Lyrebyrd Miniature Print Exchange #2 - SSNW03

Lyrebyrd Miniature Print Exchange #2 - SSNW03

Curator: J Severn, Print Australia

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NEW: This print exchange is now published on the NEW Print Australia website. Follow the link for a slideshow of the prints.
http://printaustralia2.wordpress.com/miniprint-2/

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ANNOUNCING THE 2ND ANNUAL SSNW MINI-PRINT EXCHANGE

After the success of last year's PrintAustralia Solstice Card Exchange, we have decided to make an annual event of it. We have decided to call it the Southern Summer Northern Winter Mini-Print Exchange.

Paper Size: 4 inches x 6 inches 10 cm x 15 cm
Image Size: anything within paper size
Theme: open
Technique: open
Sign-up deadline: November 25, 2003

Participants may sign-up by sending their snail mail address to the coordinator.

A list of snail mail addresses will be compiled by the coordinator. Very soon after November 25, each participant will receive by email a list of other participants and their snail mail addresses. It is the responsibility of each participant to send a print to each of the other participants on the list as soon as convenient. Prints should be sent in individual envelopes, rather than as postcards, to protect the image from damage.


List of Particpants

JUDY BARRASS (AUS)
ANTHEA BOESENBERG (AUS)
P. JAMES BRYANS (AUS)
CAROLE CARROLL (USA)
GEORGIA COUTTS (USA)
THERESA DARMODY (AUS)
YVONNE DORRICOTT (AUS)
WAYNE ELLIS (AUS)
ANDY ENGLISH (UK)
GEORGIA GARSIDE
TANYA GOLD (AUS)
R.C. HESS (USA)
GEORGE JARVIS (JAP)
SHARON LINDER (USA)
JEANNE NORMAN CHASE (USA)
JOHN OWENS (AUS)
JENNY PAPA (NZ)
BARBARA PATERA (USA)
PATRICIA PROCIV (AUS)
MELLISSA READ-DEVINE (AUS)
BERNDT REICHERT (BEL)
SUZANNE SALSBURY (USA)
J SEVERN (AUS)
LISA SISLEY-BLINN (USA)
AD STIJNMAN (NL)
SYLVIA TAYLOR (UK)
JAN TELFER (AUS)
FRANK TRUEBA (USA)
JULIA WAKEFIELD (AUS)
PETER WALLS (USA)
LYNETTE WEIR (AUS)
SANDRA WILLIAMS (AUS)
MELISSA WRIGHT (AUS)

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Images on Lyrebyrd (Members only)
http://ph.groups.yahoo.com/group/PrintAustralia/photos/browse/216f

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Subject: Re: [PrintAustralia) ssnw I must say I love this stlye of exchange! Getting the images one by one in the mail is really exciting! They are all so wonderful....... Anthea Boesenberg

"I'd like to thank everyone for the wonderful prints I've been receiving. I've never participated in an exchange before but I'm really enjoying going to my mailbox and finding these great treasures. All of them are wonderful. .... It's really an honor and an exceptional opportunity to be part of this exchange. " Robert Hess

I have received many beautiful cards. Thank you for the inspiration. It is truely a treat to get them! Lisa

I just have to say how much I am enjoying the SSNW exchange- a truely wonderful experience. Every print is so incredibly beautiful and unique. It has been a highlight of my day to discover yet another gem in the letterbox. A very warm and sincere thank you to each and every participant... Melissa Wright

My mailbox has had a few exciting weeks with so many fabulous prints dropping in. This is my first swap with the group and I'm not sure how to go about thanking everyone. Jenny Papa

Thanks to all who took the trouble to send prints out to me. They've really brightened up a really damp and dismal end to the year. Andy English

Although our weather 'down under' doesn't need brightening (it's supposed to reach 29 degrees today) the postcards have been a highllight over the Christmas season. The expectation that there will be another beautiful print in the letter box is akin to the "hidden treasure" phonomemon. I'm very pleased that I was able to participate in this exchange. Sandra Williams

Just wanted to thank all those who I have recieved SSNW cards from so far! They are great!!!!! Pete Walls

It has been a great pleasure getting the odd surprise letter from somewhere around our globe. They are ALL wonderful, and I will definately be participating next year. Tanya Gold

John Currin

"he paints what he likes to paint, even if it means weathering accusations of misogyny, sexism, ageism, and homophobia"

Take one look at John Currin's paintings and you could assume he likes stupid women with big tits. Pouting, wide-eyed ing�nues look vacantly out of his canvases while ladies in mini-skirts measure each other's immense breasts. There is nothing politically correct here.
http://www.bbc.co.uk/dna/collective/A1164971

Currin, who had recently completed his M.F.A. at Yale University, was living in Hoboken, N.J., and trying to figure out how to break into the New York art world. As he tells it, he realized that the best way to stand out from the crowd of aspiring young artists was to do the thing nobody else was doing. So, he started making modest, easel-sized paintings, mostly portraits of young women loosely based on high-school yearbook photographs. "You get a lot of attention if you just play it straight," he said recently



Currin is also a masterful provocateur. For his first solo show at the Andrea Rosen Gallery in 1992, he presented a group of acerbic fantasy portraits of aging Park Avenue doyennes rendered in a pared-down, linear style that did the job without calling too much attention to itself. In the press release, Currin described them as

"paintings of old women at the end of their cycle of sexual potential … between the object of desire and the object of loathing"

—a deliberately sexist barb aimed at the "politically correct" art establishment. ("I meant it to sound mean. And I meant it to sound harsh," he later admitted.)



"You want sexism? I'll give you sexism!" A few years later he presented an instantly notorious group of paintings of women with basketball-sized breasts and faces done in craggy impasto acting out various soft-porn scenarios. Crass jokes rendered in oil on canvas, they are ostentatiously "bad paintings" done in the defiantly ironic mode of high-concept kitsch.

In the last few years, a painting by Currin has become the trophy of choice in Westchester living rooms, sending auction prices through the roof. (Last spring at Sotheby's, a work from 1995 sold for an astounding $427,500.)

http://www.slate.com/id/2093020/slideshow/2093150/



Currin shifted away from the jokey, lowbrow subjects of his earlier work and toward a chaster rehashing of the Great Tradition.

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Since 2000 highlights contemporary printmaking and the various ways in which artists have recently engaged and expanded upon the medium.

Since 2000: Printmaking Now
Kurator: Judy Hecker

mit Sarah Morris, Andrea Zittel, John Currin, Matthew Barney, William Kentridge, Richard Tuttle, Elizabeth Peyton, Paul Chan, Kelley Walker, John Armleder, Swoon , Nicola Lopez

http://www.kunstaspekte.de/index.php?action=webpages&k=179

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Its not clear why Currin would be included in a printmaking survey show.

Kelley Walker

Since 2000: Printmaking Now
Kurator: Judy Hecker
mit Sarah Morris, Andrea Zittel, John Currin, Matthew Barney, William Kentridge, Richard Tuttle, Elizabeth Peyton, Paul Chan, Kelley Walker, John Armleder, Swoon , Nicola Lopez




Kelley Walker is a bloke.

Kelley Walker
Multimedia Artist
“I really don’t like the term appropriation,” says Walker, while taking a break from prepping for his current show at Greene Naftali. A collaboration with fellow “Greater New York” artist Wade Guyton, it’s an installation of coconut lights and silk-screens that borrows freely from advertisements for Ketel One vodka. “He has a rich and complicated practice he’s been developing over many years—he’s not a flash in the pan,” notes Artforum editor Tim Griffin. Despite Walker’s feelings about the A-word, his non-collaborative output (including scanned images from the Birmingham race riots, smeared with chocolate and toothpaste) is represented by Paula Cooper, a gallery known for appropriation artists. He’s also sold his art in CD files that can be manipulated with Photoshop, an enlightened approach to digital piracy.

http://nymag.com/nymetro/arts/art/11264/index7.html

http://en.wikipedia.org/wiki/Kelley_Walker

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Using the potency of advertising media, Kelley Walker’s prints appropriate iconic cultural images, digitally altering them to highlight underlying issues of politics and consumerism. In Black Star Press, Walker presents large-scale billboard-like canvases of racial unrest. Set at 90 degree angles, the images of a white policeman and black youth literally portray a world turned on end. Splattered with abstracted patterns in symbolic white and chocolate, Walker’s gestures mimic violence and contrast, merging ethical corruption and graffiti pop. Printed as a dyptich, Black Star Press is desensitised through repetition, replicating the multiplicity of mass media as vast fields of anesthetised brutality.

Kelley Walker ‘s schema... recodes the interpretation of media. Using the front cover of King magazine, a publication vocal in its support of curvaceous women (rather than the mainstream too-thin ideal) as a proactive statement, Walker bathes hip-hop diva Trina in a variety of dental products (promising extra whitening effects). Using wry humour, Walker examines the underlying politics of ethnic and sexual representation as marketing strategies. Printing his digitised photos onto traditional canvases, Kelley Walker frames the disposable transience of advertising in the realm of high art; the immediacy of his images gains momentum as objects of critical contemplation, and lasting icons of social representation.

http://www.saatchi-gallery.co.uk/artists/kelley_walker.htm

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Kelley Walker's solo debut is tantalizing, but it fails to make good on the promise he has displayed in group shows. Intelligence, physical invention and drop-dead beauty are abundant, but rarely in the same artwork. Mr. Walker has an impressive ease with mixed mediums and meanings, the formal and the political, the handmade and the digital. Images are appropriated, enlarged and manipulated, turned into posters and applied to cut-out steel silhouettes reminiscent of the work of Cady Noland.

http://query.nytimes.com/gst/fullpage.html

Kelley Walker's second solo show is optically on fire, intellectually edgy, physically lush, and installed like a wrap-around panorama. His digital prints and chocolate on canvas are vivacious and stylish, his touch and domineering scale luring. Nonetheless, the show is vexed by questions. Walker's work is a kaleidoscopic combination of Warhol, Pollock, Dieter Roth, Richard Prince, and the artist no one wants to mention for fear of casting a pall over the mélange, Julian Schnabel.

http://www.villagevoice.com/art/0610,saltz,72400,13.html

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the 2006 Whitney Biennial

Biennial Voices: Click to listen or subscribe to more Biennial podcasts

http://www.whitney.org/www/2006biennial/artists.php?artist=Walker_Kelley

http://www.whitney.org/www/2006biennial/artists.php

Sarah Morris

Sarah Morris
Lost Weekend
November 14-December 20, 2003

Friedrich Petzel Gallery is pleased to announce "Lost Weekend," a solo exhibition of new paintings by Sarah Morris.

http://www.petzel.com/sm/sm_ex_111403/images.html




http://www.petzel.com/sm/sm_images.html

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American artist Sarah Morris (1967) is this year�s 'Artist in Focus' at the Rotterdam International Film Festival. Morris is best know for her hard and glossy, geometrically abstract paintings. From 26 January through to 26 February 2006, Museum Boijmans Van Beuningen will be featuring her paintings as well as the films she made.
http://www.absolutearts.com/artsnews/2006/01/27/33642.html




http://publicartfund.org/pafweb/projects/06/morris/morris-06.html

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Friedrich Petzel Gallery is pleased to present "Los Angeles", a solo exhibition of a new film by Sarah Morris. - February 19th - March 26th, 2005.
http://www.re-title.com/artists/Sarah-Morris.asp

Paul Chan

Known for his digital animation, Paul Chan (b. Hong Kong, 1973, lives New York) has made over 50 prints to date. He created the monumental digital print Worldwide trash (thanks for nothing Hegel) in 2004—a work with references to Samuel Beckett’s play Waiting for Godot, Francisco de Goya’s Disasters of War etchings, contemporary culture, and spirituality. Working in a digital mode with a mouse or drawing tablet, and the latest digital printing technology, Chan achieves great fluidity in color, scale, and detail.

Since 2000: Printmaking Now
Kurator: Judy Hecker
mit Sarah Morris, Andrea Zittel, John Currin, Matthew Barney, William Kentridge, Richard Tuttle, Elizabeth Peyton, Paul Chan, Kelley Walker, John Armleder, Swoon , Nicola Lopez

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Chan's allegory overlays Fourier’s hedonistic social philosophies with animated images based on Darger's fantasies of garden worlds populated by armies of surprisingly pugnacious little girls, each of whom sports a full set of male genitalia. The characters frolic in a bucolic landscape, playfully indulging in every human physical desire only to confront a group of armed men in a battle scene.

http://www.cmoa.org/international/the_exhibition/artist.asp?chan

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http://nationalphilistine.com/

SEXUAL HEALING
SHIFT FOR HARASSMENT
(truetype font + audio CD, 2000)
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Lowercase letters are phrases taken from popular love songs of the 70’s, 80’s, and 90’s. Uppercase letters are phrases taken from transcripts of sexual harassment cases in the United States from the 70’s, 80’s, and 90’s. Numbers and symbols are words that heighten the tension between the play of the uppercase and lowercase letters as they shift between the voice of pleasure and the voice of violence.

Watch video

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readings
http://nationalphilistine.com/alexandria/index.html

The_aesthetics_of_silence_by_Susan_Sontag
http://nationalphilistine.com/alexandria/

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interview
Paul Chan by Nell McClister
http://www.bombsite.com/chan/chan.html

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September 2006

Paul Chan’s 1st Light, a digital animated floor projection depicting two opposing tides of shadows moving in balletic slow motion, will be featured along with his drawings at The Fabric Workshop and Museum in Philadelphia in October and November. Chan is also included in the book Who Cares, a document of an experiment organized by Creative Time, to be published by D.A.P. in October. The book reproduces the conversations that took place between thirty-seven artists and thinkers over three dinners, as they discussed the viability of counter-cultural practice within the visual arts.

June 2006

Paul Chan is spotlighted in the summer issue of ArtForum. The article discusses work ranging from the artist’s large-scale, Godot-like digital projections to his recent video of convicted civil rights lawyer Lynne Stewart.
http://mediaartists.org/content.php?sec=artist⊂=detail&artist_id=650

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1st Light, 2005. Digital animated projection onto floor, dimensions variable. The Institute of Contemporary Art, Boston

podcast
http://www.whitney.org/www/2006biennial

Click to listen or subscribe to more Biennial podcasts

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Chan is a 2003 Rockefeller Foundation new media arts fellow. His work has exhibited and screened at the Museum of Modern Art, New York Video Festival, and Rotterdam International Film Festival, among others. Chan will be included in the upcoming 2004 Carnegie International exhibition. Chan is represented by Greene Naftali Gallery in New York and his video work is distributed by Video Data Bank. New media work can be seen online at www.nationalphilistine.com. Chan received his B.F.A. from The School of the Art Institute of Chicago, and currently holds a position as lecturer for the department of fine arts at the University of Pennsylvania.

Richard Tuttle

Richard Tuttle, Cloth Piece (Octagon), 1968

Often working in multipart print series, Richard Tuttle (American, b. 1941) created the set of sixteen prints in Cloth (2002-05) over a four-year period. For the project, the artist began with one rudimentary element—in this case, fabric—and incorporated different pieces in each of the prints. Further enhanced by Tuttle’s modulated marks, gestures, and patterns, the set suggests an explosion of color, motif, and materials.

Richard Tuttle was born in Rahway, New Jersey in 1941, and lives and works in New Mexico and New York.

He received a BA from Trinity College, Hartford, Connecticut. Although most of Tuttle’s prolific artistic output since he began his career in the 1960s has taken the form of three-dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his practice.

He subverts the conventions of modernist sculptural practice (defined by grand heroic gestures, monumental scale, and the ‘macho’ materials of steel, marble, and bronze) and instead creates small, eccentrically playful objects in decidedly humble, even ‘pathetic’ materials such as paper, rope, string, cloth, wire, twigs, cardboard, bubble wrap, nails, Styrofoam, and plywood. Tuttle also manipulates the space in which his objects exist, placing them unnaturally high or oddly low on a wall, forcing viewers to reconsider and renegotiate the white-cube gallery space in relation to their own bodies. Tuttle uses directed light and shadow to further define his objects and their space.

Influences on his work include calligraphy (he has a strong interest in the intrinsic power of line), poetry, and language. A lover of books and printed matter, Tuttle has created artist’s books, collaborated on the design of exhibition catalogues, and is a consummate printmaker.

Richard Tuttle received a National Endowment for the Arts fellowship and the Skowhegan Medal for Sculpture. He has had one-person exhibitions at the Museum of Modern Art, New York; Whitney Museum of American Art, New York; ICA Philadelphia; Kunsthaus Zug, Switzerland; Centro Galego de Arte Contemporánea, Santiago de Compostela; and the Museu Serralvesin, Porto, Portugal. SFMoMA is the organizer of a 2005 Tuttle retrospective.

http://www.pbs.org/art21/artists/tuttle/index.html
http://www.sfmoma.org/exhibitions/exhib_detail.asp?id=128




As a highlight of its 2005 exhibition schedule, the San Francisco Museum of Modern Art (SFMOMA) will present The Art of Richard Tuttle from July 2 through October 16, 2005. The first full-scale retrospective of this influential American contemporary artist�s oeuvre, the exhibition brings together more than three hundred significant works from collections worldwide and unifies Tuttle�s four-decade career in the most comprehensive presentation of his work ever mounted.

Explore Richard Tuttle's eclectic, forty-year career through video of the artist at work, the varied responses of his critics, and artworks that defy conventional notions of material, form, process, and craft. This multimedia feature was produced in conjunction with the exhibition The Art of Richard Tuttle, on view July 2 through October 16, 2005.

This feature works best with high-bandwidth Web access

http://www.sfmoma.org/tuttle/index.html

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The Art of Richard Tuttle is on view at the Whitney through February 5, 2006.

Update: Browsing the WPS1 archives, I came across this interview (Real Player required) with the show's curator David Kiehl. Jump forward to 21:25 of the stream to hear Kiehl discuss the installation.
http://fromthefloor.blogspot.com/2006/01/notes-on-richard-tuttle-at-whitney.html

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Track 4 of the podcast guide to “The Art of Richard Tuttle,” featuring gallery-by-gallery commentary by Madeleine Grynsztejn, Elise S. Haas Senior Curator of Painting and Sculpture, SFMOMA.
http://odeo.com/audio/246214/view


http://www.crownpoint.com/artists/tuttle/index.html

http://www.crownpoint.com/artists/tuttle/about.html

http://www.crownpoint.com/artists/tuttle/reviews.html

http://www.barbarakrakowgallery.com/contentmgr/showdetails.php/id/3126

John Armleder

John Armleder’s (Swiss, b. 1948) Supernova (2003) is a uniquely displayed experimental portfolio of nineteen lithographs and one monotype. Armleder has described this work as “an instant exhibition” that can be installed in any configuration and grouping. Here it is displayed in its entirety as a massive undulating form on a long wall. This project is based on the idea of the supernova, or exploding star that is believed to be the origin of the universe. Shown together, the prints, which combine and reuse the same basic compositions in different ways, generate dizzying patterns and pulsating rhythms that reflect the artist’s interest in creating environmental installations.

http://www.worldhousegallery.com/pages/editions/thumbnails/104.html



Original stone printed lithographs printed in colors, the portfolio of 19, plus a unique color monoprint, for a total of 20 prints, all fine, fresh impressions, the full sheets, printed on 250 gr. Velin d'Arches paper, to the edges, each print hand-signed, dated, numbered and inscribed with the ordering number, SN1 through SN19 on the reverse (with the exception of the title page which is signed recto and is also an original lithograph,) the monotype is inscribed SN20, pulled in an edition of 33 examples. (there are also V artist proofs, numbered EA I/V to EA V/V, one Archive proof which has been reserved for the collaborators and is not for sale, and one proof signed and inscribed C.d.E.,) printed in August and October, 2003, by master printer Rasmus Urwald aided by June Rehak and Thomas Villars at the workshop of Edition Copenhagen, Copenhagen, Denmark, co-published by World House Gallery/Editions, South Orange and Edition Copenhagen, Copenhagen, containted in a special, hand-made box with the title embossed into the cover, with the colophon/justification page also printed in lithography, all in excellent condition, unframed.
http://www.artnet.com/artwork/424761725/john-m-armleder-supernova-portfolio.html

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John Armleder, About Nothing.
Works on Paper 1962-2007
September 9 - December 17, 2006
http://www.icaphila.org/exhibitions/armleder.php

An installation of hundreds of drawings—hung wall-to-wall and floor-to-ceiling—this exhibition presents an expansive and experimental view of drawing itself. Selected from private collections and from the artist's studio are works in pen and ink, watercolor, gouache, acrylic, oil, and collage on paper, as well as original books and a special edition of wallpaper created especially for the exhibition. Installed by the artist at ICA, this exhibition exists as a work in its own right—temporary and site specific.

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Tate08 Series: John Armleder
14 December 2006 – 28 February 2007

Tate Liverpool is delighted to announce details of an exciting new project with the Swiss artist and international traveller John Armleder. Known almost completely in the UK for works made elsewhere, the artist's manifold actions, works and appearances across the globe over the last forty years have assumed a near-mythical status. Tate Liverpool will be handing over the ground floor Wolfson Gallery to the artist to create a major new work that will be both exhilarating and unpredictable.

http://www.tate.org.uk/liverpool/exhibitions/johnarmleder/default.shtm

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http://www.galerievangelder.com/artists/armleder2.html
http://www.galerievangelder.com/index.html

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John Armleder talks to Bob Nickas - '80s Then - Interview
ArtForum, March, 2003
http://www.findarticles.com/p/articles/mi_m0268/is_7_41/ai_98918659

Nicola Lopez

A Promising Tomorrow (2004), Nicola Lopez’s (American, b. 1975) room-size installation of screenprints and woodcuts, occupies two walls and part of the ceiling of the gallery. Conveying a cartoon-like, apocalyptic sense of modern urban living and infrastructure, this meandering installation includes over 150 sheets push-pinned to the wall. For this work, Lopez has constructed an exploding environment by layering printed images of radio towers, satellite dishes, tires, and skyscrapers in different colors and orientations.

http://nicolalopez.com/in_landing.htm



prints
http://nicolalopez.com/pr_landing.htm

Swoon

Swoon has been featured on blakkbyrd earlier this year
http://blakkbyrd.blogspot.com/2006/04/swoon.html
http://blakkbyrd.blogspot.com/2006/05/more-swoon.html




Oversized cut-out figurative prints by Swoon (American, b. 1977) appear on three walls of the Paul J. Sachs Prints and Illustrated Books Galleries.

Printmaking is essential to Swoon’s practice: the linoleum cut and woodcut techniques provide the bold lines needed for visibility as well as the capacity to replicate her large compositions with greater ease. Swoon’s work, which is often installed both indoors and on the street, combines figurative and narrative elements based on photographs of the communities and neighborhoods in which she lives and travels.

For these three untitled works, made between 2003 and 2005, she depicts
an adolescent riding a bike in Berlin,
a New York construction worker,
and a girl in Buenos Aires.

http://www.streetsy.com/streetsy/tag/swoon/
http://www.designboom.com/contemporary/swoon.html

Since 2000: Printmaking Now

Since 2000: Printmaking Now

http://www.kunstaspekte.de/index.php?tid=21349&action=termin

03.05.06 - 18.09.06
Museum of Modern Art, New York
MoMA - The Museum of Modern Art
11 West 53 StreetNY-10019 New York
USA
fon (212) 708-9400

info@moma.org

http://www.moma.org/exhibitions/2006/Since_2000.html

Since 2000: Printmaking Now
Kurator: Judy Hecker
mit Sarah Morris, Andrea Zittel, John Currin, Matthew Barney, William Kentridge, Richard Tuttle, Elizabeth Peyton, Paul Chan, Kelley Walker, John Armleder, Swoon , Nicola Lopez

NEW YORK, May 2, 2006―The Museum of Modern Art presents Since 2000: Printmaking Now, the first exhibition at MoMA to be composed entirely of works created and acquired in the twenty-first century. The majority of the 89 works in this exhibition are on view at MoMA for the first time. Since 2000 highlights contemporary printmaking and the various ways in which artists have recently engaged and expanded upon the medium.

Included are prints by young artists new to the medium, such as Sarah Morris, Andrea Zittel, John Currin, and Matthew Barney, all of whom have found in printmaking a fresh lens through which to filter their subjects.

Also included are works by more established printmakers―William Kentridge, Richard Tuttle, and Elizabeth Peyton―who frequently return to the medium seeking new creative challenges.

Highlights include digital prints by Paul Chan and Kelley Walker, an experimental lithographic portfolio by John Armleder, three large-scale woodcuts and linoleum cuts by Swoon, and an expansive installation by Nicola L—pez.

Since 2000 is on view from May 3 through September 18, 2006, and is organized by Judy Hecker, Assistant Curator, Department of Prints and Illustrated Books,The Museum of Modern Art.

“Contemporary printmaking is flourishing, with artists turning to new digital approaches, renewing age-old techniques, and printing on and with alternative materials,” says Ms. Hecker. “This exhibition reflects the myriad printed formats artists engage with today, from the traditional intimacy of the singular sheet or book to expansive multipart projects and installations that run floor to ceiling and wall to wall.”

A Promising Tomorrow (2004), Nicola L—pez’s (American, b. 1975) room-size installation of screenprints and woodcuts, occupies two walls and part of the ceiling of the gallery. Conveying a cartoon-like, apocalyptic sense of modern urban living and infrastructure, this meandering installation includes over 150 sheets push-pinned to the wall. For this work, L—pez has constructed an exploding environment by layering printed images of radio towers, satellite dishes, tires, and skyscrapers in different colors and orientations.

Oversized cut-out figurative prints by Swoon (American, b. 1977) appear on three walls of the Paul J. Sachs Prints and Illustrated Books Galleries. Printmaking is essential to Swoon’spractice: the linoleum cut and woodcut techniques provide the bold lines needed for visibility as well as the capacity to replicate her large compositions with greater ease. Swoon’s work, which is often installed both indoors and on the street, combines figurative and narrative elements based on photographs of the communities and neighborhoods in which she lives and travels. For these three untitled works, made between 2003 and 2005, she depicts an adolescent riding a bike in Berlin, a New York construction worker, and a girl in Buenos Aires.

Known for his digital animation, Paul Chan (b. Hong Kong, 1973, lives New York) has made over 50 prints to date. He created the monumental digital print Worldwide trash (thanks for nothing Hegel) in 2004—a work with references to Samuel Beckett’s play Waiting for Godot, Francisco de Goya’s Disasters of War etchings, contemporary culture, and spirituality. Working in a digital mode with a mouse or drawing tablet, and the latest digital printing technology, Chan achieves great fluidity in color, scale, and detail.

Often working in multipart print series, Richard Tuttle (American, b. 1941) created the set of sixteen prints in Cloth (2002-05) over a four-year period. For the project, the artist began with one rudimentary element—in this case, fabric—and incorporated different pieces in each of the prints. Further enhanced by Tuttle’s modulated marks, gestures, and patterns, the set suggests an explosion of color, motif, and materials.

An expansive accordion-folded book, William Kentridge’s (South African, b. 1955) Portage (2000) comprises torn paper adhered to pages from a 1950s encyclopedia through the use of a printing press. Referencing events in his homeland of South Africa, Kentridge addresses the themes of history and displacement, with roaming groups of figures seemingly struggling to march while also morphing into objects.

John Armleder’s (Swiss, b. 1948) Supernova (2003) is a uniquely displayed experimental portfolio of nineteen lithographs and one monotype. Armleder has described this work as “an instant exhibition” that can be installed in any configuration and grouping. Here it is displayed in its entirety as a massive undulating form on a long wall. This project is based on the idea of the supernova, or exploding star that is believed to be the origin of the universe. Shown together, the prints, which combine and reuse the same basic compositions in different ways, generate dizzying patterns and pulsating rhythms that reflect the artist’s interest in creating environmental installations.

Pressetext

==========

http://www.moma.org/exhibitions/2006/Since_2000.html

Since 2000: Printmaking Now
The Paul J. Sachs Prints and Illustrated Books Galleries,
second floor
May 3–September 18, 2006

Contemporary printmaking is flourishing, with artists turning to new digital approaches, renewing age-old techniques, and printing on and with alternative materials and tools. Today artists use a myriad of printed formats, from the traditional intimacy of the singular sheet or book, to expansive multipart projects and installations that run floor to ceiling and wall to wall.

Since 2000: Printmaking Now demonstrates the vitality of current printmaking by showcasing works created since 2000 and acquired by the Department of Prints and Illustrated Books. The exhibition highlights projects never before seen at the Museum, by young artists new to printmaking as well as by more established figures.

Organized by Judy Hecker, Assistant Curator, Department of Prints and Illustrated Books, The Museum of Modern Art.