Collecting Ink

March 3 - March 31

Overview

Installation view
Installation view
Installation view
Installation view
Curator Craig Subler addressing audience
 
“Collecting Ink,” an exhibition guest-curated by printmaker and artist Craig Subler,  presented works in printmaking from public and private collections in Kansas City. The exhibition exemplified the significant and rich presence of printmaking and print collecting in Kansas City.
 
The exhibition was organized in conjunction with the Southern Graphics Council, the largest print organization in North America, established in 1972 to  educate the public and promote awareness and appreciation of the art of making original prints, books, handmade paper and drawings. Kansas City hosted the SGC’s annual conference in 2007. This citywide project welcomed thousands of visitors to Kansas City and included the participation and support of local and regional institutions through a variety of exhibitions and public programs.
 
Artists in the exhibition included Vito Acconci, Terry Allen, Ghada Amer, Jiri Anderle, Radcliffe Bailey, Donald Baechler, Richard Bosman, Christo, Francesco Clemente, Chuck Close, Robert Cottingham, Michael Craig-Martin, Richard Diebenkorn, Lesley Dill, Jim Dine, Vernon Fisher, Tony Fitzpatrick, Helen Frankenthaler, Lawrence Gipe, Jane Hammond, Howard Hodgkins, Bill Jensen, Yun-fei Ji, David Levintha, Sol Lewitt, Hung Liu, Robert Lostutter, Julie Mehretu, Elizabeth Murray, Jeanette Pasin-Sloane, Philip Pearlstein, Raymond Pettibon & Victor Gastelum, Claes Oldenburg, Judy Pfaff, Robert Rauschenberg, David Row, Ed Ruscha, Julian Schnabel, Thomas Schutte, Richard Serra, Pat Stier, Renee Stout, Donald Sultan, Kiki Smith, Sarah Sze, Kara Walker, William T. Wiley, and Terry Winters.
 
 
For generous support of the 2006-2007 exhibition series at the Artspace, the Kansas City Art Institute gratefully acknowledges the Richard J. Stern Foundation, the H&R Block Foundation and the Missouri Arts Council, a state agency.
 

Checklist

 
Private Collection
 
YUN-FEI JI
Chinese, born 1963
Public Grain, 2004
1/34
Etching, spitbite, hardground, softground,
Publisher James Cohan Gallery New York City
 
Kiki Smith
Born in Nuremberg, Germany, 1954, lives in New York
Constellations, 1996
32/ 42
14 printings from ten aluminum plates, on six attached sheets of handmade Nepalese paper, with flocking
Printed by Doug Bennett, Lorena Salcedo-watson & Douglas Volle
Universal Limited Art Editions
 
Jiri Anderle
Born in Czech Republic, 1936, lives in Prague
Hommage aux Victimes de Terrorisme (Fragment V), 1980
15/70
Drypoint, mezzotint, brushed, cut and punctured
Printed by the artist
 
Thomas Schutte
German, born 1954
Sophi, 2005
39/50
Etching on Two Nylo Plates on Summerset rag paper
Edition Schellmann
 
Raymond Pettibon & Victor Gastelum
Pettibon, American, born 1957
Good Year, 2002
12/30
Silkscreen
Hamilton Press
 
David Levinthal (8prints)
American, born 1949
Dancing in the Field, 1999
Photogravure on BFK
16/25
Printed by Steven Campbell, Tom Reed
Landfall Press
 
 
Private Collection
 
Jim Dine
American, born 1935
Yellow Watercolors, 1993
Woodcut with hand painting, edition 15/24
61 ½” x 46”
Pace and Waddington Graphics
 
Robert Rauschenberg
American, born 1925
Soviet-American Array, 1988-1990
Sixteen color intaglio prints, edition 22/59        
Universal Limited Art Editions
 
Bill Jensen
American, born 1945
Defiance, 1996
Intaglio print, edition 20/32
Universal Limited Art Editions
                       
 
Collection of Jane Voorhees
 
Jane Hammond
American, born 1950
Tabula Rosa, 2001
Edition of 43
80 3/k8” x 35” x 2 1/8”
Six color digital pigmented inkjet graphic on handmade Japanese paper
Printed by Brian Berry, Vanessa Viola & Craig Zammiello          
Universal Limited Art Editions
 
 
Collection of Lennie & Jerry Berkowitz
 
Francesco Clemente
Italian, born 1952
Untitled, 1982
Petersburg Press
 
Howard Hodgkins
British, born 1932
Here We are in Croyden, 1979
Lithography, with hand coloration
30/100
Petersburg Press
 
 
Collection of Pinky and Arthur Kase
 
Helen Frankenthaler
American, born 1928
Tales of Ginji, 1998
17/30
Woodcut print
Tyler Graphics
 
Richard Bosman
Born in India, 1944, lives in New York
Mutiny, 1980-81
21/36
Woodcut
Brook Alexander
 
William T. Wiley
American, born 1937
Errie Grotto, 1982
4/200
Woodcut
Crown Point Press
 
Pat Stier
American, born 1940
Waterfall, 1988
20/20
Aquatint, spitbite, hardground, and softground
Crown Point Press
 
Julian Schnabel
American, born 1951
Billy’s first portrait of God, 1990
32/35
Photo lithography, woodcut, etching and silkscreen
Jean Kallina
           
 
Private Collection
 
Renee Stout
American, born 1958
Womba Doll, VI,  1998
monotype
 
Lawrence Gipe
American, born 1962
Complicity, 1994
 
 
Private Collection
 
Terry Winters
American, born 1949    
Untitled,1996
Lithograph printed in ten colors on BFK
Edition 19/48
Universal Limited Art Editions
 
Richard Diebenkorn
American, 1922-1993
Folsom Street Variation III, 1986
Etching, aquatint
Crown Point Press
 
 
Collection of Dan & Robin Younger

Radcliffe Bailey
American, born 1968 
Between Two World , 2003 ED of 30
Color aquatint etching
31 X 44 inches
 
Chuck Close
American, born 1940
Alex (Color), 1992 ED of  75
Ukiyo-e woodblock
28 X 23 inches
 
         
Sonnenchein, Nath and Rosenthal and Private Collection
 
Sol Lewitt
American, born 1928
10 Horizontal Color Bands and 10 Vertical Color Bands , 1991
printer's proofs, suite of six (law firm owns 4)
Color aquatint
24 X 41 1/2 inches
                   
David Row
American, born 1949
Clio & Calliope, 2000 Edition of 30
etching
21 1/2 X 25 1/2 inches
Ss      
Polymnia, 2000 Edition of 30
etching
21 1/2 X 25 1/2 inches
Ss      
Terpischord, 2000 Edition of 30
etching
21 1/2 X 25 1/2 inches
Collection of Sonnenschein Nath & Rosenthal
Ss      
 
 
Private Collection

Richard Serra
American, born 1939
Trajectory #3, 2004 Edition of 48
1-color etching
72” X 53” inches
Collection of Mark & Pam Johnson
 
Sol Lewitt
American, born 1928
10 Horizontal Color Bands and 10 Vertical Color Bands , 1991
printer's proofs, suite of six (collector owns 2)
Color aquatint
24 X 41 1/2 inches
 
 
Private Collection

Donald Sultan
American, born 1951
Smoke Rings, June 6, 2001 HC 3/5
Digital ink jet print
23 X 23 inches
 
 
Hallmark Cards Incorporated
 
Judy Pfaff
Born in Great Britain,1956, lives in New York
The Other, 1998
Etching with encouastic and dye
71 ¾” x 32 ¾”
Tandem Press
 
Sarah Sze
American, born 1969
Day, 2001-2003
Photolithograph with screen print
37 5/8” x 71”
LeRoy Neiman Center for Print Studies
 
Elizabeth Murray
American, born 1940
Lovers, 1996
Mezzotint over monotype
28 ¾” x 26 ½”
Universal Limited Art Editions
 
Radclilffe Bailey
American, born 1968
Until I Die/Georgia Trees & The Upper Room, 1997
Color spitbite aquatint with photogravure and chine collé
44 ¼” x 30 ¾”
Paulson Press
 
Donald Baechler
American, born 1956
Camouflage Sandwich (Cross Examination), 2000
Screenprint
36” x 36”
Pace Editions, Inc.
 
Julie Mehretu
Born in Addis Ababa, Ethiopia, 1970, lives in New York
Diffraction, 2005
Sugar lift aquatine with aquatint, spit bite aquatint
and hard ground etching with chine collé
35 ½” x 46 ¾”
Crownpoint Press
 
Ed Ruscha
American, born 1937
Your Space #1, 2006
Sugar lift flat bite with hardground etching
25 ¾” x 29”
Crownpoint Press
 
Hung Liu
Born in China, 1948, lives in California
Unofficial Portraits: The Bride, 2001
Lithography with collage
30” x 30”
Shark’s Ink
 
Michael Craig-Martin
Born in Ireland, 1941, lives in Great Britain
Folio, 2004 (12 prints)
Screenprint
12 7/8” x 39 ¼”
Alan Cristea Gallery
 
 
Kansas City Art Institute Collections
 
Vito Acconci
American, born 1940
Wav(er)ing Flag, 1990
lithograph, 6 sheets, 20 x 26 inches each
(20 x 156 inches installed)
Gift of Landfall Press, 1992
 
Terry Allen
American, born 1943
Juarez Suite, 1976
Suite of nine lithographs
Gift of Landfall Press, 2001
 
Ghada Amer
Born in Egypt, lives in New York
Love Me, 2006
Offset lithograph, or digital print with hand coloring,
hand-stitching, and decals
edition of 6
18” x 24”
 
Christo
Born in Bulgaria, 1935, lives in New York
Orange Storefront (Project 1964-91), 1991
lithograph and collage
paper; 27 ½ x 31 inches
Gift of Landfall Press, 1997
 
Chuck Close
American, born 1940
Keith III, State I, 1975
lithograph
inches:
Gift of Landfall Press, 1987
 
Robert Cottingham
American, born 1935
Art, 1992
lithograph
50 ¾ x 50 ½ inches
Gift of Landfall Press, 1993
 
Lesley Dill
American, born 1950
Homage to N.S. (Nancy Spero), 1997

lithograph, silkscreen, etching
41 x 50 inches
Gift of Landfall Press, 1998
Value: $1600.00 (1998; excluding frame)
Location: Artspace (11.01); Artspace 9 S)

Lesley Dill
American, born 1950
Leave Me Ecstasy, 1997
lithograph, silkscreen, etching
44 x 39.5 inches
Gift of Landfall Press, 1998
Value: $1600.00 (1998; excluding frame)
Location: Artspace – 9 S)

Vernon Fisher
American, born 1958
Man Cutting Globe, 1995
color lithograph
43.75 x 41 inches
Gift of Landfall Press, 2000
Value: $1800.00 (6.2000)
Location: Artspace 10 South

Tony Fitzpatrick
American, born 1958
Black-eyed fight dog, 1991
Etching
28 x 27.5”
Gift of Landfall Press, 1998

Robert Lostutter
American, born 1939
Hummingbird, 1993
lithograph
Gift of Landfall Press

Claes Oldenburg
Born in Sweden, 1929
Store Window: bow, hats, heart, shirt, 29 cents, 1973
Lithograph
Paper: 22 ½ x 26 ¾ inches
Gift of Landfall Press, 1997

Jeanette Pasin-Sloane
American, born 1946
Mercato Stripes, 1993
lithograph
36 x 39 ¾ inches
Gift of Landfall Press, 1993 

Philip Pearlstein
Six Lithographs Drawn From Life, 1970
Lithographs, edition unknown
30” x 22” - unframed

Kara Walker
American, born 1969
Li’l Patch of Woods, 1996
Etching and chine colle
21 ½ x 18 ½ inches
Gift of Landfall Press, 1998 

Kara Walker
American, born 1969
Vanishing Act, 1996
etching and chine colle
21 ½ x 18 ½ inches
Gift of Landfall Press, 1998 

Kara Walker
American, born 1969
Cotton, 1996
etching and chine colle
21 ½ x 18 ½ inches
Gift of Landfall Press, 1998 

Kara Walker
American, born 1969
Untitled, 1996
etching and chine colle
21 ½ x 18 ½ inches
Gift of Landfall Press, 1998
 

Exhibition Checklist PDF

 

 

 

 

Essay

Collecting Ink
Craig Subler
 
The idea for this exhibition came about when the Kansas City Programming Board for the Southern Graphic Council began discussions for its 2007 conference. The problem was how to showcase the many talented artists making prints in the region and how to integrate the fine contemporary print collections that reside in the area. The first part of this problem was easily solved. Kansas City hosts a variety of commercial galleries, museums, alternative spaces, and not for profit galleries. These venues would be able to explore the region’s deep and talented pool of artists making prints.
 
The second part of this problem was a bit more complex. Many of the contemporary print collections are out of sight, private or in the corporate workspace where they are not easily seen. How could a conference goer and the community explore these collections? Kansas City has a rich history of collecting contemporary prints. It was decided early on that this exhibit would focus on the past 30 years of print collecting in Kansas City and combine the corporate with the private.  The Block Artspace also wanted to be mindful not to duplicate prints on view at other venues during the conference. The selection of prints found in these galleries is by no means all-inclusive. There are obvious omissions of artists that can be seen in other exhibits currently on view throughout the city. Collecting Ink is rather an exhibition that is meant to work in concert with these other exhibits.
 
Another aspect of this project was to produce an exhibition that would expose the students of printmaking, the novice collector and the community to the “plots and ploys” of the artists and master printmakers producing prints today.  While this is not primarily an exhibit about the techniques of printmaking, it does play a significant role in many of the prints on view.  From the simplicity of line found in the lithographs of Philip Pearlstein’s figures to Jane Hammond’s ground-breaking digital print “Rosie” we can readily see how process does inform the content and consider how printmaking has changed in the past 30 years.
 
However, for many this exhibit will resonate in the pure pleasure of seeing some of today’s most beautiful prints. Collecting Ink is a project that celebrates the connoisseurship of the collectors while alerting the visitor to the diversity and rich history of collecting contemporary prints in Kansas City.
 
 
How To Read A Print -
 
The most common way for an artist to sign a print is with the signature in the right corner below the image. In the center of the print below the image you will find the edition number.  The edition number may look something like this:  1/50. This number would indicate that the total number of prints in the edition is 50 and this particular print is # 1. The title is found to the left of the print under the image. Though this is the most common way for an artist to sign a print the artist may chose to deviate from this format. Sometimes you will see other abbreviations where the edition number is often located.  These abbreviation are significant as they give the viewer additional information about the print. Listed below are a few examples.
 
Trial Proof-TP
This is a print that will have minor variation in the image as the artist developed the print.
 
Artist’s Proof- AP
A certain number of the prints are reserved for the artist’s use and are sometimes identical to the final editioned print.
 
Right to Print-RTP, Bona Tirer-BAT
Both of these terms indicate that this print meets the artists’s standards for the final edition. The RTP or BAT print is the print that all prints much match in the final edition.
 
Printers Proof-PP
This denotes that this print is reserved for the printers with whom the artist has worked with.
 
 

Selected Printmaking Definitions -

Aquatint – an intaglio process for creating an even tonal field.  Particles of an acid-resistant material (powdered resin or asphaltum, spray lacquer, or spray paint) are deposited and fixed to the plate.  When the plate is immersed in acid, only the incisions (interstices) around the particles are bitten.  When the particles are removed by a solvent, the surface of the plate exhibits a granular pattern of tiny pits and bumps.
 
Chine collé – a method of attaching a thin piece of paper of the surface of a print with glue, in the process of printing.  The paper used is often thin and smooth, and thus able to take a finer impression than the more substantial paper beneath. In contemporary prints, it is often used for purely aesthetic reasons.
 
Drypoint – an intaglio method that uses neither acid nor the specialized burin of engraving.  The image is literally scratched into a bare plate with a needle, sending up rough burrs of metal on either side of the line.  The burrs hold large amounts of ink, and provide drypoints with a characteristically fuzzy appearance.
 
Engraving – the oldest form of intaglio technique, in which grooves are cut into a bare plate with a burin.  Any burrs that would catch ink are removed from the surface, and engraved lines are characteristically smooth and sinuous with a distinctive tapering end.  The standard method of reproducing art from the 16th – 19th century.
 
Etching – an intaglio process dating from the sixteenth century, in which the plate is covered with an acid-resistant ground through which lines are drawn with a sharp metal etching needle.  When the plate is placed in acid, the exposed lines are bitten, while the protected surface of the plate is not.  Rembrandt and Whistler were prolific printmakers who mastered the etching process.
 
Intaglio – the printing process in which ink is applied to a plate and then wiped from the surface, remaining only in the incisions or interstices.  When passed through the rollers of the press, the ink is squeezed onto dampened paper.  Aquatint, drypoint, engraving, etching and mezzotint are all intaglio processes.
 
Linocut – a relief print in which the design is carved into a sheet of linoleum fixed to a wooden block.  Unlike wood, linoleum has no grain, so it lends itself to more fluid carving and will print utterly flat tonal areas.  This method was popularized in the 1930’s by Matisse, and again by Picasso in the 1950’s.
 
Lithography – a method of printing based on the chemical resistance of oil and water, invented in 1798.  The image is applied to a grained aluminum plate or to a naturally porous stone (usually Bavarian limestone) using greasy ink (“tusche”) or crayon.  The plate or stone is then “etched” by a wash of acid and gum arabic, which fixes the image and makes the blank surfaces receptive to water.  When tusche is rolled over the surface, it adheres to the artist’s marks, but is repelled from the rest of the surface.  Paper is then placed against its surface, and the stone or plate is run through a scraper-bar press. Lithographs are often very flat in appearance, with polished surfaces.  It is the most “painterly” of print media.
 
Monoprint – essentially a unique variant of a conventional print.  The term can refer to etchings that are wiped in an expressive, not precisely repeatable manner; to prints made up of a variety of printing elements that change from one impression to another; or to prints that are painted or otherwise reworked by hand either before or after printing.
 
Screenprint – a printing method invented at the beginning of the 20th century, screenprinting is a variant on the ancient technique of the stencil.  Ink is forced through stretched mesh fabric (traditionally silk, but now usually synthetic), parts of which have been blocked out.  It differs from other techniques in that the image is passed through the surface rather than being transferred form the surface.  There is no mirror reversal. 
 
Woodblock print – a relief print made form shaped blocks of wood that are not necessarily carved on the printing surface, as a woodcut is.  Many relief prints combine both the processes of woodblocks and woodcuts, thus the terms are sometimes used interchangeably.
 
Woodcut – The most ancient from of printing, dating back to the Chinese T’ang Dynasty (AD 618 – 906), and deriving from the practice of taking rubbings from stone inscriptions of famous writings.  A block of wood is carved in relief, rolled with ink, and pressed against paper so that the raised portions print and the depressed portions do not.  In the European woodcut tradition, the artist would draw a linear design on the black and the rest would be cut away, usually by artisans.  The Asian tradition of relief prints differs technically from that of Europe, employing water-based inks rather than oil-based ones, and hand-rubbing rather than presses, but 20th century artists have often applied both.
 

Events

Press

Press Release

“Collecting Ink” to highlight Kansas City printmaking, print collecting
KCAI website |
Thu, 2007-02-22

[Collecting Ink] will draw from local public and private collections in Kansas City to highlight the strength, ingenuity and legacy of printmaking and print collecting in Kansas City.