Vollard Suite (VS 94), etching and drypoint, 24.7 x 34.5 cm. ©Succession Picasso/DACS 2011.

tifully austere bust of the head of Hercules others anticipates Guernica, made three from the villa of the Emperor Hadrian is a years later, but here, through the craft of wonderful counterpoint to the prints of the the ‘poor man’s mezzotint’ (simply burnish- sculptor and model. ing a rich aquatint,) Picasso creates a magi- The Vollard Suite seen here complete is cal night scene where the diminutive figure a rare treat. Coppell divides the suite into of Marie-Thérèse leads the blind Minotaur categories entitled the Battle of love, Rem- against a dark sky as the boatman look on. brandt, the Sculpture’s Studio, the Minotaur, In Two Catalan Drinkers (Fig. 2), he com- the Blind Minotaur and finally the three por- bines a portrait in the style of Rembrandt traits of Vollard. What unifies these prints, with one of a young man that seems drawn over and beyond Picasso’s intense imagi- with a delicate single outline, a radical col- nation, is the orchestration of the etching lision of styles that still serves to depict an plate itself. The drawing in each print feels intimate pathos. In the sugar-lift represen- carved from the rectangle of the etching tation of the publisher, Portrait of Vollard II, plate, in much the same way as a sculptor Coppell notes ‘ the dour and wily character carves from a block. Figures are contorted, is captured in just a few deft brushworks,’ foreshortened, rearranged to fit within the demonstrating how fluid intaglio can be. frame creating an intensity of feeling and I am reminded of the caption that adver- passion that is barely contained as his char- tised the film Jaws 2, “Just when you acters act out scenarios that range from thought it was safe to go back in the water… the moments of exquisite tenderness and Jaws 2.” Well the moment you think that reflection through to unbridled brutality. Picasso is history, along comes an exhibi- If the emotional range were all, it would tion that reminds you that he is very much be enough, but throughout Picasso also alive and a force that each subsequent gen- rewrites the technical manual on etching. eration has to negotiate. This is a seminal Taking Rembrandt’s example of using the exhibition, unmissable and evidence of the medium for direct engagement, Picasso’s power of dreams. prints revel in their inventiveness. It is as if there is no negative thought, every cor- rection or change overrides what has come Paul Coldwell is Professor in Fine Art at the before and simply embraces it; what other University of the Arts London and a frequent artists would worry about as mistakes, he contributor to Art in Print. takes as springboards to a more precise reading. Within the series there are particular highs; Blind Minotaur Led by a Little Girl in the Night (Fig. 1) is an epic in every way barring its size. This print amongst Art in Print May – June 2012 35 Nicole Eisenman: Woodcuts, Etchings, Lithographs and Monotypes at Leo Koenig By Charles Schultz

Fig. 1. Installation view of “Nicole Eisenman: Woodcuts, Etchings, Lithographs and Monotypes” at Leo Koenig Inc., 2012. Image courtesy Leo Koenig Inc., New York.

n the recent prints of Nicole Eisenman in the exhibition, each of which is attended ized hand is situated in the foreground and I desolation is a destination and it’s teem- to in a manner that suits the strengths of set in action; in the former it’s hoisting a ing with the faceless, the nameless, the the particular process. Her painterly brush- spoonful of something and in the later it wasted, washed out, worn down, and work is on full display in the grand suite lifts an empty mug. Both suggest consump- worried. There are familiar faces too; Van of monotypes, while the etchings demon- tion and imply that it is the viewer who is Gogh’s Postman is here. He is one of many strate a degree of draftsmanship to which doing the consuming, figuratively and liter- untitled portraits in a series of forty-two few attain. These two skillsets coalesce ally. This trick of perspective allows us to monotypes that are the meat of the exhibi- in the half a dozen lithographs, perhaps stand separate from her picture while we tion, though not its highlight. The paradox nowhere more so than in the 9-color piece, are accounted for within it. In a sense she of Eisenman’s very full show—there are Bar (2012), in which a pair of ball cap wear- makes us complicit with the scene’s action. around sixty pieces—is that it’s ultimately ing beer drinkers cast one another discour- Smooching is sloppy and slouching is uplifting despite the abundance of morose aging glances. Meanwhile the moody unti- standard in Eisenman’s beer gardens. If and taciturn characters. Our communal tled portraits executed as woodcuts derive there is a smile to be found it’s churlish. affection for commiseration is matched much of their emotive force from the traces Of all the drinking episodes in the exhibi- with the strange pleasure of sympathy giv- of divots and scrapes incised by her chisel tion (there are many) Beer Garden with Big en and received. The lonely have a cham- and blade. Hand is the largest and most complex. It’s pion in Eisenman, in her work they find Moving into the scenes themselves we loaded with socio-cultural references con- ample company. find a compositional tactic deployed to textualizing it decisively within the con- Another impression: Eisenman is a tire- implicate space beyond the plane of the pic- temporary moment. Someone thumbs the less craftswoman whose technical prow- ture and, in fact, draw viewers directly into touchscreen of a mobile device, an iPhone ess—at times verging on virtuosic—does the scenario. Two etchings, both of which lays face up on a table displaying a melodra- not compete with the representational tab- stood out as exceptional achievements, are matic SMS-chat thread, while deep in a cor- leaus she depicts. To appreciate this, one notable: Watermark and Beer Garden with ner another patron holds a newspaper with need only recognize the variety of mediums Big Hand (both 2012). In each work a styl- the headline “Drones over Occupy Protest.”

36 Art in Print May – June 2012 This might be read as a form of social cri- tique; the beer garden is a communal environment and phones and newspapers are ultimately tools that keep individuals con- nected with their communities, but within the physical mass there is a psychological distance that isolates all these hip tipplers. It’s a packed house, but many seem to be drinking alone—including the viewer. That these pieces are among the most worked is evident in the notation beneath their imprints. Watermark is labeled as the 18th-state print. It shows. The scrupulous attention to detail and the rich tonal range, itself a testament to careful aquatinting, encourages a long look and rewards it with an abundance of visual data that amplifies the narrative thrust of this domestic tab- leau. Beer Garden with Big Hand is only a second state print, but one can see that Eis- nenman continued to work on the image after it was printed. Drawing with graphite atop the ink she included more characters in the deep space and further defined a few Watermark Fig. 2. Nicole Eisenman, Watermark (2012), etching, image 45.7 × 61 cm, paper 60.6 × 74.6 cm. near the foreground. Unlike , Edition of 20. Published by Harlan & Weaver, Inc. Image courtesy Leo Koenig Inc., New York. which is an edition of twenty, this big etching is actually a one off work of art that could even qualify as mixed media. This is the first exhibition devotedly solely to Eisenman’s prints. She has worked with the medium in the past, though never with such concentrated activity. For the last eighteen months, printmaking has been her principal focus and that engagement is evident—these are not minor works. If there were ever any danger of Eisenman’s prints being seen as somehow less significant than her paintings, sculptures, or installations, this show has forestalled it.

Charles Schultz is a New York-based art critic.

Fig. 3. Nicole Eisenman, Beer Garden With Big Hand (2012), etching, image 101.6 × 121.9 cm. Edition of 12. Published by Harlan & Weaver, Inc. Image courtesy Leo Koenig Inc., New York.

Art in Print May – June 2012 37 ReThink INK: 25 Years at Mixit Print Studio Boston Public Library By Elaine Mehalakes

t the Boylston Street entrance to the A Central Library in Copley Square, high on a wall, clings Ilana Manolson’s Terra Flow (2012), an aggregate of the themes running through the Boston Public Library’s current exhibition, “ReThink INK: 25 Years at Mixit Print Studio.” Roots collected in the artist’s neighborhood and Arnold Arboretum link islands of plaster painted with maps from the BPL’s Norman B. Levanthal Map Cen- ter. The maps might be seen as referencing the resources available to area residents via the public library system, while the slim but strong tendrils symbolically tie together communities. “ReThink INK” celebrates the work of Mixit Print Studio and the artists who have worked there over the 25 years since its founding in the former Mixit soap fac- tory in Somerville, Massachusetts. The exhibition also demonstrates the dedication of the Boston Public Library to the work of area printmakers, which have been collected in earnest there since the 1940s. “ReThink INK” is, in a sense, a pendant to the 2001 exhibition and catalogue, Proof in Print: A Community of Printmaking Stu- dios by Sinclair Hitchings, featuring work from the 1980-84 Cambridge-based Artist’s Proof Cooperative, out of which grew Mix- it, Hand Press Workshop in Somerville, as well as Artist Proof Studio in Johannesburg, South Africa. This substantial show is comprised of 150 works from four different categories, which are mostly intermingled throughout three distinct spaces. The ReThink INK Port- folio is a set of 66 prints produced as a col- reThink INK Banner on Boston Public Library (2012). Banner design by Flanders+ Associates, Boston, MA. laborative project for this exhibition. Karen Photo: Heddi Vaughan Siebel. Shafts, Assistant Keeper of Prints, made a selection of prints made at Mixit Print Stu- the printshop, from woodcut, etching, and from a computer-generated image, com- dio now in the BPL’s collection, including engraving, to collagraphy, embossing, and bines new and old technologies to create an some from the Artist’s Proof Archival Portfo- photopolymer prints. There is No Map, a image that plays with geometry and varia- lio 1 and the Mixit Print Studio Portfolio, both 2011 multi-plate intaglio with monotype tion, and amusingly calls to mind the time- published in 2001. Ms. Shafts also juried a by Mixit co-founder Jane Goldman, layers trapped screens of 1980s video games. In selection of prints from those submitted by mandala-like imagery with a suggestion Migrant Housing (2011), Mongezi Ncapheyi artists who have worked at Mixit. Finally, a of seeking. Indeed, maps form a theme eloquently condenses architecture to a small, but innovative group of installation that recurs throughout the exhibition and series of etched and aquatinted signs, works enliven the Johnson Lobby and the includes Manolson’s contribution to the which, he explains, refer to compound Changing Exhibits Gallery. portfolio, Putting Down Routes, in which houses initially designed for mine workers Very recent Mixit prints from the the light, regularized lines of a street map and later used by the party opposing the ReThink INK Portfolio are hung salon-style are overlaid with darker, less predictable newly formed government in South Africa in the center of the Changing Exhibits Gal- ones printed from inked roots. in the early 1990s. lery. The grouping demonstrates the range Ted Ollier’s 2012 25 Permutations of 25, Sarah Shallbetter’s 2011 collagraph, of intaglio and relief techniques utilized at a relief-rolled laser-cut aluminum plate Brooklyn, NY, echoes the compositions of

38 Art in Print May – June 2012 Pierre Bonnard with its silhouetted figure used in multiple ways in this object. cance in certain parts of the world. in a contemporary urban landscape. Marcia In various pieces scattered through- Thaddeus Beal’s Open Up (2012) is hung Lloyd intuited the mystery evoked by her out the exhibition, Heddi Vaughan Siebel high in the Changing Exhibits Gallery, 2011 Traces, an etching with photopoly- explores the failed Zeigler Polar Expedition drawing the eye up to gaze at the vaulted mer plate made using cornsilk. In Sequence of 1903, of which her grandfather was a ceiling. Its abstracted forms echo the pat- 2, a woodcut monoprint from 2012, Peggy part. In Far, and Further (2012), an installa- terns of the tiles above and point to the Badenhousen created an atmospheric print tion featuring monoprints, film, and sculp- sense that this exhibition, describing a with calligraphic inklings, through a pro- ture, Siebel seems to incorporate references quarter-century of work at Mixit Print Stu- cess of drawing on a plate with solvent and to the library, as have other artists in the dio, is very much entwined with the long- oil stick and building the images in layers of exhibition. She invites visitors to inscribe time support of the local printmaking scene passes through the press. columns of paper, shaped like bookmarks, by the Boston Public Library. Randy Garber, a partner in Mixit Print with their dreams, and then tie them to the Studio since 2010, contributed To My Sur- skeleton of an overturned boat. This is per- prise (2011) to the ReThink INK Portfolio, an haps an evocation of the fragile nature of Elaine Mehalakes is the curator of academic programs at the Davis Museum at Wellesley offset relief roll of player piano rolls com- hope, as well as a reference to tying strips College. She writes often about contemporary bined with three intaglio plates and relief of cloth to trees in spots of spiritual signifi- prints. monoprint. This complex and intriguing triptych incorporates found and developed imagery with language, another theme that runs through the exhibition. Garber’s Reap What You Sow (2008), an image of physical toil, on view upstairs in the Wiggin Gal- lery, is complicated by numerical symbols requiring interpretation and the phrase, “What you already know,” translated into Greek, Hebrew, German, and other languages. Work, as both a topical and time- less subject, suggests universality here, while the variety of languages implies indi- viduality of experience. As is clear from the techniques described so far, innovation and flexibility are a mark of Mixit Studio. Julia Talcott created Onward and Upward (2010) by cutting up linoleum cuts and collaging the pieces together, somehow resulting in both a puri- ty of compositional form and a suggestion of the looping chaos of her original subject, a roller coaster. Thaddeus Beal made the infinitely spiraling Compressed Crawling (2001) by burning the image into a type of plastic with a plumber’s torch to form his matrix. The baker’s dozen of installations in “ReThink INK” push the limits of the defi- nition of printmaking, as so many inventive print artists have been wont to do in recent years. Mary Sherwood Brock creates a wall installation of prints of human hands, eyes, and mouths framed under glass plates of various shapes, sizes, and colors. These anatomical renditions would certainly dis- rupt the rhythm of mealtime. Catherine Kernan, one of the two founding partners of Mixit Print Studio, and master woodworker Devereux Kernan collaborated on folding screens featuring woodcut monoprints. Trance, installed in the Johnson Lobby below Manolson’s Terra Flow, features vignettes of flame-like trees, in which the patterns of light through foli- age are reversed, so that bare branches and trunks appear to glow. The wood used to frame these images and create the screen Heddi Vaughan Siebel, Far, and Further (2012), etching and relief monoprints with projected film loop on enhances the woodcuts by calling our panels of gampi and mulberry papers suspended from columns by rope, 15 x 12 feet. Printed and published attention to the texture of the material by the artist. with Little Boat of Dreams (2012), 12 x 4 feet. Photo: Stewart Clements. Art in Print May – June 2012 39 Pulled Pressed Printed in Chicago By Courtney R. Thompson

he “Pulled Pressed Printed” exhi- T bition of Chicago printmakers on view at Expo 72 was initially underwhelming. At first I was put off by the slightly haphazard display and DIY aesthetic. There was little information about the printmakers and the presses they worked with. However, as I circled the relatively small space, noting the different printmaking studios, I began to appreciate and savor how accessible, abundant, and immediate the work was. Chicago Printmakers Collaborative, Screw- ball Press, Anchor Graphics, Spudnik Press, and Hummingbird Press L.A.C., were all well represented and showcase what Chi- cago printmakers do best. Screenprinted gigposters faced etchings on porcelain, offering a quick survey of techniques without an imposed hierar- chy. Stand out works from Spudnik Press included Don’t Drink From the Sea (2010), (hand-bound, silkscreened hardcover book) by Lilli Carré, and Sanya Glisic’s Struwwel- peter (2010) (hand screen printed and hand- bound book with full-cloth hand printed cover); the latter based on Heinrich Hoff- mann’s gory 19th-century fairy tales. The books were not contained in vitrines and I was delighted to peruse both the lovely and the grotesque with my own hands. Additionally, Gilsic’s work was made possible by the Artist Residency Program at Spudnik, another integral aspect of artistic development and support in print studio production. Jenny Beorkrum’s iconic Chi- cago neighborhoods map rightfully held its place in the show (here screenprinted by Screwball Press), and I was surprised to see the technical range of print production and materials from Hummingbird Press L.A.C. Figs. 1–4. Sanya Glisic, four pages from the artist’s book Struwwelpeter (2010–11), four-color screenprint, Despite the lack of supplementary infor- 9 x 11 inches, 36 pages. Edition of 58. Printed by the artist, published by Spudnik Press, Chicago. mation on artists, studios, and techniques, the exhibition absolutely provides an ener- 1. The Story of Little Suck-A-Thumb getic sample of contemporary printmaking 2. The Story of Cruel Frederick in Chicago. For myself, it was an opportu- 3. The Story of Augustus, Who Would Not Have Any Soup 4 nity to seek out the presses and artists . The Story of The Man That Went Out Shooting beyond the confines of the gallery, but only after extensive note taking. Perhaps the best take away from the exhibition is to announce the print community’s vibrant presence in Chicago. Duly noted.

Courtney R. Thompson is a Chicago-based writer and arts professional.

40 Art in Print May – June 2012 New Editions: Cecily Brown’s Monotypes By Allison Rudnick

Untitled (2012) Nine monotypes on Lanaquarelle, 121.9 x 182.9 cm each, unique images, printed and published by Two Palms Press, New York, $60,000.

ecily Brown’s latest monotypes C accomplish what her best paintings do: they draw you in and they keep you looking. As with Brown’s canvases, the surfaces of these large monotypes are brim- ming with imagery that occupies a position between realism and abstraction. But the push-and-pull between recognizable forms and indistinct brush marks plays out especially elegantly in the monotypes. The fluid- ity of gesture between forms and non-forms in the new prints suggests spontaneity, even urgency. This quality is engendered by the particular monotype technique that Brown has employed and honed at Two Palms, where she has worked over the course of Cecily Brown, one from the series Untitled (2012), monotype. the last decade. This series consists of nine monotypes, six of which were on view at the Armory Brown’s monotypes differ from her Allison Rudnick is a New York-based art historian. Show in New York in March. They depict paintings in another way: the nine prints rabbits, snakes, owls, and other creatures that constitute the series don’t merely seemingly plucked from a fairy tale. Jewel share a theme – they share the same draw- tones of emerald greens, deep purples and ings and marks. When Brown completed rich ochers variously mark fur, scales, veg- an image, the Plexiglas template was placed etation and water. One can’t be exactly sure in a hydraulic press and the image was of what these animals are up to; they blend transferred onto heavy Lanaquarelle paper. into each other and their surroundings too (The hydraulic press applies pressure to the easily, as if emerging from their habitats or entire template simultaneously, unlike a decomposing into the earth. But the latter roller press, in which the pressure moves seems inaccurate: energy, movement and down the image as the template runs vivacity characterize the barely-discern- through it.) No matter what kind of press ible subjects of these works and the brush is used, however, a residue of ink or paint strokes that form them. always remains on a template. Reusing At four by six feet each, these are Brown’s the same Plexiglas surface for each image, largest prints to date. They are comparable Brown built upon the residue, or “ghost to the artist’s paintings in their monumen- image,” from previous prints. This bolsters tality and technique. To make them, Brown the visual cohesion between the nine prints worked on a sheet of Plexiglas placed on the and adds to the compositions’ mystique. wall like a canvas, and used oil paint made The rabbit you’ve seen in one print presents of turpentine, dammar and linseed oil. The itself again in another, but faintly, a thin slick surface of the Plexiglas is especially apparition. Hidden behind layers of paint conducive to the scraping away of marks. and barely visible, it is an uncanny remnant The ability to correct mistakes quickly and of something you know you’ve seen before. to work fluidly means that Brown can work Both playful and unsettling, Brown’s more rapidly in monotype than she does new monotypes exploit the drama of scale in painting, sometimes producing several and the spontaneous, rapid brushwork that works in a given day. The swift application is fostered by the monotype medium. Her of paint to surface is apparent in the final fluid gestures buzz with energy like the prints, whose large surfaces capture the art- ever-shifting natural environments she ist’s vigorous physical gestures. portrays. The viewer’s eye won’t sit still.

Art in Print May – June 2012 41 New Editions: John Baldessari’s Alphabet By Sarah Kirk Hanley

A B C Art (Low Relief) Baldessari’s fourth collaboration with Mix- in my head” (Liam Gillick, “I Will Not Make A/Ant, Etc. (Keyboard) (2009) ografía (the first was in 1994 and they are Any More Boring Art: John Baldessari,” Art Mixografía® print on handmade paper in 26 working on a fifth now). At this point the Monthly 187 [June 1995]: 3-7). parts, 44 x 259 x 1 inches (overall), edition artist was fluent in the special capabilities The Rembas scoured thrift stores, gro- of 20, printed and published by Mixografia, of the workshop’s patented three-dimen- ceries, and toy-shops for objects that were Los Angeles, $125,000. sional printing process (which involves a archetypal representatives of the images hand-inked relief plate that is printed to on the list, and that also were suited to A B C Art (Low Relief), Part II: damp paper pulp) and wanted to expand translation in low relief and properly scaled PMBWFDLJ (Pangram)(2010) the possibilities. Rather than working in to the plate size. In some cases, composi- Mixografía® print on handmade paper in 32 “flat-relief,” as he had done in the series tional considerations, creative thinking, parts, 82 x 248 x 1 inches (overall), edition of Table Lamp and its Shadows (1994) and and sculptural skills came into play—for 7, printed and published by Mixografia, Los Stonehenge (with Two Persons) (2005), or example, orzo pasta was used to create the Angeles, $148,000. create a sculptural object from planes of “rice” for the sushi on plate “S.” In others, color, as he did with Sailboat (1996/2008), an acceptable pre-existing object could he was interested in exploring the topo- not be located and a model had to be con- graphical capabilities of the plate. For this structed (for “W,” the dove-like wing had he investigation of language—both alphabetical project, he wanted to eschew to be constructed by hand). Most of the T visual and written—is the foundation photographic and painterly imagery alto- pairings are logical and immediate, but of John Baldessari’s artistic endeavor, so it gether, instead pairing each letter with a the final letter “Z”—which at first appears seems a natural progression for his atten- physical object that would serve as a mold to be a hand-written version of itself on a tion to have turned to the 26-letter Latin for the plate. As explained by Shaye Remba, stone surface—represents the mark of the alphabet in his recent project with Mixo- the son of Mixografía founders Luis and fictional hero Zorro. (Though the idea was grafia. Though entirely recognizable as his Lea Remba, Baldessari was interested in born from Baldessari’s enthusiasm for the own, the ABC Art series represents a depar- finding examples with an immediate and movies, care was taken to represent the ture from the artist’s most familiar work in subconscious association with the letter at character (who has appeared in comics, which he manipulates photographic imag- hand. Together, Baldessari and the Rembas television, and film) in a universal manner. es from his vast library of stock imagery, came up with a list of letter-image pairings As Remba explains, “we couldn’t be specific often overlaying selected areas with tones and the Rembas were charged with the because the spectator, not the artist, is the in primary and secondary colors. This proj- task of making it come together. Relegat- one that is creating an association in the ect offers a new twist: rather than estab- ing the execution of his ideas to others is mind between the z [on the print] and the lishing imagery as the center of inquiry, he routine for the artist; as he has noted in the “Z” for Zorro.”) has instead aimed his lens at the building past, “You figure out how to do something Once all pairings were approved, Mixo- blocks of written communication. and that’s that. The doing of it is not very grafía’s technicians went to work to mold This project began in 2008 and marked interesting because I have already done it the three-dimensional copper plates from

42 Art in Print May – June 2012 the objects, a process Remba describes as so ubiquitous as to be invisible—aside from the most difficult step of the Mixografía a cursory glance to place our hands proper- technique, requiring extensive chasing and ly, we are unaccustomed to really seeing it, refinement. Colors were then chosen to instead relying on the nearly subconscious enhance the iconic nature of each object. muscle memory we have built in order to As with any Mixografía print, the inks were type efficiently. In 2010, Baldessari refor- applied by hand to the plate followed by a mulated his letters as a pangram. In order layer of paper pulp and then run through to make his viewers reach and think, he the press; all paper is made in house in chose “pack my box with five dozen liquor order to control the quality, consistency, jugs” rather than the familiar “the quick and color of the paper pulp. Proofs were brown fox jumps over a lazy dog.” (It has finalized and approved by the artist in late the added benefit of being one letter short- 2009, approximately a year after work had er.) The duplicate letters necessary to spell begun. all the words of the sentence appear, but Baldessari’s A B C Art series calls to mind without images. the alphabet projects of other artists in Baldessari is currently working on a new recent years, such as Tony Fitzpatrick’s Max edition with Mixografía, returning to his & Gaby’s Alphabet (1999-2000), Robert Cot- investigation of film stills, but the alphabet tingham’s An American Alphabet [1997-2011; plates remain at the workshop for his con- see Art in Print, vol. 1, no. 5: 8-9], and Tobias sideration. There are, after all, many things Till’s London A-Z (2012) [see Art in Print vol. an artist of Baldessari’s talents might do 1, no. 6: 48]. Each of these series has a dif- with 26 letters. ferent aim, but Baldessari’s stands out for its spare presentation and conceptual rigor, as well as its scale—over 20 feet wide when Sarah Kirk Hanley is a frequent contributor to Art installed. He arranged his alphabet in two in Print. variants that digress from the standard order of presentation, and both require some time and consideration to puzzle out. The first, issued in 2009, appears to bea random sequence until one notices the tell- tale q,u,e,r,t,y order at the upper left. Though almost every modern citizen uses a keyboard several times a day, it has become

Art in Print May – June 2012 43 New Editions: Ellsworth Kelly at Gemini G.E.L. By Sarah Kirk Hanley

Color Squares 1 (2011) llsworth Kelly’s recent body of prints the series, a request to create a benefit edi- Color lithograph on Rives BFK paper, 21 x E with Gemini G.E.L. builds on his tion for the San Francisco Symphony (Color 77 inches, edition of 35, $32,000. long-term engagement with the color Squares 2). spectrum, an involvement that dates back As emphasized in Richard Axsom’s essay Color Squares 2 ( 2011) to his formative years in France and his for Kelly’s recent LACMA print retrospective Color lithograph on Rives BFK paper, 9 x 33 ground-breaking 1951–53 works based on in conjunction with Pacific Standard Time inches, edition of 60, $8000 (Benefit for the the refraction of light. These early can- [see Art in Print, Vol. 2, No. 1], “Kelly’s prints San Francisco Symphony). vases employed 13 colors in spectrum order, restate rather than reproduce his work in beginning and ending with two yellows: other media. Leaving his studio and enter- Color Squares 3 (2011) lemon yellow, yellow-green, green, blue ing the print workshop, the artist engages Color lithograph on Rives BFK paper, 5 ¼ x green, blue-violet, violet, red-violet, red, in fruitful collaboration and exploration.”1 13 ¼ inches, edition of 60, $5500. red-orange, orange, yellow-orange, and Though Kelly is an East Coast artist, he has chrome yellow. Kelly eventually made six worked and exhibited in Southern Califor- Color Squares 4 (2012) canvases, including Spectrum 1 (1953) now at nia for decades, and has been creating edi- Color lithograph on Rives BFK paper, 17 x the San Francisco Museum of Modern Art, tions at Gemini G.E.L. since 1970. Master 49 ½ inches, edition of 45. using this combination of hues. In his new printer James Reid has been Kelly’s primary Color Over Black (2012) lithographs with Gemini, Kelly employs a collaborator at Gemini since 1983. Reid is Color lithograph on Rives BFK paper, 28 x minimal array of colors—red, orange, yel- familiar with the artist’s exacting specifica- 77 inches, edition of 35. low, green, blue, and violet (one print also tions and is able to achieve the even, satu- includes black)—in the form of squares rated tones and flawless edges that Kelly’s Dartmouth (2011) and rectangles on his signature ground of work requires. All of Kelly’s art begins with Color lithograph on Rives BFK paper, 14 x pristine, smooth, white paper. Within these drawing and sketches in which he carefully 28 ½ inches, edition of 45, $9000. limits, Kelly presents a concerto of com- works out the dimensions and proportions positions with various movements, from of his forms, as well as their relationship Color Panels (2011) an assertive group of stately squares to a to the ground—a consideration that is as Color lithograph on Rives BFK paper, 14 x subtle row of understated bars, a musical important as the choice of color and shape. 33 inches, edition of 45, $9000. feast perhaps inspired by the impetus for Final drawings are submitted to Reid, who

44 Art in Print May – June 2012 works from Kelly’s specifications to realize nate combination of yellow, green, blue, exhibition, the artist discussed his prints, them in lithography, the artist’s preferred red, and orange, and were informed by a concluding with his fascination with sun- medium. commission from Dartmouth College for a light. As has been frequently noted, Kelly’s The seven new prints vary widely in large outdoor sculpture that came midway lifelong interest in the color spectrum took scale, from a miniature 5 1/4 x 13 1/4 inch- through the Gemini project. As explained hold during his early years in France, when es to an impressive 28 x 77 inches. The by Kelly, the site chosen for the sculpture he became mesmerized by the refraction of prints are visually and conceptually related was a “large reddish-brown brick wall that is light on the surface of the Seine, inspiring and the titles follow an internal logic: the divided by five arched segments,” on which his first abstract work.3 In the interview, he four comprised of squares are titled Color he determined to mount five color panels. “I stated, “the sun is the answer to every- Squares 1–4, the one paired with black chose yellow to lead the colors from left to thing… the sun is mysterious… we’re a part squares below is Color over Black; and the right because yellow is the brightest on the of it and it IS like a god. It’s my god.”4 This two composed of bars are set apart with brick wall. I liked the combination of colors reverence is evident in the scintillating sur- the titles Color Panels and Dartmouth. Each so I did a print with the same sequence of faces of Kelly’s new lithographs, in which contains five of six colors that appear as colors to honor the college and the donor.” his carefully-selected hues dance across the they would in the spectrum, though Kelly (The sculpture will be installed on campus sheet in a prismatic display. plays with breaks and omits one color from in July of 2012). Later, as the project with each. Timing and spacing varies among the Gemini continued, he requested that Reid prints. In some, the forms are given ample send a proof with “five black squares set Sarah Kirk Hanley is a frequent contributor to room to breathe, in others, they follow equal distances apart.” When it arrived, he Art in Print. one another anxiously. (In Color Squares was reminded of his 1952 painting Kite II, 4 (2012), they are spaced a mere 1/8 inch- now in the collection of the Centre Georges Notes: 1. Los Angeles: Los Angeles County Museum of es apart). In the two largest images, Color Pompidou, Paris. This early canvas is com- Art, 2012, unpaginated. http://www.lacma.org/ Squares 1 (2011) and Color over Black (2012), posed of seven alternating vertical bars: sites/default/files/KellyBrochureFinal.pdf, accessed Kelly’s chosen colors are presented in per- bands comprised of two stacked squares 5/11/2012. fect 5 x 5 inch squares that are spaced evenly with color above (blue, yellow, red, and 2. All quotes this paragraph from email correspondence. in a horizontal line—in the latter, comple- green) and black below are interspersed 3. Christoph Grunenberg, “Sixty Years at Full Inten- mentary black squares of the same size are with bands of pure white between. “Imme- sity: Color Chart I,” Tate etc. 16 (Summer, 2009). abutted directly below. diately I realized that I used the same colors http://www.tate.org.uk/context-comment/articles/ sixty-years-full-intensity, accessed 6/7/2012. Five of the prints—Color Squares 1–4 and [in the Dartmouth commission], plus one: 4. Ellsworth Kelly, interview by Hunter Drohojowska- Color Panels—are governed by what Kelly orange.” From this revelation, Color over Philp, “Ellsworth Kelly: An Appreciation from Los calls “a half spectrum of green blue violet Black was born. Angeles,” Los Angeles: KCRW Santa Monica Col- lege, 19 January 2012. http://www.kcrw.com/etc/ red and orange”.2 The other two, Dart- In a recent radio interview for KCRW programs/at/at120119ellsworth_kelly_in_l, accessed mouth and Color over Black, use an alter- Los Angeles to coincide with the LACMA 5/15/2012.

Art in Print May – June 2012 45 New Editions: Alexander Massouras By Julia Vodrey Hendrickson

Alexander Massouras, One day, Paul gilded all the picture frames in his house (2011), hard ground etching with gold leaf, plate 10 x 15 cm, sheet 19 x 27.5 cm. Edition of 60. Printed by the artist at the London Print Studio, published by Julian Page Fine Art, London. Photo: Alexander Massouras, courtesy of Julian Page Fine Art.

Three Moderately Cautionary Tales ecently published in narrative form as The spare composition of these etchings, (2008–2011) R a short book, Three Moderately Cau- carefully touched with gold leaf, stand out Series of fifty hard-ground etchings with tionary Tales is a series of 50 small etchings as carefully nuanced nods to modernism, gold leaf (varying), plate 10 x 15 cm, sheet presented in three short cycles. Created while simultaneously pointing to the mod- 19 x 27.5 cm, edition of 60, printed by the over the last few years by painter-print- ernist rejection of the gilt frame. artist at the London Print Studio, published maker Alexander Massouras, each plate Across the series, it is Massouras’ por- as a book in 2011 by Julian Page Fine Art, individually is a charming, simple study of traits that intrigue, and it is their history London. Prints £250-350 unframed, not figure, object, or place. Like an architect that gives them depth. With quiet nods to including VAT, book £15. composing a blueprint, Massouras exerts his background in art history, these restrained precision. The ruled lines and unmarked snapshots of artists appear in flooded patterns of David Hockney’s late surprising contexts. It is actually a bedrag- 1960s etchings are a clear influence, but not gled Kurt Schwitters who appears as the the only reference to history. first print in the Gilderbook. In another, A sparse portrait of a scruffy, fierce- Mies van der Rohe chews a cigar, bewil- looking man opens the Gilderbook, the dered by his golden companion. Later, a strongest of the series. Even without the rather trim Brancusi sits lost in thought narrative of the book, the fifteen etchings and conversation with Ruskin and R.B. in the Gilderbook offer a compelling revi- Kitaj. Massouras is retelling folk tales, but sion of the greedy King Midas tale, turning in the process imagining a parallel narrative him into a solitary, lonely gilder who final- of art history, where temporality breaks ly finds companionship and leaves gold down and any artist could make a surprise behind. Massouras’ text tends toward the appearance. whimsical, but his drafting hand is strong.

46 Art in Print May – June 2012 New Editions: Mit Senoj By Julia Vodrey Hendrickson

Eranthis Hyemalis (2012) Steel plate etching on Somerset satin 250g, hand-colored with watercolor, plate 49.5 x 32 cm, sheet 57.7 x 39.2 cm, edition of 3, printed by the artist at Hot Bed Press, Salford, U.K. £500–£1,000 (framed), not including VAT, Paul Stolper Gallery, London.

Beta Maritima (2012) Zinc plate etching on Somerset satin 250g, hand-colored with watercolor, plate 29.3 x 20.7 cm, sheet 51 x 35 cm, edition of 4, printed by the artist at Hot Bed Press, Salford, U.K. £500–£1,000 (framed), not including VAT, Paul Stolper Gallery, London.

it Senoj’s hand-colored etchings are M a new foray into printmaking for this artist, who primarily works in watercolor, pen, and ink. His small paintings on crumpled, slick paper are distressed, as if they had survived some apocalyptic event. In contrast, Senoj’s clean, contained prints seem like original documents, the precur- sor to the paintings, the things before the apocalypse. An explorer’s record of foreign species previously unclassified, Senoj’s etchings could be lost pages from the inde- cipherable 15th century Voynich manuscript, records of living things whose existence is questionable and whose whereabouts can never be decoded. Delineated with a delicate, unsteady line, the biomorphic flora-fauna creatures in Senoj’s etchings are insect, plant, and woman—they are sexual, but with a scientific, observational distance. The figures have the round, vacant eyes of characters in a pornographic anime. Yet these prints are too familiar, too dated to be merely speculative fiction. It is this timelessness that unsettles, this ability to exist in many centuries at once. Fig. 1. Mit Senoj, Beta Maritima (2012), etching hand-colored with watercolor. The thinned but bright washes of color on cream Somerset could be faded 19th- century engravings one might find aging in dusty piles in a used bookstore. The quoise clings in fragments to her limbs, illustrative quality of Senoj’s watercolored thrusts from behind and below, tangling bodies recall Henry Darger’s uncomfort- itself in her hair. Her abdomen bursts ably obsessive, sexualized appropriations uncomfortably with hanging, swollen fruit. of innocuous children’s advertisements. There is violence in her sneer. In Eranthis Hyemalis the woman’s face is This is a field guide that needs to be han- gaunt, her skull and misshapen body maca- dled very carefully. bre. The colors push through her skin like overripe produce, waiting for any sudden movement, the touch of a hand twisted Julia Vodrey Hendrickson is a visual artist, writer unnaturally, to burst. An otherworldly tur- and curator.

Art in Print May – June 2012 47 New Editions: Isca Greenfield-Sanders By Susan Tallman

Wader 1 (Pink) (2012) Wader 1 (Blue) (2012) Wader II (Pink) (2012) Wader II (Blue) (2012) Direct to plate photogravure and aquatint, 31 1/2 x 30 1/2 inches each, editions of 40 each.

Mountain Stream (2012) Pikes Peak (2012) Direct to plate photogravure and aquatint, 31 1/2 x 30 1/2 inches each, editions of 50 each.

All works printed and published by Paulson Bott Press, Berkeley, CA. $2500 each.

t is a persistent and perverse habit of I artifacts, if they survive their makers, to become valued for qualities their makers never intended. Tools that were once cutting-edge become quaint; carpenters’ planes become wall ornaments and fish- baskets become sculptures. Isca Greenfield- Sanders works from 35mm slides of families on holiday in the brief halcyon days of American 20th-century hegemony. These pictures, which she picks up a flea mar- kets, come pre-loaded with nostalgia, loss and longing, and also with failure—they are amateur snaps with the usual wonky exposures, light leaks, lens flares and shaky focus. These flaws give them the status of autographic (if anonymous) traces of the never-ending human attempt to stop time. For Greenfield-Sanders they are the starting point of a process that moves repeatedly between hand and machine: she first prints the photographic image onto rice paper, then reworks it with color pencil and watercolor before scanning and enlarg- ing the reworked image. When she makes paintings, she tiles printed rice paper sheets on canvas, and works over the surface with oil paint. When she makes prints, she reworks the photogravure both in the plate and with additional aquatint. In her current prints (her third major project with Paulson Bott Press) the qual- Figs. 1–6. Isca Greenfield-Sanders, from left to right: Wader I (Pink), Wader I (Blue), Wader II (Pink), ity of light betrays a photographic source, Wader II (Blue), Mountain Stream and Pikes Peak (all 2012), photogravure and aquatint. but all the actual marks would appear to be tenderly applied by hand. The images— all of that storied subject, bathers—are Each of the two Waders compositions echo of the “red shift” of the space-time chromatically luxuriant, seductive and places a single tentative figure within a dap- continuum—the way as things speed away tauntingly inaccessible. In Pikes Peak the pled sea of color that stretches to all four from us the wavelengths of light appear to woman’s high-waisted swimsuit declares edges of the plate, and each was printed in lengthen—blue becomes red as near her chronological distance from us, but the two versions: with blue water and, more becomes far. A reminder that light, like towel-wrapped child, little more than cold peculiarly, pink. The pink may suggest the time, is never quite what you think it is. knees and a glowing ponytail, could be any creeping magenta tide overtaking aged kid any time. film, but it can also be seen as a decorative

48 Art in Print May – June 2012 NEW BOOKS and digitally-enhanced re-combinations imaged lithography plates, eliminating the of these techniques. The very first artist to two most hazardous waste streams from work there was James Rosenquist (in col- the pre-press operation. New, sustainable, laboration with lithography printer Mau- plant-based compounds had been adopted rice Sanchez), and subsequent years have in the paint and coating industries as alter- featured equally eminent artists including natives to the traditional petroleum-based Joan Snyder, Elizabeth Murray, Yvonne solvents. When Klepacki and Pogue tested Jacquette and most recently Whitfield the new alternatives against conventional Lovell, as well as master printers such as printmaking materials they found the Peter Pettengill and Pat Branstead. The results using these new plant-based sol- program has brought students, faculty, vents far exceeded their expectations. These professional printers, artists, print techni- sustainable and carbon neutral materials cians and manufacturers together to cre- biodegrade into benign compounds. They ate what is, in effect, a research-based lab rinse with water and do not contribute to for fine art printmaking. In the preface to the depletion of the ozone layer. These new his book, Pogue explains its goals: “to share bio–products (D & S Bio Solut, D & S Roll- the latest – and until now the unpublished erwash, D & S Bio Laq) were found to be – advancements in printmaking that I have equally effective in smaller amounts than Printmaking Revolution— had the privilege to witness and discover; to traditional toxic solvents such as asphal- New Advancements in Technology, recount personal stories of how these inno- tum, lithotine, paint thinner, acetone, tur- Safety and Sustainability vations came about, crediting the inven- pentine, red lacquer V and alcohol. By Dwight Pogue tors; and to educate students and profes- 240 pp, 225 full color illustrations, $40. sionals alike on safer studio practices and New York: Watson-Guptill, 2012 the latest safest materials available.” This ogue’s book is focused on two critical statement sets the tone—the pragmatism P bodies of information for contemporary By Jane Kent and generosity that have been character- print practitioners. The first is the identifi- istic of the Smith College Print Workshop cation of standard print practices and their continue in this book, which is also one of known handling hazards and an explana- he “printmaking revolution” detailed the program’s outcomes. tion of safer alternatives. (For example, T in Dwight Pogue’s new book is both When Pogue offers recipes for working instructions are given for how to achieve radical and benign—Pogue’s subject is the with photo-based imagery in lithography, the characteristics of ferric chloride etch- recent wholesale transformation of print intaglio and silkscreen, he acknowledges ing using electrolysis for copper with only technologies to make them less deadly but the developers of these new techniques and kosher salt, water and a simple battery no less beautiful. The unfortunate truth is provides contextual background describ- charge.) The second is the array of digi- that, for all the glories of works like Rem- ing what the innovations are, what they do tal innovations that can be used in place brandt’s etchings or Manet’s lithographs or and what their place is within the develop- of now obsolete, toxic practices like KPR. Jasper Johns’ screenprints, the chemicals ment of printmaking and print technology. Many of these methods, like digital half- involved in their production—benzene, In 2009, for example, Pogue was searching tones for four-color separations, are supe- naphtha, asphaltum, bitumen rosin—took for a safer solvent to use in the making of rior to the processes of the past. a tremendous toll on the neurons, chromo- high-resolution positive photo-coatings for The book is divided into sections on somes, livers and lungs of artists and arti- lithography stones. Skip Klepacki’s com- lithography, intaglio, and silkscreen, each sans who produced them. pany had developed the first thermal laser of which offers a brief history of the medi- For 30 years awareness of these hazards has been growing. Around the world, artists, printers and manufacturers have been busily creating new ways to produce old effects, applying new technologies to old problems, inventing their own recipes and methodologies. Until now, however, most of this information has traveled in various forms, by word of mouth, video or by PDF. Pogue’s book, which he describes as a “studio manual,” fills an essential need, offering a comprehensive, current and well-organized look at new printmaking technologies and, most importantly, the safer use of these technologies for the print practitioner. Pogue has been a professor of printmaking at Smith College since 1979 but the critical origin for much of the book’s content was the Smith College Print Workshop, founded by Pogue in 1984. This annual program brings artists and master printers to Smith to collaborate on limited edition prints: lithographs, screenprints, etchings, View of screenprinting technique from Dwight Pogue’s Printmaking Revolution. Art in Print May – June 2012 49 um and its materials, as well as historical next generation. The art community has William Leavitt and technical context, and descriptions of benefitted from the increased awareness how studios for each of these techniques (and legislation) of industrial workplace can be brought into the 21st century. The safety. Environmental Protection Agency book offers practical advice about where to now recognizes printshops as “labs” where Biome place computers, ventilation systems, elec- hazardous materials are used and stored trolysis equipment, and darkrooms where and requires that these “ labs” comply with sinks and exposure units share a space. Like EPA Regulatory Measures. The threat of a good cookbook, this manual takes the litigation has created yet another pressure reader through each process and describes point for change, making managers and the procedure necessary to produce opti- institutional administrators more willing mum, reliable results. It is abundantly illus- (and in some cases legally compelled) to trated with diagrams and with works of art convert shops into safer workplaces. Com- produced in the Smith College Print Work- pliance with safety measures is no longer a shop. An appendix at the back lists new matter of personal preference. Many stu- products and where to buy them. dents are also aware of these concerns— It is easy to imagine working in the stu- they demand a safer work environment and dio with this book open on the counter. they know the questions to ask. While it assumes a familiarity with print- Those of us who work with, and care making on the part of the reader, and each about, printmaking have been aware of the section is replete with details of interest to move towards safer practices for quite specialists, the information is presented some time. The will was there, but not the clearly enough to be broadly accessible. The way: we need a new comprehensive manual book is particularly good on digital photo of current, safe practices in the print studio, techniques. Printmakers have been mak- written by artists for artists. It is our good ing positives digitally since the mid-90s luck that Dwight Pogue is both widely but the materials were often frustratingly experienced and an effective communica- difficult to use. Technology has improved tor. The book’s great appeal is that every- rapidly, however, and this section of the one working in printmaking—faculty, stu- book gives detailed instructions for making dents and professionals—will be able to film positives for lithography, intaglio and find something useful in it. More than that, silkscreen, taking care to note the special however, Pogue’s book makes it incumbent characteristics needed in each medium for on us to act responsibly. Knowledge of good results. Even printmakers who are less these issues is essential and applying that digitally confident will find it remarkably knowledge is required of all of us. Print- easy to follow. making Revolution—New Advancements in Pogue contrasts these recent advances Technology, Safety and Sustainability is an with the ‘bad old days’ of printmaking essential manual for print practice now. when prints were made using carbon arc lamps that produce toxic fumes, or highly flammable xylene solvents, or strongly car- Jane Kent is a New York-based artist who makes cinogenic compounds like benzine. Thirty prints, drawings and artists’ books. years ago it was a rite of passage for aspiring printmakers to stick their exposed hands in trays of acid, but what seemed normal then looks ridiculous and stupid today. Pogue writes, “ knowing what we now know about eight etchings with aquatint the consequences of teaching with hazardous materials and being aware of products

www.editionjs.com that are safer and yet equal to the task, we have no excuse for not fully embracing this new technology and requiring our students to be responsible in the studio.” In addition to its focus on specific techniques, Print- making Revolution offers guidance for creating a safe working environment that is EPA compliant. It provides diagrams, illustrations and instructions on how to set up new spaces, and devotes particular attention to the requirements and adaptations necessary to improve an existing shop. There is an urgent need for this kind of information for both individual practitioners and institutions. Everyone has become more aware of the incipient dangers—some insidious, causing harm years later or in the

50 Art in Print May – June 2012 Diane Cionni, Reason and Romance (2012) Fighting Words Letterpress book in slipcase, with News of the Nine monoprints, 20 x 15 7/8 inches each. Printed etching by Sean Scully and texts by Russell Banks, and published by Oehme Graphics, Steamboat John Banville, Richard Bausch, Anne Enright, David Print World Springs, CO. $1200 each. Mitchell, Joyce Carol Oates, Annie Proulx, Salman Rushdie, Sam Shepard, and Colm Tóibín. Edition Selections from the Member Newsfeed from the Diane Cionni, Map of Reason and Romance (2012) of 150. Printed and published by Stoney Road Press, past two months. For up-to-the-minute news, Solar plate etching collage, 30 x 42 inches. Edition Dublin. check the Member Site at www.artinprint.org— of 8. Printed and published by Oehme Graphics, Fighting Words is a writing centre for young people Steamboat Springs, CO. $1500. founded by Roddy Doyle and Sean Love in Dublin updated daily. in 2009. It has served thousands of children and charges no fees. Each of the ten stories included in the book was written for this volume, and all New Editions proceeds will go to continuing the work of Fighting Words. Polly Apfelbaum, Potpourri (2012) A series of four woodblock prints: Wave Potpourri, Rainbow Potpourri, Dogwood Potpourri, Love Potpourri, 32 x 32 1/2 inches each. Edition of 25 each. Printed and published by Durham Press, Durham, PA. $6000 each.

Diane Cionni, Reason and Romance (2012), monoprint.

Christopher Cozier, After All That Talk 2 (2011) Two color linocut, 30 x 22 inches. Edition of 12. Printed and published by David Krut Workshop, Polly Apfelbaum, Potpourri (2012), Johannesburg,. $2500. Fighting Words Artists’ Book (2012), series of four woodblock prints. letterpress. Christopher Cozier, After All That Talk II (2011) Monotype, 26 x 17 inches. Printed and published by Jonathan Borofsky, Man With a Briefcase (2012) David Krut Workshop, Johannesburg. $3750. Trenton Doyle Hancock, YU, MICA, ME (2012) 1/4 inch aluminum, painted white, 89 1/4 x 35 1/2 Christopher Cozier’s new prints portray a ‘silent Letterpress and screenprint on Fabriano mould- x 1/4 inches. Fabricated and published by Gemini butler’—a Victorian device that was a cross between made paper, 25.5 x 17.5 inches. Edition of 100. G.E.L. Edition of 15. $45,000. a dust pan, brush, and table accessory—which Printed by Dolphin Press & Print at MICA. $200. Cozier inherited recently from his great aunt. It’s Published as a benefit for the Baltimore the kind of device that, through no fault of its own, Contemporary Print Fair. suggests an Upstairs-Downstairs world of genteel, During an artist residency at MICA this past unbridgeable social distinctions. Cozier comments: February, Trenton Doyle Hancock used the Globe “I think of the outrage being expressed by young Poster Company’s wood type to create the first people occupying various financial districts around benefit print in the Baltimore Contemporary Print the world. It is a device to brush crumbs from a Fair’s 32-year history. Proceeds from the sale will table. I thought it would be interesting to use the benefit the BMA’s acquisition funds and MICA’s lino cut and Century Schoolbook type with Creole- artist residency programs. like grammar to make the unfamiliar object and the language fit.”

Trenton Doyle Hancock, YU, MICA, ME (2012), letterpress and screenprint.

Christopher Cozier, After All That Talk 2 (2011), two-color linocut.

Jonathan Borofsky, Man With a Briefcase (2012), aluminum painted white. Art in Print May – June 2012 51 Ellen Heck, The Aging of Mark Twain on Matt Keegan, == (2012) Thomas Nozkowski, Untitled (2012) One Copper Plate (2011) Artist’s book with texts by Sarah Charlesworth, Intaglio and woodcut prints. Editions of 25 + A portfolio of five sequential etchings on Somerset Carter Mull, Chris Kraus, Nora Schultz, Ed Atkins, 10APs. Printed by Doris Simmelink and Chris velvet, image 12 x 16 inches, paper 17 x 22.5 inches. Steve Reinke, Alejandro Cesarco, Cary, Math Bass Sukimoto. Published by Simmelink/Sukimoto Edition of 5. Printed and published by Ellen Heck. and John Miller and interviews by Ajay Kurian Editions, Olympia, WA. Available through Senior & Available through Wally Workman Gallery (Austin), and Sreshta Rit Premnath, Caleb Considine and Shopmaker Gallery, New York, $4000. Armstrong Fine Art (Chicago), or Groveland Gallery Caitlin MacBride, Josh Tonsfeldt and Uri Aran, Alex Untitled #1 (2012) (Minneapolis). $2500. Kwartler and Michele Abeles, Paul Lee and Jacob 7-plate aquatint with 8 colors, 2-block woodcut Robichaux. Edition of 150 and 50 APs. Published and with 13 colors printed on Hahnemuhle Copperplate Ellen Heck, Chayito as Frida from the produced by mfc–michèle Didier, Paris. €195. Bright White paper, 55.6 cm x 70.2 cm. Forty Fridas series (2012) This edition also contains five multiples by Liz Woodcut and drypoint on Somerset velvet, image 6 Deschenes, Nikolas Gambaroff, James Richards, Kay Untitled #2 (2012) x 8 inches, paper 11 x 15 inches. Edition of 10. Printed Rosen and Erika Vogt. 4-plate aquatint with 4 colors, 3-block woodcut and published by Ellen Heck. Available through with 53 colors printed on Hahnemuhle Copperplate Wally Workman Gallery (Austin), Armstrong Fine Bright White paper, 55.6 cm x 70.2 cm. Art (Chicago), or Groveland Gallery (Minneapolis), Untitled #3 (2012) $400. 3-block woodcut with 3 colors, 16 small woodcuts in 16 colors printed on Okawara paper, 56.2 cm x 75.6 cm. Untitled #4 (2012) 3-block woodcut with 3 colors, 16-small woodcuts in 16 colors printed on Okawara paper, 56.2cm x 75.6 cm. Untitled #5 (2012) 4-plate aquatint with 22 colors printed on Hahnemuhle Copperplate Bright White paper, 55.6cm x 74.6 cm. Untitled #6 (2012) 3-block woodcut with 17 colors printed on Rives Heavyweight paper, 56.2cm x 75.6 cm.

Matt Keegan, = = (2012), artist’s book.

Ellen Heck, Chaito as Frida from the Kayla Mohammadi, Persian Miniature (2012) Forty Fridas series (2012), woodcut Solar plate etching with carborundum aquatint, 27 and drypoint. x 22 ¼ inches. Edition of 10. Printed and published by Oehme Graphics, Steamboat Springs, CO. $1100.

Adriane Herman, Free Please Take One (2012) Photo-etching with surface roll on paper, 14 x Thomas Nozkowski, Untitled #4 (2012), intaglio 11 inches. Edition of 44. Printed at University and woodcut print. of Tennessee-Knoxville, published by the artist. Available through Western Editions (Chicago). $350. Ryan and Trevor Oakes, Untitled (2011) Monotypes. Edition of 36. Printed by Phil Sanders at Robert Blackburn Printmaking Workshop. Pub- lished by David Krut, Johannesburg and New York. Untitled black and white monotypes: 23 1/2 x 17 3/4 inches each. $2500 each. Untitled color monotypes: 17 3/4 x 23 1/2 inches. $2500. 9 3/4 x 11 3/4 inches. $1300. 11 1/2 x 11 1/2 inches. $1300. Ryan and Trevor Oakes are identical twins whose work investigates the relationship of 3-dimensional vision and two-dimensional representations. In these monotypes, the Oakes focus on drawing Kayla Mohammadi, Persian Miniature techniques that create depth and foreground on a (2012), solar plate etching with two-dimensional plane. For further information, carborundum aquatint. visit the David Krut site.

Adriane Herman, Free Please Take One (2012), photo-etching with surface roll on paper.

Ryan and Trevor Oakes, Untitled (2012), monotype.

52 Art in Print May – June 2012 Justin Quinn, Fallen Chapter 71 or 4836 Times E (2012) Direct gravure with stenciled relief roll on handmade Dieu Donné paper, 15 x 11 inches. Edition of 20. Printed and published by Manneken Press, Bloomington, IN. $700.

Justin Quinn, Side By Side Chapters 71 or 4745 and 2401 Times E (2012) Direct gravure printed in brown and black inks with color relief roll on Magnani pescia paper, 15 x 22 inches. Edition of 20. Printed and published by Manneken Press, Bloomington, IN. $1100. Quinn’s prints are derived from repetitions of the capital letter E, as the artist toys with the competing urges of reading and seeing. He has transcribed Sarah Sze, 2 (2012), screenprints. sections of Moby Dick into his E’s. According to the artist, Melville’s story, “rich in theology, philosophy Sarah Sze, Eyechart (2011) Luc Tuymans, The Rumour (2002-2012) and psychosis, provides a roadmap for the work as Screenprint and laser engraving, 2 x 7 x 12 inches Set of 7 lithographs mounted on 4 panels of painted well as a series of sublime underlying narratives”. (three-dimensional). Edition of 29. Printed by LeRoy plexiglas and wood, with birdcage, panel 1: 91.4 x Neiman Center at Columbia University. $6000. 231.1 x 6.4 cm; panel 2: 91.4 x 436.9 x 6.4 cm (each Sarah Sze’s new editions toy with two diagnostistic edition arrives in 2 crates and will be mounted by visual icons: the Snellen chart (for visual acuity) and the publisher). Edition of 18. Lithographs printed the Ishihara color blindness test. The Snellen chart by Maurice Sanchez, NY. Wooden panels and becomes a little pop-up army of optotypes marching frames fabricated by James Cooper, NY. Printed and away in ever diminishing sizes. published by Brooke Alexander Editions, New York, and Graphic Matter, Antwerp. €45,000. Sarah Sze, 2 (2011) Based on an exhibition at White Cube in London in Set of six screenprints in portfolio with laser- 2001, The Rumour was initially published in 2002– engraved cover, 18 x 18 inches each. Edition of 29. 2003, but only six copies from the planned edition Printed and published by the LeRoy Neiman Center of 18 were actually made. Now Graphic Matter in for Print Studies, Columbia University. Available Antwerp has teamed up with Brooke Alexander and with the publisher and Carolina Nitsch Project the artist to complete the edition. Room, NY. $9000. Justin Quinn, Side By Side Chapters 71 or 4745 Candice Tripp, This Will Hurt Tomorrow (2012) and 2401 Times E (2012), direct gravure. 12-colour screenprint on Somerset Satin Paper 300gsm, 85 x 87 cm. Printed and published by Black Rat Projects, London. Michael St. John, Baghead (2012) Edition of 65: £275. Pigmented cotton, archival glue, rubber stamp, Edition of 20: hand-finished ingold ink, signed and button, 13 3/4 x 8 1/2 x 6 inches, variable. Edition of numbered, £375. 25. Fabricated and published by Dieu Donné, New York. Pre-publication/subscription price: $500 Part of Dieu Donné’s 2012 Paper Variables subscription series, Baghead is Michael St. John’s latest investigation into the borderline between playful and creepy totems. For collectors so inclined, it could make a tidy complement to Sean Mellyn’s 2001 lithograph, Anonymous, which depicts a similar Luke Tuymans, from the series item in use. The Rumour (2002– 2012), lithograph.

Current Exhibitions of Note

ALBUQUERQUE Afro: Black Identity in America and Brazil Tamarind Institute Through 31 August 2012 Candace Tripp, This Will Hurt Tomorrow (2012), The summer show “Picturing Equality” at Tamarind twelve-color screenprint. is a group exhibition by three Afro-Brazilian artists (Rosana Paulino, Tiago Gualberto and Sidnei Amaral) and three African-American artists (Alison Saar, Willie Cole and Toyin Odutula), all exploring racial identity in their respective countries. The exhibition is free and open to the public. (www. tamarind.unm.edu/gallery.html).

Michael St. John, Baghead (2012), pigmented cotton, archival glue, rubber stamp, button.

Tiago Gualberto at Tamarind. Art in Print May – June 2012 53 CAMBRIDGE, UK COPENHAGEN, DENMARK Lawrence, KS Edgelands—Prints by George Shaw and Thomas Kilpper: Pavilion for Revolutionary Cryptograph: an Exhibition for Alan Turing Michael Landy Free Speech Through 20 July 2012 Through 23 September 2012 Through 5 August 2012 Spencer Museum of Art, The University of Kansas The Fitzwilliam Museum, Cambridge University Kunsthal Charlottenborg Marking the centenary of the brilliant British “Edgelands” refers to the forgotten landscape, Originally created for the Danish Pavilion at the 2011 mathematician and cryptographer Alan Turing, neither city nor countryside, lingering on the urban Venice Biennale, Kilpper’s Pavilion for Revolutionary this exhibition brings together a fascinatingly edge. This exhibition features two print portfolios Free Speech is a structure into whose floor the artist quixotic collection of prints, drawings, and objects that focus on this geographic purgatory: George has carved 33 portraits of leading figures in politics, that explore various ideas of coding, patterns, and Shaw’s series, Twelve Short Walks (2005), is drawn business, the church, and media. All of them are systems. Turing is best known for his work on from revisited scenes of his childhood on the Tile people who Kilpper believes have been directly or the Enigma Machine during World War II, and Hill council estate in the suburbs of Coventry. indirectly responsible for promoting censorship, for his pioneering work in artificial intelligence. Michael Landy’s Nourishment (2002) features life- social exclusion or intolerance. As always with Put together by Stephen Goddard, the show sized images of weeds, or ‘treet-flowers’—the Kilpper, the floor then served as a printing template includes both the familiar (Xu Bing’s Book from overlooked and neglected vegetation of Edgelands. for architecturally scaled impressions (www. the Sky; Jan Wierix’ copy of Dürer’s Melencolia) (www.fitzmuseum.cam.ac.uk/whatson/exhibitions/ kunsthalcharlottenborg.dk/). and the unexpected (computer-generated work article.html?3246). by philosopher Hiroshi Kawano or the 1925 robot woodcuts of Wilhelm Geißler); the algorithmic properties of Hausa basket weaving and Anton Webern compositions are both given there due. Appropriately enough, the exhibition has a well- developed web presence, and the catalogue can be viewed online at www.spencerart.ku.edu/media/ publications/cryptograph.shtml. The exhibition homepage offers a number of entertaining and informative links (www.spencerart.ku.edu/ exhibitions/turing.shtml).

George Shaw, Twelve Short Walks (2005), at the Fitzwilliam. Thomas Kilpper, Pavilion for Revolutionary Free Speech (2011), floor matrices. CHICAGO, IL Material Assumptions: Paper as Dialogue Essen, germanY Through 11 August 2012 Drawing Stories: Narration in Center for Book and Paper Arts, Columbia College Contemporary Graphic Art This exhibition is about paper—specifically Through 15 July 2012 handmade paper and the many ways in which Museum Folkwang artists approach it as a medium, technology, and This exhibition examines the drive toward hand- tool. A number of contemporary artists were asked drawn narrative content—both documentary and to imagine new works using abaca and cotton paper, Alan Turing Exhibition at the Spencer Museum fictional—in recent graphic art. The artists on view which was then handmade to their specifications of Art, University of Kansas. include Amy Cutler, Marcel Dzama, Marcel van by graduate students at the Center for Book and Eeden, Rachel Goodyear, Jana Gunstheimer, Pia Paper Arts. A second part of the exhibition features Linz, Micha Payer & Martin Gabriel, Jenny Perlin, LOS ANGELES, CA works created by artists in-residence at Dieu Donné. Danica Phelps, Andreas Seltzer, Karen Scheper, and Recent Print Acquisitions at the Getty (events.colum.edu/event/material_assumptions_ Karen Yasinsky. The show also includes animated Through 2 September 2012 paper_as_dialogue_3995). films based on drawing as a variant of sequential The Getty Research Institute narrative prints. The recent gifts and acquisitions in this exhibition span 400 years of printmaking, from Albrecht Dürer to the Bauhaus. It offers a window into the Getty HOUSTON, TX Research Institute’s collection of more than 27,000 Advancing Tradition: Twenty Years of prints. (http://www.getty.edu/research/exhibitions_ Printmaking at Flatbed Press events/exhibitions/gri_prints/index.html) Through 11 August 2012 Museum of Printing History This celebration of Flatbed Press in Austin, focuses on both its commitment to traditional media and techniques—woodcuts, etchings, and lithographs— and to its adventurous exploration of scale and digital developments. Artists included Sterling Allen, Terry Allen, John Alexander, Michael Ray Charles, Susan Davidoff, Kelly Fearing, Trenton Preparing works for Material Assumptions Doyle Hancock, Jack Hanley, Luis Jimenez, Celia at Columbia College’s Center for Book and Munoz, Linda Ridgway, Dan Rizzie, Margo Sawyer, Paper Arts in Chicago. Katie van Scherpenberg, Julie Speed, James Surls, and Joan Winter. (www.printingmuseum.org/ eventdetail.php?id=111).

Carl Friedrich Thiele, Set Design for The Magic Flute (1822-27), after a design by Karl Friedrich Schinkel, at the Getty Research Institute.

Kenneth J. Hale, Locomotive (2008), sugar-lift aquatint, soft-ground etching, and relief, in Houston.

54 Art in Print May – June 2012 Milwaukee, WI Posters of Paris: Toulouse-Lautrec and his Contemporaries Through 9 September 2012 Milwaukee Art Museum This exhibition charts the late 19th-century rise of the poster from Jules Chéret’s profound lithographic and desing inventions through the 1890s when the spectacular works of Henri de Toulouse-Lautrec, Pierre Bonnard, and Edouard Vuillard confounded the distinction between fine art and commercial endeavor. It includes preparatory drawings and watercolors, maquettes, and proofs in addition to the posters themselves.

Christian Marclay. Allover (Genesis, Travis Tritt, and Others). 2008, cyanotype, at MoMA.

New York, NY Paris, FRance New to the Print Collection: Richard Prince: Pre-Appropriation Works, 1973-74 Matisse to Bourgeois 7 July – 1 September 2012 Through 7 January 2013 mfc–michèle didier The Museum of Modern Art The connection between printing and appropriation MoMA will be showcasing 80 recent acquisitions in has hardly gone unexplored in the last few decades, its 2nd floor print galleries. The prints, all acquired in though most of the discussion has been concerned the past two years, range from James Ensor’s Deadly with mechanisms of photography rather than Sins portfolio of hand-colored etchings begun in printmaking, and its orientation has been theoretical 1888 to Lisa Yuskavage’s Outliers, completed in 2011. rather than concrete and historical. This show Included are single, great images the fill important includes etchings, monotypes and mail art as well gaps in MoMA’s collection, such as the seventh state as collages and drawings made in the years before of Pablo Picasso’s The Weeping Woman (1937) etching Prince’s famous breakthrough re-photographs, and and Jasper Johns’ Flags I (1973) screenprint. Other promises a fascinating look at the making that came highlights include four prints from the late 60s and before the taking. early 70s by the German artist Thomas Bayrle; six works by Marcel Broodthaers, including his brilliant Jules Chéret, Pippermint (1899), Color 1969 artist’s book Un Coup de dés jamais n’abolira lithograph, in Milwaukee. le hazard; Vija Celmin’s recent Starfield mezzotint; a Christian Marclay cyanotype of tangled cassette New York, NY tapes; and a number of works by Louise Bourgeois. IPCNY New Prints 2012 / Summer Through 27 July 2012 NORWALK, CT IPCNY 3rd Biennial International Footprint Exhibition IPCNY’s summer “New Prints” exhibition features Through 2 September 2012 78 prints by emerging to established artists, selected Center for Contemporary Printmaking by Shahzia Sikander from a pool of over 2,500 The 3rd Biennial Footprint International Exhibition submissions. It is the 42nd presentation of IPCNY’s includes more than 120 prints from around the world, New Prints Program, a series of juried exhibitions each measuring one foot square. The works can featuring prints made within the past twelve months. also be viewed online on Flicker: www.flickr.com/ An illustrated brochure, including an interview photos/contemprints1995/sets/72157629872272446/ with Ms. Sikander, accompanies the exhibition. (www.contemprints.org/ccp-exhibitions.

Richard Prince, Venus (related to Matchbook Series) (1974), mixed media, at mfc-michèle didier, Paris.

Kristen Martincic, Double Ladder (2011), part of New Prints 2012 / Summer at IPCNY.

Paula Pohli, Dublin Apparition (2012), linoleum cut, at the Center for Contemporary Printmaking, Norwalk, CT.

Art in Print May – June 2012 55 Philadelphia, pa Washington, DC BOSTON, MA Rockwell Kent—Voyager: An Artist’s Journey in R(ad)ical Love: Sister Mary Corita Alex Katz Prints Prints, Drawings and Illustrated Books Through 15 July 2012 Through 29 July 2012 Through 29 July 2012 The National Museum for Women in the Arts Museum of Fine Arts Philadelphia Museum of Art “R(ad)ical Love: Sister Mary Corita” is an exhibition This exhibition, derived from the one organized by In his lifetime, Rockwell Kent was famous as an of 65 screenprints created between 1963 and 1967 the Albertina in conjunction with the publication artist, author, adventurer, and political activist, by the famous nun, artist and social activist (whose of the Katz print catalogue raisonné [see review in though he subsequently fell out of favor and came work also features in the Hammer Museum’s Art in Print, Vol. 1 No. 2], surveys Katz’s career from to be viewed as a decorative illustrator. Now the “Proof” exhibition, reviewed in the March-April the 60s to the present. It includes approximately 150 Philadelphia Museum of Art is giving Kent his issue of Art in Print). Her Pop vocabulary, bold prints, aluminum cutouts and illustrated books, and due, with an exhibition of more than 100 of his graphic style, and progressive agenda made Sister is supplemented with paintings and drawings from prints, drawings and books from 1907 to the 1950s. Mary Corita‘s work iconic in the 1960s. Her co- the MFA’s collection. This will also be the inaugural It includes travel narratives of Greenland and option of commercial advertising to carry messages showing of a unique series of painted life-size South America; illustrations for literary classics; of peace and love was a tactic that is still with us; and cutout heads on aluminum given to the MFA by the advertising designs; and political works such as the as a professor of art at the Immaculate Heart College artist. Comprising 37 silhouetted painted portrait wood engraving Workers of the World Unite! (1937). (IHC) in Los Angeles she was profoundly influential heads, the series depicts members of the New York (In the 50s Kent was called before the House Un- on a generation of pop and conceptual artists. Sister cultural scene of the 1960s and ’70s. The exhibition American Activities Committee, where he refused Mary Corita left her order in 1968 and was thereafter celebrates the promised gift from the artist to the to answer any questions. Later denied a passport known as Corita Kent. The exhibition is drawn MFA of an archive of his editioned prints. because of alleged Communist affiliations Kent took from prints that she left to her friend, the Sulpician his case to the Supreme Court, which overturned Father Robert Giguere, now in the collection of the the decision.) The exhibition is drawn entirely from Society of St. Sulpice, Province of the United States. the museum’s own collection, whose Kent holdings Most have never been exhibited before. were largely formed by Carl Zigrosser. Profoundly influenced by transcendentalism, Kent was drawn to allegory and symbolism, frequently depicting human figures set against the rugged natural world. (www.philamuseum.org/exhibitions/760.html).

Alex Katz, The Green Cap (1985), woodcut. ©2012 Alex Katz/Licensed by VAGA, New York, NY. Photo: ©Museum of Fine Arts, Boston Sister Corita Kent, Enriched Bread (1965), screenprint, in Washington, DC. BOSTON, MA reThink INK Through 31 July 2012 The Boston Public Library [See review p. 38 in this issue.] Continuing Exhibitions reThink INK is an exhibition of artists from Rockwell Kent, Godspeed (1931-32), Mixit Print Studio, exploring printmaking as a wood engraving, in Philadelphia. amsterdam, THE NETHERLANDS contemporary language spanning a full spectrum Beauty in Abundance: Highlights from the from hand-held miniatures to sculptural, multi- Print Collection of the Van Gogh Museum media installations. SEATTLE, WA Through 23 September 2012 Eva Pietzcker: Washington Project, New Works Van Gogh Museum Through 21 July 2012 An exhibition of some 100 prints from the Cullom Gallery permanent collection by artists including Bonnard, In this exhibition, German artist Eva Pietzcker Gauguin, and Toulouse-Lautrec. presents fifteen color and black- and-white mokuhanga style woodcuts of Washington State, including the Cascade, Puget Sound and coastal environments. The works combine aspects of Chinese landscape painting, Japanese landscape CAMBRIDGE, MA prints, and Pietzcker’s plein air sketching. (www. Jasper Johns at Harvard cullomgallery.com/). Through 18 August 2012 Sackler Museum, Harvard University Curated by Harvard professor Jennifer L. Roberts, the exhibition explores the impact of print on Johns’ work as a whole, in particular his interest in transfer, reversal, repetition, layering, and sequence. A print catalogue by Jennifer L. Roberts and entries by Jennifer Quick is available as is a companion digital publication with four essays by Jacob Cedarbaum, C. Andrew Krantz, Mary Potter and Phillip Y. Zhang.

Henri de Toulouse-Lautrec, Reine de joie, Eva Pietzcker, Crescent Lake from Washington (1892), lithograph, at the Van Gogh Project (2012), mokuhanga-style woodcut. Museum in Amsterdam.

Jasper Johns, Corpse and Mirror (1976), lithograph from 12 plates, at the Sackler Museum, Harvard University. 56 Art in Print May – June 2012 CAMBRIDGE, UK NEW BRUNSWICK, NJ The Paradox of Mezzotint Designed to Impress: Highlights from the Aspects of Architecture: The Prints of Essay and catalogue entries by Ben Thomas Print Collection John Taylor Arms 100 pp Through 7 October 2012 Through 31 July 2012 University of Kent, 2008. The Fitzwilliam Museum, Cambridge University Zimmerli Art Museum, Rutgers University An exhibition of original prints after Titian, Guido A selection of some of the Fitzwilliam’s most John Taylor Arms (1887–1953) was a prominent Reni, Lely, Kneller, Hogarth, Gainsborough, Wright spectacular prints from the 15th to the 21st centuries, proponent of the early 20th century etching of Derby, Kauffman and Reynolds. including works by Rembrandt and Dürer, Degas, revival in America. Trained as an architect, Arms Whistler and Picasso. [See review p. 28 in this issue.] specialized in detailed renderings of architectural The Art of Comedy: An Investigation of scenes and had a romantic love of the Gothic. This Humour Through Prints exhibition features 26 prints from between 1919 Edited by Ben Thomas and 1940, depicting the cathedrals of Chartres and 70 pp Rouen, the gargoyles of Notre Dame, ancient Italian University of Kent, 2008 and French towns, the skyline of New York City, and views of Venice. It was curated by Marilyn Symmes, The Awakening: Kent Print Collection Director of the Morse Research Center for Graphic Inaugural Exhibition, Keynes College Arts, and Curator of Prints and Drawings. Edited by Ben Thomas University of Kent, 2006 While not all of these properly qualify as ‘new,’ it is worth noting that the University of Kent has for the past several years been producing exemplary small catalogues of exhibitions drawn from the University’s print collection. ***

Master Prints Close-Up By Paul Goldman 112 pp, 100 illustrations £14.99 Published by The British Museum Press, London It would seem that people are more generally interested in prints these days, or at least museum presses think so. This last year has brought Sarah Suzuki’s What is a Print? from The Museum of Modern Art, and now Master Prints Close-Up by Paul Goldman, published by The British Museum. Christoffel Jegher, after Peter Paul Rubens, Hercules killing the Hydra (c.1630), engraving, on view at the Fitzwilliam. John Taylor Arms, In Memoriam or North Portal of Chartres Cathedral (1939), etching.

COBURG, GERMANY Sartorius—Whistler—Canaletto: Three Etchers Books of Note from Three Centuries View Venice Through 15 July 2012 Double Take: The Art of Printmaking Kunstsammlungen der Veste Coburg By Ben Thomas This exhibition brings together 18th-century 17 pp depictions of Venice by Canaletto with 19th-century University of Kent, 2012. ones by Whistler, and finally with more recent ones by the contemporary German printmaker Malte In Elysium: Prints Sartorius. The accompanying catalogue illustrates By James Barry all included works (€18.50). By Jon Kear and Ben Thomas 63 pp Paul Goldman, Master Prints Close-Up, University of Kent, 2010. from The British Museum Press.

Thomas Nozkowksi: The Complete Prints 1990-2012 26 page online e-catalogue Free! Published by Senior & Shopmaker, New York www.pagegangster.com/p/z5j1b/ Thomas Nozkowski’s quixotic abstractions, which manage to be decorative, awkward, and poignant in equal measure, are movingly represented in this concise catalogue of his printed works. Published as an e-catalogue by Senior & Shopmaker, it can be viewed online with a fairly persuasive page turning program, in which one can also zoom in on the images, or downloaded as a PDF and printed. It is a nifty and generous solution to the solution to the problem of making information about prints available as a reference. Hopefully, the URL will get Malte Sartorius, Ponte de l’Albergo II forwarded around, and it will also work to introduce (2005), drypoint, in Coburg. Nozkowski to a new audience.

James Barry, In Elysium (2010), from the University of Kent.

Art in Print May – June 2012 57 Art and Anatomy in Renaissance Italy: Images Julian Opie: The Complete Editions 1984–2011 Damien Hirst Print Maker from a Scientific Revolution By Alan Cristea, Julian Opie and Jonathan Watkins By Greville Worthington, with an introduction by By Domenico Laurenza 272 pp with colour illustrations Adrian Jenkins 48 pp, 69 illustrations Published by Alan Cristea Gallery, London, 2011. 32 pp Published by The Metropolitan Museum of Art, New £75 Published by The Bowes Museum, Barnard Castle, York (distributed by Yale University Press), 2012. This beautifully produced catalogue raisonné pro- County Durham, UK, 2010. $14.95 vides full documentation of Opie’s 169 limited edi- £8.50 Fresh on the heels of Harvard’s Prints and the Pursuit tions and over 150 unlimited editions—everything This catalogue of the Bowes Museum’s exhibition of Knowledge in Early Modern Europe comes this from the six foot tall lenticular plastic stripteases contains a brief essay by the exhibition’s curator, bulletin from the Met, written by the Italian science to the desktop note blocks and coffee mugs. Most Greville Worthington, and high quality reproduc- historian Domenico Laurenza, and examining of the limited editions are given full page reproductions of most of Hirst’s important print series: The how the communication of visual information was tions, often augmented with installation shots that Last Supper (1999), In a spin, the action of the world on both a requirement and a byproduct of anatomical provide some sense of the scale and physicality. things, Vol. II (2002), and Memento (2008), as well as understanding. The idea of the body as a machine Opie’s comments are interspersed throughout. the individual dot etchings Diacetoxyscirpenol (2005) of interlocking parts is so ingrained in us that it and Methamphetamine (2004). is hard to conceive how different the medieval understanding of illness as an imbalance of the four humors actually was. The change from humors to anatomy was also, Laurenza writes, “a revolution in visual language, which took place within the context of the broader transformation represented by the shift from manuscript to print… as a science that entailed the description of forms, anatomy required images, especially images—given the expanding cultural horizon—that could be reproduced in print.” This publication is the result of Laurenza’s research in the print and drawings collections of the Met in 2006-7 and 2009, and it charts three distinct periods Julian Opie: The Complete Editions 1984–2011 of development: the first, in which printers with an (2011), published by Alan Cristea Gallery. eye to the market pushed artists and anatomists to produce didactic images; a second in which artists, fascinated by what they found, turned to drawing Stanley Jones and the Curwen Studio (and to a lesser extent engraving) to investigate By Stanley Jones both structural subtlety and beauty; and a third in 160 pp, fully illustrated. which the medical profession seized the reins again Published by A&C Black, London, 2010. Greville Worthington, Damien Hirst Print Maker, and artists relinquished the scalpel. The material £35 / $55. from The Bowes Museum, Barnard Castle. Laurenza looks at is largely familiar from A. Hyatt The British artist Stanley Jones was witness to the Mayor’s 1984 volume Artists & Anatomists (in fact 20th century transformation of print from a sleepy they share the same cover image), but these remain sideline to a central part of contemporary art think- Dürer’s Fame remarkable images, and remarkable observations. ing and practice. His memoir details both his own By Christian Tico Seifert development as a printmaker, and his transforma- 48 pp, 32 illustrations, hardcover. tion of Curwen Studio into an essential institution Published by National Galleries of Scotland, Edin- of British print production. burgh, 2011. £9.95 This small and charming book is an account, not of what made Dürer great in the first place, but how that greatness was publicized through print, per- ceived and—above all—collected over the course of subsequent centuries. It begins with Johannes Wier- ix’ 1602 copy of Dürer’s master engraving Melenco- lia, and winds up with the copy of Praying Hands tattooed on the torso of German handball star Pas- cal Hens.

Stanley Jones, Stanley Jones and the Curwen Studio (2010), from A&C Black. Domenico Laurenza, Art and Anatomy in Renaissance Italy, published by The Metropolitan Museum of Art.

Christian Tico Seifert, Dürer’s Fame (2010), from The National Galleries of Scotland.

58 Art in Print May – June 2012 Critical Mass: Printmaking Beyond the Edge Market News By Richard Noyce 160 pp Bauhaus Portfolio to be sold at Bonham’s Published by A&C Black, London, 2010. The July 11 Print sale at Bonham’s (London) will $65 feature the Meistermappe des Staatlichen Bauhauses This book, which follows Noyce’s 2006 volume Print- (1923), a portfolio of eight prints by Bauhaus making at the Edge, offers an idiosyncratic collection faculty, including Wassily Kandinsky, Paul Klee, of 52 artists from 27 countries, most of whom will Oskar Schlemmer, László Moholy-Nagy and Lionel be unfamiliar to those who follow contemporary art Feininger. The portfolio, which includes lithographs, through museum exhibitions and the mainstream woodcuts and etchings made in the early 20s was art press. There is, for example, no overlap between created as part of a fund-raising scheme for the this selection and that on view at the MoMA “Print/ school during the height of the ruinous German Out” show at the moment. It serves as a reminder hyperinflation. that there is not just one “art world.” Andy Warhol, The Kiss (Bela Lugosi) (1964), screenprint from the estate of Gunther Sachs, at Sotheby’s.

Gunther Sachs Sale at Sotheby’s Sotheby’s (London) sale of works from the estate of Gunther Sachs on 22 May gave further evidence that—whatever else is going on with the global economy—provenance still matters. Sachs, who was a walking metonym for the term “Jet Set” in the 60s, was a bobsleigh enthusiast, photographer, and follower of astrology. He courted his second wife, Bridget Bardot, by flying over her house and “bombing” it with red roses. Sachs’ sad end (he committed suicide in 2011, perhaps as a result of Alzheimers) does not seem to have dimmed the gleam of his name as provenance. Predictably, most of the news coverage of the sale focused on the highest ticket items (Warhol paintings—what Richard Noyce, Critical Mass: Printmaking Meistermappe des Staatlichen a surprise!) but the works that most dramatically Beyond the Edge (2010), from A&C Black. Bauhauses at Bonham’s. defied Sotheby’s estimates were ones that—to some extend or other—existed as part of an “edition.” The daytime auction included a large number R.H. Cromek, Engraver, Editor, and Entrepreneur German Expressionists and Old Masters of prints, which consistently sold at higher ratios By Dennis M. Read at Kornfeld to their estimates than the paintings, furniture, 192 pp, hardcover Galerie Kornfeld’s (Bern) June auction of German and chotschkas that composed the rest of the sale: Published by Ashgate Publishing Ltd, Farnham, Sur- Expressionist prints from a private collection Warhol Myths: Dracula (1981) sold for £51650 over rey and Burlington VT, 2011. demonstrated the continued interest in—and an estimate of £8000-12,000; Electric Chairs (1971) $99.95 willingness to pay for – fine examples of German doubled its high estimate to sell for £109,250. The 18th-19th century engraver Robert Hartley Expressionist printmaking. The standout lots in this That was small cheese, however, compared to Cromek is mainly remembered as the nemesis standout collection were Ernst Ludwig Kirchner’s Robert Indiana’s Numbers (1960) portfolio of ten of William Blake, an idea put forward in the sec- Five Coquettes woodcut (1914) which sold for screenprints, which went for ten times its estimate ond half of the 19th century long after both men 920,000 SFr ($957,000) and Emil Nolde’s Meer-Welle at £37,250. But the real news was Mel Ramos, whose had died. In this book, the author aims to recover (1926), a hand-colored lithograph, which sold for offset lithographs from 1971–72 of naked pin-up Cromek’s contributions to British art as an accom- 200,000 SFr ($208,000). girls embracing totems of consumerism all sold at plished engraver, a collaborator with Blake, an edi- At old masters, the standout lots were Rembrandt’s ten to twenty times estimate. A.C. Annie reached tor and a publisher. The rollercoaster of Cromek’s Hundred Guilder Print / Christ Healing the Sick (1649,) £33,650 on a meager £500-700 estimate. endeavors—his publication of Robert Burns’ unpub- which sold for 200,000 SFr and Martin Schongauer’s The drop price for the evening sale was higher: an lished works, his duping by the perpetrator of a lit- Madonna with Appel (1477-1480) at 80,000 SFr. AP set of the Warhol Mao (1972) portfolio sold for erary hoax, his efforts to bring the arts to the emerg- £1,609,250, three times the high estimate, and even ing industrial cities of the midlands—illuminates though this set was numbered AP 1/50, there is no the entrepreneurial free-for-all of his era. way around the knowledge that there are hundreds out there. Sachs’ suite of Allen Jones’ high-Pop naked-girl furniture, Chair, Hatstand and Table (all 1969), were estimated at £30,000 to 40,000 each but sold at 20 times estimate: £836,450, 780,450 and 970,850, respectively. Each exists in an edition of six. Finally, Warhol’s The Kiss (Bela Lugosi) (1964) also sold for about three times the high estimate, fetching £3,177,250. Sotheby’s statement that “this work is unique” is technically true, though the Feldman/Schellmann Warhol print catalogue lists it more accurately as existing “in an edition of approximately 5 unique prints”—in other words, there are five works of the same size on the same kind of paper, using the same screen, though the purposeful sloppiness of the printing means that Wassily Kandinsky, Abscheid – Grosse Fassung, each looks slightly different. Sotheby’s goes so far, (1903), color woodcut, at Kornfeld. however, as to describe The Kiss (Bela Lugosi) as “a historic painting,” which no matter how you slice it is a bit of a stretch—Warhol himself said, “I suppose you could call the paintings prints, but the material used for the paintings was canvas.” Sotheby’s tortured attempt to establish “uniqueness”— Dennis M. Read, R.H. Cromek, especially when dealing with Warhol—seems Engraver, Editor, and Entrepreneur, undignified, and in light of the results of the rest of from Ashgate Publishing. the sale, probably unnecessary.

Art in Print May – June 2012 59 Warhols at Swann on 14 June International Student Print Show—Egypt 2012 Paper Enigma Machine by Mike Koss Though not labeled a “Print Sale,” Swann Galleries’ This past spring, the Faculty of Fine Arts at El Minia In conjunction with its exhibition marking the (New York) two-part sale of American Art and University in Egypt, hosted the “1st Annual Student centenary of Alan Turing, the Spencer Art Museum Contemporary Art on 14 June included many prints, International Small Print Show”, an exhibition of at University of Kansas, posted a link to this print- among them a number of unusual Warhols: 90 young printmaking artists from 17 countries, it-yourself, cut-and-paste Enigma Machine. Now A unique double-sided Flowers (1970) screenprint held in conjunction with the international art everyone can code like a Nazi u-boat (it can also doubled its high estimate to sell for $24,000. conference at El Minia in late March. The selected be downloaded in German.) (http://mckoss.com/ A special edition Grapes (1979) printed with artworks present a wide array of conceptual Crypto/Enigma.htm) diamond dust also went well over estimate, selling contents as well as technical experiences. All of for $64,800. the works included can now be seen online [http:// studentinternationalshow-com.webs.com/] and it is Other News an interesting and salutary mix. Some of the work will seem familiar to anyone who has ever juried an Benefit Print Project Dot Com open-call print exhibition, or indeed ever attended Thomas W. Lollar, formerly Executive Director a street art fair or student show—Hayteresque of the Brodsky Center for Innovative Editions abstractions, stiffly limned figurations, digital at Rutgers, and his former Assistant Director mash-ups—but there are also many beautifully Paul Limperopulos have left the Brodsky to run executed, intriguing prints that make you wish the Benefit Print Project, which coordinates the you could see them up close and in person, which production of benefit prints by bringing artists, is saying quite a lot. The exhibition was curated by printers, and not-for-profits together, and also by Dr. Wael Sabour of the Department of Graphic Arts, acting as an online vendor for the editions. who suggests that the website could be a useful tool for other students. Anyone, actually, would benefit from a look. A second show is planned for 2013. (http://studentinternationalshow-com.webs.com/)

Andy Warhol, special edition Grapes (1979), printed with diamond dust, at Swann. Donald Sultan, Eight Poppies (2010), screenprint. New Online

Princeton Graphic Arts Blog Discovering Picasso Princeton University Library is a treasure trove for Picasso prints have been in the news lately. The all manner of things (among other treats, it harbors Capucine Gros, Monotype (2012), at the British Museum is currently showing off its one of the most magical and erudite children’s International Student Print Show in Egypt. extraordinary new acquisition, the complete 100 book rooms in the world). These treasures can be etchings of The Vollard Suite, a gift to the museum invisible, of course, if you do not happen to live in from Hamish Parker in memory of his father. [See Princeton. Now, however, the Graphic Arts Blog The Engraved Ornament Blog article page 34 this issue.] Parker reportedly paid a under the management of Julie Mellby is presenting The very phrase “Engraved Ornament Blog” seems million pounds for the set, which is so important its delights to the online bibliophile and print-geek unlikely. Even less likely is the thought that such a and so rare in its complete state that even that audience. Mellby’s subjects range from unpublished blog would be the source of lively insight into visual extraordinary price represents a bargain. Meanwhile, Rowlandson drawings to the peculiarly discrete life, today and historically but such is the case. AP wire service has reported that an unemployed Victorian ephemera known as “change packets— Managed by Sarah Grant, the Curator of Engraved museum event coordinator named Zachary Bodish small printed envelopes in which change from a Ornament at the V&A in London, the blog has picked up an appealing poster in a Columbus, Ohio purchase was returned to the customer without touched on the Cini/Factum Arte “new” Piranesi thrift shop for $14. Only later did Bodish realize that the vulgarity of visible coinage. As with any great creations [see Art in Print Vol 1 No 1], mermaids, it was a 1958 Picasso linocut, made to announce a open-stack library, prepare to spend longer here and Elizabeth Taylor’s rocks. The V&A owns some show of Picasso ceramics (themselves worth a pretty than you anticipated. (http://blogs.princeton.edu/ 24,000 ornamental prints, and has recently received penny these days.) Bodish sold the print privately for graphicarts/notable_holdings/) funding from the Esmée Fairbairn Foundation to $7000. A different kind of bargain. catalogue them and make them available to visitors and scholars online. It is a garden of delights. (www. vam.ac.uk/b/blog/engraved-ornament-project).

The Princeton Graphic Arts Blog.

Pablo Picasso, poster for Exposition The Engraved Ornament Blog, part of Ceramiques (1958), linocut. the V&A’s extensive website. 60 Art in Print May – June 2012 Francesca Consagra goes to Blanton Mauricio Lasansky Dies at 97 The Blanton Museum of Art at The University of Mauricio Lasansky, whose technically masterful Texas at Austin has announced the appointment and personally expressive approach to printmaking of Francesca Consagra as senior curator of prints, helped define American prints for a generation died drawings and European paintings, effective June 25. April 2 in Iowa City. Born in Buenos Aires, Argentina, The Blanton has been without a senior curator of Lasansky came to New York in 1943 where he became prints and European painting since the departure involved with Stanley William Hayter and Atelier of Jonathan Bober, who went to the National 17. Hayter’s singular mix of experimentalism and Gallery a year ago to serve as Curator and Head virtuosity was profoundly influential on Lasansky, as of the Department of Old Master Prints. Bober were some of Hayter’s specific intaglio techniques. was responsible for greatly expanding the size Lasansky, however, also closely studied old master and quality of the Blanton’s print collection, most etchings, and his subject matter tilted much more notably with Leo Steinberg’s donation of more toward the narrative figuration and portraiture. In than 3000 prints in 2002. Consagra had been 1945, as university art departments expanded senior curator at The Pulitzer Foundation for the with the G.I. Bill, Lasansky took a position at the Arts in St. Louis since 2008. She has written on a University of Iowa, where he remained for more range of subjects including Rembrandt’s prints, than forty years, transforming Iowa into one of the botanical illustrations, Indian and Buddhist art, nation’s premier printmaking programs. Along with and contemporary German drawings. She has Gabor Peterdi at Yale, Lasansky helped promote a headed the department of prints, drawings and culture of dedicated printmakers who found within photographs at the St. Louis Art Museum, and the complexities of intaglio a rich formal world served as a curator and lecturer at Vassar College. with its own meanings and logic. His own work Elizabeth Catlett, Sharecropper (1952), linocut. Consagra has served on the board of the Print was widely collected, though the “print revival” Council of America and as a review panelist for the of the 1960s and 70s, which saw a convergence of National Endowment for the Humanities. She is the concerns of painting, sculpture, performance also a member of the Art in Print advisory board. and print, eroded the respect accorded artists who Elizabeth Catlett 1915-2012 made print techniques the focus of their life work. The painter, printmaker and activist Elizabeth Philagrafika Restructures Lasansky continued, however, throughout his life Catlett died on 2 April at the age of 96, leaving an The Philagrafika organization, which put on the to be a touchstone for dedicated printmakers and enduring legacy of work that depicted the voiceless widely praised, city-wide festival of printed art “The for those who responded to the deeply felt, closely and oppressed with heroic dignity. An African- Graphic Unconscious” in 2010 is restructuring. worked, and visually complex image. American artist who spent most of her adult According to an announcement sent out by Rick life in Mexico, Catlett was “rediscovered” by the de Coyte, the new president of Philagrafika’s international contemporary art world at the end board, the organization will no longer have any of the 20th century. Her Sharecropper linocut has paid staff, and will instead be run entirely through become an iconic image of grace and strength in the volunteer efforts of the board, which has also adversity. undergone a shake up: the artist Daniel Heyman Born in Washington D.C., Catlett received her BA and filmmaker Marianne Bernstein remain, and from Howard University 1935, and her Masters from have been joined by Cindi Ettinger (master printer, the State University of Iowa, where she worked with C.R. Ettinger Studio), Michal Smith (Executive Grant Wood, who encouraged her to paint and draw Director of the nonprofit Cradles to Crayons, and the subjects that she knew best, the lives of African along with Rick de Coyte, co-proprietor of Silicon Americans. By the mid-1940s she was in New Fine Art Prints). The organization’s mission has also York, working as an artist and teaching in Harlem, been trimmed to concentrate on bringing artists and began work on an ambitious series of prints, to Philadelphia to work on prints, and promoting paintings and sculptures depicting the oppression, Philadelphia prints beyond the city limits. There struggles and achievements of “The Negro Woman.” are, de Coyte says, “no immediate plans to present a She moved to Mexico in the late 1940s, married second Philagrafika festival.” This is a shame, since the artist Francisco Mora, and began working at the 2010 event started many conversations that are LeRoy Neiman 1921–2012. Taller Grafica Popular (TGP), an artist’s collective still ongoing about the relationship between printed workshop for graphic arts in Mexico City, which matter and contemporary art at large. specialized in linocut. It was there, she says, she “learned how to use art for the service of people, Eminent Curator Barry Walker Dies LeRoy Neiman 1921-2012 struggling people, to whom only realism is Barry Walker, who had been print curator at the LeRoy Neiman, the popular painter of sporting meaningful.” Museum of Fine Art, Houston for twenty years, and events and Playboy-mode high life, died in June at Catlett eventually became a Mexican citizen before that at the Brooklyn Museum, died in April the age of 91. Though rarely a printmaker, Neiman in the early 60s, and was subsequently labeled following a fall in his Los Angeles home. Walker was very much a print artist in the same sense that an “undesirable alien” by U.S. authorities. Her majored in art history at Hamilton College, and Norman Rockwell or Andrew Wyeth were, creating struggles, her empathy with the working poor, and went on to work for the Brooklyn Museum, where works in paint for the express purpose of printed her dynamic use of line and form, have made her a he organized exhibitions such as the 1989 “Projects reproduction. He was also a savvy businessman who heroic figure to many political activists as well as to and Portfolios” show. In 1991 he joined the MFAH understood and exploited the various levels at which figurative artists around the world. under under the leadership of Director Peter Marzio, multiplicity and market niches interact, from unique to establish its department prints and drawings, works on canvas, to the ‘limited edition serigraphs’ which he built to international stature. In 2002 he that populate his website, to the magazine was named curator of modern and contemporary illustrations and covers he created throughout his art. Over the course of his career, Walker organized career. While his work never received much respect nearly 50 exhibitions, including the important retro- from the art world, Neiman was admirably generous spective “Alice Neel: Painted Truths” retrospective, in his support of art institutions, endowing both the whose catalog redefined scholarly understanding LeRoy Neiman Center for Print Studies at Columbia of the artist. He was instrumental in acquiring the University in 1996 and the LeRoy Neiman Student Peter Blum Edition Archive for the MFAH, along Center at the School of the Art Institute of Chicago, with important works by 20th century artists such which opened just days before his death. as Johns, Pollock, Picasso and Gorky. Walker, 67, had retired from the MFAH in August, but was still working for the MFAH as a consulting curator on an exhibition of drawings by Ewan Gibbs at the time of his death. He was due to be honored at the IFPDA If you would like to be included in the benefit in May for his “extraordinary contributions to the world of prints. He is survived by a sister, “News of the Print World,” please submit Kerry Walker Walsh, who will receive the honor in announcements and other news to info@ her brother’s place. artinprint.org.

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62 Art in Print May – June 2012 Contributors to this Issue

Paul Coldwell is Professor in Fine Art at the University of the Arts London. As an artist his work includes prints, sculpture and installation. He has written widely particularly on print- Connect making, his most recent publication, Printmaking; A Contemporary Perspective was published by Black Dog Publishers. to

Sarah Grant is Curator of Engraved Ornament in the Prints Section at the Victoria & Albert Museum, London, where she organized “Modern Masters: Matisse, Picasso, Dali & Art in Print Warhol” and “Body and Soul: Prints by Women Artists.” Her publications include Toiles de Jouy: French Printed Cottons (V&A, 2010). Grant writes a blog about ornament prints for the V&A’s website.

Sarah Kirk Hanley is a print curator, writer and appraiser. She writes the monthly col- umn Ink: Notes for the Art21 blog and teaches at the School of Continuing and Professional Studies at New York University. Hanley has held positions at Christie’s, the Milwaukee Art Museum and the Lower East Side Printshop.

Julia Vodrey Hendrickson is a visual artist, writer and curator. Primarily based in Chi- cago where she is the gallery manager at Corbett vs. Dempsey, she is currently pursuing an MA in Art History at the Courtauld Institute of Art in London.

Jane Kent is a New York-based artist who makes prints, drawings and artists’ books. Her latest artist book, “Skating,” a collaboration with the writer Richard Ford was reviewed in this journal. She teaches at the University of Vermont.

www.artinprint.org offers free access to reviews of new Elaine Mehalakes is the curator of academic programs at the Davis Museum at Wellesley College. She writes on contemporary drawings, experimental prints, restitution of cultural prints, print exhibitions and artifacts, and the impact of foreign travel on American artists. She curated and edited Ameri- books as well as a calendar of can Identities: Twentieth-Century Prints from the Nancy Gray Sherrill Collection. print exhibitions and events from around the world.

Allison Rudnick is a Ph.D. student in art history at the Graduate Center, City University of New York. Her research interests include 20th- and 21st-century German art as well as Members have access to news modern and contemporary printmaking. of the print world, market reports and recent releases, updated on an almost daily Gill Saunders is Senior Curator, Word & Image Department, Victoria & Albert Museum, basis. London. Her publications include The Nude: A New Perspective (1989), Apocalyptic Wallpaper (Wexner Center, Columbus, Ohio, 1997), and Wallpaper in Interior Decoration (2003). Prints Now: Directions and Definitions(V&A, 2006; with Rosie Miles.) She was a major contributor If you would like to write to Impressions of the 20th Century, ed. Margaret Timmers (2002). for Art in Print: We are happy to consider proposals Originally from Munich, Anna Schultz studied at the Courtauld Institute of Art and was a for feature articles on subjects cataloguer in the Department of Prints and Drawings at the British Museum where she was a Bromberg fellow. She is currently employed by the Kupferstichkabinett in Berlin, and has related to the history or the contributed to a range of exhibition catalogues and print publications. current state of artists’ prints, in the broadest meaning of the term. If you are interested in Charles Schultz is a New York-based art critic. He has been writing about art since moving to New York in 2007. Schultz currently contributes to the Brooklyn Rail, Modern Painters, writing reviews of print exhibi- Art in America, and Artslant. (Photo courtesy of Elk Studios) tions, new print publications or books on prints, please contact us with your location and April Vollmer is an artist with an MFA from Hunter College who specializes in Japanese proposed subjects at info@ woodblock printmaking. She has had solo shows at the Brooklyn Botanic Garden Steinhardt artinprint.org. Gallery, AIR Gallery, The Phillips Museum of Art. She has taught mokuhanga techniques since 1998, and was a Board Member of the First International Mokuhanga Conference. If you would like to submit events, artworks or publica- Susan Tallman is the Editor-in-Chief of Art in Print. She has written extensively about tions for review: Please email prints, issues of multiplicity and authenticity, and other aspects of contemporary art. us at [email protected].

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64 Art in Print May – June 2012 Back Issues Volume 1 / 2011 – 2012

Volume 1 / Number 1 Volume 1 / Number 2 Volume 1 / Number 3

In This Issue In This Issue In This Issue Susan Tallman / On Art in Print Susan Tallman / On Substance Susan Tallman / On the Corner Paul Coldwell / Christiane Baumgartner Between States Catherine Bindman / Odilon Redon: Prince of Dreams Gill Saunders / Street Art: Prints and Precedents Deborah Wye (interview) / Embracing the Whole Story: (1840–1916) Charles Schultz / A Matrix You Can Move In: ἀ irty-One Years at the Museum of Modern Art Susan Tallman / Dreaming in Company: Redon and Bresdin Prints and Installation Art Adam Lowe / Messing About With Masterpieces: Andrew Raftery / Drawing and its Double: Selections from Heather Hess / Changing Impressions: New Work by Giambattista Piranesi the Istituto Nazionale per la Grafica, Rome Wiener Werkstätte Prints and Textiles Suzanne Karr Schmidt / Printed Bodies and the Susan Tallman / Jane Kent and Richard Ford Go Skating Jay Clarke / The Politics of Geography and Process: Materiality of Early Modern Prints John Ganz / Sturm and Drang on 53rd St. Impressions from South Africa, 1965 to Now Book Reviews: Kristyna Comer / Christopher Cozier and Printmaking: Book Reviews: - Out of Australia Investigating the In-Between Nancy Princenthal / It is Almost That: A Collection of - Philagrafika 2010: The Graphic Unconscious Charles Schultz / Nicola López: Structural Detours Image+Text Work by Women Artists & Writers Book Reviews: Susan Tallman / Gauguin’s Paradise Remembered - The Prints of Terry Frost - Impressions from South Africa 1965 to Now: Prints from the Museum of Modern Art

Volume 1 / Number 4 Volume 1 / Number 5 Volume 1 / Number 6

In This Issue In This Issue In This Issue Susan Tallman / On Partisanship Susan Tallman / On Plenty Susan Tallman / On Anarchy Getting the Joke: Historical Satire in Print New Editions / 50 Reviews A – Z Sarah Kirk Hanley / Visual Culture of the Nacirema: Constance C. McPhee / How Napoleon Became Katrina Andry • Polly Apfelbaum • Ida Applebroog • Birk Enrique Chagoya’s Printed Codices an Emblem & Pignolet • Chakaia Booker • Enrique Chagoya • Robert David Ensminger / The Allure of the Instant: Nadine M. Orenstein / Two Mysteries—One Solved Cottingham • Dorothy Cross • Amy Cutler • Richard Deacon Postscripts from the Fading Age of Xerography Kristina Volke / Serving the Cat: Traditional Woodcut • Carroll Dunham • R.M. Fischer • Tony Fitzpatrick • Mark Catherine Bindman / Looking Back at Looking Back: Printing in Modern Vietnamese Society Francis • Anne-Karn Furunes • Frank Gehry • Adriane Herman Collecting German Romantic Prints Jill Bugajski / Artful Coercion: ἀ e Aesthetic Extremes • Daniel Heyman • Carsten Höller • Jasper Johns • Jacob Exhibition Reviews: of Stencil in Wartime Kassay • Kakyoung Lee • Christian Marclay • Chris Martin • M. Brian Tichenor & Raun Thorp Charles Schultz / Sigmar Polke: Photoworks 1964–2000 Josiah McElheny • Julie Mehretu • Annette Messager • Dave Proof: The Rise of Printmaking in Southern California Book Reviews: Muller • Chunwoo Nam • Enoc Pérez • David Shapiro • Stan Susan Tallman Suzanne Karr Schmidt / English Prints: Shellabarger • Kiki Smith • Bob & Roberta Smith • Tom Spleth IPCNY New Prints 2011 / Autumn Looking Over the Overlooked • Superimpose portfolio • Wayne Thiebaud • Carolyn Thomp- Editions Review: Susan Tallman / Dancing with the Dark: Joan Snyder Prints son • Rirkrit Tiravanija • Diane Victor • Rachel Whiteread • Sarah Andress 1963–2010 Terry Winters • Karl Wirsum • Jonas Wood • Richard Woods • Annesas Appel Zachary Wollard • Witho Worms • Anton Würth Book Reviews: Book Reviews: - Alex Katz Prints Annkathrin Murray / On the Wall - Altered and Adorned: Using Renaissance Britany Salsbury / The Book As Instrument Prints in Daily Life News of the Print World Directory Index to Volume 1

All back issues of the printed Journal can be purchased for $20 each from MagCloud, our print-on-demand service: www.magcloud.com. Members can also view, download and print all back issues from PDF files available on our website: www.artinprint.org/index.php/journal.

Art in Print May – June 2012 65 Special Upcoming Issues Art in Print

“Latent Possibilities: the Legacy of Stanley William Hayter in the 20th and 21st Centuries” September – October 2012

“Images of Substance: Material Considerations in Early European Prints” November – December 2012

Art in Print is grateful to The Dedalus Foundation and The Samuel H. Kress Foundation for their generous support of these issues.

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