Art in Print covers from Volume 1 and 2.
Jasper Johns, detail from Regrets (2014).
Barthélemy Roger, after Pierre-Paul Prud’hon, detail from L’Amour séduit l’Innocence (Innocence Seduced by Love) (Salon of 1812).
Edward Bawden, detail from Sunday Evening (1949).
Georg Baselitz began collecting chiaroscuro woodcuts in 1965 and soon after began adapting the technique to his own work. Two recent exhibitions catalog this relationship.
Jim Dine’s new, monumental portfolio, A History of Communism, is built on a foundation of East German art school litho stones, and is, in the artist’s words, “the culmination of sixty years of my love affair with intaglio.”
Best known for his intricate collages, Arturo Herrera has scoured Berlin flea markets for year. In his Books project, he has altered all the surfaces of found books with screenprinted patterns, remaking them as visual (and intermittently legible) works of art.
“Person holding poster” has become an online paradigm and cliché—a way to demonstrate genuine physical presence, and by extension, to convey some property of authenticity. Jason Urban considers what this says about what we seek in printed images.