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.

Teresita Fernández

Teresita Fernández, Burned Landscape (Puerto Rico) (2018).

In 2016 Teresita Fernández opened an exhibition at Anthony Meier Fine Arts in San Francisco titled “Small American Fires”—an allusion Read More

Jasper Johns

Jasper Johns, Untitled (2018), ©Jasper Johns and U.L.A.E. / VAGA at Artists Rights Society (ARS), NY

At 88, Jasper Johns has made a large new intaglio that looks at death and does not flinch. The central, skull-headed, shadow-like figure wears an undersized hat, and holds a Read More

Rashid Johnson

Rashid Johnson, Untitled Anxious Crowd (2018)

Rashid Johnson works in a wide variety of eclectic formats—giant shelving structures on which he arranges retro paraphrases of his Afrocentric upbringing in Chicago; Read More

Jackie Saccoccio

Jackie Saccoccio, Untitled (2018).

Some of Jackie Saccoccio’s canvases support up to 50 layers of paint. She has investigated myriad manners of applying paint to canvas, sometimes mixing mica into pigment Read More

Dasha Shishkin

Dasha Shishkin, He in His London Tailoring, She, Bare as a Lamb Chop (2018).

Supposedly, the best visual art is as strong conceptually as it is thrilling visually. And in good conceptualism, the title of a work usually retains a tautological semantic Read More

Tacita Dean and Julie Mehretu: 90 Monotypes for 90 Years

Julie Mehretu, Monotype #40 (2018), monotype with printing inks and occasional acrylic, 22 x 29 inches. Copyright Julie Mehretu. Courtesy the artist and Marian Goodman Gallery, New York.

One of contemporary art’s most esteemed gallerists turned 90 this past June. To honor Marian Goodman on this occasion, two of the gallery’s eminent artists, Tacita Dean and Julie Mehretu, proposed an installation of 90 monotypes, one for each candle on the Goodman birthday cake. The choice of monotype as medium for this celebration has a certain historical resonance: Goodman, let it not be forgotten, began her career in 1965 with Multiples, Inc., the innovative publisher of artists’ prints and editions. Though longtime friends, Dean and Mehretu worked separately on opposite coasts of the United States with little idea of what the other was up to until they met in Paris for the installation of “Monotype Melody” in Goodman’s elegant Marais space. (The gallery now has branches in New York, Paris and London.)

Dean came to fame in the early 1990s as one of the less outrageous leaders of London’s New British Art scene. She made distinctive films that queried the forward push of time, the veracity of representation and our need to hang on to the present moment. In the first moving-image commission for Tate Modern’s Turbine Hall— FILM (2011)—she monumentalized the near-obsolete medium of analog film with a silent celebration of the material of film itself.

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Minding the Gaps: Watermarks as Art

Mel Bochner, Language is Not Transparent (1999), unique work in handmade paper, watermarked translucent abaca on black cotton base sheet, sheet 40 x 30 inches. Published by Dieu Donné Papermill, New York.

In 1907 Charles Moïse Briquet (1839–1918) published his magnum opus, Les Filigranes (Watermarks), the definitive study of the light-borne symbols and images that had haunted European paper almost from the beginning. In four volumes he reproduced Read More

Jim Dine

In eight large new prints created at Atelier Michael Woolworth for the fall 2017 exhibition “Montrouge Paintings” at Galerie Templon, Paris, Jim Dine applied his indefatigable energy to images that are deliberately unmoored from form Read More

Nicole Eisenman

Nicole Eisenman, Beer Garden (2012–2017).

Nicole Eisenman’s extraordinary new Beer Garden pushes intaglio into the realm of painting. The chef d’oeuvre of a group of plates realized with Harlan and Weaver five years ago, during Eisenman’s year of living “printerly” (see Art in Print Jan–Feb 2013) Read More