Art in Print covers from Volume 1 and 2.
Wangechi Mutu, detail from Homeward Bound (2009).
Leonardo Parasole (after Antonio Tempesta), detail from The Visitation from the interlinear version of the Evangelium (1591).
David Hockney, detail from Afternoon Swimming (1980).
A recent exhibition at the Block Museum showcased works created by artists involved in the American Communist Party’s John Reed Clubs during the Great Depression, providing documentation of a vital decade during which artists saw themselves as international beings, printing locally for the global good.
This review appears in the November-December issue of Art in Print (Vol.4, No.4).
The Chilean artist Lorena Villablanca exploits woodcut’s distinct formal properties and its expressive charge as she merges regional Lira Popular and the European art historical canon in wildly subjective combinations.
This article appears in the November-December issue of Art in Print (Vol.4, No.4).
Ed Ruscha is one of a handful of postwar artists for whom the printed image (photographs, books, portfolios and wall-mounted editions) has been as important as any of his work in monumental mediums. A summer exhibition curated by Robert Monk at Gagosian’s Madison Avenue space sampled 139 prints and photographs—many in groups and series—from 1959 to the present.
In Stella Ebner’s Cartier Window (2014), selected by Faye Hirsch, the New York window of a French company shows Asian leopards and African diamonds, framed in the Nordic pagan fir boughs we use to mark a Christian holiday.