Art in Print makes about one-third of its content available for free as a public service. Subscribers can access all articles, reviews and news through the member site and journal. As a not-for-profit 501(c)(3) organization we depend on your support. Please subscribe or log in.

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

The View from District Six

Lionel Davis, Mosque District Six (ca. 1980s), linocut, 65 x 46.5cm. Image courtesy the Weltkulturen Museum, Frankfurt.

South Africa’s strong history of printmaking has involved many centers of print production. Under Apartheid, organizations such as the Evangelical Lutheran Center’s Rorke’s Drift (1962–1982) in present day KwaZulu-Natal and the Community Arts Project (1975–2008) in Cape Town provided vital opportunities for artists of color who were often denied access to educational and professional situations Read More

A French Raphael: Alexandre Tardieu’s engraving after Raphael’s St. Michael Vanquishing Satan (1806)

Fig. 1. Pierre Alexandre Tardieu, after Raphael, Saint Michael Vanquishing Satan/ St. Michel terrassant Satan (1806), engraving and etching, 45.2 x 29.7 cm, published in Musée Français, vol.III. ©Trustees of the British Museum.

Pierre Alexandre Tardieu (1756–1844), one of the most celebrated French engravers of the early 19th century, presented his engraving after Raphael’s St. Michael Vanquishing Satan (1518) at the Salon of 1806, where it was highly praised (Fig. 1). The following year it was published in the third volume of Le Musée Français, Read More

Voices in Print: Grenfell Press

David Storey, Untitled (1999), linoleum cuts, 31 7/8 x 16/ 13 inches and for 31 7/8 x 13 7/16/ 16 inches. Edition of 15. Printed and published by Grenfell Press, New York.

David Storey I thought a good way to start our conversation this morning about Grenfell Press would be to find out a little bit about just how everything started—how you got going as Grenfell Press Read More

An Interview with Mungo Thomson

Mungo Thomson, Human Behavior (2015), screenprint, image 42 1/8 x 37 1/8 inches, sheet 54 x 43 1/4 inches. Edition of 10. Printed and published by Highpoint Editions, Minneapolis, MN. Photo: David Kern.

Los Angeles-based artist Mungo Thomson has recently completed an ambitious new project at Highpoint Editions in Minneapolis. Thomson’s work is deeply rooted in the legacy of conceptual art Read More

The Birds

Kiki Smith, In a Bower (2015), color etching and aquatint with hand coloring, 33 3/4 x 44 1/2 inches. Edition of 18. Printed and published by Harlan & Weaver, New York.

The prints of John James Audubon are a familiar presence at fairs that cater to historic works on paper, but Audubon’s ghost seemed to walk the halls of the New York print fairs in November with unusual vigor Read More

An Undiscovered State of Albrecht Dürer’s Large Cannon

Fig 1. Albrecht Dürer, detail from The Large Cannon (1518), state i/iii, iron etching, 22 x 32.2 cm. National Gallery of Art, Washington, D.C.

Albrecht Dürer’s graphic oeuvre includes some 100 copperplates, 360 woodcuts, 3 drypoints and 6 iron etchings. The last of the latter is The Large Cannon, which is famous not only for Dürer’s use of the new technique of etching Read More