Anders Bergstrom, detail of Grease Bag (2013).
Richard Hamilton, detail of He foresaw his pale body (1990–91).
Art in Print covers from Volume 1 and 2.
EX LIBRIS, Mark Dion, bookplate (2002).
In the first iteration of Art in Print’s Prix de Print open competition, juror Jane Kent selected Justin Quinn’s Fallen Chapter 71 or 4836 times E (2012). Kent explains why. Read more.
Digitally rendered color is everywhere these days—glowing from computer screens and churning out of ink-jet printers—but it is seldom reliable, accurate, or satisfying. Carrina Parraman investigates how color can be made not only cheap and accessible, but art-worthy.
This article appears in the September-October 2013 issue of Art in Print (Vol.3, No.3).
For years, the ever eloquent and quixotic sculptor Martin Puryear has made forays into printmaking. These forays, always brief, extend particular motifs from Puryear’s three-dimensional repertoire. They also illuminate with a distinctive clarity that opposition between the sculpture’s undeniable presence and a print’s inherent separation of image from material. Art in Print Editor-in-Chief Susan Tallman reviews five of Puryear’s recent etchings. Read more.