Julia Vodrey Hendrickson is a freelance curator, editor and writer. She completed an MA in the History of Art from the Courtauld Institute of Art (University of London, 2012). She has written extensively on aspects of printmaking and print culture, and most recently she served as the publications director and registrar at the Chicago gallery Corbett vs. Dempsey. Currently she lives in Austin, TX. [September 2014]
At the turn of the 20th century, a curious symbiosis developed between decorative arts—especially wallpaper—and painting, even as modern painters were increasingly asserting their independence from tradition. Read More
Read MoreIt is often the simplest line that leaves the most lasting impression. Josiah McElheny’s A Painter’s Life letterpress prints, along with his Imaginary Paintings (colored glass sheets in antique frames) provided the capstone to a remarkable year of exhibitions at the Donald Young Gallery. Young asked a wide-ranging group of contemporary artists to create work that responded to the writings of the Swiss modernist Robert Walser (1878-1956).
Semi-figurative forms, multicolored stripes, intersecting diagonals of color and line: in Mitgusto pairs of images are placed in opposition, introducing conflict and the rising/falling action of a dramatic structure. Utilizing three different print methods—red lithographic line, yellow and mauve woodblock relief, blue and black screenprint—Mitgusto hovers on the cusp of representation and abstraction. Read More
Read MoreRecently published in narrative form as a short book, Three Moderately Cautionary Tales is a series of 50 small etchings presented in three short cycles. Created over the last few years by painter-printmaker Alexander Massouras, each plate individually is a charming, simple study of figure, object, or place. Like an architect composing a blueprint, Massouras exerts restrained precision. The ruled lines and flooded patterns of David Hockney’s late 1960s etchings are a clear influence, but not the only reference to history.
Mit Senoj’s hand-colored etchings are a new foray into printmaking for this artist, who primarily works in watercolor, pen, and ink. His small paintings on crumpled, slick paper are distressed, as if they had survived some apocalyptic event. In contrast, Senoj’s clean, contained prints seem like original documents, the precursor to the paintings, the things before the apocalypse. Read More