Mark Bradford
Untitled (Suite of 14)
This suite of 14 prints exhibits Bradford’s continued interest in found materials, with central text based imagery borrowed from a body of work known as “Merchant Posters” – small collaged works using real advertising signs gathered from the street around the artist’s Los Angeles studio – and surrounding border the result of using discarded etching plates.
These prints were published by Sikkema Jenkins & Co. in 2012 and are an edition of 25. Each print - created using etching, photogravure, and chine-collé techniques - measures 20 x 16 inches (50.8 x 40.6 cm).
Trisha Brown
Untitled (Set Two)
To create each print in this set of three soft-ground and surfaced-rolled etchings, Trisha Brown used her feet to make impressions of a variety of movements onto an evenly coated soft ground plate. The plate was subsequently etched, inked, surface-rolled in light beige and printed in one run. With subtle movements and delicate traces of imprints of the artist’s feet, each work has an improvisational visual quality that recalls abstract dance choreography. Untitled (Set Two) was published in 2006 by Graphicstudio in an edition of 35.
Arturo Herrera
Untitled (Plank)
Produced in an edition of 25, this aquatint depicts a design for a permanent mural created in 2005 for the west side exterior wall of DAAD Galerie building at Zimmerstrasse 90/91, Berlin.
Arturo Herrera
Arturo Herrera
Mine (2007) was inspired by a body of collage work exhibited at Sikkema Jenkins & Co. in 2006. These immense, colorful and often high-contrast works on paper blend a wide range of techniques - fusing collage, watercolor, cut-paper, drawing and more. Collage has been of particular importance to the artist’s work. Incorporating imagery and forms derived from pop culture and the history of painting, the artist creates points of entry for the viewer into his surreal and elegant world. Working with Artistic Director Paul Wong, Herrera blended his collage and drawing practices with papermaking techniques learned during his residency and developed in the DIeu Donné studios.
Jennie C. Jones
Song Containers
Vik Muniz
Pictures of Garbage
Sebastiãno, Suellen, Carlão, Magna, Zumbi, Irmã and Isis are people who live and work in Jardim Gramacho, Rio de Janeiro, the biggest urban refuse dump in the world. They survive by recycling the things that they collect. I decided to depict them in allegorical situations, helped by them and using the material that they recycle. This is an incredible project, which is allowing me to get to know some of the most remarkable people in the world, who live in the worst conditions I have come across in my entire life and who have put me in contact with a side of life that I imagined no longer existed. - Vik Muniz
Erin Shirreff
Figure 2 (II)
Kara Walker
Testimony is a suite of five photogravure prints taken from film stills of Kara Walker's 2004 video work Testimony: Narrative of a Negress, Burdened by Good Fortune. For her Publishing Residency at the Lower East Side Printshop, Walker chose the photogravure process to enhance the deep, velvety texture of the shadow silhouettes. Lothar Osterburg produced the plates and James Miller and Christian Kinsler printed them, on Hahnemuhle Copperplate paper in an edition of forty.
Each of the 15 prints in Kara Walker's Harper's Pictorial History of the Civil War (Annotated) began with an enlargement, using offset lithography, of a woodcut plate from Ed. Alfred H. Guernsey and Henry M. Alden's Harper's Pictorial History of the Civil War, which was first published in Chicago in 1866. Each of these images was then overlaid with Walker's silhouette figures rendered with solid black silkscreen. This print series marks the first time Walker has united her trademark silhouettes with the species of historical documentation that influenced the development of her aesthetics. "These prints," Walker explains, "are the landscapes that I imagine exist in the back of my somewhat more austere wall pieces." Walker uses a variety of strategies to break in, cover over, or otherwise intervene within the narrative of the woodcuts, usurping the images' original dramatic purposes in favor of ones of her own invention. Walker's silhouettes interrupt Union maneuvers as often as Confederate ones, as if no matter which side wins, there will be suffering.