Dan Wood, THOUSANDS PROTEST TRUMP FAMILY BRITISH VACATION from The Linotype Daily project, June 4, 2019.
While I could not but be discouraged by the fact that this is the last Prix de Print competition before the demise of our beloved journal, the experience of looking through Read More
Bundith Phunsombatlert, Returning Dialogue: Fragments of Blue and White Porcelain (2017).
As regular readers of this journal know, the judging of the Prix de Print is done “blind”—the juror is given images and Read More
Mary-Ann Monforton, E Cigarettes (2019), lithograph, 30 x 19 3/4 inches. Edition of 20. Printed and published by Derriere L’Etoile Studios, Queens, NY. $400.
All the works submitted for the Prix de Print were carefully crafted and interesting. Some engaged not only the visual sense, but also the intellect and the Read More
Bundith Phunsombatlert, Sunny Garden in Blue: Stories from the Caribbean to Brooklyn (2018)
Bundith Phunsombatlert’s images immediately resonated with me on multiple levels, even before I knew the identity and biography of the artist. Read More
Dario Robleto, Flatline from The First Time, the Heart (2017)
Dario Robleto’s The First Time, The Heart responds to the 19th-century invention for visually recording the human heartbeat, Karl von Vierordt’s sphygmograph, a technology Read More
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
Bob Schneider, The Night Way, 2018
The Night Way is a large, hard ground etching by Austin-based artist, poet and musician Bob Schneider, printed and published by Flatbed Press. Utilizing the verso side of a canceled copper plate found at Read More
Barbara Duval, detail of Tracking (2018).
Tracking, by American printmaker Barbara M. Duval, is a large, ambitious woodcut. It shows a group of anony-mous figures walking away from the viewer, toward a luminous focal point in the center of the image. Seen from the back, these figures appear Read More
Emma Nishimura, An Archive of Rememory: Kay age 17, Japan 1937 (2017), photo-etching on flax and abaca, 3 x 3 x 2 1/2 inches.
Nothing gives me greater satisfaction as a master printer than a neat stack of finished prints. I enjoy resting my hand on the dense pile of ink and paper, understanding the work it took to produce that edition, and knowing the joy of accomplishment Read More
Kelsey Stephenson, detail from divining (2016).
Heraclitean notions of flow and flux permeate Kelsey Stephenson’s monumental print installation, divining. The viewer enters a space made up of three modulated walls comprising individual sheets of Japanese paper Read More
