No. 25: Over the hill by Ralph Overill

Ralph Overill, Over the hill (2017).

I have a dim—possibly apocryphal—recollection that, at some point in the mid-1970s, I read an article in the International Herald Tribune about the history of updating the 20th-century Arabic lexicon to accommodate new technological and cultural innovations …Read More

No. 24: Vital Signs by Stacey Steers

Stacey Steers, Vital Signs (2017).

Politics and the world being as they are, I initially responded to this print among the host of terrific works submitted for the Prix de Print because it seemed to offer an escape into a realm of dreams and fantasy. A gorgeous image in apparently constant, even bubbling motion …Read More

No. 23: Recent Antiquities by Cooper Holoweski

Cooper Holoweski, Fragments of a Broken CD-R—After Piranesi’s Fragments of the Marble Plan of Ancient Rome from Recent Antiquities (2016).

In the series Recent Antiquities (2016), Cooper Holoweski follows the tradition of artists who have taken earlier artworks as starting points for new ones. One immediately thinks of Roy Lichtenstein’s Cathedral lithographs made in 1969 …Read More

No. 21: A Cloud in Trousers by Thorsten Dennerline

Thorsten Dennerline, A Cloud in Trousers (2016).

Lewis Carroll’s revolutionary children’s book Alice in Wonderland first appeared in 1865. The author had chosen as his illustrator the political cartoonist John Tenniel, and such was Tenniel’s impact on the story that his interpretations quickly became regarded as indispensable …Read More

No. 20: Time Machine for Abandoned Futures by Colin Lyons

Colin Lyons, Time Machine for Abandoned Futures (2015). View of the installation on Midnight Dome in the Klondike. Time Machine for Abandoned Futures was produced with the support of Klondike Institute of Art & Culture and Canada Council for the Arts. All photos by the artist.

Erected on a bluff overlooking Bonanza Creek in the Canadian Yukon, Colin Lyons’ Time Machine for Abandoned Futures uses a vast battery, made of etching plates and acid, to power the electrolytic cleaning of broken tools and machine parts left behind by the Klondike Gold Rush …Read More

No. 17: Metamorphosis music notation by Annesas Appel

Annesas Appel, Metamorphosis music notation (2015), detail of hand-perforated color piezoprint, each stroke 225 x 7 cm. Photo: G.J. Van Rooij. Image courtesy Johan Deumens Gallery, Amsterdam.

In this iteration of the Prix de Print I was presented with a very strong group of works to consider. As I am an active participant in the world of print, it was inevitable that I would recognize many of the submissions and thus find myself struggling to remain impartial …Read More