Susan Tallman is the Editor-in-Chief of Art in Print. She has written extensively about prints, issues of multiplicity and authenticity, and other aspects of contemporary art.

Brian Belott

Brian Belott, Pirate Ship (2017).

In 1996 Brian Belott—painter on plastic, designer of used sock reliquaries, creator of wildly eccentric books—made a small picture of a pirate ship. Clumps of collage and dark paint picked out a wonky blue hull amidst churning sea and sky Read More

Ross Bleckner

Ross Bleckner has been producing nimble and haunting meditations on mortality since the 1980s, but rarely with the stripped-down concision of this recent set of prints. All appear to have been over obituary pages torn from the New York Times Read More

Keith Coventry

Keith Coventry’s arrangements of detached color rectangles on flat white ground are pointedly suggestive of Kazimir Malevich in high Suprematist mode. We know the rhetoric: the revolutionary reach for universal principles Read More

Dan Halter

With the graphic punch of a relief print and the elaborate line game of engraving, Dan Halter’s meter-tall linocut of rocks was a strong presence at the E/AB Fair in November. It came by both qualities honestly Read More

Alexa Horochowski

Though prints are usually thought of as the product of a fixed matrix—carved woodblocks, engraved plates—the history of printmaking is also littered with malleable matrices: the smooth glass of Degas’ monoprints Read More

Robert Olsen

In April 2014, Robert Olsen, an acclaimed painter of somber, luminous cityscapes and still lifes, died of a heart attack in his sleep. He was 44. At the time, Olsen was engaged in a print project with his New York gallery Read More

Dot Dot Dot

The human brain is hard wired for pattern—early humans found pictures in the stochastic display of stars; current humans spot trends in the cacophony of cultural production. So it is that during New York Print Week Read More

To The Last Syllable of Recorded Time: Christian Marclay

Christian Marclay, Actions: Splish, Plop, Plash, Plash (No. 4) (2015), screenprint with handpainted acrylic, 49 x 35 inches. Image courtesy of the artist and USF Graphicstudio ©2015. Photo: Will Lytch.

At the end of the eight-page description of Diego Velazquez’ Las Meninas (1656) that opens The Order of Things, Michel Foucault acknowledged a fundamental snag in his undertaking Read More

Julie Mehretu’s Syrian Elegy

Julie Mehretu, Epigraph, Damascus (2016).

Julie Mehretu’s Mogamma (A Painting in Four Parts) has received a good deal of attention since it appeared at Documenta in 2012. As the press duly noted, Mogamma is the mammoth Egyptian government building—half Chicago Merchandise Mart, half Albert Speer—that dominates Tahrir Square in Cairo Read More

Spencer Finch

Spencer Finch, Back to Kansas (2015). Image courtesy Paulson Bott Press.

Qualities of light, like particularities of smell, have the ability to evoke beyond reason a particular place and time. It is a property that Spencer Finch used with tremendous grace in Trying to Remember the Color of the Sky on That September Morning Read More