Ann Shafer I love Sybil Andrews’ sensibility. Like Ursula Fookes and Ethel Spowers, who we met recently, Andrews, no surprise, was a part of the Grosvenor School of artists focused on multi-block color linoleum cuts exploring the speed of urban contemporary life primarily during the 1930s in England. I love that she explores speed literally through images of raceways and steeplechases. But she also does something surprising by focusing on rural life and agriculture in that same modernist mode. A bit antithetical. She also created a series of the stations of the cross (I’ll let you look those up on your own). Andrews worked as a secretary at the Grosvenor School beginning in 1925 and soon began making linoleum cuts under the school’s leader, Claude Flight. She became close friends with Cyril Power (I promise, I will cover both Flight and Power soon), sharing a studio until 1938, as well as collaborating under the pseudonym Andrew-Power. During World War II, while working as a welder in a factory, she met her husband Walter Morgan. The couple emigrated to Canada and settled on Vancouver Island in 1947. She continued making color linoleum cuts well into the 1970s. I love that Andrews has such a strong point of view. I love the palette and the colors’ vibrancy. I love the high-design sense and reductiveness of the objects. I love the range of subjects. Well, there is not much about her work I don’t love. Please meet Sybil Andrews.
0 Comments
Ann Shafer The second fair we never miss during New York Print Week is the Editions and Artists Books fair, known as E/AB. If the IFPDA fair is the grandfather of print fairs, E/AB, managed by the Lower East Side Print Shop (no small task), is the scrappy twenty something hipster. It attracts younger, newly established, and smaller shops as vendors, along with more established ones that prefer E/AB’s hipper vibe. That means you may not be as familiar with many of the artists on offer, but you’ll likely find something at a lower price point. In other words, it’s a great place to start as a new collector. Martin Mazorra UnMute Yourself, 2020 Letterpress 14 7/8 x 20 7/8 inches Printed by Martin Mazorra Planthouse Gallery Vladimir Cybil Charlier What happens to a dream deferred (Dream Deferred portfolio), 2020 Archival Inkjet print with screenprint Sheet: 18 x 12 inches Image: 15 x 10 inches Printed by Pepe Coronado FORCE: Upsetting Rape Culture Monument Quilt Project, 2020 Fabric and thread 96 x 96 inches Booklyn John Alexander Ship of Fools, 2020 Polymer gravure with chine collé Image: 21 ¾ x 17 inches Sheet: 30 x 22 inches Printed and published by Flatbed Press Parastou Forouhar (Iranian, b. 1962) Water Mark, 2015 Two-color lithograph and nine-colors pigmented over-beaten flax pulp paint on abaca sheets 37 ¼ × 22 ½ inches Published by the Brodsky Center at PAFA, Philadelphia Victoria Burge Nets I-VII, 2019 Suite of seven lithographs Each sheet: 12 3/4 x 10 inches Printed and published by Deb Chaney Editions Nicola López The Vast Sky, 2018 Accordion-fold volume with screenprints 13 3/4 x 9 7/8 inches Printed and published by Anémona Editores and TPT Gráfica Alison Saar Copacetic, 2019 Portfolio of eight multi-block linoleum cuts on handmade Japanese Hamada Kozo paper Each sheet: 19 1/2 x 18 inches Printed by Erin McAdams, Harry Schneider, Max Valentine, and assisted by Wendy Li Published by Mullowney Printing Raven Chacon (Navajo) Horse Notations, 2019 Six-color lithograph 23 3/4 x 30 inches Printed by Judith Baumann Published by Crow’s Shadow Institute of the Arts Martin Wilner Arkopoly, 2017–18 Polymer photogravure (two plates printed with 35 colors plus black) 23 1/2 x 23 1/2 inches Printed by Jennifer Mahlman Co-published by Eminence Grise Editions and Hales Gallery (London) Marion MacPhee Diving Humpback, 2016 Etching printed in black and blue, a la poupee 64 x 106.5 cm Printed by the artist Glasgow Print Studio Walton Ford Pestvogel, 2016 Six-plate aquatint etching with hard ground, soft ground, spit bite, sugar lift, and dry point Plate: 28 x 22 inches Sheet: 40 x 30 3/4 inches Printed by Wingate Studio Published by Kasmin Gallery Steve DiBenedetto Receiver, 2019 Softground etching, drypoint, engraving, and aquatint Sheet: 38 x 30 7/8 Plate: 30 x 24 inches Printed and published by Harlan & Weaver Mark Thomas Gibson Banquet, 2016 Etching and aquatint 13 1/2 x 15 3/4 inches Printed by Burnet Editions Published by IPCNY Dario Robleto The First Time, The Heart (First Pulse, Flatline), 2017 Diptych: lithograph on hand-flamed and sooted paper, lithotine lift and shellac Each: 11 1⁄2 x 14 1⁄4 inches Printed and published by Island Press, Washington University in St. Louis Astrid Bowlby Everything, 2016 Stone lithograph 30 x 40 inches Printed by Peter Haarz Published by Petrichor Press Deb Sokolow Willem de Kooning. Geniuses are nothing if not complicated in their methods and motivations, 2015 Accordion-bound volume with graphite, acrylic, ink and collage Closed: 9 x 6 inches; open: 9 x 44 inches Western Exhibitions Sebastian Black Composition with Registration Marks and Other Marks, 2017 Five-plate aquatint etching with burnishing, soap ground, and spit bite Plate: 24 x 18 inches Sheet: 31 3/4 x 24 1/2 inches Printed and published by Wingate Studio |
Ann's art blogA small corner of the interwebs to share thoughts on objects I acquired for the Baltimore Museum of Art's collection, research I've done on Stanley William Hayter and Atelier 17, experiments in intaglio printmaking, and the Baltimore Contemporary Print Fair. Archives
February 2023
Categories
All
|
RSS Feed