Philippe Apeloig, detail from Le Havre, Patrimoine mondial de l’humanité (2006).

Type and Transcendence: Philippe Apeloig

Detail from service feature with printed sample in Selectasine handbook, 1926. Serico-Eich archives.

The Forgotten History of a Medium

Art in Print covers from Volume 1 and 2.

Support Art in Print

Al Taylor, detail from Untitled (Large Tape) (1988).

The Subtle and Curious Vision of Al Taylor

Screenprint 2014

Screenprint can be found on artist’s prints, gig posters and monumental canvases; on skateboards and circuit boards and dashboards, not to mention all those T-shirts. This fluidity may be the closest thing screenprint has to a distinctive identity, which makes it either the most boring or the most interesting medium on the planet.

This article appears in the July-August issue of Art in Print (Vol.4, No.2).

Jane Kent: Blue Nose and Pink Eye

Jane Kent’s recent screenprints use from layer upon layer of trasnlucent color to build immaterial but curiously convincing structures.

Hank Willis Thomas: Now You See It, Now You Don’t

With brutal found photographs, reproduced on the reflective backing of street signs, Hank Willis Thomas gives form to our convenient forgetting of the past.

Ryan McGinness: Fluorescent Body Parts

Ryan McGinness’ recent screenprints mix anatomic ideograms and jewel-like colors to dazzling effect.

This review appears in the July-August issue of Art in Print (Vol.4, No.2).