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Ellen Lanyon: The Objects of Her Obsession

Ellen Lanyon, Curiosities, Toad (2014), screenprint, 47 x 46 cm. Edition of 30. Printed by Kip Gresham, The Print Studio, Cambridge, UK. Co-published by the artist and The Print Studio. ©Estate of Ellen Lanyon. Courtesy of Richard Gray Gallery, Chicago and New York.

“It all began with a small majolica humidor in the form of a toad in a red westcott [sic], smoking a pipe.” Thus Ellen Lanyon (1926–2013) opened her autobiography with a Victorian earthenware vessel that rested on the mantel of her childhood home in Englewood, IL Read More

The Lithographs of Theodore Roszak

Theodore Roszak, Woman (artist’s grandmother) in Veiled Hat with Cactus Plant (1927), lithograph in black on cream wove paper, image 16 1/2 x 12 1/2 inches. Courtesy the Estate of Theodore Roszak/Licensed by VAGA, New York.

Theodore Roszak (1907–1981) has long been recognized for the expressive welded metal sculptures that he began to make in the mid-1940s, and his drawings, paintings and Constructivist objects of the 1930s have also received curatorial attention. Read More

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

Fig. 1. Edgar Degas, Mary Cassatt at the Louvre: The Etruscan Gallery; ninth state (1879-80), softground etching, drypoint, aquatint and etching, 26.7 x 23.2 cm. Courtesy National Gallery of Art, Washington.

Writing on the first Impressionist exhibition in 1874, the critic Jules Castagnary observed about the painters’ preference for “the unfinished” (Le non fini): “One cannot say that the Impressionists invented it. They vaunt it, they exalt it . . . they put it on a pedestal and they adore it.” Read More

The Ocular Vision and Aesthetic Visions of Peter Milton

Peter Milton, Interiors VII: The Train from Munich (1991), resist-ground etching and engraving, image 51 x 91 cm. Edition of 175. Printed by Robert Townsend, Georgetown, MA. Image courtesy the artist.

Vision is an inherent component of visual art, and a tool for artists as much as pigment, engraving implements or canvas. It serves to recognize a subject, create work with detail or color, refine work in progress and judge a finished product Read More

Preserving the Disposable: Conservation of a Paper Dress

Paper dress from the Atopos Collection Athens (registration number: 2006.02.235). Left: before conservation. Right: after conservation.

The arts organization Atopos Contemporary Visual Culture in Athens, Greece, has collected more than 500 pieces of paper clothing, ranging from medieval Japanese examples to recent paper designs by Issye Miyake and Hugo Boss 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

Art in Art in Print No. 4: Nancy Friese: Still Grove (2016)

Nancy Friese, Still Grove (2016), soft ground etching with aquatint, drypoint and roulette, image 24 x 48 inches, sheet 30 x 54 inches. Edition of 20. Printed and published by the artist, Providence, RI. Courtesy of the artist and Cade Tompkins Projects. Assistance by Peter Pettengill, Wingate Studio, Hinsdale, NH.

Art in Art in Print is an irregular, ongoing series of projects in which artists create art within the journal—not a piece of art that exists somewhere else and is reproduced in the journal, but a project designed specifically for the material, technological and social context of Art in Print. We are pleased to present Nancy Friese's Still Grove as the fourth of these projects. Read More

From New Woodcut to the No Name Group: Resistance, Medium and Message in 20th-Century China

Jiang Feng, Kill the Resisters (1931), woodcut, 14 x 17.7 cm. Reproduced from Selection of 50 Years of Chinese New Printmaking, Vol. 1, 1931–1949 (Shanghai: Shanghai People’s Fine Art Publishing House, 1981).

Prints in general, and woodcuts in particular, are frequently touted as a political art form par excellence—expressive, inexpensive, easily distributed and visually accessible Read More

A Home in the Universe: Kate McQuillen on Night House

Kate McQuillen, Night House (2015), printed styrene affixed to the facade of a home.

The epistemology of the home is complex. Home is a location that, to quote feminist critic Donna Haraway, makes “claims on people’s lives.” It is a physical place in the world as much as a place in discourse. A home conveys return Read More

Grayson Perry Maps Essex for Us All

A House for Essex (2012–2015), in Wrabness, Essex, United Kingdom. Photo: ©Jack Hobhouse.

In May 2015 Grayson Perry unveiled his most ambitious and personal work to date, A House for Essex (2012–15), in the English village of Wrabness on the Stour Estuary in Essex, about 70 miles northeast of London Read More