March 15–September 2, 2013
The Paul J. Sachs Prints and Illustrated Books Galleries, second floor
Since the early 20th century, abstraction has been associated with so many artistic movements, from Suprematism and Constructivism to Abstract Expressionism and Op art, that it can no longer be defined by any one style or tradition. Indeed, abstraction exists now as a rich and varied trove of formal languages and ideas—an open source of inspiration that extends well beyond the boundaries of art. This exhibition focuses on the print medium, highlighting ways in which abstraction has played a generative role in works of the past decade. Featuring prints, artists’ books, and multiples from the Museum’s collection—by artists such as Cory Arcangel, Tauba Auerbach, Philippe Decrauzat, Liam Gillick, Wade Guyton, Nadia Kaabi-Linke, R. H. Quaytman, and Charline von Heyl—Abstract Generation examines contemporary notions of abstraction through a range of contemporary practices.
Organized by Kim Conaty, The Sue and Eugene Mercy, Jr., Assistant Curator of Prints and Illustrated Books.
The exhibition is made possible by Anna Marie and Robert F. Shapiro.
MUNCH & German Expressionism In association with GALERIE THOMAS, Munich
Private view: Monday, May 6, from 5 until 8 pm
Exhibition dates: May 7 to June 28, 2013
The exhibition will focus on the works of the great Norwegian artist Edvard Munch (1863–1944). In 2013 – the 150th anniversary of his birth – he is being celebrated around the world and is presented at the Museum of Modern Art with the famous pastell “Schrei” (“The Scream”). The market for his works is particularly lively. He is regarded as a pioneer of Expressionism and is acclaimed not only for his expressive symbolist painting, but also for his various graphic works. To name just a few of Munch’s master prints, we will bring “Vampire II” and the hand-colored lithograph “On the Bridge” to New York.
We are also presenting works by Paul Klee, Ernst Ludwig Kirchner, Lyonel Feininger and Oskar Schlemmer. Amongst them, the wonderful watercolour “Marsh landscape und farm houses” by Emil Nolde and an “Abstract Head” by Alexej von Jawlensky. In his series of renderings of the human face Jawlensky was deeply concerned with the question: What is Humanity?
We look forward to welcome and meet you and your friends in person!
With best regards from Munich,
Raimund Thomas and Heike Grossmann
DAVID TUNICK, INC. 19 East 66th Street New York, NY 10065 212-570-0900
Image: Edvard Munch,Vampire II, 1895/1902
St. Louis Mercantile Library at the University of Missouri – St. Louis
May 3rd, 4th, and 5th
Benefit Preview May 3rd, 6-9pm
University of Missouri – St. Louis UMSL North Campus 1 University Boulevard, St. Louis, Missouri
|April 16, 2013 | 6:00pm – 7:30pm|
|406 Jackson Street|
|San Francisco, CA|
|Announcing the Appraisers Association’s First Lecture of the 2013 West Coast Study Series:
From Medieval to Modern: What Appraisers Need to Know About the Graphic Arts
Tuesday, April 16, 2013
Join works on paper expert Robert Flynn Johnson for a study session on original fine art prints. Mr. Johnson will give an overview of printmaking techniques and artistry, and advice on what appraisers need to know when inspecting prints for condition and quality. Appraisers will have a hands-on opportunity to hone their skills by inspecting prints from Johnson’s own collection. Mr. Johnson will be signing copies of his most recent book, Edgar Degas, The Private Impressionist: Works on Paper by the Artist and His Circle, following the lecture.
$15 AAA/ASA/ISA Members; $25 General Admission
Please register on our website (this page, above); OR
Note: All payments and reservations MUST be made in advance. No money will be collected at he event. Registration and cancellation end on Tuesday, April 9th at 1:00pm eastern standard time. (Registration forms and payment mailed to our office must be postmarked by April 9th)
San Francisco’s Montgomery Gallery hosts the Appraisers Association’s inaugural 2013 West Coast Study Series. The series will focus on specific areas of interest to appraisers working in the western region, and will include lectures, study days, and other programs. These events are part of the Appraisers Association’s ongoing commitment to continuing education, and attendance will count towards the Association’s continuing education requirements. Upcoming subjects include: Arts & Crafts Frames, Painting Conservation, California Clay and a foundry visit. Programs will be announced once confirmed. Please contact the Appraisers Association at email@example.com or 212.889.5404 ext. 11 to suggest upcoming programming for the west coast region. Your feedback is much appreciated!
Tour of Edo Pop: The Graphic Impact of Japanese Prints
Edo Pop playfully juxtaposes classic ukiyo-e prints from such masters as Katsushika Hokusai and Utagawa Hiroshige with contemporary works inspired by these artists and their works. Delve into alluring worlds created by the power of Edo period and contemporary popular culture in which change is the only constant.
Recently appointed Japan Society Gallery Director, Miwako Tezuka, PhD, will introduce the initiatives that Japan Society will launch in the coming months and her perspectives, focusing on the importance of cross-historical and transnational curatorial methodology applied to the Society’s special exhibition Edo Pop: The Graphic Impact of Japanese Prints, which opens to the public on March 9 and will be on view through June 9. 2013.
Monday, March 11
9:30 – 11:00 am
FEE | ArtTable Members $15 | Guests $20
Directions | Japan Society Gallery | 337 East 47th Street, between 1st & 2nd Avenues
Katsushika Hokusai (1760–1849)
Under the Wave off Kanagawa from the series Thirty-six Views of Mount Fuji
1831–34, color woodblock, oban
10 1/4 x 14 5/8 in. (26 x 37.7 cm)
Appraisers Association of America presents All About: Printmaking, East and West
Thursday, October 25, 9:00am to 4:30pm
With Jeff Bergman, Kelly Troester, Allison Tolman, and Katherine Martin
Join us for a contemporary print day at Pace Editions Studio, Pace Prints Gallery, Phillips de Pury & Company, and Scholten Japanese Art Gallery!
Time to get excited about the fall edition of the Affordable Art Fair, a fun four-day event taking place at The Tunnel in Chelsea from October 4-7, 2012 and featuring a huge arrage of contemporary art!
April 19 – 21, 2012
For more information and to register click here.
Apri 5-30, 2012
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
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.