“Digital” Printing

Installation view: “Matthew Brandt: Woodblocks,” Galerie Praz-Delavallade, 2014.

While studying at UCLA for his MFA degree, Matthew Brandt was shooting a series of portraits when a friend posing for him began to cry. Brandt, who was fascinated with historical photographic techniques, had a “eureka” moment: inspired by the 19th-century salt print process, he decided to add his subject’s tears to the chemical baths he was using to develop the photographs. Read More

Mutchler, Urban and Dupuis-Bourret at Atelier Circulaire

Installation view: “Leslie Mutchler & Jason Urban: UNIVERSAL,” Atelier Circulaire Gallery, 2014. From left to right: UNIVERSAL Gate (2014), screenprint, woodcut and lithograph, 24 x14 inches; Softboxes (2014), digital print, 65 x 96 inches; Rock (2014), digital print and acrylic, 10 x 15 inches.

The Montreal cooperative printshop Atelier Circulaire kicked off the first complete season of its new exhibition space with two remarkable shows this past fall: “Universal” by the Texas-based duo Leslie Mutchler and Jason Urban, and “La fabrication de l’espace” by Quebec artist Andrée-Anne Dupuis-Bourret. Read More

Memory and Beekeeping in a Tradigital Mode

Nancy Macko’s comfort working in both traditional print and digital domains was evident in her recent exhibition at Thomas Paul Fine Art Ltd. in Los Angeles. In this spacious gallery, Macko displayed three series, including etchings, monoprints and archival digital prints, which showed the breadth of her technical range. Read More

Popularity, Populism and the Poster

“My posters are not intended for close or detailed examination,” Jules Chéret once remarked. Ironically, Chéret is one of the few artists whose posters have since the 19th century been the subject of careful scrutiny; for the most part they have remained in the shadows of art historical scholarship, rarely treated in any depth. Read More

Women and Print

As the recent New York Times article on the “men of Wellesley” made clear, gender is a can of worms. Certainly we get into deep water quickly when we view gender as predictive of future performance. But art exhibitions are about past performance, and insofar as art can be understood as the product of negotiation between an artist’s internal instincts Read More

No. 10: Stability Dynamics by Jeremy Lundquist

Jeremy Lundquist, Stability Dynamics (2013).

Stability Dynamics is a multipart etching that employs the medium’s inherent malleability to comment on the gap between the realities of modern warfare and its representation. The work is based on a PowerPoint slide titled "Afghanistan Stability/COIN Dynamics” used in a military briefing on the strategic surge intended to end the war in Afghanistan. Read More

Master of the Floating World

Katsushika Hokusai, Kudan Ushigafuchi (Ushigafuchi at Kudan) (ca.1804-1807), color woodblock print (nishiki-e), 18 × 24.5 cm. Bibliothèque nationale de France, Paris. ©BnF, dist. Rmn-Grand Palais / image BnF

Restless, eccentric and obsessive, the Japanese woodblock master Hokusai (1760–1849) created a staggering, multifaceted oeuvre of some 30,000 works depicting a wide range of motifs in a variety of mediums, styles and moods. While he spent most of his life in Edo (now known as Tokyo), he moved a total of 93 times and ceaselessly reinvented himself as an artist Read More

KP Brehmer’s Realpolitik

Installation view: “KP Brehmer. Real Capital Production,” Raven Row, 2014. Right: Auswahlbeutel Kiloware (Kiloware Assorted Bag) (1967), print on card, on melamine under plastic, 116 × 145 cm. Estate of KP Brehmer, Berlin. Photo: Marcus J. Leith.

The late German artist KP Brehmer (1938–1997) is less well-known than his contemporaries Sigmar Polke and Gerhard Richter, but like them he was closely associated with Galerie René Block and with the “Capitalist Realism” strain of ambivalent pop art in the 1960s and early ’70s. Read More

Poetic Printmaking: Arcadia and the Engravings of Giulio Campagnola

Fig. 1. Giulio Campagnola, St. Jerome reading in a landscape with a group of buildings (ca.1500–15), engraving, 13.6 x 12.3 cm. ©Trustees of the British Museum.

Arcadia, the poetic land of shepherds living in pristine simplicity in harmony with nature, found its first true visual representation in Venetian art of the first two decades of the 16th century. It may seem surprising that these pastoral idylls should have enjoyed such lasting literary and artistic success in a city so uniquely defined by water. Read More

Gillian Pederson-Krag

This new monograph surveys four decades of Gillian Pederson-Krag’s oeuvre, reproducing some 100 works from the lengthy career of this contemporary realist painter and printmaker. The text, apart from a brief introduction by Tom Mederos, is the artist’s own: five brief essays in which Pederson-Krag outlines her intentions, preoccupations and influences. Read More