Elleree Erdos is a graduate student at Columbia University and works at Craig F. Starr Gallery in New York. A graduate of Williams College, she has worked in the print departments at The Museum of Modern Art and the Sterling and Francine Clark Art Institute, as well as in the American Wing at the Metropolitan Museum of Art. [May 2015]

Moving Parts: Animated Prints at IPCNY

Hosting its first exhibition dedicated to time-based media this past spring, IPCNY joined the bevy of galleries now taking on the moving image. “Suspended Animation: Moving Images in Print,” organized by Lotte Allen, presented short animations by nine artists alongside related prints—in many cases those from which the animations were built Read More

Julie Mehretu

Julie Mehretu’s intricate assemblages of lines, washes and gestural marks articulate familiar yet often unidentifiable linguistic and architectonic traces, fragments of systems for the viewer to grab onto. In painting and print, she layers architectural plans, maps and other schemata to invoke the histories of cities and civilizations Read More

Rob Swainston

Rob Swainston’s recent lithograph is a vertiginous confrontation. Its violent light, ambiguous perspective and depth thrust the viewer into a bewildering whirl, as if one is looking through the windshield of a falling helicopter on a downward spiral. It is part of a larger body of work in which the artist addresses the advent of mechanical flight and aerospace Read More

Lingen, Melby, Miller

Vija Celmins, detail of Wood Engraving, No Title (1995), wood engraving,16 x 14 inches. Edition of 47.

A year after taking root in a vacant flower shop on West 28th Street in New York City, Planthouse has become a home to daring exhibitions by emerging artists as well as a supportive venue for prints. “Proof” was the gallery’s first project to include the work of eminent artists such as Chuck Close, Joel Shapiro and Vija Celmins. Read More

Hank Willis Thomas: Now You See It, Now You Don’t

Left: Hank Willis Thomas, And I Can't Run (2013) (ambient lighting). Right: Hank Willis Thomas, And I Can't Run (2013) (flash lighting).

Originally a photographer and self-described “visual culture archaeologist,” Hank Willis Thomas confronts the realities of racial violence in the United States by revisiting horrors that have become obfuscated with time. The formal qualities of these two prints emulate the mental process through which we absorb and digest difficult histories: both are grasped only when presented in a certain light. Read More

Jane Kent: Blue, Pink and See-through

Jane Kent, Blue Nose (2013).

In her first project with Aspinwall Editions, Jane Kent carefully calibrates color and shape to reveal the illusionistic capacity of screenprint. Pink Eye and Blue Nose illustrate an almost architectural approach to printmaking, with images constructed layer-by-layer and cutouts overlapping with diagrammatic scrupulousness. The image is as spontaneous as it is constructed, with soft- and hard-edged forms colliding and knocked askew in a perfect storm of abstract harmony. Read More

Ryan McGinness: Fluorescent Body Parts

Ryan McGinness, Untitled (Flourescent Women Parts) 1, 2 and 3 (2013).

Ryan McGinness has often been compared to Warhol for his appropriation of pop iconography and his meditations on the symbolism of contemporary commercial imagery. His skillful manipulation of screenprint furthers the comparison. Read More