Randy Bolton’s contribution to the {Spirit Medium} project, from the self-titled Ghost project publication (Printeresting, 2015): 52-53.

Printeresting’s Ghost: The Bloggers’ Afterlives

Randy Bolton, {Spirit Medium}, spread from the Ghost project publication (2015). Published by Printeresting.

In an email sent to subscribers last April, the founders of Printeresting—Amze Emmons, R.L. Tillman and Jason Urban—announced a forthcoming project: a short-term “multi-platform, crowd-sourced symposium,” accompanied by the news that their beloved blog-based website of seven years would be closing down. …Read More

Arial view of Segura Arts Studio at the Notre Dame Center for Arts and Culture, South Bend, Indiana.

University-Based Workshops Respond to the Crisis in Higher Education

Tandem Press Director Paula Panczenko (right) in the workshop’s temporary studio with Kyrie Caldwell, a student assistant (left). Photo: Jason Ruhl.

As has been extensively covered in the media, institutions of higher education are facing extreme fiscal challenges in the current economic climate: Governors are slashing funds for public institutions, tuition growth has slowed, and Moody’s issued a negative forecast for the sector again in 2015 …Read More

Mel Bochner, It Doesn't Get Any Better Than This (2014), 25-color silkscreen on Lanaquarelle paper, 22 1/4 x 30 1/4 inches (overall). Edition of 30, published by Two Palms, New York. To be exhibited at the 2014 IFPDA Print Fair. Courtesy Two Palms, New York.

Pack your Bags for New York Print Week

Mel Bochner, It Doesn’t Get Any Better Than This (2014), 25-color silkscreen on Lanaquarelle paper, 22 1/4 x 30 1/4 inches (overall). Edition of 30, published by Two Palms, New York. To be exhibited at the 2014 IFPDA Print Fair. Courtesy Two Palms, New York.

This year’s New York Print Week (November 3-9) promises to be among the best in recent memory. To the relief and delight of contemporary printaholics everywhere, the E/AB Fair is back; meanwhile, the steadfast IFPDA Print Fair offers a rich mix of exhibitors and events. These two will be complemented by two additional print fairs …Read More

“Swoon: Submerged Motherlands” installation view. Brooklyn Museum, 11 April – 24 August 2014.

Swimming in the Sea of Humanity: Swoon’s “Submerged Motherlands”

“Swoon: Submerged Motherlands” installation view. Brooklyn Museum, 11 April – 24 August 2014.

Swoon (Caledonia Curry), a 36-year-old multimedia artist based in Brooklyn, has risen to artworld stardom in the past decade. Like a handful of her peers (e.g. Ryan McGinness and Nicola López), she places printmaking squarely at the center of her practice. Swoon’s primary modes of working are street art, print-based installations and performances/community events; the first two rely heavily on life-scale or larger portraits that are produced with relief printing techniques or stencils. “Submerged Motherlands,” her current installation at the Brooklyn Museum (through 24 August), is the work of an artist entirely fluent in her chosen means of expression. …Read More

Nendo, Lacquered Paper-Objects (2012), 3D-printed paper, urushi lacquer, dimensions variable. Courtesy of Nilufar Gallery Unlimited. Photo: Masayuki Hayashi. On view in “Out of Hand: Materializing the Postdigital” through June 1.

It’s a MAD 3D-Printed World: The Future of Digitally Fabricated Art

Chuck Close, Self-Portrait/Five Part (2009), Jacquard tapestry, 75 x 185 inches (190.5 x 469.9 cm). Edition of 6. Co-published by the artist and Magnolia Editions, Oakland, CA.  Photograph courtesy Magnolia Editions and Pace Gallery. © Chuck Close in association with Magnolia Editions, Oakland, courtesy Pace Gallery. On view in “Out of Hand: Materializing the Postdigital” through June 1.

This seems to be a breakout year for digital fabrication in art: a number of inexpensive 3D printers have hit the retail market; the 3D Printshow—a fair founded in London in 2012 showcasing the commercial and creative applications of this technology—held its first event in New York this past February (with plans for other venues around the world); and “Out of Hand: Materializing the Postdigital”—touted as the “first in-depth exhibition exploring digital fabrication in contemporary art”—is on view at the Museum of Arts and Design (MAD) in New York through June 1. While specialists have followed these technologies for decades, the time has come for the rest of us to take notice. …Read More

Wangechi Mutu, Funkalicious fruit field (2007), ink, paint, mixed media, plastic pearls, and collage on Mylar; 92 x 106 inches (233.7 x 269.24 cm) overall. Collection of Glenn Scott Wright, London. Image courtesy of Victoria Miro Gallery, London. ©Wangechi Mutu.

The Digital Revolution and Creative Miscellany (Ephemera and Knickknacks): Part 2

Wangechi Mutu, Funkalicious fruit field (2007), ink, paint, mixed media, plastic pearls, and collage on Mylar; 92 x 106 inches (233.7 x 269.24 cm) overall. Collection of Glenn Scott Wright, London. Image courtesy of Victoria Miro Gallery, London. ©Wangechi Mutu.

In October, INK examined some of the ways ephemera have permeated the art world, from exhibitions of original ephemera to musings on the demise of the printed newspaper; this month’s post continues the conversation with an investigation of recent and current exhibitions. …Read More

Steve Lambert and others, The New York Times Special Edition [field photo, as distributed] (November 2008), offset lithograph on newsprint. On view at “Burying the Lede” at Momenta Art, Brooklyn, closed October 27. Courtesy Momenta Art, Brooklyn.

The Digital Revolution and Creative Miscellany (Ephemera and Knickknacks): Part 1

Steve Lambert and others, The New York Times Special Edition [field photo, as distributed] (November 2008), offset lithograph on newsprint. On view at “Burying the Lede” at Momenta Art, Brooklyn, closed October 27. Courtesy Momenta Art, Brooklyn.

As the media panics over the future of the printed daily, a panoply of exhibitions this fall offer food for thought on the role of printed ephemera and other incarnations of the modest and commonplace in contemporary art. (There have been too many, in fact, to fit within a single post; the conversation will continue in December’s INK.) This installment looks at four exhibitions that examine the newspaper, belt buckles, and a gamut of things clustering under the “ephemera” umbrella. …Read More

Lot 5 in Paddle8’s inaugural Editions auction, June 19 – July 3, 2013. Courtesy Paddle8, New York.

Gold Rush: Editions Take Center Stage in a New Era of Art E-Commerce

Lot 5 in Paddle8’s inaugural Editions auction, June 19 – July 3, 2013. Courtesy Paddle8, New York.

As has been discussed in countless articles and blogs, the trade in art has been particularly resistant to the e-commerce revolution that has fundamentally altered other markets in cultural goods (film, music, and literature). Though art has been sold via the internet for over a decade, online sales were estimated at only 1.6% of the overall US$56 billion global art market last year. However, analysts and professionals alike see indications that online trade in art is set to rapidly accelerate in the near future. …Read More

Wade Guyton, Untitled (2010), Epson UltraChrome inkjet on linen, 213.4 x 175.3 cm. Signed and dated on verso: WG 11/008. Courtesy of the artist and Petzel, New York, NY.

INK: Reboot

This month, INK shifts from the populist Art21 blog to the specialized Art in Print website (where it complements the journal) and a reassessment is in order. Because AiP’s publication already offers reviews of exhibitions and new publications on prints, as well as critical analysis of artists and movements, the online column will no longer focus exclusively on these topics. Rather, the bi-monthly INK posts will provide broad observations and synthesis of trends and events related to the print world, as well as criticism on specific subjects when appropriate. …Read More