Sarah Andress is the former Managing Editor of Art on Paper magazine and has contributed articles to FlashArt, TimeOut London and artlog.

Nicola López: Big Eye

Nicola López, Big Eye (2013).

Nicola López’s prints, drawings and installations lay bare the bones and arteries of industrial places and imagined cities. Integrating infrastructure and embellishment, they are both precise and fantastic, appealing to the imagination as well as the intellect. In her recent woodcut with Tandem Press, a large, white, framed rectangle stands at an angle to the picture plane—a billboard perhaps, or projection screen. Read More

Alyson Shotz: New Editions

Alyson Shotz, montage of Sequent series (2013).

In her widely exhibited sculptural and photographic work, Alyson Shotz employs mathematics as source material and metaphor. She is particularly fascinated with topology—the study of shape and the properties that remain constant while enduring deformation—a concern that can be seen as particularly relevant to print processes (drawing to template to ink layer to paper) as it is to topology. Read More

1913 Armory Show Revisited: the Artists and their Prints

Arthur B. Davies, Figure in Glass (1916-17), drypoint on zinc. Courtesy Harris Schrank, New York.

In 1913 more than 70,000 visitors—some curious, some supportive, some overtly hostile—swarmed the “International Exhibition of Modern Art” at New York’s 69th Regiment Armory in masses that one artist compared to “a subway crush in the evening rush hour.” Much as we are used to art that courts controversy, it is hard to imagine the deep offence taken by many visitors, artists and newspaper writers at what were essentially aesthetic differences. Read More

Carlos Garaicoa: Prints on Self-Healing Mats

Carlos Garaicoa, Acumulación / Accumulation (2012).

In nearby boroughs, some houses lay actually heaped upon one another, destroyed and fused together by the strength of Hurricane Sandy, so Carlos Garaicoa’s two images on view at New York’s IFPDA Print Fair in early November seemed not only familiar but alarmingly of the moment. Read More

Springing into the Void: Jacob Samuel and the Peripatetic Printshop

Fig. 1. Jacob Samuel’s portable aquatint box.

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

Annesas Appel’s Orderly Obsessions

Fig. 1. Annesas Appel, 26_ a b d eee gg iiii l o m nn rr t u-2 from Colours_a mathematical tale (2011).

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

Josiah McElheny from Near to Eternity

Josiah McElheny, Eternity through the stars (2011). Photo: Will Lytch.

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