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Richard Tuttle at Bowdoin

  • "Richard Tuttle: A Print Retrospective"

  • Bowdoin College Museum of Art, Brunswick, ME
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

“Digital” Printing

  • "Matthew Brandt: Woodblocks"

  • Galerie Praz-Delavallade, Paris

Installation view: “Matthew Brandt: Woodblocks,” Galerie Praz-Delavallade, 2014.

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

Mutchler, Urban and Dupuis-Bourret at Atelier Circulaire

  • "Universal: Leslie Mutchler and Jason Urban"

  • Atelier Circulaire Gallery, Montreal
  • "La fabrication de l’espace: Andrée-Anne Dupuis-Bourret"

  • Atelier Circulaire Gallery, Montreal

Installation view: “Leslie Mutchler & Jason Urban: UNIVERSAL,” Atelier Circulaire Gallery, 2014. From left to right: UNIVERSAL Gate (2014), screenprint, woodcut and lithograph, 24 x14 inches; Softboxes (2014), digital print, 65 x 96 inches; Rock (2014), digital print and acrylic, 10 x 15 inches.

The Montreal cooperative printshop Atelier Circulaire kicked off the first complete season of its new exhibition space with two remarkable shows this past fall: “Universal” by the Texas-based duo Leslie Mutchler and Jason Urban, and “La fabrication de l’espace” by Quebec artist Andrée-Anne Dupuis-Bourret. Read More

Memory and Beekeeping in a Tradigital Mode

  • "Nancy Macko: Hopes and Dreams and Works on Paper"

  • Thomas Paul Fine Art Ltd., Los Angeles
Nancy Macko’s comfort working in both traditional print and digital domains was evident in her recent exhibition at Thomas Paul Fine Art Ltd. in Los Angeles. In this spacious gallery, Macko displayed three series, including etchings, monoprints and archival digital prints, which showed the breadth of her technical range. Read More

Master of the Floating World

  • "Hokusai (1760–1849)"

  • Grand Palais, Galeries nationales, Paris

Katsushika Hokusai, Kudan Ushigafuchi (Ushigafuchi at Kudan) (ca.1804-1807), color woodblock print (nishiki-e), 18 × 24.5 cm. Bibliothèque nationale de France, Paris. ©BnF, dist. Rmn-Grand Palais / image BnF

Restless, eccentric and obsessive, the Japanese woodblock master Hokusai (1760–1849) created a staggering, multifaceted oeuvre of some 30,000 works depicting a wide range of motifs in a variety of mediums, styles and moods. While he spent most of his life in Edo (now known as Tokyo), he moved a total of 93 times and ceaselessly reinvented himself as an artist Read More

KP Brehmer’s Realpolitik

  • "KP Brehmer. Real Capital–Production"

  • Raven Row, London

Installation view: “KP Brehmer. Real Capital Production,” Raven Row, 2014. Right: Auswahlbeutel Kiloware (Kiloware Assorted Bag) (1967), print on card, on melamine under plastic, 116 × 145 cm. Estate of KP Brehmer, Berlin. Photo: Marcus J. Leith.

The late German artist KP Brehmer (1938–1997) is less well-known than his contemporaries Sigmar Polke and Gerhard Richter, but like them he was closely associated with Galerie René Block and with the “Capitalist Realism” strain of ambivalent pop art in the 1960s and early ’70s. Read More

The Rake’s Progress

  • "Hockney, Printmaker"

  • Dulwich Picture Gallery, London
  • Bowes Museum, County Durham

David Hockney, Myself and My Heroes (1961), etching in black with aquatint, 10 1/4 x 19 3/4 inches. Edition of 50 (approximately). ©David Hockney.

The exhibition “Hockney, Printmaker,” shown in two British locations this year, marked the 60th anniversary of the artist’s first print, the lithograph Self-Portrait (1954). This retrospective of some of David Hockney’s most personal, playful and eloquent works seems to have satisfied the critics’ desire to revisit the autobiographical and graphic elements the artist neglected in his recent Yorkshire landscapes. Read More

27 Square Meters, 1001 Nights

  • "Yona Friedman: 1001 nuits + 1 jour"

  • mfc-michèle didier, Paris

Yona Friedman, from 1001 nuits + 1 jour (2014), artist’s book. Produced and published by mfc-michèle didier. ©2014 Yona Friedman and mfc-michèle didier.

My studio on the Boulevard Pasteur was small (27 square meters),” reminisces the 91-year-old Hungarian architect Yona Friedman in the preface to 1001 nuits + 1 jour, his new artist’s book. Describing this tiny Parisian atelier, he explains, “I didn’t repaint the walls, but covered them with drawings … of my secret, imaginary world.” Read More

Ruscha’s Course of Empire

  • "Ed Ruscha: Prints and Photographs"

  • Gagosian Gallery, New York

Ed Ruscha, Periods (2013), lithograph, 73 x 71.1 cm. Edition of 60. ©Ed Ruscha. Courtesy Gagosian Gallery. Photo: Robert McKeever.

New York was not one of the venues for the retrospective “Ed Ruscha: Editions 1959–99,” organized by Siri Engberg at the Walker Art Center 15 years ago. It traveled to Los Angeles, where Ruscha has long resided, and to Tampa, but not to the Northeast. A New Yorker, I remember feeling really disappointed about that at the time. Ruscha is one of a handful of postwar artists for whom the printed image (photographs, books, portfolios and wall-mounted editions) has been as important as any of his work in monumental mediums. Read More

Gauguin at MoMA

  • "Gauguin: Metamorphoses"

  • The Museum of Modern Art, New York

Paul Gauguin, Tahitian Woman with Evil Spirit, recto (ca. 1900), oil-transfer drawing, sheet 56.1 x 45.3 cm. Private collection.

The Museum of Modern Art’s sumptuous “Gauguin: Metamorphoses” this past spring was the first large-scale exhibition to foreground the celebrated painter’s extraordinary graphic achievements and frame them within the context not only of his paintings but also of his woodcarvings, ceramics and writings. Organized by Starr Figura, the museum’s curator of prints and drawings, the exhibition comprised some 150 works Read More

Past Partisans

  • "The Left Front: Radical Art in the ‘Red Decade,’ 1929–1940"

  • Mary and Leigh Block Museum of Art, Northwestern University Evanston, Illinois
American journalist Eugene Lyons coined the term “Red Decade” for the period in the 1930s when the Russian Revolution energized leftists in the United States. The Block Museum’s recent exhibition showcased works created by artists involved in the American Communist Party’s John Reed Clubs during the Great Depression. Read More

Collective Brilliance

  • "What May Come: The Taller de Gráfica Popular and the Mexican Political Print"

  • Art Institute of Chicago

Leopoldo Méndez, What May Come (Mexico, 1945) (1945), wood engraving in black on grayish-ivory China paper, image 30.3 x 17.6 cm, sheet 42.1 x 32.6 cm. The Art Institute of Chicago. ©2014 Artists Rights Society (ARS), New York / SOMAAP, Mexico City.

From 1937 until the mid-1950s, the Taller de Gráfica Popular (TGP) workshop produced the most inventive, provocative and topically relevant prints in Mexico. Published as broadsides, posters, books, handbills and portfolios, TGP prints showcased the possibilities of graphic art as a powerful and polemical instrument. Founding members Leopoldo Méndez, Pablo O’Higgins and Luis Arenal stated in their group’s Declaration of Principles that “art must reflect the social reality of the times” but that art “can only truly serve the people if it is of the very highest plastic quality.” Read More

Lingen, Melby, Miller

  • "Proof"

  • Planthouse, New York

Vija Celmins, detail of Wood Engraving, No Title (1995), wood engraving,16 x 14 inches. Edition of 47.

A year after taking root in a vacant flower shop on West 28th Street in New York City, Planthouse has become a home to daring exhibitions by emerging artists as well as a supportive venue for prints. “Proof” was the gallery’s first project to include the work of eminent artists such as Chuck Close, Joel Shapiro and Vija Celmins. Read More

Chiaroscuro Woodcut: Baselitz Divided

  • "Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna"

  • Royal Academy of Arts, London
  • "Germany Divided: Georg Baselitz and his Generation. From the Duerckheim Collection"

  • British Museum, London
Once every decade or so an exhibition comes along that constitutes a landmark in its purpose and scope. Though Renaissance paintings and drawings regularly form the focus of blockbuster museum shows, Renaissance prints are another matter altogether, and woodcuts have been particularly neglected. Read More

Feininger Prints

  • "Lyonel Feininger: Master Printmaker"

  • Moeller Fine Art, New York

Lyonel Feininger, Drei Tannen (Three Fir Trees) (1919), woodcut on Oriental laid paper, 8.9 x 8.3 cm. Moeller Fine Art, New York.

More than 50 of Lyonel Feininger’s extraordinary early woodcuts from his personal collection, in pristine condition and rarely seen, were on view at Moeller Fine Art in New York earlier this year after a run at the gallery’s Berlin branch, whose permanent closure was announced in June after five years of operation. Read More

The Enigma Machine, Jasper Johns

  • "Jasper Johns: Regrets"

  • The Museum of Modern Art, New York
  • "Jasper Johns and John Lund: Masters in the Print Studio"

  • Katonah Museum of Art, Katonah, New York

Jasper Johns, The Seasons (1990), aquatint and etching, image (irreg.): 43 3/8 x 38 5/8 inches, sheet: 50 x 44 9/16 inches. Published by Universal Limited Art Editions. Art © Jasper Johns and ULAE/Licensed by VAGA, New York, NY.

Over the past 60 years, Jasper Johns has developed a body of work whose images of flags, maps and targets are instantly recognizable to any seasoned viewer of modern art. Impersonal in subject yet tenderly executed in encaustic paint or lithographic tusche, in pencil, ink or lead relief, these symbols simultaneously entice and resist the viewer. Read More

Beyond Tamarind

  • "June Wayne: Paintings, Prints, and Tapestries"

  • Pasadena Museum of California Art, Pasadena

June Wayne, Dusty Helix (State I) from the Burning Helix Series (1970), lithograph, 25 1/2 x 39 1/2 inches. ©The June Wayne Collection, courtesy Louis Stern Fine Arts.

As founder and director of Tamarind Lithography Workshop, June Wayne has long been recognized as a major figure in American printmaking. Not only was she essential to the revival of lithography in America, she also enriched Los Angeles’ nascent art scene of the 1960s Read More

Frameless: Wall Works in Berlin

  • "Wall Works"

  • Hamburger Bahnhof Museum für Gegenwart, Berlin
Painting and sculpture—self-contained, unique and transportable—are the forms on which the modern art world was built. The congregating, dispersing and reconfiguring of discrete objects in and out of collections and exhibitions (with money to be made at each point of transfer) feed both the market and the museum. In the 1960s and ’70s, editions (because they are not unique) and site-specific installations (because they are not portable) were hailed as tools for undermining that system. Read More