US $25 The Global Journal of Prints and Ideas March – April 2015 Volume 4, Number 6 New Editions • Altmejd • Armleder • Gonzales • Heck • Herrera • Ledgerwood • Mehretu • Moyer • Quaytman Peeters • Ruscha • Saar • Saban • Siena • Suarez Londoño • Tuymans • Wool • and More • Prix de Print • News James Ensor: Experimental Printmaker Uncommon Prints from a Private Collection Squelettes voulant se chauffeur – Skeletons Warming Themselves 1895 hand-colored etching on wove paper, used by the artist as wrapper for the copper plate watercolor and white heightening with annotations in pencil and pen; ca. 7 ⁵∕₈ x 6 ¼ inches 23 East 73 Street ∙ New York, NY 10021 ∙ 1 212 772 7330 ∙ info (at) cgboerner.com Kasernenstrasse 13 ∙ D-42013 Düsseldorf ∙ 49 211 13 18 05 ∙ info (at) cgboerner.de March – April 2015 In This Issue Volume 4, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On the Moment Associate Publisher New Editions 2014 Reviews Julie Bernatz Gill Saunders 4 Ellen Heck: Forty Fridas Managing Editor Dana Johnson Catherine Bindman 6 José Antonio Suárez Londoño News Editor Isabella Kendrick Sarah Kirk Hanley 8 New Editions from Diane Villani Manuscript Editor and Hauser & Wirth Prudence Crowther Reviews A–Z 10 Online Columnist Prix de Print, No. 10 32 Sarah Kirk Hanley Sarah Kirk Hanley Jeremy Lundquist: Stability Dynamics Design Director Skip Langer Exhibition Reviews Editor-at-Large Vincent Katz 34 Catherine Bindman Richard Tuttle at Bowdoin Laurie Hurwitz 37 “Digital” Printing Étienne Tremblay-Tardif 39 Mutchler, Urban and Dupuis-Bourret at Atelier Circulaire Mary MacNaughton 42 Memory and Beekeeping in a Tradigital Mode Book Reviews Sarah C. Schaefer 43 Popularity, Populism and the Poster Susan Tallman 45 Women and Print: A Contemporary View News of the Print World 46 On the Cover: Ed Ruscha, detail from the suite Contributors 68 Rusty Signs (2014), one of six Mixografía® prints on handmade paper, 24 x 24 inches each. Guide to Back Issues 69 Edition of 50. Published by Mixografía, Los Angeles. ©Ed Ruscha. Image courtesy of Ed Ruscha and Mixografia Workshop. This Page: James Siena, detail of Logic Sequence: Complete (2014), part 3 of 3, paper pulp (pigmented linen on cotton base sheet), 16 1/2 x 13 inches each. Unique image. 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 an award from the 1.844.ARTINPR (1.844.278.4677) National Endowment for the Arts. No part of this periodical may be published Art Works. without the written consent of the publisher. On the Moment By Susan Tallman his, our annual new editions issue, the Scripps College exhibition “Women Tis meant to offer a snapshot of a and Print: A Contemporary View,” also moment in time—a collection of infor- reviewed in these pages, is very much of mation more directed than surveillance this moment. footage, but less constructed than a One final note: we are pleased to painting. Contemporary art and print are announce the launch of our new website so frequently the same thing these days this past month. While visually similar to it may seem unnecessary to set aside an the old site, it is significantly easier to nav- issue specifically for new editions, but igate and includes a number of new fea- printed art and printed editions are not tures for subscribers: the long-dormant always the same thing—and if the former members’ page now offers direct access to has successfully infiltrated Chelsea and all current content (you no longer have to the evening auctions, the latter remains download the PDF just to get at a single peculiarly invisible in galleries and in article), as well as all the news items fea- the media. Unfortunately, it remains the tured in the biweekly eBlasts and more. case that the art people are most likely to The Prix de Print now enjoys its own page own is the art they are least likely to read and the calendar is vastly improved. More about. So in this issue we compensate for changes will be coming as we rebuild the neglect by looking closely at dozens of “Resources” section into a more effective Charline von Heyl, Dust on a White Shirt individual artworks. vehicle for research on the history and (Evil Eye) (2014), intaglio, image 24 x 19 inches, There is no editorial argument behind paper 31 x 25 inches. Edition of 20. Printed and production of artists’ prints. We encour- the selection—we do not suggest that published by Crown Point Press, San Francisco. age you to send us your thoughts about these are “the best” recent editions, nor the site and how it might be further have we tried to emphasize particular improved. trends or identify particular symptoms. this to be the lesser of two evils—if art- As always, Art in Print is a reflection of Instead, as in previous years, we simply ists had to pay shipping costs for physi- the community that supports it—the art- asked contributors to select prints they cal objects, the entry pool could quickly ists, printers, collectors, curators, schol- found intriguing, meaningful or other- shrink to a small puddle of the diminu- ars and plain lovers of prints who wise noteworthy. Altogether, 14 writers tive, the local and the rich. The pages of recognize them as catalysts of culture. selected works by 36 artists from three Art in Print have been greatly enriched Thank you. continents. They include ambitious proj- by the broad range of Prix de Print win- ects from storied workshops, and home- ners, including the current one, chosen grown prints published by the artists who by critic and curator Sarah Kirk Hanley: Susan Tallman is the Editor-in-Chief of made them. The materials include paper, Jeremy Lundquist’s Stability Dynamics, an Art in Print. ink, sugar-sack quilts, gold powder and ambitious multistate etching project that human hair. The largest can fill a gallery investigates the collision of design strate- wall; the smallest could be carried in a gies and military strategies, and occupies notebook. Suffice it to say, homogeneity some 86 square feet. is not the problem. The focus on contemporary art con- Access and distribution, on the other tinues in the exhibition reviews that hand, are a hindrance. Even with mul- follow: poet and critic Vincent Katz sur- tiple writers in multiple locations, the veys Richard Tuttle’s print retrospec- range of works that can be seen in per- tive at the Bowdoin College Museum of son is limited. But since photographic Art; Laurie Hurwitz discusses Matthew reproductions carry such a small frac- Brandt’s “Woodblocks” in Paris; Mary tion of information about an object, we MacNaughton examines Nancy Macko’s do ask that all reviews be written from interdisciplinary prints in Los Angeles; the actual work of art. Undoubtedly, as and Étienne Tremblay-Tardif looks at the a result, many wonderful projects have print-based installations of Andrée-Anne been missed. Dupuis-Bourret and the team of Leslie The attentive Art in Print reader will Mutchler and Jason Urban in Montreal. observe that we violate this rule of first- Ruth E. Iskin’s new book on the early his- hand knowledge with the Prix de Print, tory of the poster, reviewed here by Sarah which is judged on the basis of digital C. Schaefer, is rooted in the 19th century images. In terms of the Prix, we found rather than the 21st; but the catalogue of 2 Art in Print March – April 2015 New Editions 2014 Edition Reviews: Editions in the News: David Altmejd 10 Darren Almond 46 John Kørner 47 Ida Applebroog 8 Justin Amrhein 46 Paula Schuette Kraemer 49 John Armleder 10 James Angel 46 Julie Krone 46 Richard Bosman 11 Polly Apfelbaum 46 Julian Lethbridge 49 Enrique Chagoya 12 Frances B. Ashforth 46 Alexandra Leeds 46 Matthew Day Jackson 8 Aziz 46 Noël Loeschbor 46 Jeffrey Dell 12 Thomas Bayrle 46 Richard Long 49, 50 Lesley Dill 13 Carla Beretta 46 Matt Magee 50 Stella Ebner 14 Sebastian Black 47 Gerhard Marx 50 Nancy Friedemann 14 Silvana Blasbalg 46 Maser 50 Wayne Gonzales 15 Brent Bond 47 Nico Mazza 46 Ellen Heck 4 Jan-Henri Booyens 47 Adriana Moracci 46 Arturo Herrera 16 Jonathan Borofsky 47 Toni Mosley 46 Charline von Heyl 17 Richard Bosman 47 Wangechi Mutu 50 Susan Howe 18 Kelie Bowman 47 Santiago Ocampo 46 Xylor Jane 18 Julie Buffalohead 47 Jody Paulsen 50 Jennie C. Jones 19 Sophie Calle 47 Elizabeth Peyton 50 Judy Ledgerwood 19 Alicia Candiani 46, 47, 48 Jennifer Pickering 46 José Antonio Marcela Casals 46 Jack Pierson 50 Suárez Londoño 6 Enrique Chagoya 48 Endi Poskovic 50 Allan McCollum 20 Hera Chan 46 Barbara Putnam 46 John McLean 21 Gordon Close 48 Haleh Redjaian 51 Julie Mehretu 22 Paola Cohen 46 Ron Rumford 51 Carrie Moyer 22 Cristina Duro 46 Carlos Scannapieco 46 Kouseki Ono 24 Jonathan Eckel 48 Jenny Schmid 51 Goedele Peeters 24 Ida Ekblad 48 Richard Serra 51 Clark Richert 25 Elmgreen & Dragset 48 Viviana Sierra 46 R. H. Quaytman 18 Amze Emmons 48 Federico Signorelli 46 Ed Ruscha 25 Andrea Evans 48 Cristina Solía 46 Alison Saar 26 Steven Ford 48 Laura Tecce 46 Analia Saban 27 Donald Forsythe 48 Wayne Thiebaud 51 David Salle 28 Liam Gillick 49 Frank X Tolbert 2 51 James Siena 29 María Guerreiro 46 Richard Tuttle 51 Rob Swainston 30 Peter Halley 49 Norma Villareal 46 Luc Tuymans 30 Christopher Hartshorne 49 Joan Wadleigh Curran 51 Christopher Wool 31 Anne Heyvaert 46 Max Wolpe 51 John Hitchcock 46 Sidney Hurwitz 49 Anton Kannemeyer 49 Notes on the Editions: All prices are subject to change.