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Art in Art in Print No. 2: Damon Davis: All Hands On Deck (2015)

Damon Davis, All Hands on Deck (2015), two printed journal pages, 8 1/4 x 10 3/4 inches each. Open edition. Published by Art in Print.

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. We are pleased to present Damon Davis’s All Hands On Deck as the second of these projects. Read More

Patterns of Interference

Ross Racine, A New Day (2014), digital drawing (inkjet print on paper), 31 1/2 x 39 1/2 inches. Edition of 5. Printed by Skink Ink, New York. Published by the artist, New York.

This year marks the 15th anniversary of the International Print Center New York and the 50th iteration of its New Prints exhibition program. Read More

Frameless: Wall Works in Berlin

  Painting and sculpture—self-contained, unique and transportable—are the forms on which the modern art world was built. The congregating, dispersing and reconfiguring of discrete objects in and out of collections and exhibitions (with money to be made at each point of transfer) feed both the market and the museum. In the 1960s and ’70s, editions (because they are not unique) and site-specific installations (because they are not portable) were hailed as tools for undermining that system. Read More

Embracing the Whole Story: a Conversation with Deborah Wye

Deborah Wye recently retired as The Abby Aldrich Rockefeller Chief Curator of Prints and Illustrated Books at The Museum of Modern Art. Over the course of her 31 years at MoMA, she organized and co-organized many major exhibitions, including Thinking Print: Books to Billboards, 1980–95 ; Eye on Europe: Prints, Books & Multiples, 1960 to Now (2006); and Committed to Print: Social and Political Themes in Recent American Printed Art (1988), and published extensively on subjects ranging from Russian avant-garde books to Louise Bourgeois. She was also responsible for a significant expansion of the department’s holdings, particularly in areas of less traditional print production, though for her last exhibition she returned to MoMA’s roots with a close look at the creative process of MoMA’s most axiomatic artist in Picasso: Themes and Variations. Currently she is working at the museum as Chief Curator Emerita, completing the catalogue raisonné of the prints of Louise Bourgeois (MoMA has an archive devoted to the artist’s printed work.) Read More