EditionedArt Magazine

Apri 5-30, 2012

http://www.vandeb.com/index.html

This show at the Norton Simon Museum captures that pivotal moment when Southern California seized its own artistic reputation by the horns, simultaneously reaching for and turning away from New York and Europe. Oct 1, 2011 – April 2 2012

The first goal enumerated upon the founding of the Tamarind Lithography Workshop in Los Angeles in 1960 was to “create a pool of master artisan-printers in the United States” in an effort to revive the method of fine art lithography. With those words, and the dedication to create a workshop that would educate printers, artists, curators and collectors alike, Tamarind sparked a renaissance in the graphic arts—one that spread well beyond Los Angeles and the medium of lithography—establishing and legitimizing all methods of printmaking as viable and valuable forms of art making, even for the most avant-garde of post-war artists. Proof will explore the significance of printmaking and its new possibilities as first re-envisioned in post-war Southern California.

Drawing on the extensive collection of the Norton Simon Museum with a few select loans, the exhibition includes works by the local founders of this movement such as John Altoon, Garo Antreasian, Sam Francis, Ed Moses, Ken Price, Ed Ruscha and June Wayne, as well as those who traveled to Los Angeles specifically to print, such as Joseph Albers, Bruce Conner, Lee Mullican, Louise Nevelson, Claes Oldenburg and Robert Rauschenberg.

Proof: The Rise of Printmaking in Southern California, is part of Pacific Standard Time, an unprecedented collaboration of more than fifty cultural institutions across Southern California, which are coming together to tell the story of the birth of the LA art scene. Pacific Standard Time takes place for six months beginning October 2011.

Image: Louise Nevelson (American, 1899–1988), Untitled, 1967, Lithograph, Overall: 43 x 46 in. (109.2 x 116.8 cm), Printed by Anthony Ko, Published by the Tamarind Lithography Workshop
Norton Simon Museum, Anonymous Gift, 1969, © 2011 Estate of Louise Nevelson/Artists Rights Society (ARS), New York

Saturday, March 24, 2012, 2 pm

Dia:Beacon
3 Beekman Street
Beacon, NY 12508

Free with museum admission. Reservations highly recommended.

Click here for more information.

March 21, 2012 – June 2, 2012

On March 21, the week after Keith Haring: 1978-1982 opens at the Brooklyn Museum, Keith Haring’s monumental scroll will be exhibited at Pace Prints to the public for the very first time. This unique proof, from Haring’s own collection, contains all 17 images from The Blueprint Drawings, printed on one continuous sheet of paper that wraps around our 4th floor exhibition space.

Complementing the exhibition of early works on view at the Brooklyn Museum, this edition was based on Sumi ink drawings Haring created in 1980-81. In 1990, Haring revisited these drawings and reconceived them as a portfolio of 17 silkscreens. The imagery features the inchoate elements of the iconic language associated with Keith Haring to this day – pyramids, flying saucers, dogs and crawling babies are intermixed with wandering figures and human/animal/extraterrestrial activities. According to Haring, “They form a perfect time capsule of my beginning in New York City.”

Keith Haring was born on May 4, 1958 in Reading, PA. In 1978, Haring moved to New York City and enrolled in the School of Visual Arts. It was here that he found the thriving alternative art community that was developing outside of the gallery and museum system, with events and exhibitions taking place in the downtown streets, subways and nightclubs. In 1990, at the age of 31, Keith Haring died of AIDS-related illnesses in New York. Since his death, his work has been the subject of several international retrospectives. His work is in major private and public collections including The Museum of Modern Art; The Whitney Museum of American Art: Los Angeles County Museum of Art; The Art Institute of Chicago; The Bass Museum, Miami; Centre Georges Pompidou and Musée d’Art Moderne, Paris; Ludwig Museum, Cologne; and Stedelijk Museum, Amsterdam. The exhibition Keith Haring: 1978-1982, most recently on view at the Contemporary Arts Center in Cincinnati and co-organized by Kunsthalle Wien, will open at the Brooklyn Museum in March 2012.

Exhibition on view until April 21, 2012.

First and foremost, Caporael is a painter. While maintaining a discrete distance from the art world in various rural havens, she has nonetheless earned herself a place in the field of contemporary painting. For nearly thirty years she has allowed her avid curiosity to guide her through a variety of disparate areas of study, most of which take two to five years of research and manifest as paintings while Caporael delves more deeply into her sources. These include “Inside Trees,” “Estuaries,” “Ice,” “Time,” and most recently, the eighty paintings representing thousands of miles of back roads traveled in the U.S. over a period of four years. These series share common denominators: always remaining more allusive than descriptive, the work balances substance and subtlety with aesthetic rigor.

The current exhibition of Caporael’s work represents a departure of two kinds: first, as an endnote to that most recent series, and second as a look back into its beginnings.

Examining these modest newsprint collages allows us to take hold of what is most evanescent in art; the immediate response that precedes intent, and the impulsivity that engenders the intellectual and material refinement that is to follow. This is the point at which the personal narrative is subsumed while exposing an artist’s palpable necessity to create by any means, at all times and in all places.

Only a few of the hundreds of collages assembled for the Road series ever made it to their current state. They were developed en route from issues of the New York Times, which Caporael was surprised to find in convenience stores in even the most remote small towns. Most were never glued down. Some evolved to become paintings and, after serving their function, were swept back into the box of scraps the artist collected on these travels.

This small presentation of selected works provides an opportunity to glimpse the artist’s work taking its initial tactile form in an intriguing and intimate way.

Ameringer | McEnery | Yohe exhibited the last of Caporael’s Road paintings in October, 2010, in The Memory Store. It is rare to see the beginning after witnessing the end of a series, but the poignancy of goodbye is mitigated by the anticipation of Caporael’s next move.

Caporael’s work is in the collections of The Carnegie Institute, Pittsburgh, PA; the Chazen Museum of Art, University of Wisconsin, Madison, WI; the Fine Arts Museum of San Francisco, the Legion of Honor, San Francisco, CA; the Fogg Art Museum, Harvard University, Cambridge, MA; the High Museum of Art, Atlanta, GA; the Los Angeles County Museum of Art, Los Angeles, CA; The Museum of Contemporary Art, Los Angeles, CA; the Orange County Museum of Art, Newport Beach, CA; the Santa Barbara Museum of Art, Santa Barbara, CA; the San Francisco Museum of Modern Art, San Francisco, CA; and The Whitney Museum of American Art, New York, NY among others.

Opening Friday, March 2, 2012, 6-8 pm. Exhibition on view until Wednesday, April 14, 2012.

David Krut Projects is pleased to present Print Me, the first exhibition dedicated to Chakaia Booker’s prints. Booker began collaborating with Master Printer, Phil Sanders, of Robert Blackburn Printmaking Workshop in 2009, and has created over 100 unique prints to date. The title of the exhibition, Print Me, refers to the collaborative dialogue between Booker and Sanders, in which Booker would leave hand written notes for Sanders once her compositions were finished and ready to print. This exhibition features a selection of these collaborative prints, which highlight Booker’s investigation of the two-dimensional framework through experimental print media.

Taking full advantage of the various tools and materials available in the print studio, Booker cut into woodblocks with drills, chisels and grinders and painted on paper with gouache, watercolor and film ink to create an array of lively marks: some sharp and rough, others organic, swirling and energetic. A departure from the characteristically dark color palette of her sculptural work, Booker layered thin, hand-painted and printed Asian papers, combining bright reds and yellows with muted earth tones and blues. Once composed, these papers were adhered together through the process of chine collé, a method Sanders refers to as “sculpture with a 2-D outcome.”

Best known for her large sculptural works made from discarded tires which are cut, looped, layered and reassembled, Booker’s prints explore similar ideas of recombination and transformation through analogous printmaking processes. Just as Booker cuts and recombines materials in her sculptures, her prints are created by tearing, layering and recomposing paper into dynamic new forms, some patterned and abstract and others quietly figurative and playful.

Print/Out is the third in a series of large print surveys periodically organized by the Museum’s Department of Prints and Illustrated Books in order to assess the evolution of the medium.

Over the last two decades, geopolitical borders have shifted and new technologies have forged channels of communication around the world. Printed materials, in both innovative and traditional forms, have played a key role in this exchange of ideas and sources. This exhibition examines the evolution of artistic practices related to the print medium, from the resurgence of traditional printmaking techniques—often used alongside digital technologies—to the proliferation of self-published artists’ projects. Bringing together some 70 series or projects drawn substantially from MoMA’s extensive collection of prints and books, with the addition of several important loans, the exhibition features major artists and publishing projects, such as Ai Weiwei, Trisha Donnelly, Martin Kippenberger, Daniel Joseph Martinez, Lucy McKenzie, Aleksandra Mir, Museum in Progress, Edition Jacob Samuel, Thomas Schütte, SUPERFLEX, Rirkrit Tiravanija, and Christopher Wool, among many others.

Opening: Thursday, January 5, 2012 from 6-8 pm. On view until Saturday, February 4, 2012.

This exhibition is comprised of four distinct bodies of work made between 1971 and 1980, the majority of which have never before been published or exhibited. In these bodies of work, Sternfeld develops conceptual and formal strategies that are fundamental to his practice over the past four decades. Such strategies include the building of narrative, elements of humor and irony, a politicized view of America, as well as a concern for community, social conditions, and the environment. In making this early work Sternfeld began to experiment with the Bauhaus-based idea of building a work of art out of two or three dominant hues of relatively equal density; this approach became the central chromatic organizing principle of American Prospects (1978-1986).

Each of the four components of First Pictures bears its own title. Sternfeld began the first, Happy Anniversary Sweetie Face!, in 1971 and developed it over the next seven years. In these pictures, Sternfeld probed the essential nature of the color photograph, including questions of palette and purpose. Nags Head, 1975 documents the eponymous beach town where Sternfeld spent the summer of that year. With these images, he attempted to visually achieve a sense of temporal and spatial fluidity. Rush Hour is comprised of urban street portraits made in Chicago and New York in 1976, the year of America’s uneasy Bicentennial celebrations. These pictures attempt to portray the psychological landscape of the country in a time of recession, with the memories of the Vietnam War and Watergate still fresh. The final group of images, At the Mall, New Jersey 1980 consists of semi-formal portraits of mall-goers presenting their purchases to the camera, a conceptual strategy that foreshadows the circumstantial portraits of Stranger Passing, published two decades later.

Sternfeld’s 1970’s America is a depicted as a bittersweet era filled with exuberance but constrained by a sense of a society not living up to its ideals. This was also a time of excitement in photography as emergent color pictures struggled to compete with the more established world of black and white images. This exhibition is replete with examples of the societal and artistic conditions present at the time of the work’s production, and it allows us to gain a fresh understanding of Sternfeld’s achievement in the eleven bodies of work he went on to make in the subsequent four decades.

The first retrospective exhibition of Joel Sternfeld’s work, organized by Ute Eskildsen, was on view at the Museum Folkwang in Essen, Germany from 16 July – 23 October 2011. Over the next two years, the exhibition will travel to the Fotografiemuseum Amsterdam from 15 December 2011 – 14 March 2012, the Albertina in Vienna, Austria from 26 June – 14 October 2012, and C/O Berlin from 7 December 2012 – 3 March 2013. This exhibition coincides with the publication of the book First Pictures, produced by Steidl.

-from Luhring Augustine

Pace Prints and the estate of Sol LeWitt present an exhibition of prints from January 11 to February 12, 2012.

Sol LeWitt: Editions will present the following two complete sets of prints: Forms Derived from a Cubic Rectangle (1990) and Horizontal Color Bands and Vertical Color Band (1991). These prints directly correlate to the wall drawing projects that LeWitt had undertaken during this period. Printed by Jo Watanabe, they refer to two systems of images LeWitt created: lines in various directions and forms derived from a cube, that were hallmarks of his career.

Organized in conjunction with the exhibition Print/Out, Print Studio is an interactive space that explores the evolution of artistic practices relating to the medium of print. The studio offers a series of drop-in workshops, lectures, and events that emphasize accessible and sustainable models for the production and dissemination of ideas. Drawing from resources such as the Reanimation Library (based in the Gowanus area of Brooklyn)—a collection of discarded books acquired for their visual content—and a variety of print techniques, participants are invited to experiment with and manipulate images and text. Artist- and educator-led activities highlight the ways in which new digital technologies incorporate traditional printing practices, reimagining the role of print in contemporary visual culture.

Triple Canopy, an online magazine, workspace, and platform for editorial and curatorial activities, will present a series of programs at Print Studio that examine the recent history of arts publishing while also investigating how those historical models foster innovative contemporary art and social practices on the Internet and in print. Using Print Studio as well as MoMA’s collection, current exhibitions, library, and archives as points of departure, a series of interactive programs and publishing initiatives will explore a range of topics from collective approaches, such as publishing and political activism, to the impact of technological shifts on contemporary arts print publications.

Programs are free unless otherwise noted. Participation is on a first-come, first-served basis. Open to all ages. Children must be accompanied by an adult.

Programs are free, but tickets are required and are available on a first-come, first-served basis at the Cullman Desk in the Education and Research Building as of 1:30 p.m. on the day of each program. Participation is limited to 25 people. Each workshop runs for 75–90 minutes.

Robert McNeely, former Chief Photographer for President Clinton, will share his over 40 years of experience as a photographer and journalist and offer in-depth advice on building a photography collection. He will also show rare photos from his personal collection. Event info

Affordable Art Fair

Saturday

September 24

3pm

The Print Center Calendar Of Events

Gallery Talk: Purgatory Pie Press

Saturday, April 9, 2:00pm

Purgatory Pie Press

Purgatory Pie Press is a collaborative effort of the husband and wife team Dikko Faust and Esther K. Smith. Faust hand-sets wood and metal type and experiments with letterpress, and Smith edits, designs and hand-sews books. Faust and Smith have collaborated with a number of other artists and writers to create artists’ books, postcards and a variety of hand-printed ephemera. Join them as they discuss letterpress, collaboration and artists’ books. Smith will sign copies of How To Make Books published by Random House, 2007.

Purgatory Pie Press is a collaborative effort of the husband and wife team Dikko Faust and Esther K. Smith. Faust hand-sets wood and metal type and experiments with letterpress, and Smith edits, designs and hand-sews books. Faust and Smith have collaborated with a number of other artists and writers to create artists’ books, postcards and a variety of hand-printed ephemera. Join them as they discuss letterpress, collaboration and artists’ books. Smith will sign copies of How To Make Books published by Random House, 2007.

LECTURE: Printed Image: Trevor Paglen

Thursday, April 28, 6:00pm

Join us for a lecture commissioned by The Print Center from artist Trevor Paglen exploring the history of photography as a way of seeing using machines. Paglen is an artist, writer and experimental geographer whose work has been included in recent exhibitions at the Tate Modern, London; San Francisco Museum of Modern Art; and New Museum, New York. In 2010, Aperture published his first photographic monograph entitledInvisible.

PIFA Street Fair

Saturday, April 30, 11:00am-7:00pm

Broad Street between Chestnut & Lombard Streets

As part of Philadelphia International Festival of the Arts (PIFA), Broad Street will be closed for an all-out outdoor street celebration inspired by the allure of Paris. Join The Print Center along with other vendors, craftsmen and exhibitors to fill the street while Philadelphians ride a Ferris Wheel and enjoy a wide variety of performers, bands, café-style seating and lots of family programming – even a troupe of circus performers will dangle from the air at sunset!

Artist Talk with Greg Pizzoli

Saturday, May 14, 2:00pm

Philadelphia-based illustrator and printmaker Greg Pizzoli will share some of his favorite children’s books, both old and new, and discuss their influence on his artistic process and current projects. Greg has exhibited his screenprinted posters, artist books and prints in The Netherlands, Spain, Canada and the US and was the co-curator of OUTLOUD: Artist Books Performed, a wildly popular event held at The Print Center in 2010.

Gallery Talk with Sarah Suzuki

Saturday, June 4, 3:30pm

In conjunction with the opening reception for the 85th Annual International Competition: Printmaking, co-juror Sarah Suzuki, The Sue and Eugene Mercy, Jr., Assistant Curator of Prints and Illustrated Books, Museum of Modern Art, New York, will give a guided gallery talk.

April 19th-21st, 2011

Royal Academy of Arts, Piccadilly, London W1

Open daily 10am-8pm

www.LondonPrintFair.com

It’s all about Prints, Paintings, Drawings, and Photography

A formal art fair featuring 26 distinguished dealers from across the United States.  This is the only art fair in the Washington D.C. area where an extraordinary range of fine art will be available for collectors, museums, and the curious to see and purchase.   The work will include over 500 years of art, including American, European, Japanese masterworks, and contemporary works by many well known living artists and a large group of young cutting-edge contemporary artists. More

April 2011

An evening with INKA ESSENHIGH

THURSDAY, MARCH 31, 6:30-8:00PM

TICKETS $150 [SPACE IS LIMITED]

HOSTED BY:

Pace Editions

44 West 18th Street 8th Fl. New York, NY 10011 WINE AND CHEESE from Murray’s [New York's Oldest and Best Cheese Shop]

eat drink prints is an exciting new event series hosted by the IFPDA Foundation to provide creative inspiration to the public and the print community. We will be sponsoring periodic events throughout our membership area.

AN EVENING WITH INKA ESSENHIGH

Inka Essenhigh at Pace Editions

An intimate evening with Inka Essenhigh

who will discuss her newly completed prints and monoprints. Guests will see the artist’s latest project and a demonstration in the workshop where they were created.

States and proofs of projects with David Bates, Donald Baechler, Nicola Lopez, Paul Morrisson, Yoshitomo Nara, and Kiki Smith will also be on view. [Purchase Tickets]

The Foundation is committed to the support of exhibitions, programs and scholarly projects that increase the awareness and appreciation of fine prints. Through its grants program, the Foundation aims to motivate museums and educational institutions to sustain and fortify their commitment to this important form of artistic expression.

An opportunity for artists to bring a portfolio of work for informal critique. Each small group is led by an accomplished art professional. Artists get a minimum of 20 minutes to share their work and receive feedback. Advance registration is necessary. $25 members, $40 non-members.

Wednesday, March 23, 6:00-8:00pm

Robert Blackson, Director of Exhibitions and Public Programs, Tyler School of Art, Temple University

Wednesday, April 13, 6:00-8:00pm

Gretchen Wagner, The Sue and Eugene Mercy, Jr., Assistant Curator of Prints and Illustrated Books, Museum of Modern Art, New York

Wednesday, May 11, 6:00-8:00pm

Brian Paul Clamp, Director, ClampArt, New York

Thursday, March 17, 5:30pm

In conjunction with the exhibition opening receptions, Jesse Burke andNils Ericson will give a guided gallery talk on their two-person exhibitionSweet Meat, and William Earle Williams will introduce his solo exhibition Party Pictures.

Saturday, June 4, 3:30pm

In conjunction with the opening reception for the 85th Annual International Competition: Printmaking, co-juror Sarah Suzuki, The Sue and Eugene Mercy, Jr., Assistant Curator of Prints and Illustrated Books, Museum of Modern Art, New York, will give a guided gallery talk.