Art in Print covers from Volume 1 and 2.
Jasper Johns, detail from Regrets (2014).
Vincent van Gogh, detail from La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930) (1889).
Barthélemy Roger, after Pierre-Paul Prud’hon, detail from L’Amour séduit l’Innocence (Innocence Seduced by Love) (Salon of 1812).
“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.
Though ubiquitous in today’s world, screenprint has never been the subject of serious historical study. Stephen Goddard reviews Guido Lengwiler’s detailed account of the medium in the first half of the 20th century.
June Wayne is famous as the founder of Tamarind Lithography Studios, but her own art is not well-known.
This review appears in the September-October issue of Art in Print (Vol.4, No.3).
Guest juror and curator/consultant Nigel Frank celebrates Brian Cohen’s portrait of Walter White, Breaking Bad’s meth-dealing homebody.