Art in Print makes about one-third of its content available for free as a public service. Subscribers can access all articles, reviews and news through the member site and journal. As a not-for-profit 501(c)(3) organization we depend on your support. Please subscribe or log in.
Fig. 1.Embellissements de Paris. – Percement de la butte des Moulins avec l’ouverture de l’avenue Napoléon, perpendiculaire à la façade du nouvel Opéra et aboutissant au Théâtre-Français. Vue prise de la Toiture du foyer du nouvel Opéra [Embellishments of Paris. – Piercing of the Butte des Moulins with the opening of the Napoleon Avenue, perpendicular to the façade of the new Opera and leading to the French theater. View taken from the foyer roof of the new Opera], reproduced from Le Monde Illustré, 27 March 1869.
I never intended to be a collector. As a doctoral candidate in art history working on Honoré Daumier and Haussmannization, I thought I would be able to do most of my image research with online databases Read More
Installation view: “Crossing the Line: Selections from the Grinnell College Art Collection,” Faulconer Gallery, Bucksbaum Center for the Arts, Grinnell College, Grinnell, IA, 2017.
Grinnell College, a highly ranked private institution in central Iowa, was founded by abolitionists in 1846. This foundation in civil rights continues to inform its mission: the college aims to prepare its students to “serve the common good” and work toward social justice. Read More
Tom Huck, Dollar Dance (2001), woodcut, 52 x 38 inches. Courtesy of the artist.
Print collecting is a socially acceptable form of addiction. It can come to dominate one’s life, demanding time, travel and money. So it has been with us, since shortly after we married in 1959. As newlyweds we lived in northern New Jersey while John was in the Army, and we spent time in New York City exploring the art scene Read More
View of the author’s collection installed in the entrance gallery of her New York apartment. From left to right: Robert Rauschenberg, Silkscreen #3 from The Seat of Authority (1979), screenprint, 30 5/8 x 23 1/8 inches; Jasper Johns, Untitled (Coca Cola) (1971), lithograph, 39 x 29 1/2 inches; Robert Motherwell, Pauillac #3 (1973), lithograph and screenprint, 35 5/8 x 18 1/4 inches; Robert Motherwell, Pauillac #4 (1973), lithograph, screenprint and collage, 35 3/8 x 18 1/4 inches. Below, in acrylic display case: Lynne Allen, Ita ta Win Bag (2003), photolithograph on 19th-century goatskin land document, linen thread, horsehair tassel, collaged square, leather hanger, approximately 6 x 4 x 3 inches. Photo: Elliott Mickleburgh.
Collectors always remember their first purchase. When I was a college senior, I bought a small oil painting, Boat in Harbor, by a sophomore named Barbara Gerson for $30. She needed spending money and I wanted to help her Read More
Norman Ackroyd, Inishbofin Sound (2005), etching, 18 x 26.5 cm.
Like Jacques Callot and Hercules Segers, Norman Ackroyd’s primary identity is as an etcher. Copper and acid are his native media. He works in oil sometimes, in watercolor often; he has produced steel and bronze etched reliefs for buildings, recycling the beauties of the copper plate on a monumental scale Read More
Chris Ofili, For the Unknown Runner (2011), lithograph, 76 x 60 cm. From the London 2012 Olympic and Paralympic portfolio. Image courtesy of Counter Editions, London.
Stephen Snoddy is director of the New Art Gallery Walsall in the English West Midlands near Birmingham. He previously held directorial posts at BALTIC Centre for Contemporary Art in Gateshead Read More
Video still of the interview with Alan Cristea (right) by Paul Coldwell (left).
Paul Coldwell I wonder if we could start by setting the scene of you arriving in Cork Street as a young man?
Alan Cristea I remember exactly—it was November 1972. But for three years previous to that I had worked at Marlborough Fine Art Read More
William Kentridge, from Domestic Scenes (1980), etchings with soft ground and aquatint, each from one copper plate, images varying 11.5 x 13.5 or 16 cm, sheets varying 28.5 x 38 cm. Edition of 30 incomplete. Printed and published by the artist, Johannesburg.
A murderous truth came rudely to the South African artist William Kentridge when, as a six-year-old boy, he mistook a yellow Kodak box on his father’s desk for a box of chocolates. Inside were photos of a woman with her back blown off, someone with only half her head visible Read More
Drew Cameron and Drew Matott, Breaking Rank (2007), pulp stencil print on handmade paper from military uniforms, 29 x 51 inches. Courtesy Drew Cameron.
Why can’t our veterans see themselves as we see them—luminous in their service and lucky to have the rest of their lives ahead of them? Why can’t they leave the war behind? The truth, of course, is that warriors bring their war home with them, not like a tan acquired on holiday but like a secret they wish they hadn’t been told.
—Robert Emmet Meagher
Eric Avery, Blood Test (1986), molded paper woodcut, 48 x 16 inches. Smith College Museum of Art, Northampton, MA. Purchased with the gift of Sue Reed, class of 1958. Courtesy of the artist.
A forearm is stretched full length, veins up. The fist is clenched, a cord knotted around the lower bicep. We’ve all been there—when our blood is taken or, in a different human context, when we give blood—but not everyone has felt the intensity of fear Read More