Articles by Sarah Kirk Hanley

Katsutoshi Yuasa. Pseudo Mythology #3, 2011. Oil-based woodcut with pigment on Shin Torinoko paper. 95 ½  x 192 inches. Edition of 2, printed and published by the artist.  Image courtesy of the artist and TAG Fine Arts, New York and London.

Ink: Notes on the Contemporary Print

Ink | On Perception: Katsutoshi Yuasa’s Woodcuts

Ink: Notes on the Contemporary Print

Ink | On Perception: Katsutoshi Yuasa’s Woodcuts

Sarah Kirk Hanley looks at the woodcuts of Katsutoshi Yuasa, whose first solo exhibition in the US is at the ISE Cultural Foundation in New York, through January 4th.

Wayne Thiebaud, "Park Place," 1995. Color hard-ground etching with drypoint, spit-bite aquatint, and aquatint.  Plate: 29 ¼ x 20 ½ in., sheet: 39 ½ x 29 ¾ in. Publisher and printer: Crown Point Press, edition of 50. Image courtesy Crown Point Press, San Francisco.

Ink: Notes on the Contemporary Print

Ink | Pluck Peppered with Luck: Crown Point Press Celebrates 50 Years

Ink: Notes on the Contemporary Print

Ink | Pluck Peppered with Luck: Crown Point Press Celebrates 50 Years

Sarah Kirk Hanley looks back on a half-century of printmaking at Crown Point Press.

Peter Blake, “Abbey Road Parade” from the “London Suite,” 2012. Color screenprint on 410gsm Somerset Tub Sized paper. Image: 19 5/8 x 19 5/8 in. (50 x 50 cm); sheet: 26 1/4 x 25 5/8 in. (66.6. x 65.2 cm). Edition of 100, published by Paul Stolper Gallery, London.  Image courtesy International Fine Print Dealers Association, New York.

Ink: Notes on the Contemporary Print

Ink | All Hallows’ for the Print World: New York Print Week

Ink: Notes on the Contemporary Print

Ink | All Hallows’ for the Print World: New York Print Week

New York Print Week is almost upon us. Here’s Sarah Kirk Hanley’s guide to the events.

Brad Kayal, "Job Creators,” from “Occuprint 2012.” Color screenprint, 18 x 12 in. Published by Occuprint.org, edition of 100.  Image courtesy Booklyn Artists Alliance, Brooklyn.

Ink: Notes on the Contemporary Print

Ink | Political Art for a Contentious Time

Ink: Notes on the Contemporary Print

Ink | Political Art for a Contentious Time

Following a trend that began with the Enlightenment, prints play a role in today’s political discourse by disseminating artists’ views and rallying the public.

Left to Right: Amze Emmons, Jason Urban, and R.L. Tillman

Ink: Notes on the Contemporary Print

Ink | Seriously Printeresting: An Interview with the Founders

Ink: Notes on the Contemporary Print

Ink | Seriously Printeresting: An Interview with the Founders

Sarah Kirk Hanley talks to the founders of Printeresting, a blog devoted to the art of printmaking and to printmaking miscellany.

Richard Diebenkorn. “Seated Woman,” 1968. Lithograph. Image:  19 3/4 x 25 inches (50.2 x 63.5 cm); sheet: 19 3/4 x 25 inches (50.2 x 63.5 cm). Published by Kansas City Art Institute, edition of 20.  Image courtesy Greenberg Van Doren Gallery, New York. ©Estate of Richard Diebenkorn.

Ink: Notes on the Contemporary Print

Ink | Paper Feast in New York

Ink: Notes on the Contemporary Print

Ink | Paper Feast in New York

Sarah Kirk Hanley surveys the bounty of print exhibitions that are or have recently been on view in New York.

Jasper Johns, “The Dutch Wives,” 1975. Encaustic and collage on canvas (two panels mounted together). Collection of the artist. Art © Jasper Johns/Licensed by VAGA, New York, NY. Photo: Digital Imaging and Visual Resources, Harvard Art Museums, © President and Fellows of Harvard College.

Ink: Notes on the Contemporary Print

Ink | Jasper Johns’s Revolution in Print

Ink: Notes on the Contemporary Print

Ink | Jasper Johns’s Revolution in Print

Sarah Kirk Hanley reviews “Jasper Johns/In Press: The Crosshatch Works and the Logic of Print,” on view at Harvard Art Museums through August 18.

Glenn Ligon. “Warm Broad Glow (reversed),” 2007. Photogravure aquatint. 24 ½ x 35 ½ in. (sheet), edition of 35. ©Glenn Ligon, image courtesy Burnet Editions, New York.

Ink: Notes on the Contemporary Print

Ink | Working Proof: Glenn Ligon’s Editions

Ink: Notes on the Contemporary Print

Ink | Working Proof: Glenn Ligon’s Editions

Sarah Kirk Hanley looks at the editioned work of Glenn Ligon, who is a featured artist in Season 6 of “Art in the Twenty-First Century.”

Dana Schutz. “Brünnhilde,” 2011. Watercolor monotype with colored pencil, crayon, and pastel on Lanaquarelle watercolor paper. 46 x 60 in.  Image courtesy Two Palms, New York.

Ink: Notes on the Contemporary Print

Ink | Brilliance Under Pressure: Dana Schutz’s Monotypes at Gallery Met

Ink: Notes on the Contemporary Print

Ink | Brilliance Under Pressure: Dana Schutz’s Monotypes at Gallery Met

Sarah Kirk Hanley looks at Dana Schutz’s most recent body of work: a series of large watercolor monotypes created at Two Palms, New York.

Felix Gonzalez-Torres (American, born Cuba. 1957-1996). “Untitled,” 1991 (installation view at MoMA). Billboard. Dimensions vary with installation. The Museum of Modern Art, New York. Gift of Werner and Elaine Dannheisser. Photograph by Jason Mandella. © The Felix Gonzalez-Torres Foundation, Courtesy Andrea Rosen Gallery, New York.

Ink: Notes on the Contemporary Print

Ink | The State of the Art is Elsewhere: “Print/Out” at The Museum of Modern Art

Ink: Notes on the Contemporary Print

Ink | The State of the Art is Elsewhere: “Print/Out” at The Museum of Modern Art

Sarah Kirk Hanley reviews a new MoMA exhibition surveying the state of the contemporary print medium.

Xu Bing. “1st Class,” 2011 (detail). 500,000 “1st Class” cigarettes, adhesive, carpet; dimensions variable; approximately 40 x 15 feet overall. As presented in Xu Bing: Tobacco Project (partial installation view at The Aldrich Contemporary Art Museum, Ridgefield), 2012. Photo: Rick Schwab.  Image courtesy The Aldrich Contemporary Art Museum, Ridgefield, CT.

Ink: Notes on the Contemporary Print

Ink | Contemplating Nicotine: Xu Bing’s “Tobacco Project”

Ink: Notes on the Contemporary Print

Ink | Contemplating Nicotine: Xu Bing’s “Tobacco Project”

Sarah Hanley looks at an exhibition of works by Xu Bing that explore the extensive, tangled relationship between human beings and tobacco.

Helen Frankenthaler, Madame Butterfly, 2000 (Goldman 24). Woodcut in 102 colors on 3 sheets of TGL handmade paper, 41 ¾ x 79 ½ in. (overall).  Publisher: Tyler Graphics Ltd., Mount Kisco, New York, edition: 33. Image courtesy Ameringer, McEnery, Yohe, New York.

Ink: Notes on the Contemporary Print

Ink | The Unabashedly Beautiful Prints of Helen Frankenthaler

Ink: Notes on the Contemporary Print

Ink | The Unabashedly Beautiful Prints of Helen Frankenthaler

The late Helen Frankenthaler’s contributions as a painter are renowned; Hanley argues that her achievements as a printmaker are equally important.

Amy Cutler, “Cake Toss,” 2004, Lithograph in colors on Fabriano Artistico Hot Press natural white, 21-1/2 x 24 inches (image and sheet). Edition: 39; publisher: Universal Limited Art Editions, Bay Shore, NY. Courtesy Leslie Tonkonow Artworks + Projects, New York.

Ink: Notes on the Contemporary Print

Ink | Tales for Our Time: Amy Cutler’s Prints

Ink: Notes on the Contemporary Print

Ink | Tales for Our Time: Amy Cutler’s Prints

  Fantastical narrative is a guiding principle for many artists who have come to prominence in the past decade; Amy Cutler and Dana Schutz are foremost among these.  Both possess …

Mel Bochner, “Amazing,” 2011, monoprint with collage, engraving and embossment on hand-dyed Twinrocker handmade paper, 94 1/4 x 70 3/4 inches 239.4 x 179.7 cm, Image courtesy Two Palms Press, New York.

Ink: Notes on the Contemporary Print

Ink | Mel Bochner’s Word Play: Monoprints at Two Palms Press

Ink: Notes on the Contemporary Print

Ink | Mel Bochner’s Word Play: Monoprints at Two Palms Press

  “At the root of all my work is the recognition that we tend to take most of our experience for granted” (Mel Bochner in “Art in Conversation: Mel Bochner with …

Willem de Ridder. European Mail-order Warehouse/Fluxshop. Winter 1964-65. Photo: Wim van der Linden/MAI. The Museum of Modern Art, New York; The Gilbert and Lila Silverman Fluxus Collection Gift, 2008.

Ink: Notes on the Contemporary Print

Ink | The Birth of the Underground: Fluxus Editions

Ink: Notes on the Contemporary Print

Ink | The Birth of the Underground: Fluxus Editions

Fluxus, an international counter-culture collective of artists, musicians, and designers, was formed 50 years ago in 1961/2.  Its goals were laid out in the 1963 offset lithograph Fluxus Manifesto (on …

Ann Hamilton, “ciliary #3,” 2010. Lithograph, fabric, bamboo and hardwood dowel construction. Approx. diameter: 58" (147.3 cm).  Variable edition of 19 unique works, published by Gemini G.E.L., Los Angeles and New York. ciliary © 2010 Ann Hamilton and Gemini G.E.L. LLC.

Ink: Notes on the Contemporary Print

Ink | Full Circle: Ann Hamilton’s Recent Editions

Ink: Notes on the Contemporary Print

Ink | Full Circle: Ann Hamilton’s Recent Editions

Ann Hamilton’s work is founded on the idea of the line – both in its material form as thread, fiber, and hair; and its conceptual form in written and drawn …

Cy Twombly, “Untitled II,” 1967. Etching, open bite, and aquatint. Sheet: 27 1/2 in. x 40 1/2 in. (69.85 cm x 102.87 cm). Publisher and printer: Universal Limited Art Editions, West Islip, New York, edition 23. © The estate of Cy Twombly/ Universal Limited Art Editions, 1974.

Ink: Notes on the Contemporary Print

Ink | Twombly’s Poetics in Print

Ink: Notes on the Contemporary Print

Ink | Twombly’s Poetics in Print

Cy Twombly, who died last month at the age of 83, is frequently described as the outlier genius of contemporary art – a member of the post-expressionist triumvirate of Jasper …

From left: Richard Klein, Jessica Stockholder, and Gary Lichtenstein at Gary Lichtenstein Editions.  Image Courtesy Gary Lichtenstein Editions.

Ink: Notes on the Contemporary Print

Ink | Screening Wood: Jessica Stockholder at The Aldrich Contemporary Art Museum

Ink: Notes on the Contemporary Print

Ink | Screening Wood: Jessica Stockholder at The Aldrich Contemporary Art Museum

Following on the April post for this column, which explored recent works in print-based installation, this month’s Ink takes an in-depth look at Art21 artist Jessica Stockholder’s current project for …

Diane Victor (South African, born 1964). “Fading Man I,” 2010. Intaglio. Plate: 20”x16”. Publisher and printer: Center for Contemporary Printmaking, Norwalk, CT. Edition 25. Image courtesy Center for Contemporary Printmaking.  © 2011 Diane Victor.

Ink: Notes on the Contemporary Print

Ink | Notes from a Transforming Democracy: South African Prints

Ink: Notes on the Contemporary Print

Ink | Notes from a Transforming Democracy: South African Prints

As interest in William Kentridge’s work has grown over the past decade, so has interest in South African art as a whole.   Printmaking is a central component of the cultural …

Nicola López, "Closed System," 2009, installation view, “Next Wave Festival,” Brooklyn Academy of Music, 2009. © Nicola López. Image courtesy the artist.

Ink: Notes on the Contemporary Print

Ink | The Lexicon of Tomorrow: Print-Based Installation

Ink: Notes on the Contemporary Print

Ink | The Lexicon of Tomorrow: Print-Based Installation

With the onset of spring, renewal is in the air.  In the world of contemporary prints, a fresh format that seems to be popping up everywhere is print-based installation.  In …

Enrique Chagoya. “Return to Goya No. 9,” 2010. Intaglio with letterpress in two colors on Revere Ivory. Plate: 8 ½ x 6 in.; Sheet: 14 5/8 x 11 in. Published by Universal Limited Art Editions, Bay Shore, NY, as a Benefit for IPCNY. © Enrique Chagoya/Universal Limited Art Editions, 2010.

Ink: Notes on the Contemporary Print

Ink | A Print World Compendium: IPCNY Celebrates Ten Years

Ink: Notes on the Contemporary Print

Ink | A Print World Compendium: IPCNY Celebrates Ten Years

In 1995, a group of print-world professionals and collectors based in New York joined forces to establish a non-profit organization that would be “dedicated to the appreciation and understanding of …

Kerry James Marshall. "Memento," 1996. Color lithograph with gold powder on soft white Somerset. 30 x 44 in. Edition of 33, Printed and published by Tamarind Institute, Albuquerque, New Mexico. Image courtesy of the artist and Jack Shainman Gallery, New York.

Ink: Notes on the Contemporary Print

Ink | “Remembering so as not to forget the past is still not over”: Selected Meditations on Black History

Ink: Notes on the Contemporary Print

Ink | “Remembering so as not to forget the past is still not over”: Selected Meditations on Black History

In celebration of National African American History month, this issue of Ink is focused on selected prints by Art21 artists that react to and re-interpret African-American history.  Ellen Gallagher, Kerry …

John Baldessari. Hegel's Cellar: Two Boats, 1986. Photogravure, Aquatint. 19.5 x 26.5 inches. Publisher: Marian Goodman Multiples, edition of 35.  Courtesy John Baldessari and Marian Goodman Gallery, New York.

Ink: Notes on the Contemporary Print

Ink | Parts of a Whole: John Baldessari’s Prints

Ink: Notes on the Contemporary Print

Ink | Parts of a Whole: John Baldessari’s Prints

Over the past couple of years, the art world has been ebulliently celebrating the work of conceptualist John Baldessari – a well deserved paean to this highly influential and groundbreaking …

William Powhida, "Unconscious Collaboration (number 1)," 2008, edition of 75. Screenprint and digital inkjet with collage, image: 11 1/2 x 19 3/4 in., sheet: 22 x 30 in.  Courtesy Lower East Side Printshop, New York.

Ink: Notes on the Contemporary Print

Ink | Notes from Underground: William Powhida

Ink: Notes on the Contemporary Print

Ink | Notes from Underground: William Powhida

The contemporary art fair Art Basel Miami Beach takes place this week, bringing with it a flurry of activity.  In the spirit of participation, Ink is dedicated this month to …

Learning the Flute, 2004. Letterpress on 110 sheets of Arches Johannot, edition of 18 (another 18 impressions were printed on disbound pages of Chambers’ Encyclopaedia, 1950, of the same size).  Assembled overall: 9’ 3” x 11’ 7 ½” (281.5 x 354.6 cm).  Published by Goodman Gallery, Johannesburg. Courtesy David Krut Projects, New York.

Ink: Notes on the Contemporary Print

Ink | Thinking Aloud: The Prints of William Kentridge

Ink: Notes on the Contemporary Print

Ink | Thinking Aloud: The Prints of William Kentridge

The recent release of William Kentridge: Anything is Possible invites exploration of the artist’s significant body of prints, which currently numbers over 400. A natural match for his artistic philosophy …

Ellen Gallagher, "Wiglette" (detail) from "DeLuxe," 2004/2005. Photogravure and plasticine sheet: 13 x 10 inches. Image courtesy the artist and Two Palms Press.

Ink: Notes on the Contemporary Print

Ink: New Transparency for the Tamarind Institute

Ink: Notes on the Contemporary Print

Ink: New Transparency for the Tamarind Institute

Printmaking is a vital and significant aspect of contemporary art, yet there is currently very little discussion or media coverage of this medium in the press. When Art on Paper announced …