Enrique Chagoya

Enrique Chagoya, La Bestia’s Guide to the Birth of the Cool (2014).

In his 12th editioned codex with Shark’s Ink, Enrique Chagoya returns to immigration, a topic he hasn’t visited in depth for nearly two decades. Prompted by the recent controversy over the illegal immigration of unaccompanied minors from Central America Read More

Jeffrey Dell

The party is over, but the bits of wrapping paper, bows and ribbon are strewn on the floor, decorative streamers dangle overhead and leftover cake is crusting-up on the counter. These relics have a power to haunt the psyches of guests, hosts and celebrants. Read More

Lesley Dill

Lesley Dill’s most recent editions with Tamarind Institute, Hummingbird Dress and Hummingbird Dress: Red, continue the artist’s dialogue with ink on paper that began in the early 1990s after an extended stay in India. Read More

Stella Ebner

Through the seating area of a vacant and darkened Japanese restaurant, two figures can be seen in an illuminated doorway behind a semitransparent curtain, one massaging the shoulders of the other. One of Stella Ebner's poignant odes to the beauty of everyday life, this poster-sized screenprint, like many of the artist's prints, uses frames within frames Read More

Nancy Friedemann

In the 16th century, Andalucian nuns brought lace and embroidery techniques to Colombia, where the imported vocabulary of Hispano-Moresque motifs was expanded by native flora and fauna, resulting in a distinctive art of mantillas and shawls with the delicacy and resilience of gossamer. This hand art has fostered continuity from generation to generation Read More

Arturo Herrera

Arturo Herrera, from Dance (2014).

The new photogravures from veteran collagist Arturo Herrera extend his work in visually gripping and emotionally affecting ways. Though his early reputation was established by his intricate reworkings of pop cultural motifs, it was quickly apparent that—for all the Disney borrowings—Herrera’s sensibility was eloquent rather than brash, and inquisitive rather than sardonic. Read More

Susan Howe and R. H. Quaytman

The title of this artist’s book by poet Susan Howe and her daughter, the artist R. H. Quaytman, comes from an English variant of the folk tale Rumpelstiltskin. In this telling, a young woman saves her life and gains her freedom by guessing the name of a strange creature who has come to her aid in the impossible task of spinning fives skeins of flax a day for a month. Read More

Xylor Jane

Prints, quite simply, are affairs in numbers. Through the use of reproductive techniques, images can be released from the limitations of a solitary existence, multiplied into a series of iterations and divided as these iterations are sorted into sequenced editions. Perhaps a reprinting leads to the existence of additional copies entering circulation Read More

Jennie C. Jones

A visitor to Jennie C. Jones’s website will see the words “listening as a conceptual practice” directly below her name. This succinct phrase speaks to both to the impetus for her artistic practice as well as her minimal aesthetic. Her work—from sound installations to canvases that mimic acoustic sound absorption panels Read More

John McLean

John McLean, now in his 70s, has built a reputation as a virtuosic arranger of the most basic of pictorial elements: shapes and color. Scottish in origin, McLean studied literature at university before joining the London art scene in the 1960s, and while his work is less well-known in the States, Clement Greenberg was a fervent admirer of the artist’s lively, abstract canvases. Read More