A postcard of Dürer’s 1519 engraving of St. Anthony at its original size has been pinned to the wall near my working desk for years, during which time I have gradually summoned the courage to embark on the old-fashioned exercise of copying the print line by line at the same scale. Dürer’s work commands my respect as an engraver much as the bar set for record height commands that of a high jumper when he stands before it. By closely following the lines of the original print, I wanted to understand Dürer’s technique and how he used it to visualize his idea. That meant following his syntax of lines rather than telling my own story of his St. Anthony. In the end, of course, I had to tell my own story—one that inevitably reflects my own sense of self as an artist.
“Banco! Banqueroute!” The Malassis do Money
- by Rachel Stella
- Rachel Stella analyzes faux monetary screenprints of the French 1970s Coopérative des Malassis.
Notgeld Serienscheine, briefly
- by David Storey
- Artist David Storey writes about early 20th-century German emergency money.
Etcher Sketch: A Conversation with Nadine Orenstein and Freyda Spira About “The Renaissance of Etching”
- by Catherine Bindman
- Catherine Bindman speaks with curators Nadine Orenstein and Freyda Spira.
A Study in Light: New Prints by Chris Ofili
- by Re'al Christian
- Re’al Christian introduces two new etching series by Chris Ofili that encompass natural beauty and human tragedy.
Slicing Modern Life: Grosvenor School Linocuts
- by David Trigg
- David Trigg calls attention to the bright, dynamic world of Grosvenor School linocuts.