Cécile Reims, detail of plate from Les Métamorphoses (1957–8).

Engraving for Herself and Others: Cécile Reims

Carey Maxon, detail from dreams for the recruit 103 (2016).

Prix de Print No. 18: dreams for the recruit 103 by Carey Maxon

Edgar Degas, detail from Mary Cassatt at the Louvre: The Etruscan Gallery; third state (1879-80).

Degas’ Etchings of Mary Cassatt at the Louvre and the Aesthetics of Process

Peter Milton, detail from Interiors VII: The Train from Munich (1991).

The Ocular Vision and Aesthetic Visions of Peter Milton

  • Paper, Conservation and Context

    Historical Perspectives in the Conservation of Works of Art on Paper is the most recent publication in the Getty Conservation Institute’s “Readings in Conservation” series. Like its six predecessors, the text is comprised of a collection of essays and excerpts, all organized into themes that conservators will find familiar …Read more

  • New York Auction Round-Up: Spring 2016

    Jasper Johns, Flags I (1973), screenprint in colors, 27 3/8 x 35 1/4 inches. Edition of 65, plus 7 artist’s proofs. Co-published by the artist and Simca Print Artists, Inc., New York. Courtesy Christie’s Images Ltd. 2016.

    Sotheby’s kicked off the spring print sales with a three-part auction on 20–21 April. The evening sale on the 20th attracted a large crowd with a number of highly sought-after lots and achieved a strong sell-through rate of 90.6% …Read more

  • Corey Hagelberg’s Calumet Area of Concern

    Corey Hagelberg, Dead Fish Anti-Frieze (2011), woodcut, 9 x 72 inches per panel. Image courtesy the artist.

    Corey Hagelberg, Dead Fish Anti-Frieze (2011), woodcut, 9 x 72 inches per panel. Image courtesy the artist.

    In this spirited exhibition at Beauty and Brawn Gallery in Chicago, Corey Hagelberg uses both prints and sculpture to call attention to the predicament of the Indiana Dunes where the Grand Calumet River meets Lake Michigan …Read more

  • The Space Between 0 and 1: Printmaking and Digital Technology in Portland

    Installation view of Sang-Mi Yoo, Anomalous Traces (2013–16) in “Variable States: Prints Now,” Upfor Gallery, 2016. From left to right: hand-cut pigment inkjet print, 36 x 44 x 72 inches; lasercut wool felt, 63 x 48 x 2 inches; pigment inkjet print, tiered, 96 x 44 x 78 inches. Photo: Mario Gallucci. Image courtesy Upfor Gallery, Portland, OR.

    Installation view of Sang-Mi Yoo, Anomalous Traces (2013–16) in “Variable States: Prints Now,” Upfor Gallery, 2016. From left to right: hand-cut pigment inkjet print, 36 x 44 x 72 inches; lasercut wool felt, 63 x 48 x 2 inches; pigment inkjet print, tiered, 96 x 44 x 78 inches. Photo: Mario Gallucci. Image courtesy Upfor Gallery, Portland, OR.

    Upfor Gallery, a young new-media gallery in Portland, Oregon, recently organized a small exhibition, “Variable States: Prints Now,” investigating relationships between digital technologies and printmaking. Curator Heather Lee Birdsong selected eight artists from across the United States …Read more