Benjamin Levy is a Seattle-based curator, art historian and trained printmaker. He has held curatorial positions at the Henry Art Gallery at the University of Washington and in the Department of Prints, Drawings & Photographs at the Baltimore Museum of Art. He sits on the National Advisory Board of Tamarind Institute.
Los Angeles artist Sandow Birk (b. 1962) is driven to restage art from the past to speak to contemporary concerns. Two projects, created over the past decade, address the current American conceptual haze in which Islam Read More
Read MoreAnother Country is the latest monumental woodcut from Christiane Baumgartner, whose engagement with the medium has endured for close to 15 years. Using video and photography, Baumgartner fixes an evanescent moment
Mungo Thomson is a conceptual artist working across media who approaches his projects with a wink and nod. His Pocket Universe works appear simple enough at first glance—coins protruding from large metallic sheets Read More
Read MoreThese intriguing prints are something of a departure for Samantha Wall, a Portland-based artist whose delicate monochromatic drawings focus on the depiction of young multiracial women
Read MoreProcess is what drives Koen Delaere. Early in his career, he found that making painting on his hands and studio floor was more rewarding than the image on the canvas. He habitually submits himself to rules as obstacles to overcome
The title of Jacob Hashimoto’s first print project is revealing: in lexicography, a lemma (singular of lemmata) is the base form of a term, such as would be used to head a dictionary entry. In mathematics, a lemma is a proven proposition employed in the attempt to solve a larger problem Read More
Allan McCollum’s new series, Lands of Shadow and Substance, builds on his earlier series, Perpetual Photographs, started in 1982, in which the artist photographed pictures hanging in the background in television scenes, trimmed the frames and context away, then enlarged and reframed them, literally and metaphorically. Read More
Read MoreFor more than 130 years the halftone dot has been the primary vehicle for mass-producing photographic images. In his new Portraits portfolios, Christopher Wool uses halftone, not to document an objective photographic reality, but to picture the painterly splashes and abstract blobs that have become markers for subjective painterly expression.
Emil Lukas’s portfolio Bubble-up includes nine prints that explore the artist’s signature methods of image composition within controlled parameters. Lukas creates indexical marks (the images record a process rather than mimic an appearance); he focuses on the creation of the circumstances rather than the direct making of marks. Read More