Isabella Kendrick is the Managing Editor of Art in Print. She is a graduate of the School of the Art Institute of Chicago and lives and works in Brooklyn, New York.

Matt Saunders

Matt Saunders, Ratlos / Indomitable I (2017).

In his new series of five etchings, Matt Saunders conjures the aura of the silver screen, using organic gestural form and a dizzying array of mark-making. Ratlos Indomitable I–IV are of a piece Read More

Arlene Shechet

Arlene Shechet, Significant Other: Pleasure (2017).

Arlene Shechet’s Significant Other series with the LeRoy Neiman Center at Columbia University represents an important moment for the sculptor, who has never before created editioned prints Read More

George Whitman

George Whitman, Tucker (2017).

In his portrait of Tucker, the 250-pound pet pig of friends, George Whitman offers a somewhat unlovely specimen, even by the most generous estimate. The hog’s back legs appear to have buckled under the weight of his vast body Read More

South African Impressions

Dan Rakgoathe, Cosmic Trinity (1974), linocut, 36.5 x 36.5 cm. Johannesburg Art Gallery, PELMAMA Permanent Art Collection. Image courtesy of The Haenggi Foundation.

What began as a vacation to South Africa last summer swiftly, and probably inevitably, morphed into an opportunity to learn about the country’s robust printmaking culture. I am by no means a specialist in South African art and this survey is simply an introduction Read More

Shellshock and Awe

Christopher Richard Wynne Nevinson, Banking at 4,000 Feet (1917), lithograph, image 40.3 x 31.8 cm, sheet 51.1 x 40 cm. Metropolitan Museum of Art, Purchase, Reba and Dave Williams Gift, 1998.

“World War I and the Visual Arts,” organized by Jennifer Farrell, associate curator in the Metropolitan Museum’s Department of Prints and Drawings, represented the Met’s main commemoration of the centennial of the American entry into World War I on 6 April 1917 Read More

Von Bartsch in Context

The 32 essays that constitute Copy.Right address developments in the production, collecting and connoisseurship of prints from the late 17th to the early 19th centuries. Technological innovations, the professionalization of the art market Read More

No. 25: Over the hill by Ralph Overill

Ralph Overill, Over the hill (2017).

I have a dim—possibly apocryphal—recollection that, at some point in the mid-1970s, I read an article in the International Herald Tribune about the history of updating the 20th-century Arabic lexicon to accommodate new technological and cultural innovations Read More

Spring 2017 New York Auction Roundup

Joan Miró, Strip-Tease (1959), two impressions: etching and aquatints in colors, image 7 3/4 x 11 5/8 inches each, sheet 11 x 15 inches and 12 7/8 x 19 3/4 inches. One with extensive printing annotations in pencil by Miró, and one signed and annotated ‘H.C.’ in pencil (a working proof and one of several hors commerce impressions, the edition was 75). Printed by Crommelynck et Dutrou, Paris. Published by Maeght, Paris. Image courtesy of Phillips /

Phillips kicked off the spring sales on 18 April with a selection of works from the collection of master printer Piero Crommelynck, including a number of unique working proofs and B.A.T. impressions. A set of three progressive state etchings of Picasso’s Meninas (1973) Read More

No. 23: Recent Antiquities by Cooper Holoweski

Cooper Holoweski, Fragments of a Broken CD-R—After Piranesi’s Fragments of the Marble Plan of Ancient Rome from Recent Antiquities (2016).

In the series Recent Antiquities (2016), Cooper Holoweski follows the tradition of artists who have taken earlier artworks as starting points for new ones. One immediately thinks of Roy Lichtenstein’s Cathedral lithographs made in 1969 Read More