Art in Print
July–August 2014
How Screenprint Took Over the World
We are pleased to announce that the July–August 2014 issue of Art in Print is out now.
It is a tool of Wall Street and Occupy Wall Street, of circuit boards and skateboards, T-shirts, paintings and limited-edition prints. This fluidity may be the closest thing screenprint has to a distinct identity, which makes it either the most boring or the most interesting art medium on the planet.
The July-August issue of Art in Print looks at the role of screenprint in art and design, culture and society. Jason Urban examines “Person holding poster” and other strategies for conveying the authenticity of printed images, and their implications for what we want from art. Susan Tallman and Michel Ferut survey the ground of screenprint production, from the gig posters of Daniel MacAdam to Christian ministry to the paintings of Glenn Ligon and the sculptures of Kelley Walker. In his Books project, Arturo Herrera improvises screenprint addenda to Berlin flea market books; Christina Nippe reports on his collage of art, artifacts and messy history. Caitlin Condell discusses Phillippe Apeloig‘s sleek, intelligent posters and their aspiration to a life beyond advertising. Stephen Goddard reviews Guido Lengwiler’s monumental new History of Screen Printing, the first substantial chronicle of the medium. Mark Pascale uncovers the experimental prints made by the painter Ray Yoshida in the early 1960s—works Yoshida denied all knowledge of.
In this iteration of the bi-monthly Prix de Print competition, guest juror and artist Peter Power selects Ann Aspinwall‘s homages to Mariano Fortuny.
Reviews:
Exhibitions: Laurie Hurwitz surveys “From Picasso to Jasper Johns, the Atelier of Aldo Crommelynck“ at the Bibliothèque nationale de France; Kate McCrickard reviews Djamel Tatah at Atelier Michael Woolworth; and Jaclyn Jacunski covers “Social Paper” at Columbia College Chicago and John Sparagana at Corbett vs. Dempsey.
New Editions: Richard Forster‘s meticulous and moving gravures after drawings after photographs; Jane Kent’s exuberant and inventive new screenprints; Ryan McGinness‘s dynamic body parts; Hank Willis Thomas’s now-you-see-it, now-you-don’t citations of a brutal history; and David Hartt, William Cordova and Daniel Barrow contribute to the new “buy local” art publishing model.
New Books: Faye Hirsch reviews the new catalogue raisonné of Al Taylor‘s deft and poignant prints; Peter Bräuninger’s Shadow Journey; and Lateral Inversions: The Prints of Barry Cleavin.
Also in this issue:
–Listings: new editions
–Listings: new books and catalogues
–Calendar of print exhibitions and events
–News of the print world
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Learn about our Prix de Print competition
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About Art in Print
Art in Print is a not-for-profit 501(c)(3) corporation.
