Saya Woolfalk

Saya Woolfalk, Encyclopedia of Cloud Division (Plate I) (2018)

Through her installations, immersive environments and video projections, Saya Woolfalk expounds on the fictional material culture of the equally fictional Empathics, a female Read More

Eye to Eye in 2018

Enrique Chagoya, Everyone Is an Alienígeno (2018), color lithograph with collage, 22 x 30 inches. Edition of 30. Printed and published by Shark’s Ink, Lyons, CO. $2,400. Francisco Clemente, Self Portrait with Stars (2011–18), drypoint on Hahnemühle Copperplate warm white paper, 16-13/16 x 11-1/4 inches (paper), 9-3/8 x 5-1/2 inches (plate). Edition of 51. Printed by Harlan & Weaver, New York. Published by the artist. $1,800. Rico Gatson, Harriet (2018), lithography and photopolymer gravure, 33 x 26 inches. Edition of 25. Printed and published by Highpoint Editions, Minneapolis, MN. $2,250. Ms. Holiday (2018), digital pigment print on hot press natural paper. 22 x 30 inches. Edition of 30. Printed by André Ribuoli, New York. Published by Eminence Grise Editions, New York. Commissioned in support of No Longer Empty. $950. Sara Greenberger Rafferty, Variations (2018), photogravure and chine collé, 17 x 24 inches (plate), 20-3/4 x 27-3/8 inches (paper). Edition of 20. Printed and published by Wingate Studio, Hinsdale, NH. $1,400. Eye Test (2018), set of nine photogravures and chines collés, 14 x 11 inches (plate), 20-3/4 x 16-7/8 inches (paper). Edition of 3. Printed and published by Wingate Studio, Hinsdale, NH. $900 each, $5,700 the set. Domenique Himmelsbach de Vries (et al), A Paper Monument for the Paperless (2013–present), sixty woodcuts, 16-1/2 x 23-3/8 inches (A2). Unlimited edition. Printed and published by the artists, Amsterdam. Available for free for public posting; contact info@himmelsbach.nl. Lonnie Holley, Born into Colors (2017), color woodblock, 48 x 32 inches. Edition of 25. Printed and published by Paulson Fontaine Press, Berkeley, CA. $3,000. Black in the Midst of Red, White and Blue (2017), color woodblock, 39-7/8 x 29-3/4 inches. Edition of 20. Printed and published by Paulson Fontaine Press, Berkeley, CA. $2,500. My Three Mothers (Mama, Mother Earth and Mother Universe) (2017), color woodblock, 39-7/8 x 29-3/4 inches. Edition of 20. Printed and published by Paulson Fontaine Press, Berkeley, CA. $2,500. Shivangi Ladha, Has each violent revolution created another violent society, another violent culture? Acid Attack Survivor (2018), series of eight etchings with chine collé, 12-1/2 x 16-1/2 inches each. Unique. Printed at EFA Robert Blackburn Printmaking Workshop, published by the artist. $350 each. Acid Attack Survivors (2018), unique etchings, 21 x 31 inches each. Printed at EFA Robert Blackburn Printmaking Workshop, published by the artist. $490 each.

Francesco Clemente, Self Portrait with Stars (2011–18)

There is always some signal in the noise that constitutes a year of contemporary art—some subject, or quality, or method that seems to have caught the attention of artists Read More

Krakow Triennial 2018

Jiantang Wu, Broken Branches in the Wild (2017), woodcut, 220 x 330 cm. Courtesy of the artist and the Internation Print Triennial, Krakow.

Every three years, the city of Krakow plays host to the International Print Triennial, one of the longest-running open print competitions in the world. The triennial is predominantly an exhibition of prints Read More

Prix de Print, No. 33 Progression(2018) by Patty deGrandpre

Patty deGrandpre, Progression (2018)

This iteration of the Art in Print Prix de Print has been judged by a custom designed AI system. The Prix de Print is a bi-monthly competition, open to all subscribers, in which a single work is selected by an outside juror to be the subject of a brief essay. In keeping with the theme of this issue of Art in Print, the latest winner of the Prix de Print has been selected by a machine learning system. Over the past eight years, machine learning—a subset of artificial intelligence research in which algorithms “train” by examining data and observing patterns (rather than receiving detailed instruction from human pro-grammers)—has produced Read More

“A New Technique for Printing in Dark and Light”: Chiaroscuro Woodcuts in Renaissance Italy

Ugo da Carpi, after Raphael or Giulio Romano, Hercules and the Nemean Lion (ca. 1517–18), chiaroscuro woodcut from 2 blocks in blue and black, 11 3/4 × 8 5/8 inches. Courtesy of The British Museum, London. Photo: ©2018 The Trustees of the British Museum.

An exhibition of old master prints rarely has the ability to reshuffle centuries of attributions, but Naoko Takahatake’s show on chiaroscuro woodcuts Read More