An exhaustive and ambitious showcase for MoMA’s extensive collection of German Expressionist prints, containing some 250 works by more than fifty artists: iconic woodcuts, intaglio prints, drawings, posters, paintings, illustrated books and magazines, from die Brücke through Neue Sachlichkeit.
Concurrent exhibitions at the Art Institute of Chicago examine the very different roles that printed images can adopt in wartime: one is a historical survey of prints depicting the experience of war; the other is the first major American exhibition of posters created by the Soviet TASS agency—one for each day of the Soviet engagement against Germany in World War II.
“Printmaking,” Joan Snyder says, “is magical, though a lot of work… You don’t know what you’re going to get.” This book and its attendent exhibition are the first to survey the breadth of Snyder’s printmaking, and they are critical for any understanding of who Snyder is as an artist, revealing a more complex, subtle, and layered body of work than the paintings alone suggest.
The nine floral etchings of Escapades are all personal inventions—none was drawn from life. Smith neither mocks the floral cliché nor embraces it. These nine blooms are in various stages of maturity—some flaunt a spectacular mane of petals, some are gone to seed.
