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"Gérald Cramer et ses artistes. Chagall, Miró, Moore"
Cabinet d’arts graphiques du Musée d’art et Histoire, Geneva
Installation view: “Gérald Cramer et ses artistes. Chagall, Miró, Moore,” Cabinet d’arts graphiques du Musée d’art et Histoire, Geneva, 2016–2017.
This valuable exhibition celebrates the art of the print publisher, here in the person of Gérald Cramer, who over a period of 40 years worked with many of the major figures of European modern art. Beginning as a bookseller in Geneva in the 1930s Read More
“Raphael’s engraver.” The title has simultaneously assured Marcantonio Raimondi’s (ca. 1480–ca. 1534) status as the preeminent Italian Renaissance printmaker and overshadowed the recognition of his independent artistic proficiency Read More
Attenuated lines, shimmering gilding, gossamer textures and deft compositions suffused the exhibition “Hanga Now: Contemporary Japanese Printmakers” at the University of Saint Joseph in Hartford. More than 60 woodcuts, etchings, lithographs and monotypes by 35 artists Read More
Ania Jaworska, Saint from A Subjective Catalog of Columns (2015), screenprint on folio paper, 55.9 x 76.2 cm. Courtesy of the artist.
The Museum of Contemporary Art’s exhibition of prints and sculpture by Ania Jaworska was the first in its ongoing series on artists working in Chicago to feature an architect, and the first solo show for Jaworska Read More
The Morgan Library and Museum’s remarkable exhibition on Henri Matisse’s book works provided a wide-ranging, in-depth view of his achievements in the realm of the artist’s book and, perhaps surprisingly to some viewers, more commercial types of publication Read More
Hilaire-Germain-Edgar Degas, Café-Concert Singer (Chanteuse de café-concert) (ca. 1877), monotype on paper mounted on board, image 18.5 x 12.8 cm, sheet 23.5 x 18 cm. Private collection.
The recently concluded once-in-a-lifetime exhibition of Degas monotypes at the Museum of Modern Art accomplished something rare among ambitious monographic shows: alongside works of unqualified greatness, it gave space to imperfect, experimental efforts Read More
Hilaire-Germain-Edgar Degas, On the Street (Dans la rue) (1876–1877), monotype on China paper, image 16.2 x 12.2 cm. Collection of Mrs. Martin Atlas.
While I was walking through the exhibition of Degas monotypes at MoMA, examining those interior spaces he was able to evoke, it occurred to me that his real subject was air—that Degas had chosen monotype because it is best suited to catching the ephemeral Read More
Joan Hall, Acid Ocean (2012), printed, cut, pulp painted, hand-formed paper, Mylar, acrylic and cast resin pins made with sand and beach detritus, fibers: abaca, kozo, gampi, 64 x 245 x 18 inches (variable dimensions). Courtesy of the artist.
Comprising works by 29 artists and 5 presses, “Printmaking in St. Louis Now” was a testament to the liveliness of contemporary art in St. Louis generally, and specifically to the city’s continued engagement with print Read More
"The Power of Prints: The Legacy of William M. Ivins and A. Hyatt Mayor"
The Metropolitan Museum of Art, New York
Subway poster for Ed Pinaud’s Eau de Quinine (ca. 1920), lithograph, 25.5 × 50.5 cm. The Metropolitan Museum of Art.
One hundred years ago William Ivins abandoned his legal career to become the first curator of the newly established Department of Prints at the Metropolitan Museum of Art. He swiftly dispensed with the trustees’ brief for a traditional collection of works of an “artistic” nature Read More
In 2002, five years before his death, Bruce Conner began working with Magnolia Editions on several projects, one of which was a series of large tapestries recreating the compositions of collages he had made in the late 1980s and early ‘90s Read More
Hosting its first exhibition dedicated to time-based media this past spring, IPCNY joined the bevy of galleries now taking on the moving image. “Suspended Animation: Moving Images in Print,”organized by Lotte Allen, presented short animations by nine artists alongside related prints—in many cases those from which the animations were built Read More
In his first project with Alan Cristea Gallery in London, sculptor Antony Gormley created four groups of prints: seven enormous woodblocks; a series of unique body prints; a group of ten aquatints, collectively titled Matrix I–X; and eleven small line etchings Read More
Corey Hagelberg, Dead Fish Anti-Frieze (2011), woodcut, 9 x 72 inches per panel. Image courtesy the artist.
In this spirited exhibition at Beauty and Brawn Gallery in Chicago, Corey Hagelberg uses both prints and sculpture to call attention to the predicament of the Indiana Dunes where the Grand Calumet River meets Lake Michigan Read More
"Printing Women: Three Centuries of Female Printmakers, 1570–1900"
New York Public Library, New York
Angelica Kauffmann, Half-length Portrait of a Woman, with a Child Holding an Apple (1763), etching, image 24 x 11 cm, sheet 24.9 x 11.6 cm. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library.
At the age of just 18, a young Dutch woman named Henrietta Louisa Koenen (1830–1881) began gathering a remarkable collection of prints by and about women artists. In just over a decade, she amassed a collection that was remarkable in its scope and breadth Read More
Installation view of Sang-Mi Yoo, Anomalous Traces (2013–16) in “Variable States: Prints Now,” Upfor Gallery, 2016. From left to right: hand-cut pigment inkjet print, 36 x 44 x 72 inches; lasercut wool felt, 63 x 48 x 2 inches; pigment inkjet print, tiered, 96 x 44 x 78 inches. Photo: Mario Gallucci. Image courtesy Upfor Gallery, Portland, OR.
Upfor Gallery, a young new-media gallery in Portland, Oregon, recently organized a small exhibition, “Variable States: Prints Now,” investigating relationships between digital technologies and printmaking. Curator Heather Lee Birdsong selected eight artists from across the United States Read More
"4th San Juan Poly/Graphic Triennial: Latin America and the Caribbean; Displaced Images/Images in Space"
Antiguo Arsenal de la Marina Española, Casa Blanca and Museo de Arte de San Juan, Old San Juan (and various venues across Puerto Rico)
Karlo Andrei Ibarra, Remanentes (Remnants) (2011), performance with green plantains, tattoo machine, wooden table, dimensions variable. Image courtesy of San Juan Poly/Graphic Triennial.
The San Juan Poly/Graphic Triennial, which recently enjoyed its fourth iteration, was established in 2004 as a conceptual reimagining of the previous San Juan Biennial of Latin American and Caribbean Printmaking, which ran from 1970 to 2002 Read More
Jay Heikes, Niet Voor Kinderen (2015), screenprinted and hand-colored asphaltum, 44 x 30 inches. Unique image. Printed and published by Highpoint Editions, Minneapolis, MN. Photo: David Kern.
In the 1924 Surrealist Manifesto, André Breton famously defined Surrealism as “Psychic automatism in its pure state, by which one proposes to express . . . the actual functioning of thought . . . in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.” Read More
"Fantastic! Kuniyoshi (1797–1861), Demon of Prints"
Petit Palais, Musée des Beaux-Arts de la Ville de Paris, Paris
"Fantastic! Visionary Prints from Goya to Redon"
Petit Palais, Musée des Beaux-Arts de la Ville de Paris, Paris
Utagawa Kuniyoshi, Retired Emperor Sutoku Sends his Followers to Rescue Tametomo (1851), woodblock, triptych of Oban-format prints, 39 × 79.5 cm. Private collection. Photo: Courtesy of Gallery Beniya.
In the weeks after the terrorist attacks in Paris last November, museum attendance in the city plummeted; visitors to the Louvre diminished by more than a third and attendance at the Pompidou fell by 50 percent Read More
From left to right (top): Roy Lichtenstein, Bull I (1973), line-cut; Bull 2 (1973), lithograph and line-cut; Bull 3 (1973), lithograph, screenprint and line-cut. From left to right (bottom): Roy Lichtenstein, Bull IV (1973), lithograph, screenprint and line-cut; Bull V (1973), lithograph, screenprint and line-cut; Bull VI (1973), lithograph, screenprint and line-cut. All works 68.7 x 89.1 cm. National Gallery of Art, Washington, DC. Gifts of Gemini G.E.L. and the artist.
"You do one thing,” John Baldessari observed, “and that leads you to one thing and then another thing.” Baldessari is one of the artists included in the National Gallery’s recent exhibition of series produced by the Los Angeles printshop Gemini G.E.L. Read More