Catherine Bindman is an editor and art critic who has written extensively on both old master and contemporary prints. She was Deputy Editor at Art on Paper magazine and lives in New York.

Kitaj in our Time: Prints and Obsessions

R.B. Kitaj, detail of Partisan Review from In Our Time: Covers for a Small Library After the Life for the Most Part (1969), screenprint on paper, 30 1/4 x 22 7/16 inches. Printed by Kelpra Studio, London, UK. Published by Marlborough AG, Schellenberg, FL. The Jewish Museum, NY, Gift of the R.B. Kitaj Estate. ©R.B. Kitaj Estate.

The work of R.B. Kitaj (1932–2007) has received an exceptional amount of attention this past year, much of it in England and much of it favorable—a development that would surely have astonished the artist. Born to a Jewish family in Cleveland, Ohio, Kitaj spent much of his adult life in the U.K. In 1994, however, Kitaj’s long-tetchy relationship with British critics was brought to a rancorous close when his retrospective at the Tate was eviscerated in the British newspapers. This event, followed by the unexpected death of his wife a few weeks later, caused a terminally wounded and, by many accounts, utterly unhinged Kitaj to flee to Los Angeles, where he committed suicide in 2007. Read More

Kate McCrickard: Kid

Kate McCrickard, Spaghetti (ghost) (2013), oil monotype, 23.5 x 27.5 inches. Unique image. Printed and published by David Krut Projects, Johannesburg / New York.

In her debut solo show at David Krut Projects, British artist Kate McCrickard showed recent paintings and prints incorporating images of young children. This is dangerous territory for a female artist, as McCrickard is well aware, but she has nonetheless surrendered to an infinitely rich source of material: “Before I had children I didn’t have a subject—I never dreamt of this as being a subject. But I wanted to get back to figuration and intaglio is made for the figure.” Read More

Jürgen Partenheimer’s African Books

When the German artist Jürgen Partenheimer first arrived in South Africa in September 2011 for his two-month residency at the studios of the NIROX Foundation outside Johannesburg, he immediately began to reflect on the revelations offered by this new experience in a diary consisting of drawings as well as verses and notes in both German and English. “Whole days in the clouds,/ the landscape, the books,” he wrote in the diary, which has just been published by Snoeck Verlag of Cologne. Read More

Odilon Redon: Prince of Dreams (1840–1916)

Fig. 2. Odilon Redon, L’Oeil, comme un ballon bizarre se dirige vers l’infini (The Eye Like a Strange Balloon Mounts Toward Infinity) (1882), lithograph, 25.9 x 19.6 cm. Photo: ©Bibliothèque nationale de France.

"Odilon Redon: Prince du Rêve," the massive show at the Grand Palais, is at its heart a print exhibition. Despite the presence of some 170 paintings, pastels, and charcoal drawings, it is the one hundred or so prints here (most on loan from the Bibliothèque nationale) that dominate the proceedings. Read More