Judy Ledgerwood

Judy Ledgerwood’s new prints derive from the painter’s installation at Chicago’s Graham Foundation. Three of the Prairie Style mansion’s reception rooms were emptied of contents and their walls painted in a silver geometric floral pattern over grounds of dayglo pink, red and orange. The pattern’s tight repeat was loosely painted Read More

Kouseki Ono

Kouseki Ono's screenprints, textured rectangles of changing color, were presented like specimens on pedestals at Kala gallery in Berkeley, California during last spring’s SGCI conference. Rubbery mats of closely packed quarter-inch projections created by the selective buildup of 100 layers of dots in varying colors Read More

Goedele Peeters

Goedele Peeters, Swimmingpool I (2014).

Swimmingpool I–III, a suite of three reduction woodcuts, is emblematic of the recent work of Goedele Peeters, a Belgian artist whose primary medium is printmaking. The suite is comprised of three different views in different light and from varying angles. The scale envelops but does not overwhelm. Read More

Clark Richert

Geometric tessellation has been a life’s calling for Clark Richert—a tool at once abstract, metaphysical and dazzlingly concrete. A co-founder of the fabled 1960s artists’ commune Drop City, Richert has built tessellated housing that strove to change the way we live and painted tessellated paintings that strive to change the way we see. Read More

Ed Ruscha

In Ed Ruscha’s words, his new prints “are about neglected and forgotten signs from neglected and forgotten landscapes," and, indeed, Rusty Signs is a natural extension of the artist’s investigation of the significance of the “American frontier” for our times. Signs have been central to Ruscha’s work from the outset Read More

Alison Saar

Backwater Blues (2014) Woodcut on chine collé, 27 3/8 x 14 3/8 inches. Edition of 30. $1,500. Shorn (2014) Woodcut, 32 x 19 inches. Edition of 30. $1,500. All printed and published by Tandem Press, Madison, WI.

Alison Saar, Mirror, Mirror: Mulatta Seeking Inner Negress (2014).

Alison Saar’s art addresses race, gender and class inequalities through powerfully built female figures, often nude or simply clothed, looking out with a stolid, haunting gaze. Though known primarily as a sculptor, she has created dozens of editions over her three-decade-long career, most frequently in woodcut. Read More

David Salle

After two decades of minimal engagement with printmaking, David Salle is completing an ambitious group of eight oversized lithographs. (Salle’s last substantial print project was High and Low in 1993 with the now-defunct Tyler Graphics). He credits Richard Newlin, the Tamarind-trained lithographer who owns Houston Fine Arts Press, with winning him over. Read More

Luc Tuymans

Luc Tuymans, from Surrender (2014).

Confronting an artwork by Luc Tuymans often involves a modicum of bewilderment. The Belgian artist’s images have a paradoxical habit of relinquishing a great deal of information while simultaneously withdrawing and masking an equal quantity of detail; he may force us into close scrutiny of a particular facial feature even as his desaturated palette conceals the subtleties of the subject’s skintone. Read More

James Siena

Dis-connected Hooks: Red; Blue (2014) Two related works in paper pulp (pigmented linen on abaca base sheet), 17 ¼ x 13 ½ inches. Editions of 15. $1,500 each. All produced and published by Dieu Donné, New York. James Siena has worked with the Dieu Donné paper workshop regularly since 2006, creating self-contained editions as well as larger bodies of related works. During a residency there this past year Siena was able to bring his experience and knowledge of paper pulp to bear on the “visual algorithms” that define his work, optimizing the stencil-based process to elucidate ideas. Read More

Richard Tuttle at Bowdoin

Richard Tuttle’s art has consistently eluded standard categorization. Traditional definitions of medium, installation practice—even, one might say, desired effect—do not apply. He has often worked three-dimensionally, but his structures make even an artist such as Richard Serra seem conventional. Read More