Gesa Puell, Punkt zu Linie (Point to Line) (2013).
Richard Hamilton, detail of He foresaw his pale body (1990–91).
Anders Bergstrom, detail of Grease Bag (2013).
Paulus III Behaim von Schwarzbach (1592–1637), detail of Regeln, so im Kupferdrucken, so woln in abtruckung der Holzstöck fleisig in obacht zunemen (1628).
R.B. Kitaj’s masterpiece—In Our Time: Covers for a Small Library After Life for the Most Part—is a 50-part screenprint portrait of the artist as quintessential (Jewish) man of his times. Catherine Bindman looks at the trouble it brought him. Read more.
For years, the ever eloquent and quixotic sculptor Martin Puryear has made forays into printmaking. These forays, always brief, extend particular motifs from Puryear’s three-dimensional repertoire. They also illuminate with a distinctive clarity that opposition between the sculpture’s undeniable presence and a print’s inherent separation of image from material. Art in Print Editor-in-Chief Susan Tallman reviews five of Puryear’s recent etchings. Read more.
Color was an important, even essential, aspect of many early European prints, for reasons of both pleasure and iconography. Thomas Primeau looks at the use of stencils—at once bold and imprecise—and the ongoing attempt to mechanize color. Read more.
Sarah Bodman’s survey of recent artists books provides a tour of darkness where we stumble into black as cosmos, black as the deep, black as weapon, black as armor, black as the embodiment of text, black as the veil of ignorance, black as the framing of light.
This article appears in the September-October 2013 issue of Art in Print (Vol.3, No.3).