US $25 The Global Journal of Prints and Ideas January – February 2017 Volume 6, Number 5 Traumatic Memory • William Kentridge • Combat Paper Project • Eric Avery • China 1946 • Japanese War Games Gerald Cramer • Marcantonio • Kingdom of Images • Associated American Artists • Garo Antreasian • News January – February 2017 Volume 6, Number 5 In This Issue Editor-in-Chief Susan Tallman Susan Tallman On Trauma 2 Associate Publisher Julie Bernatz Kate McCrickard William Kentridge: Drawing Has its Own Memory 4 Managing Editor Isabella Kendrick Associate Editor Julie Warchol Manuscript Editor Prudence Crowther Online Columnist Sarah Kirk Hanley Editor-at-Large Catherine Bindman Design Director Skip Langer Jared Ash The Combat Paper Project 11 Marjorie B. Cohn Eric Avery’s AIDS Works 16 Shaoqian Zhang Woodcuts in the Aftermath of War 20 Rhiannon Paget Sugoroku of Imperial and Wartime Japan 24 Exhibition Reviews Paul Coldwell Gérald Cramer in Geneva 30 Genevieve Verdigel Stepping out of Raphael’s Shadow 32 Carand Burnet Creative Printmakers in Japan 34 Book Reviews Victoria Sancho Lobis French Prints in the Age of Louis XIV On the Mailing Bag: Eric Avery, RX (2014–16) for Art in Art in Print. Original artwork letterpressprinted by the artist and Dave DiMarchi. Cover: Eli Wright, Broken Soldiers (2009), screenprint on hand-stitched handmade paper from military uniforms. Courtesy the artist. This Page: William Kentridge, detail of Four Instruments (2003), drypoint. Printed by Randy Hemminghaus, Galamander Press, New York. Published by David Krut, New York. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published without the written consent of the publisher. 36 Brian D. Cohen Art in (Middle) America 38 Peter S. Briggs Garo Antreasian and American Lithography 41 Prix de Print, No. 21 Juried by Trevor Winkfield A Cloud in Trousers by Thorsten Dennerline 44 Art in Art in Print Number 6 Eric Avery Print Life: Neurogenesis 2016 46 News of the Print World 49 Contributors 64 Art in Print is supported in part by an award from the National Endowment for the Arts. Art Works. EXHIBITION REVIEW Sharpened Imagination: Creative Printmakers in Japan By Carand Burnet Hamanishi Katsunori, Japanese Classic Calendar (2015), mezzotint printed in color, each panel 59.6 x 36.1 cm (quadriptych). Art Museum, University of Saint Joseph, West Hartford, CT. Purchase with a gift from Edwina Bosco ’50. ©Hamanishi Katsunori. “Hanga Now: Contemporary Japanese Printmakers” University of Saint Joseph Art Museum West Hartford, CT 23 September – 18 December 2016 A ttenuated lines, shimmering gilding, gossamer textures and deft compositions suffused the exhibition “Hanga Now: Contemporary Japanese Printmakers” at the University of Saint Joseph in Hartford. More than 60 woodcuts, etchings, lithographs and monotypes by 35 artists—most produced during the past 25 years—attest to the ongoing vitality of Japan’s sōsaku-hanga (creative print) movement. Selected by curator Ann Sievers, these prints do not ask the viewer to gaze from afar; they beckon us closer. The famous ukiyo-e prints of the 18th and 19th centuries are often aesthetically pleasing but were intended as commercial products, made to reflect the market rather than personal expression, and they were produced through a system of specialized painters, block cutters, printers and publishers, working in separate 34 Art in Print January – February 2017 stages. In the first decade of the 20th century, however, artists such as Hakutei Ishii, Kanae Yamamoto and Kogan Tobari adopted the European practice of designing, cutting and printing their own works in small editions. Sōsaku-hanga brought the Western emphasis on individuality to bear on Japanese techniques and aesthetics. Moving away from the popular-cultural subjects of ukiyo-e, these artists explored landscapes and figures that offered an opportunity for abstraction and creative manipulation. They also strove to make visible the singular characteristics of the artist’s hand, as is evident in Yamamoto’s woodblock Fisherman (1904), where rough carved lines contour the figure and setting.1 After World War II, the reputation of such prints grew, both inside and outside Japan. Once scorned by critics and categorized as a craft (and labeled as such by the Japan Art Academy to this day), 2 by 1951 sōsaku-hanga had gained global stature: in that year’s São Paulo Art Biennial the only Japanese artists to win awards were the printmakers Tetsuro Komai and Kiyoshi Saito. The quintessence of harmony—a time-honored Japanese value—is apparent in the technical control of breathtaking mezzotints by Yozo Hamaguchi (1909–2000), Toru Iwaya (b. 1936) and Katsunori Hamanishi (b. 1949). Hamaguchi’s Field on Deep Blue (1985–1992) presents a band of multicolored striations that emerge from navy-colored paper— a hilly landscape distilled into a gradient structure of color, shadow and highlights. Reika Iwami (b. 1927), a pioneering woman in the creative print movement, incorporates both the real and the mystical in lyrical terrains. In Water of Mt. Fuji (2002) she omits most physical detail, disrupting the silhouette of Japan’s iconic mountain with a vaporous gray pattern suggestive of clouds or undulating water, and a waving band of gold leaf that glistens like a river. Such material enhancements of the paper surface are frequent in her work: the black background in Poem of Water (1971) is strewn with glittering dust, causing it to appear to levitate in the light, and Border of the Sea God’s Realm (1999) includes an embossed teardrop-sized silhouette that hovers over Left: Goto Hidehiko, Silent Light from the portfolio Hope: Aspirations in the Abstract (2012), woodcut printed in color, 49.5 x 37.5 cm. Art Museum, University of Saint Joseph, West Hartford, CT. Purchase with a gift from Edwina Bosco ’50. ©Goto Hidehiko. Right: Tamekane Yoshikatsu, White Nocturne (1997), woodcut, gold leaf, embossing and mica powder, 50.8 x 69.9 cm. Collection of Ronald A. and Pamela J. Lake. ©Tamekane Yoshikatsu. a topography of roaming shapes. The woodblocks of Hidehiko Goto (b. 1953) evoke the movement of water even more abstractly: in Silent Light (2012) the grain of the woodblock provides an illusion of liquid condensation within a rectilinear composition veiled in a blue. One of the striking features of these prints is the abundance of gold leaf. More than a third of the works on view incorporated gold, and not only in woodblock. Shuji Wako’s (b. 1953) immaculately composed Right on Target (2007) uses lithography’s tonal attributes to render a peculiar, if visually convincing, still life—a fragile ball supporting a target pierced by two arrows, perched above carefully drawn kimono fabric. Each of these objects is elaborately embellished with gold leaf. Unlike Wako, Yoshikatsu Tamekane (b. 1959) exploits gold leaf as an adaptable, textural medium that can be lightened, layered or obscured. The thinly applied, irregular gold in the corner of his abstract woodblock and collagraph print White Nocturne (1997) reveals color beneath its radiant surface. Natural forms and materials are only part of the story, however. Sōsaku-hanga artists have also explored found and prefabricated images, adapting, collaging and recomposing them as personal statements. Tetsuya Noda’s (b. 1940) Diary 471 Dec 26 ’09 (2009) is part of an ongoing project—now totaling over 500 prints—based on memories illustrated in the artist’s journal. An open cookie box, seen from above, is tinted with green and yellow, recalling the hand-colored albumen prints that were widely popular in Japan in the mid- to late-19th century. Other artists favor bold color and pattern: in Yuji Hiratsuka’s (b. 1954) etching and aquatint Medieval River (2016), violet water is enclosed by pink-shaded, snowy ground. The repeating branches, leaves and flowers of the multicolored forest merges into a wondrous, chromatic tapestry. Nobuyuki Oura’s (b. 1949) Holding Perspective Portfolio (1981–1983) appropriates and juxtaposes popular images—historical photographs, anatomical illustrations, natural specimens—in complex, symbolic self-portraits in screenprint and lithography. The overlaid parts combine in ways that recall Japanese textile patterns, but his work exhibits the complexities of Japanese identity within a global contemporary art world. (The inclusion of photographs of Emperor Hirohito within Holding Perspective was perceived as disrespectful by the prefecture of Toyama, and museum catalogues containing the work were destroyed.) 3 All the prints in “Hanga Now: Contemporary Japanese Printmakers,” demonstrate precision, and no space on the paper goes unnoticed. The innovative work of sōsaku-hanga printmakers exudes everything from a refreshing simplicity to incredible complexity, as their one-ofa-kind viewpoints are honed from a sensitivity to their medium. “Creative” printmakers are always alert to the nuances of their own lyrical vision, and “Hanga Now” is no exception. Printmaking in Japan is alive and well, shining with grace and possibility. Carand Burnet is an essayist, poet and arts correspondent. Notes: 1. There was also a concurrent movement in modern Japanese printmaking that revived the collaborative system, known as shin-hanga, or “new print.” 2. Michiaki Kawakita, “The Modern Japanese Print,” in Contemporary Japanese Prints, tr. John Bester (Tokyo and Palo Alto: Kodansha International, 1967), xiii–xv. 3. Tomo Kosuga, “The Art of Taboo: Nobuyuki Oura,” Vice Magazine video, 7:58, 21 October 2016, http://www.vice.com/en_ca/video/the-artof-taboo-nobuyuki-oura-japan. Art in Print January – February 2017 35
© Copyright 2024 Paperzz