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University of South Florida Contemporary Art Museum, Tampa, FL
Installation view: “Black Pulp!” (2017), University of South Florida Contemporary Art Museum, Tampa, FL.
Recent protests against white supremacy and Confederate monuments in the American south have made it clear that the complexities of our history continue to influence and confound contemporary perspectives on race, rights and equality …Read More
“The American Dream” is the eagerly awaited survey of American prints at the British Museum curated by Stephen Coppel. Over eight years in the making, the exhibition follows upon the museum’s 2008 exhibition, “The American Scene; Prints from Hopper to Pollock …Read More
Martin Puryear has long been recognized for his meticulously crafted, quixotic and evocative sculptures, but his consummate skills as a draftsman and printmaker have been less celebrated, and indeed, prior to the arrival of the exhibition “Martin Puryear: Multiple Dimensions,” …Read More
"Encore sous pression (Still Under Pressure): Atelier Michael Woolworth, Paris"
Le Centre de la Gravure et de l’image imprimée de la Fédération Wallonie-Bruxelles, La Louvière, Belgium
Jim Dine, Cheval Blanc Poem (2015), woodcut, power-tool abrasions and hand-painted acrylic, 170 x 124 cm. Edition of 10. Printed by Atelier Michael Woolworth, Paris. Published by Alan Cristea, London.
Long may he live!” is the spirited close to director Catherine de Braekeleer’s preface, printed in the catalogue and posted on the walls, for the Atelier Michael Woolworth retrospective at the Centre de la Gravure et de l’image imprimée in La Louvière …Read More
Hercules Segers, Mountain Valley with Fenced Fields (ca. 1615–1630), etching, 22.5 x 28.9 cm. Rijksmuseum, Amsterdam.
Few printmakers are as legendary as the Dutch artist Hercules Segers (1589/90–after 1633). His rare and mysterious etchings seem caught out of time—works of an eccentric genius who operated outside the normal bounds of place and era …Read More
"Christian Gfeller and Anna Hellsgård: Die Wand / Die Mauer"
Fieldwork, Visual Art Center at the University of Texas at Austin, Austin, TX
Christian Gfeller & Anna Hellsgard, Die Wand/Die Mauer (2016), screenprint on plywood, each approximately 8 x 12 x 3 feet. Unique objects. Printed by the artists. Published by UT Guest Artist in Print Program, Austin.
In “Die Wand / Die Mauer,” Christian Gfeller and Anna Hellsgård used freestanding, screenprinted billboards to slice up the Fieldwork project space inside the University of Texas at Austin Visual Arts Center. Three eight-foot-tall, twelve-foot-wide walls were arranged in parallel, cutting diagonally through the room …Read More
Installation view: “Andrew Raftery: Autobiography of a Garden,” Ryan Lee Gallery, New York, 2016. Courtesy of RYAN LEE, New York.
Andrew Raftery’s group of twelve transferware plates, entitled The Autobiography of a Garden, is an inventive amalgam of several time-honored art practices. The series combines the artist’s passion for 19th-century transferware …Read More
The recent exhibition “Altered States” at Del Deo & Barzune in New York has brought together for the first time a group of etchings that Richard Pousette-Dart (1916–1992) produced between 1974 and 1980 …Read More
Leah Beeferman, Spectrums 1 (2016), digital C-print, 32 x 48 inches. Courtesy the artist and Rawson Projects, New York.
The prints in Leah Beeferman’s recent exhibition, “Cold Color,” at New York’s Rawson Projects update time-honored conventions of landscape painting and photography to address our increasingly mediated relationship with nature …Read More
"Gérald Cramer et ses artistes. Chagall, Miró, Moore"
Cabinet d’arts graphiques du Musée d’art et Histoire, Geneva
Installation view: “Gérald Cramer et ses artistes. Chagall, Miró, Moore,” Cabinet d’arts graphiques du Musée d’art et Histoire, Geneva, 2016–2017.
This valuable exhibition celebrates the art of the print publisher, here in the person of Gérald Cramer, who over a period of 40 years worked with many of the major figures of European modern art. Beginning as a bookseller in Geneva in the 1930s …Read More
“Raphael’s engraver.” The title has simultaneously assured Marcantonio Raimondi’s (ca. 1480–ca. 1534) status as the preeminent Italian Renaissance printmaker and overshadowed the recognition of his independent artistic proficiency …Read More
Attenuated lines, shimmering gilding, gossamer textures and deft compositions suffused the exhibition “Hanga Now: Contemporary Japanese Printmakers” at the University of Saint Joseph in Hartford. More than 60 woodcuts, etchings, lithographs and monotypes by 35 artists …Read More
Ania Jaworska, Saint from A Subjective Catalog of Columns (2015), screenprint on folio paper, 55.9 x 76.2 cm. Courtesy of the artist.
The Museum of Contemporary Art’s exhibition of prints and sculpture by Ania Jaworska was the first in its ongoing series on artists working in Chicago to feature an architect, and the first solo show for Jaworska …Read More
The Morgan Library and Museum’s remarkable exhibition on Henri Matisse’s book works provided a wide-ranging, in-depth view of his achievements in the realm of the artist’s book and, perhaps surprisingly to some viewers, more commercial types of publication …Read More
Hilaire-Germain-Edgar Degas, Café-Concert Singer (Chanteuse de café-concert) (ca. 1877), monotype on paper mounted on board, image 18.5 x 12.8 cm, sheet 23.5 x 18 cm. Private collection.
The recently concluded once-in-a-lifetime exhibition of Degas monotypes at the Museum of Modern Art accomplished something rare among ambitious monographic shows: alongside works of unqualified greatness, it gave space to imperfect, experimental efforts …Read More
Hilaire-Germain-Edgar Degas, On the Street (Dans la rue) (1876–1877), monotype on China paper, image 16.2 x 12.2 cm. Collection of Mrs. Martin Atlas.
While I was walking through the exhibition of Degas monotypes at MoMA, examining those interior spaces he was able to evoke, it occurred to me that his real subject was air—that Degas had chosen monotype because it is best suited to catching the ephemeral …Read More
Joan Hall, Acid Ocean (2012), printed, cut, pulp painted, hand-formed paper, Mylar, acrylic and cast resin pins made with sand and beach detritus, fibers: abaca, kozo, gampi, 64 x 245 x 18 inches (variable dimensions). Courtesy of the artist.
Comprising works by 29 artists and 5 presses, “Printmaking in St. Louis Now” was a testament to the liveliness of contemporary art in St. Louis generally, and specifically to the city’s continued engagement with print …Read More
"The Power of Prints: The Legacy of William M. Ivins and A. Hyatt Mayor"
The Metropolitan Museum of Art, New York
Subway poster for Ed Pinaud’s Eau de Quinine (ca. 1920), lithograph, 25.5 × 50.5 cm. The Metropolitan Museum of Art.
One hundred years ago William Ivins abandoned his legal career to become the first curator of the newly established Department of Prints at the Metropolitan Museum of Art. He swiftly dispensed with the trustees’ brief for a traditional collection of works of an “artistic” nature …Read More
In 2002, five years before his death, Bruce Conner began working with Magnolia Editions on several projects, one of which was a series of large tapestries recreating the compositions of collages he had made in the late 1980s and early ‘90s …Read More