Wangechi Mutu, detail from Homeward Bound (2009).

International Geographic: Wangechi Mutu on Paper, Print and Printmaking

Leopoldo Méndez, detail from Posada in His Workshop (Homage to Posada) (1953).

Collective Brilliance

Art in Print covers from Volume 1 and 2.

Support Art in Print

Leonardo Parasole (after Antonio Tempesta), detail from The Visitation from the interlinear version of the Evangelium (1591).

Gospel Lessons: Arabic Printing at the Tipografia Medicea Orientale

Gauguin at MoMA

The Museum of Modern Art’s “Gauguin: Metamorphoses” was the first large-scale exhibition to foreground the celebrated painter’s extraordinary graphic achievements and frame them within the context not only of his paintings but also of his woodcarvings, ceramics and writings.

This review appears in the November-December issue of Art in Print (Vol.4, No.4).

Defenders of the Floating World

The playful Ukiyo-e Heroes project, the joint creation of American illustrator Jed Henry and Tokyo-based mokuhanga master printer David Bull, places video game characters in the stylistic world of Edo-period Japan through hand-cut and -printed woodblocks, published like their forbears in inexpensive, unlimited editions, and distributed (unlike their forbears) with the help of the Internet.

Lingen, Melby, Miller

At Planthouse, which took root a year ago in a vacant flower shop in New York City, a recent exhibition celebrated the contribution of three New York-based master printers: Ruth Lingen, Jennifer Melby and Leslie Miller.

This review appears in the November-December issue of Art in Print (Vol.4, No.4).

Everyday and Popular Imagery in the Prints of Lorena Villablanca

The Chilean artist Lorena Villablanca exploits woodcut’s distinct formal properties and its expressive charge as she merges regional Lira Popular and the European art historical canon in wildly subjective combinations.

This article appears in the November-December issue of Art in Print (Vol.4, No.4).