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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
Now in his early eighties, Bernard Cohen has been a key figure in British Art since he came to prominence in the 1960s. Always difficult to label, he has pursued a singular path that, while connecting to many developments in abstract painting over the last 50 years …Read More
"Beyond Bosch: The Afterlife of a Renaissance Master in Print"
Saint Louis Art Museum, Saint Louis
Harvard University Art Museums, Cambridge, MA
Johannes and Lucas van Doetecum in the manner of Hieronymus Bosch, Temptation of Saint Christopher (or Temptation of Saint Anthony) (1561), etching and engraving; sheet 13 3/16 x 16 15/16 inches (trimmed to image). Private collection.
There are not many artists or writers who have created an imaginary world so distinctive that their names have entered everyday language as an adjective. Franz Kafka comes to mind …Read More
Collecting printed matter is inherently nostalgic. In The Arcades Project, Walter Benjamin says of the collector, “Perhaps the most deeply hidden motive of the person who collects can be described this way: he takes up the struggle against dispersion.” …Read More
In the eleventh installment of the Utah Museum of Fine Arts’ (UMFA) “salt” exhibitions, artist Duane Linklater cut to the heart of the fundamental museum claim that objects can be understood as prima facie evidence of cultures. …Read More
Bruce Nauman, Life Mask (1981), lithograph, 71.1 x 96.5 cm. Edition of 50. Printed by Charly Ritt, Gemini G.E.L, Los Angeles. Published by Gemini G.E.L. Courtesy of Galerie Ronny Van de Velde and Sims Reed Gallery.
Just five minutes walk from the Royal Academy of Art, where almost twenty years ago Charles Saatchi presented the infamous “Sensation” exhibition of the Young British Artists, Sims Reed Gallery recently presented a choice survey of the prints of Bruce Nauman. …Read More
The dispiriting exit from the train station across a barren parking area into the streets of La Louvière on an overcast Belgian morning set the mood for visiting “Suspended – L’œuvre imprimé (1989–2014),” the print retrospective of Luc Tuymans, Belgium’s famously discomforting history painter. …Read More
Richard Long, Mississippi River Blues (2014), four-panel carborundum relief painted with an acrylic wash, each panel 194 × 121.5 cm, overall 194 × 486 cm. Edition of 2. Courtesy Richard Long and Alan Cristea Gallery, London.
One of the most notable features of Richard Long’s recent exhibition at Alan Cristea Gallery was the lyricism of the titles–Hickory Wind, The Lark in the Clear Air, Honky Tonk Women, Mississippi River Blues. …Read More
Richard Tuttle’s art has consistently eluded standard categorization. Traditional definitions of medium, installation practice—even, one might say, desired effect—do not apply. He has often worked three-dimensionally, but his structures make even an artist such as Richard Serra seem conventional. …Read More
While studying at UCLA for his MFA degree, Matthew Brandt was shooting a series of portraits when a friend posing for him began to cry. Brandt, who was fascinated with historical photographic techniques, had a “eureka” moment: inspired by the 19th-century salt print process, he decided to add his subject’s tears to the chemical baths he was using to develop the photographs. …Read More