Recently, my friend Laura Albans challenged me to write about what I think makes a print great. In short, it came down to visual impact and emotional impact. Today, Laura asked me if I would name my favorite technique. If you’ve been following along, you know that I have looked at, researched, written about, and spoken about Stanley William Hayter and Atelier 17 for close to fourteen years. And you’ll know that Atelier 17 was primarily an intaglio studio. So there is your answer.
I love a good scrumpy, tactile etching, engraving, drypoint, whathaveyou. I love the platemark mark. I love flipping a print over and seeing the back is just as interesting as the front. I love the objectness of them. I love the amount of planning, patience, and care they require. I love how the ink stands proud on the paper, the depth of the blacks, the variety of marks attainable through aquatint and softground etching. I love that they can be delicate and rough, crisp and feathery, light and dark. I love that in the inking of the plate one can vary the results so widely. Of all the techniques, it seems to me intaglio may well be the most versatile.
After intaglio, I would have to go with relief. I love a good Durer apocalyptic woodcut, an expressionist print by Kirchner, Heckel, or Kollwitz, an elegant wood engraving by Asa Cheffetz or Clare Leighton, a linoleum cut by Charles White, or contemporary woodcuts by Chitra Ganesh, Yashua Klos, Tom Huck, or Raj Bunnag. Woodcuts seem so hale and hearty, and I love the strength and patience required in carving. I also love that they can be printed on a press, with a steamroller, or a wooden spoon.
Please enjoy day 2/5 of offerings from the www.londonoriginalprintfair.com. Remember these are presented alphabetically by dealer meaning the prints will appear in a rather random order. Today we start with C (Clemens Büntig) and go through G (Gerrish Fine Art).
Here is #LondonOriginalPrintFair Curator's Choice 2/5.
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Ann's art blog
A 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.
What our Platemark listeners are saying
Listened to Platemark episode 102. Great stuff. I agree verbal exchanges with compatible minds on deeply shared content is rich, creative, wonderful, and hard to find. You both offered a delightful picture of how that has worked for you. And I felt [you were] courageous in the openness and visibility of your inner minds. Enjoyed it and learned a lot.