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Thomas Schütte, from Gartenzwerge (2016). From left to right: Gartenzwerg (Blau) (2016), Gartenzwerg (Rot) (2016), Gartenzwerg (Violet) (2016). Images courtesy of Carolina Nitsch.
Thomas Schütte’s print series are once removed from the sculptures, models and installation pieces for which he is best known; they are more closely worked and sometimes produced many years later Read More
These ambitious prints—perhaps more accurately called editioned collages—evince Mickalene Thomas’s long concern with both 1970s interiors and the medium of collage. A major figure in conversations about representations of black bodies in art Read More
Mungo Thomson, Pocket Universe #7 (Silver) (2016) and Pocket Universe #10 (Copper) (2016). Photo: David Kern.
Mungo Thomson is a conceptual artist working across media who approaches his projects with a wink and nod. His Pocket Universe works appear simple enough at first glance—coins protruding from large metallic sheets Read More
It’s been a few years since Anton Würth last issued one of his Carnets, now numbering 19. These are slim volumes self-published irregularly, in small editions, since 1993. Each sets out a formal problem Read More
Indigo, Lighthouse, Northern Sea, Pale Spring, Echo, Drifting and Remember (2016)
Left: John Zurier, Summer Book black hardground (2016). Right: Summer Book pink drypoint (2016).
John Zurier is best known for large abstract canvases inspired by, and evocative of, perceptions of nature. In his first prints made at Niels Borch Jensen and Crown Point Press, he produced glowing monochrome etchings Read More
John Armleder, Louise Kohrman, Andrew Spence, Janine Wong, William Wood, (2015–2016)
The human brain is hard wired for pattern—early humans found pictures in the stochastic display of stars; current humans spot trends in the cacophony of cultural production. So it is that during New York Print Week Read More
Camille Henrot is probably best known for her video Grosse Fatigue (Dead Tired, 2013), a mindboggling, 13-minute history of the universe for which she was awarded the prize for best promising young artist at the Venice Biennial Read More
Michael Atiyah, Enrico Bombieri, Stephen Smale, Murray Gell-Mann, David Mumford, Steven Weinberg, Simon Donaldson, Richard Karp, Peter Lax and Freeman Dyson, Concinnitas (2014)
Simon Donaldson, Ampère’s Law from Concinnitas (2014).
For centuries beauty has been ascribed to the mathematical description of reality, from Newton’s law of universal gravitation to Einstein’s theory of relativity. In a 1939 lecture the theoretical physicist Paul Dirac (1902–1982) argued that any fundamental law of physics possesses mathematical beauty Read More
Julie Mehretu’s Mogamma (A Painting in Four Parts) has received a good deal of attention since it appeared at Documenta in 2012. As the press duly noted, Mogamma is the mammoth Egyptian government building—half Chicago Merchandise Mart, half Albert Speer—that dominates Tahrir Square in Cairo Read More
When Tomma Abts made her first prints at Crown Point Press in 2009, she relied on preparatory drawings to guide her compositions while she acquainted herself with intaglio processes. When she returned to Crown Point in 2015, she had a clear plan in mind Read More
The two white footprints, extending almost the full height of the black ground, initially read as impressions of human appendages. But the splayed toes, the disproportionately large forefoot and the odd wobble of the contour soon begin to conjure something less tame Read More
Since 1994 John Baldessari has worked regularly with Mixografía, the Los Angeles workshop known for its cast paper editions. The products of this collaboration have ranged from photo-etched table lamps to a QWERTY alphabet [see Art in Print Jan–Feb 2013] to a self-standing sailboat Read More
Haute couture is not merely about clothes. Its revered labels and lines are in the business of building personalities: the clothes are a medium for communicating the distinction and mystique of the wearer Read More
Allison Bianco, Later that Day at Second Beach (2014)
Allison Bianco, Later that Day at Second Beach (2014). Courtesy of the artist and Cade Tompkins Projects.
Allison Bianco uses printmaking to explore her relationship to her memories of her native Rhode Island through a combination of technical experimentation and art historical references. In her recent work, these landscapes have increasingly symbolized the juxtaposition Read More
Sebastian Black, Period Piece Simple Sequence (2014)
Sebastian Black, Period Piece Simple Sequence (2014). Courtesy Wingate Studio.
Sebastian Black’s Period Piece Simple Sequence is devised in binary form: it can be viewed bookishly sheathed in Mark Tomlinson’s handsome cloth-bound slipcase, or sprung out like a jack-in-the-box into two ten-panel paper sculptures that extend some ten feet Read More
New York–based Dutch artist Sebastiaan Bremer mines extant images for his photographic alterations; his sources are usually personal, but he also looks for images that carry wider cultural implications Read More
Noah Breuer often dissects the mechanics of the printed image—particularly the common commercial variety—to investigate its function in pop culture. He has frequently turned to baseball cards as subject Read More
In Rodney Carswell’s recent projects with Shark’s Ink, things are not always what they seem. Geometric abstraction, long considered to be the epitome of art-with-a-capital-A, is tinged with playful wit—what the printer calls “good humored abstraction.” Read More