At the center of the Museum of Modern Art’s “Print/Out” exhibition, in the midst of the bright screenprints and the rough woodcuts, the loud wallpaper and the quiet wallbound etchings, sits a curious construction on a low plinth: two wooden folding chairs face each other as if in conversation, suspending between them an apparatus composed of two black accordion bellows, one sticking up and one dropping down, some pretty brass hinges, and a nifty sliding wooden drawer (Fig. 1). It looks like a Surrealist sculpture—an onanistic camera, perhaps. In fact, it is the “portable aquatint box” of the printer and publisher Jacob Samuel, the nucleus of a mobile printshop that he has lugged to artists’ studios around the world. Read More
Dutch artist Annesas Appel is in the process of re-envisioning the covers of the 429 books that comprise her personal library. In one project she is organizing them according to color and in the other by the letters in their titles. Read More The view from the cheap seats never looked so good. Or so cosmic for that matter. In an interview for Art21, Josiah McElheny described his first encounter with the Metropolitan Opera’s chandeliers—the enormous glass objects that inspired him to make a film, a massive glass sculpture, and now six photogravures. Invited to the opera by a friend who purchased the most inexpensive seats near the top of the theatre, McElheny spent the time looking at the chandeliers Read More
Sarah Andress is the former Managing Editor of Art on Paper magazine and has contributed articles to FlashArt, TimeOut London and artlog.