US $25 The Global Journal of Prints and Ideas July – August 2018 Volume 8, Number 2 Weather • Janice Kerbel Climate Gardens • Alexander Cozens Clouds • Susan Goethel Campbell Urban Heat Islands Félix Buhot Rain • Erik Hougen • Fanny Palmer • Helen Frankenthaler • Artists Books • Prix de Print • News BETTY WOODMAN NEW WOODCUT/LITHOGRAPH “A Single Joy of Song” (2018) color woodcut / lithograph with chine collé / collage SHARk’S INK. edition of 30 sharksink.com 27 x 70½ inches July – August 2018 In This Issue Volume 8, Number 2 Editor-in-Chief Susan Tallman 2 Susan Tallman On Weather Associate Publisher All Cloudy, Except One Large Opening... 3 Julie Bernatz The Skies of Alexander Cozens (1717–1786) Sarah Rose Sharp 10 Managing Editor Information is a Storm Coming: Isabella Kendrick Susan Goethel Campbell’s Weather Works Production Editor Catherine Daunt 14 Kevin Weil Botanical Blueprints: Janice Kerbel’s Home Climate Gardens Advertising Associate Lydia Mullin Anne Leonard, Lydia Wu, 20 Natalie Smith, Charlotte Saul, Manuscript Editor Prudence Crowther Kristin Lipkowski and Alina Cui Weather Proofs: Félix Buhot Editor-at-Large Stephanie Delamaire and 25 Catherine Bindman Joan Irving Was Fanny Palmer the Powerhouse Design Director Skip Langer Behind Currier & Ives? Artists Books Nicholas Alguire 32 Weather Report Exhibition Reviews Ruth Fine 36 Uncovering Discovery: Frankenthaler’s Printmaking Prix de Print, No. 30 40 Juried by Renée Bott An Archive of Rememory by Emma Nishimura Art in Art in Print, Number 8 42 On the Cover: Alexander Cozens, detail Erik Hougen of plate 9 from A new method of assisting Sciences (2017–18) the invention in drawing original composi- Sarah Kirk Hanley 48 tions of landscape (London: A. Cozens and Arctic Journeys in J. Dodsley, 1785). Yale University Beinecke Contemporary Printmaking: Rare Book & Manuscript Library. Her Majesty Queen Sonja of Norway and Her Art Foundation This Page: W.K. Hewitt (drawn by) and N. Currier (lithography), detail from Awful Conflagration News of the Print World 52 of the Steam Boat LEXINGTON In Long Island Sound on Monday Eve., Jan. 13th 1840, by which melancholy occurrence; over 100 PERSONS PERISHED. (1840), color lithograph. Published by Currier & Ives, New York. Library of Congress, Prints and Photographs Division. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org Art in Print is supported in part [email protected] by awards from the 1.844.ARTINPR (1.844.278.4677) National Endowment for the Arts. No part of this periodical may be published Art Works. without the written consent of the publisher. On Weather By Susan Tallman nce upon a time, not so very long revolving restaurants. Campbell’s work is O ago, “weather” was a byword for similarly the product of—and sometimes the benign and noncontroversial—the a source for—scientific research, while, as conversation selected to steer clear of Sarah Rose Sharp points out in her essay, politics, religion and personal opinion. remaining disarmingly seductive. Beauty The topic stuck securely to the self- may equal truth here, but the truth is not evident (“nice day”) or at least the dis- pretty. passionate (“think it’ll be a cold win- Bringing this weather report into the ter?”). Poets and songwriters reached present—and perhaps future—is Erik for weather as a handy metaphor (“Ain’t Hougen’s project for Art in Art in Print, no sunshine when she’s gone”) since its Sciences, in which weather is considered experience was shared by all. That was as both mystery and metaphor. before federal agencies began telling sci- In other content in this issue, Stepha- entists not to mention global warming nie Delamaire and Joan Irving consider in grant applications, before a president the legacy of Fanny Palmer (1812–1876), stood in the rain and claimed it was sun, her impact on the American print pub- before “climate” became a byword for lishers Currier and Ives, and by extension, existential risk.1 on how America came to imagine Amer- Weather itself, of course, has always ica. Ruth Fine reviews the retrospective harbored threats. Lightening bolts, exhibition of Helen Frankenthaler prints deluges and droughts were for millen- at the Art Institute of Chicago . nia the gods’ instruments of enforce- Erik Hougen, detail of Only from Sciences Finally, this issue’s winner of the Prix ment—cosmic Tasers and water cannons. (2017–18), digital composition, collage of de Print, selected by printer and pub- The advent of science shifted our per- screenprints, digital photographs and layers lisher Renée Bott, is Emma Nishimura’s of digital coloring, dimensions variable. ception of weather’s mechanisms, if not Open edition created for Art in Print. An Archive of Rememory (2016–2018), of its experience, and in Western visual an ambitious installation project that art weather emerged as a subject inde- addresses the Canadian internment of pendent of gods and often of humans. Leonard and her students at the Uni- Japanese citizens during World War II to This issue of Art in Print charts these versity of Chicago track the changing evoke the workings of collective and per- shifting winds. skies that Buhot imposed on his holiday- sonal memory. The skies that Alexander Cozens makers and urban commuters through Like the more recent works on (1717–1786) fixed so carefully in his his use of successive states and animated weather, it reminds us that just because remarkable how-to book A new method of inking. Meanwhile Mir uses rain as the we can’t control something doesn’t mean assisting the invention in drawing original occasion for an episodic social experi- we’re not responsible. compositions of landscape are noteworthy ment, offering shelter to strangers and for historical primacy—Cozens was early documenting the results in The Big to the game of meteorological aesthet- Umbrella (2003), another of the artists’ Susan Tallman is the Editor-in-Chief of Art in Print. ics—and also compelling in their reduc- books examined by Alguire. tion of the most complex and fleeting of The tragedy and terror of contempo- experiences to simple line. With their rary climate change are tackled here in sequential captions, they form a curious two deceptively decorous bodies of work: antecedent to Joe McKay’s 1992 artist’s Janice Kerbel’s Home Climate Gardens book, One Week in October, in which the (2003) and Susan Goethel Campbell’s artist clothes himself in daily weather Heatscapes (2012–ongoing). The former, forecasts. McCay’s book is discussed here as explained by Catherine Daunt, was cre- in Nicholas Alguire’s column on artists ated as part of the artist’s residency with books. the Tyndall Centre for Climate Change Blustering rain and the human drama Research at the University of East Anglia, it brings are the subject for both the and consists of meticulously researched fin-de-siècle etcher Félix Buhot (1847– garden plans, delivered with deadpan 1898) and the contemporary artist Alek- architectural precision, for the interior sandra Mir. In their essay here, Anne microclimates such as laundromats and 2 Art in Print July – August 2018 All Cloudy, Except One Large Opening... The Skies of Alexander Cozens (1717–1786) Alexander Cozens, detail of plate 12 from A new method of assisting the invention in drawing original compositions of landscape (1785). he 18th-century English landscape In contrast to the irregular tonal Notes: Tpainter and drawing master Alex- blocking of the aquatinted blots, Cozens 1. Louis Hawes, “Constable’s Sky Sketches,” ander Cozens is known to history as the renders the ineffable variance of clouds Journal of the Warburg and Courtauld Institutes “blot man” because of his 1785 publication, and gradients of light by etched line and 32:349. A new method of assisting the invention in word. The choice seems counterintui- drawing original compositions of landscape, tive, and if the irrational blots appealed which demonstrates how improvised ink to modernist fascination with the sub- dabs might be transformed into con- conscious, Cozens’s linear, serial skies vincing neoclassical topographies. But with their deadpan descriptions of poet- Cozens was also among the first English ics suggest a witty conceptualism: “The artists to draw skies per se.1 While the same as the last, but darker at the bottom first section of A New Method consists of than the top.” massed aquatint blots (which the 20th Both interpretations are anachron- century saw as prophetic of Rorschach istic impositions, of course. Cozens was a tests, Surrealism and Abstract Expres- man of the 18th century; his appeal was sionism), and the last section shows how to “imagination,” not to the subcon- those jagged lumps should be resolved scious, and to “principles,” rather than into cogent trees and mountains (rather concepts. His skies are not symbolic to the disappointment of the Rorschach inventions, commentaries on cognitive crowd, one suspects), the middle section processes, or even empirical nature stud- consists of 20 skies arranged in contrast- ies in the manner of John Constable’s ing pairs—clear, cloudy, bright, threat- famous cloud sketches (though Constable Following Pages: Alexander Cozens, three ening, lit from right and left—tethered did copy them). They form a typology of spreads from A new method of assisting the invention in drawing original compositions only by a gossamer horizon line to empty effects, to be mixed and matched with of landscape (London: A. Cozens and J. earth. Each carries a caption to identify terrestrial components—a parts drawer Dodsley, 1785). Yale University Beinecke Rare the distinctions. for drawing. —ST Book & Manuscript Library. Art in Print July – August 2018 3 4 Art in Print July – August 2018 Art in Print July – August 2018 5 6 Art in Print July – August 2018 Art in Print July – August 2018 7 8 Art in Print July – August 2018 Art in Print July – August 2018 9 Information is a Storm Coming: Susan Goethel Campbell’s Weather Works By Sarah Rose Sharp t is unlikely that people will draw Iclose to that which conveys a sense of potential upset, that which appears disturbing.