Etcher Sketch: A Conversation with Nadine Orenstein and Freyda Spira About "The Renaissance of Etching". Lucien Fleury, L'Envers du Billet (1970), screenprint, 102 x 57 cm, 1 Courtesy of Musee des Beaux-Arts de Dole, Claude-Henri Bernadot. Banknotes have matrices designed by artists, they are pulled by master craftsmen, and the prints vary in value, just like fine art prints.
But you don't need an understanding. Among his other virtues, Albrecht Durer was a meticulous book- keeper. His travel diaries are chock- a-block with tallies in now arcane currencies-"8 thaler" for wine, "5 white pfs" for a Lutheran tract, "20 stivers" for an elk's foot-as well as payment in units still perfectly familiar: a St. Eustace to a servant; a Melencolia I to a secretary; an engraved Passion to a goldsmith.
Durer prints, then as now, were valued as masterpieces of art, not just markers of exchange, but Durer understood that reproducibility brought fungibility with it. Though banknotes would not become common in Europe until centuries later, Durer's unchartered accountancy is a sneak preview of the coming codepen- dency of printing, art and money.
But you don't need an understanding. Among his other virtues, Albrecht Durer was a meticulous book- keeper. His travel diaries are chock- a-block with tallies in now arcane currencies-"8 thaler" for wine, "5 white pfs" for a Lutheran tract, "20 stivers" for an elk's foot-as well as payment in units still perfectly familiar: a St. Eustace to a servant; a Melencolia I to a secretary; an engraved Passion to a goldsmith.
Durer prints, then as now, were valued as masterpieces of art, not just markers of exchange, but Durer understood that reproducibility brought fungibility with it. Though banknotes would not become common in Europe until centuries later, Durer's unchartered accountancy is a sneak preview of the coming codepen- dency of printing, art and money.
Services
Founded in 2011 to address the persistent invisibility of printed art in the general art press, Art in Print was a bimonthly journal and website dedicated to the art that most people are most likely to meet in person-the print.
The publication provided important contemporary criticism, fundamental historical research and timely information about current events, while championing thoughtful looking, clear prose and lucid design.
Art in Print also commissioned artists' projects that took advantage of the social distribution of the periodical, and ran a bimonthly print competition that allows artists-with and without gallery affiliation-to reach an international audience.
The publication provided important contemporary criticism, fundamental historical research and timely information about current events, while championing thoughtful looking, clear prose and lucid design.
Art in Print also commissioned artists' projects that took advantage of the social distribution of the periodical, and ran a bimonthly print competition that allows artists-with and without gallery affiliation-to reach an international audience.
Art in Print makes about one-third of its content available for free as a public service.
Subscribers can access all articles, reviews and news through the member site and journal.
As a not-for-profit 501(c)(3) organization we depend on your support.
Please subscribe or log in.
Lucien Fleury, L'Envers du Billet (1970), screenprint, 102 x 57 cm, 1 Courtesy of Musee des Beaux-Arts de Dole, Claude-Henri Bernadot.
Banknotes have matrices designed by artists, they are pulled by master craftsmen, and the prints vary in value, just like fine art prints.
Subscribers can access all articles, reviews and news through the member site and journal.
As a not-for-profit 501(c)(3) organization we depend on your support.
Please subscribe or log in.
Lucien Fleury, L'Envers du Billet (1970), screenprint, 102 x 57 cm, 1 Courtesy of Musee des Beaux-Arts de Dole, Claude-Henri Bernadot.
Banknotes have matrices designed by artists, they are pulled by master craftsmen, and the prints vary in value, just like fine art prints.
Art in Print makes about one-third of its content available for free as a public service.
Subscribers can access all articles, reviews and news through the member site and journal.
As a not-for-profit 501(c)(3) organization we depend on your support.
Please subscribe or sign in.
A Century of Prints in Britain is a lively publication that looks at printmaking through the prism of the Arts Council collection, the largest loan collection of British art in the world.
For those of us who believe that history is best told through objects and images, this book provides strength to our argument.
Subscribers can access all articles, reviews and news through the member site and journal.
As a not-for-profit 501(c)(3) organization we depend on your support.
Please subscribe or sign in.
A Century of Prints in Britain is a lively publication that looks at printmaking through the prism of the Arts Council collection, the largest loan collection of British art in the world.
For those of us who believe that history is best told through objects and images, this book provides strength to our argument.
Art in Print makes about one-third of its content available for free as a public service.
Subscribers can access all articles, reviews and news through the member site and journal.
As a not-for-profit 501(c)(3) organization we depend on your support.
Please subscribe or sign in.
Amie Cunat's screenprint Rug follows her recent installations in re-envisioning the visual traditions of the Shakers, and in its meditation on history and handcraft.
Consistently pushing the boundaries of printmaking, Alex Dodge's work often elicits a "how did he do that?"
Subscribers can access all articles, reviews and news through the member site and journal.
As a not-for-profit 501(c)(3) organization we depend on your support.
Please subscribe or sign in.
Amie Cunat's screenprint Rug follows her recent installations in re-envisioning the visual traditions of the Shakers, and in its meditation on history and handcraft.
Consistently pushing the boundaries of printmaking, Alex Dodge's work often elicits a "how did he do that?"
The bi-monthly INK Blog provided broad observations and synthesis of trends and events related to the print world, as well as criticism on specific subjects when appropriate.
INK was written by Sarah Kirk Hanley, who is an independent print specialist and critic as well as a frequent contributor to Art in Print.
She is also an adjunct instructor at NYU and a consulting expert and advisor for several art appraisal services and online fine art marketplaces.
Hanley is a member of Phi Beta Kappa, ArtTable, the College Art Association and the Association of Print Scholars.
INK was written by Sarah Kirk Hanley, who is an independent print specialist and critic as well as a frequent contributor to Art in Print.
She is also an adjunct instructor at NYU and a consulting expert and advisor for several art appraisal services and online fine art marketplaces.
Hanley is a member of Phi Beta Kappa, ArtTable, the College Art Association and the Association of Print Scholars.
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