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New York Public Library, New York
The New York Public Library’s current exhibition, “Daring Methods: The Prints of Mary Cassatt,” explodes Cassatt’s interest in experimentation and the profound technical expertise she brought to printmaking.
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David Krut Projects, New York, NY
In her debut solo show at David Krut Projects, British artist Kate McCrickard showed recent paintings and prints incorporating images of young children. While not denying its emotional appeal, McCrickard sees her subject matter pragmatically: “Children fit nicely into the formats I like,” she says. “It’s about composition. A tall gangly adult wouldn’t do it.” Read more.
Estorick Collection of Modern Italian Art, London
This review of “Giorgio Morandi: Lines of Poetry” at the Estorick Collection of Modern Italian Art in London appears in the May-June issue of Art in Print (Vol.3, No.1). To download and access all articles, reviews and news please log in if you are a member, or subscribe. Subscriptions start at just $38. Art in Print is a not-for-profit 501(c)(3) corporation and relies on your support.
School of Art Gallery, University of Manitoba, Winnipeg
This review of “Bonnie Marin: What are you scared of?” at the School of Art Gallery, University of Manitoba in Winnipeg appears in the May-June issue of Art in Print (Vol.3, No.1). To download and access all articles, reviews and news please log in if you are a member, or subscribe. Subscriptions start at just $38. Art in Print is a not-for-profit 501(c)(3) corporation and relies on your support.
Giorgio Morandi is a printmaker’s printmaker—an artist who distilled the world around him into intense and precise documents on the edge of abstraction. Artist Paul Coldwell discusses Morandi’s etchings on view at the Estorick Collection in London.
Whitney Museum of American Art, New York, NY
Press materials explain that Wade Guyton’s midcareer survey exhibition, “OS,” is an acronym for “operating system,” which we’re to understand as a nod to contemporary technology and to Guyton’s manipulation of it. However the “OS” could equally well stand for “occupying space,” an implication that grounds Guyton’s objects in the tangible environment at the Whitney Museum.
This review of “Louise Bourgeois: Between the Lines” at the ETH Prints and Drawings Collection in Zurich appears in the March-April issue of Art in Print (Vol. 2, No. 6). To download and access all articles, reviews and news please login if you are a member or subscribe. Subscriptions start at just $38. Art in Print is a not-for-profit 501(c)(3) corporation and relies on your support.
Royal Academy of Arts, London
The Artists’ Laboratory is an ongoing series of events at the Royal Academy of Arts, whose goal is to offer Academicians a chance to open up their practice, take risks and explore fresh ideas, and to show the public less familiar aspects of their work. Stephen Chambers, a painter and experienced printmaker, made a singular work specifically for the space.
Hammer Museum, Los Angeles, CA
Displacement, memory and a keen yearning for order are the key themes running through the retrospective exhibition, “Zarina: Paper Like Skin.” The 50 years of work on view offers compelling commentary on a life lived in exile and catalogs a remarkable breadth of technique and a highly developed abstract language. Read more.
Senior & Shopmaker Gallery, New York, NY
There are prints of Bruce Conner’s that become gently graphed onto one’s visual cortex if given enough viewing time. The effect is fleeting, but unmistakable, and it’s what gives this exhibition its title, “Afterimage.”
The Center for Book and Paper Arts, Chicago
“Material Assumptions” is a provocation to reconsider paper—specifically handmade paper, and its potential to support, hold and challenge form. The exhibition was developed through an independent study graduate course at Chicago’s Columbia College led by Jessica Cochran, who with co-curators Elizabeth Isakson-Dado, Hannah King, and C.J. Mace, invited more than a dozen artists to imagine new artworks to be made from abaca and cotton paper by graduate students at Columbia.
In a burst of experimental creativity in the late 1950s, the West Baffin Eskimo Co-Operative in Cape Dorset grew from a single room craft shop to an important print studio. Its impact in terms of cultural exchange form the focus of the Canadian Museum of Civilization’s traveling exhibition, “Inuit Prints, Japanese Inspiration: Early Printmaking in the Canadian Arctic.”
Fin de siècle France was one of those moments when art’s status as a commodity was inescapable, for better and worse. The ‘better’ was on view in the Minneapolis Institute of Art’s exhibition of prints from L’Estampe Originale, a Parisian publishing efforts aimed at middle-class collectors who through subscription would receive what amounted to mini-surveys of contemporary art in the form of lithographs, etchings and woodcuts.
Carolina Nitsch, New York
Martin Kippenberger was the sort who might crack a joke during a funeral procession, and it would probably be a self-abasing knuckle-biter. He had a coy sense for the tragicomic, a dipsomaniac with a diva’s fondness for the spotlight. His late work, Raft of Medusa (1996), recently on view at Carolina Nitsch accompanied by a pair of drawings on hotel stationary and a few collages, captures the anguish and urgency of a vivacious personality confronting a grave reality. One year after Kippenberger portrayed himself in the guise of Géricault’s dying men, the great German artist passed away from liver failure.
Cambridge, United Kingdom
By Sarah Grant
Though established in 1936, and therefore comparatively young by the standards of other great British and European print rooms, the Charrington exudes the atmosphere of quiet study necessary for any thorough perusal of works in this intimate medium. Here the Fitzwilliam’s print curators mounted an ambitious programme of displays, including the current show of ‘highlights’, a small selection of works from the Fitzwilliam’s collections of around 100,000–125,000 prints.
Boston Public Library
“ReThink INK” celebrates the work of Mixit Print Studio and the artists who have worked there over the 25 years since its founding in the former Mixit soap factory in Somerville, Massachusetts. The exhibition also demonstrates the dedication of the Boston Public Library to the work of area printmakers, which have been collected in earnest there since the 1940s.
British Museum, London
This exhibition and catalogue of Picasso’s greatest etching series shows the British Museum at its best: the prints are clearly presented, the scholarship is precise, the catalogue text insightful, and the deft addition of other works from the museum’s collection to animates further readings of the prints. Read more.
Leo Koenig Inc., New York
In the recent prints of Nicole Eisenman desolation is a destination and it’s teeming with the faceless, the nameless, the wasted, washed out, worn down, and worried.
Arthur M. Sackler Museum (Boston) & Mary and Leigh Block Museum of Art (Chicago)
“Prints and the Pursuit of Knowledge in Early Modern Europe” sets out to develop the role of the artist as an integral contributor to visual culture around and during the 16th century. The exhibition provides a convincing argument with a significant collection of etchings, engravings and woodcuts illuminating the artist’s role in the production and introduction of observation, visualization and the importance of collaboration in the execution of new technologies.