Detail from packaging for Harry Gordon’s Poster Dresses (1968). Photo: Panos Davios. ©Atopos cvc collection, Athens.
Barthélemy Roger, after Pierre-Paul Prud’hon, detail from L’Amour séduit l’Innocence (Innocence Seduced by Love) (Salon of 1812).
Vincent van Gogh, detail from La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930) (1889).
Jasper Johns, detail from Regrets (2014).
Though ubiquitous in today’s world, screenprint has never been the subject of serious historical study. Stephen Goddard reviews Guido Lengwiler’s detailed account of the medium in the first half of the 20th century.
Georg Baselitz began collecting chiaroscuro woodcuts in 1965 and soon after began adapting the technique to his own work. Two recent exhibitions catalog this relationship.
Best known for his intricate collages, Arturo Herrera has scoured Berlin flea markets for year. In his Books project, he has altered all the surfaces of found books with screenprinted patterns, remaking them as visual (and intermittently legible) works of art.
Jim Dine’s new, monumental portfolio, A History of Communism, is built on a foundation of East German art school litho stones, and is, in the artist’s words, “the culmination of sixty years of my love affair with intaglio.”