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Just what is it that makes Richard Hamilton so special, so appealing, so important?

  • "Richard Hamilton"

  • Tate Modern, London
  • "Richard Hamilton Word & Image: Prints 1963–2007"

  • Alan Cristea Gallery, London
  • "Richard Hamilton at the ICA"

  • Institute of Contemporary Art, London

Richard Hamilton, Just what was it that made yesterday’s homes so different, so appealing? (1992), color laser print, 26 x 25 cm. Image courtesy Tate Modern. ©Richard Hamilton 2005. All rights reserved, DACS. Reproduction of Hamilton’s 1956 collage of the same name.

March in London this year offered a singular opportunity to see the work of the late Richard Hamilton in depth, centered on a major retrospective at the Tate Modern and supplemented by a choice exhibition of his prints at Alan Cristea Gallery and reconstructions of two of his notable installations, Man, Machine and Motion (1955) and an Exhibit (1957), at the Institute of Contemporary Arts (ICA). …Read More

The Enchanted World of German Romantic Prints

  • "The Enchanted World of German Romantic Prints"

  • Philadelphia Museum of Art

“The Enchanted World of German Romantic Prints” was a landmark exhibition for an American museum. Not only did it feature 19th-century German art, a rarity in and of itself, but it concentrated on prints to the exclusion of other media. …Read More

Edvard Munch: Works on Paper

  • "Munch on Paper (Munch på Papir)"

  • Munch Museum, Oslo
  • "Edvard Munch – 150 Master Prints"

  • Kunsthaus Zürich

Edvard Munch is widely known for his iconic images of turn-of-the-century angst, pain and sorrow. The year 2013 marked the 150th anniversary of the artist’s birth, and institutions across the United States and Europe mounted more than a dozen Munch-related exhibitions (an equal number of catalogues and books also appeared), including two ambitious exhibitions of the graphic work put together by the Munch Museum in Oslo and the Kunsthaus Zürich. …Read More

Ornament Doesn’t Need Little Flowers: Anton Würth and Engraving in the 21st Century

  • "Ornament Doesn’t Need Little Flowers: Anton Würth and Engraving in the 21st Century"

  • Snite Museum of Art, University of Notre Dame, South Bend, Indiana

Fig. 1. Robert Nanteuil and Gilles Rousselet, Louis XIV, en buste, au centre d’une composition allégorique (Portrait bust of Louis XIV at the center of an allegorical composition) (1667) and Anton Würth, N-Predella III (2012), engraving, 66.5 x 75.6 cm. Image courtesy C.G. Boerner and the artist.

Anton Würth is a contemporary German artist who employs the antiquated and labor-intensive medium of engraving to dismantle the pictorial conventions denoting power. A group of prints recently on view at the Snite Museum at the University of Notre Dame document his engagement with the 17th-century engraver Robert Nanteuil, best known for his portraits of the court of Louis XIV. …Read More

Prints: Flavin, Judd, Sandback

  • "Prints: Flavin, Judd, Sandback"

  • David Zwirner, New York

In 1965 Donald Judd published “Specific Objects,” an article that explained “the new three-dimensional work” then being produced by a cohort of like-minded artists. Unlike conventional painting and sculpture, which Judd proclaimed to have served the purpose of a “container,” the new work was about the object itself. …Read More


  • "III"

  • Carrie Rowland Gallery, Richmond, Virginia

This recent exhibition at Carrie Rowland Gallery, an artist-run apartment gallery in Richmond, presented the work of Christian Gregory, Julie Grosche and Matthew Warren. Though their works and processes are quite distinct, each artist uses digital print media to investigate our relationship to the physical world. …Read More

Jin Joo Chae: The Choco Pie-ization of North Korea

  • "Jin Joo Chae: The Choco Pie-ization of North Korea"

  • Julie Meneret Contemporary Art, New York

The sweet taste of capitalism is rarely sampled in North Korea, but in the demilitarized Kaesong Industrial Complex—the only area where North and South Korea have contact—Choco Pies are distributed to North Korean workers in place of cash bonuses. Made of chocolate-covered layers of cake with marshmallow filling, Choco Pies conjure childhood memories for many Koreans, much as Hostess Twinkies do in the United States. …Read More

The Game-Changing Editions of Dieter Roth

  • "Wait, Later This Will Be Nothing: Editions by Dieter Roth"

  • The Museum of Modern Art, New York

Dieter Roth, book c6 (1959), artist’s book of hand-cut cardstock, page 38.1 x 38.1 cm. Edition: unknown. Fabricated by the artist, Reykjavík. Published by forlag ed, Reykjavík. The Museum of Modern Art Library, New York. Photo: Jonathan Muzikar. ©2013 Estate of Dieter Roth.

The German-Swiss artist Dieter Roth (1930–1998) experimented with nearly every medium available to him—painting, sculpture, drawing, graphics, music, video and installation—and developed a highly individual practice that transcends easy categorization. Perhaps for this reason the singular contribution he made in the decades following World War II has eluded the general public. …Read More

The Impressionist Line from Degas to Toulouse-Lautrec: Drawings and Prints from the Clark

  • "The Impressionist Line from Degas to Toulouse-Lautrec: Drawings and Prints from the Clark"

  • The Frick Collection, New York

William-Adolphe Bouguereau, Study of Venus for “Apollo and the Muses in Olympus” (ca. 1867), graphite with touches of white chalk on beige wove paper, 46.8 x 30.5 cm. ©Sterling and Francine Clark Art Institute, Williamstown, MA, 1955.1578.

The 19th century was a period of continuous flux in which industrialization, commodification and urbanization fundamentally transformed everyday experience. In France especially these changes found resonance in the visual arts. …Read More

1913 Armory Show Revisited: the Artists and their Prints

  • "1913 Armory Show Revisited: the Artists and their Prints"

  • International Print Center New York

Arthur B. Davies, Figure in Glass (1916-17), drypoint on zinc. Courtesy Harris Schrank, New York.

In 1913 more than 70,000 visitors—some curious, some supportive, some overtly hostile—swarmed the “International Exhibition of Modern Art” at New York’s 69th Regiment Armory in masses that one artist compared to “a subway crush in the evening rush hour.” Much as we are used to art that courts controversy, it is hard to imagine the deep offence taken by many visitors, artists and newspaper writers at what were essentially aesthetic differences. …Read More

Daring Methods: The Prints of Mary Cassatt

  • "Daring Methods: The Prints of Mary Cassatt"

  • New York Public Library

Mary Cassatt, Costume Study after Paul Gavarni, New York Public Library. Wallach Fund. Left: State i (ca. 1878), etching and drypoint, image 20.5 x 13.7 cm, sheet 26.2 x 20.4 cm. Center: State ii (ca. 1878), etching, drypoint and aquatint, image 20.5 x 13.7 cm, sheet 26.2 x 20.4 cm. Right: State iii (ca. 1878), plate burnished with traces of etching and aquatint, image 20.5 x 13.7 cm, sheet 25.1 x 20.1 cm.

The art of Mary Cassatt has, since the blossoming of social and feminist art histories in the 1970s, come to be understood in the discourse on Impressionism primarily as representative of female experience in late 19th-century Paris. As a result, her subject matter—motherhood and domestic life—has been emphasized far more extensively than her technical process. Her remarkable prints have, likewise, been absorbed into scholarly accounts through their reliance on this same material. …Read More

Kate McCrickard: Kid

  • "Kid"

  • David Krut Projects, New York

Kate McCrickard, Spaghetti (ghost) (2013), oil monotype, 23.5 x 27.5 inches. Unique image. Printed and published by David Krut Projects, Johannesburg / New York.

In her debut solo show at David Krut Projects, British artist Kate McCrickard showed recent paintings and prints incorporating images of young children. This is dangerous territory for a female artist, as McCrickard is well aware, but she has nonetheless surrendered to an infinitely rich source of material: “Before I had children I didn’t have a subject—I never dreamt of this as being a subject. But I wanted to get back to figuration and intaglio is made for the figure.” …Read More

Wade Guyton OS

  • "Wade Guyton OS"

  • The Whitney Museum of American Art, New York, NY

Wade Guyton, Untitled (2006), Epson UltraChrome inkjet on linen, 228.6 x 134.6 cm. Collection of Mark Grotjahn and Jennifer Guidi. ©Wade Guyton. Photo: Lamay Photo.

The first work one encounters in Wade Guyton’s midcareer survey, “OS,” at the Whitney Museum is a quintet of canvases, mostly black, with orange flames at the base licking the letter “U.” Slightly larger and wider than an average door, these pieces seem to address the entering visitor. …Read More

Stephen Chambers: The Big Country at the Royal Academy

  • "The Big Country"

  • Royal Academy of Arts, London

Stephen Chambers, detail from The Big Country; Australia / New Zealand (2012), screenprint, 114 x 231 cm.

The Artists’ Laboratory is an ongoing series of events at the Royal Academy of Arts, now in its sixth incarnation, whose goal is to offer Academicians a chance to open up their practice, take risks and explore fresh ideas, and to show the public less familiar aspects of their work. …Read More

Zarina: Paper Like Skin

  • "Zarina: Paper Like Skin"

  • Hammer Museum, Los Angeles
  • The Guggenheim Museum, New York

Displacement and memory, and a keen yearning for order, are the key themes running through the very compelling and personal survey, “Zarina: Paper Like Skin.” Zarina’s first-ever retrospective, spanning 50 years of the Indian-born artist’s work, presents not only a deeply felt personal commentary on a life lived in exile, but also a catalog of the remarkable breadth of technique that has become integrated into the printer’s art in the last half century. …Read More

Afterimage: The Prints of Bruce Conner

  • "Afterimage: The Prints of Bruce Conner"

  • Senior & Shopmaker Gallery, New York, NY

Bruce Conner, BOMBHEAD (2002), pigment inkjet print on Somerset paper with hand-coloring, image 31 1/2 x 25 inches, sheet 35 x 32 inches. Edition of 20. Signed lower right in pencil. Printed by Donald Farnsworth at Magnolia Editions, published by the artist and Magnolia Editions, Oakland, CA. ©Conner Family Foundation. Photo courtesy Senior & Shopmaker Gallery.

There are prints of Bruce Conner’s that become gently graphed onto one’s visual cortex if given enough viewing time. The effect is fleeting, but unmistakable, and it’s what gives this exhibition its title, “Afterimage.” It is uncommon to anchor a body of offset lithographs in the viewer’s sensual experience, but that is precisely what Conner’s early efforts were meant to do. Without intent, one’s gaze deepens to a stare, tracing tightly wound, jet-black, labyrinthine lines across a creamy white page. …Read More

Material Assumptions: Paper as Dialogue

  • "Material Assumptions: Paper as Dialogue"

  • The Center for Book and Paper Arts, Chicago

Ian Schneller, White Hornlet (2012), handmade cotton paper, mixed media, 19 x 19 x 5 inches. Photo: Rod Slemmons.

“Material Assumptions” is a provocation to reconsider paper—specifically handmade paper, and its potential to support, hold and challenge form. The exhibition was developed through an independent study graduate course at Chicago’s Columbia College led by Jessica Cochran, …Read More

Inuit Prints, Japanese Inspiration: Early Printmaking in the Canadian Arctic

  • "Inuit Prints, Japanese Inspiration: Early Printmaking in the Canadian Arctic"

  • Canadian Museum of Civilization
  • Winnipeg Art Gallery

Niviasi [Niviaksiak], Three Caribou (1957), stonecut, 23 x 36.5 cm. Printed by Kananginak Pootoogook, Cape Dorset, Canada.

In the late 1950s, The West Baffin Eskimo Co-Operative in Cape Dorset was an exciting place to be in the Canadian East Arctic. Its burst of experimental creativity, its trajectory from single room craft shop to important print studio, and its impact in terms of cultural exchange …Read More

L’Estampe originale: A Celebrated Album of Original Printmaking, 1893-95

  • "l’Estampe Originale: A Celebrated Album of Original Printmaking 1893-1895"

  • Minneapolis Institute of Art

Norbert Goeneutte, Femme vue de face (1894), lithograph printed in brown ink, image 53.18 x 25.24 cm, sheet 60.01 x 43.5 cm. Collection Minneapolis Institute of Arts. Gift of C.G. Boerner, 2011.58.2.

Fin de siècle France is in some ways a very familiar place—a landscape saturated with advertising; consumers obsessed with “originality;” an expanding art world a bit too delighted with its own glittering success; all of it surrounded with masses freshly dispossessed by surging tides of capitalism. It was one of those moments when art’s status as a commodity was inescapable, for better and worse. The ‘better’ was on view in the Minneapolis Institute of Art’s recent print exhibition, “l’Estampe Originale: A Celebrated Album of Original Printmaking 1893-1895” (through 9 December 2012). …Read More

Martin Kippenberger’s Raft of the Medusa

  • "Martin Kippenberger: Raft of the Medusa"

  • Carolina Nitsch, New York

Martin Kippenberger, Raft of the Medusa (1996), suite of fourteen lithographs, edition of 26, various sizes on various papers, each signed and numbered, in portfolio; portfolio measures 58.42 x 47.62 cm. Edition of 26.

Martin Kippenberger was the sort who might crack a joke during a funeral procession, and it would probably be a self-abasing knuckle-biter. He had a coy sense for the tragicomic, a dipsomaniac with a diva’s fondness for the spotlight. His late work, Raft of Medusa (1996), recently on view at Carolina Nitsch accompanied by a pair of drawings on hotel stationary and a few collages, captures the anguish and urgency of a vivacious personality confronting a grave reality. …Read More