Kate McCrickard is an artist and writer based in Paris. Her publications include a 2012 monograph on the work of William Kentridge for Tate Publishing, a contributing essay to William Kentridge: Fortuna and contributions to Print Quarterly and Art South Africa quarterly.
Kate McCrickard, Barflies from Drinkers (2017), oil paint on Japanese paper with frottage, traced monotype and painted monotype, 38 x 33 cm. Unique image. Printed by the artist, Paris.
Art in Art in Print is an irregular, ongoing series of projects in which artists create art within the journal—not a piece of art that exists somewhere else and is reproduced in the journal, but a project designed specifically for the material, technological and social context of Art in Print.Read More
Jim Dine, Cheval Blanc Poem (2015), woodcut, power-tool abrasions and hand-painted acrylic, 170 x 124 cm. Edition of 10. Printed by Atelier Michael Woolworth, Paris. Published by Alan Cristea, London.
Long may he live!” is the spirited close to director Catherine de Braekeleer’s preface, printed in the catalogue and posted on the walls, for the Atelier Michael Woolworth retrospective at the Centre de la Gravure et de l’image imprimée in La Louvière Read More
William Kentridge, from Domestic Scenes (1980), etchings with soft ground and aquatint, each from one copper plate, images varying 11.5 x 13.5 or 16 cm, sheets varying 28.5 x 38 cm. Edition of 30 incomplete. Printed and published by the artist, Johannesburg.
A murderous truth came rudely to the South African artist William Kentridge when, as a six-year-old boy, he mistook a yellow Kodak box on his father’s desk for a box of chocolates. Inside were photos of a woman with her back blown off, someone with only half her head visible Read More
After I looked and looked again, whittling down the dozens of entries to this iteration of the Prix de Print, Kenneth Alfred’s etching Intermède II, No. 8 endured, emerging—to my eyes—as the clear winner Read More
Sebastian Black, Period Piece Simple Sequence (2014). Courtesy Wingate Studio.
Sebastian Black’s Period Piece Simple Sequence is devised in binary form: it can be viewed bookishly sheathed in Mark Tomlinson’s handsome cloth-bound slipcase, or sprung out like a jack-in-the-box into two ten-panel paper sculptures that extend some ten feet Read More
A perfect black line creeps across the image. At points, it passes over blank paper alone; elsewhere it can just be picked out as it enters into the rigorous crosshatching and then tapers off, wound around the spindle Read More
The dispiriting exit from the train station across a barren parking area into the streets of La Louvière on an overcast Belgian morning set the mood for visiting “Suspended – L’œuvre imprimé (1989–2014),” the print retrospective of Luc Tuymans, Belgium’s famously discomforting history painter. Read More
In 2006 the Paris-based master printer Michael Woolworth invited French painter Djamel Tatah to pick up a crayon and draw on a lithography stone for the first time. Recently, in Woolworth’s atelier, tucked behind the relentless roar of traffic at the Place de la Bastille, they mounted an authoritative overview of what is now eight years of rich collaboration. Read More