works wonders with ceramics, paints Rorschach patterns on lengths of carpet, and brings families of mannequins into gallery and museum spaces. These etchings reflect some of her abstract iconography, and have a vaguely cosmic, hippy-era vibe.
mingled the grotesque and the erotic throughout his career; this lithograph is a relatively staid example of his vision, but loaded nonetheless. Two nearly identical women tug at opposite ends of a stretchy length of bubblegum, which droops into a decidedly testicular bulge.
Jonathan Lasker, Virtuous Repitition, 2017. Courtesy of Galerie Sabine Knust.
A high-quality lithographic process allows these prints to retain the intimate quality of the painter’s original materials. Three scribbly purple blocks rest atop the paper, looming over similar scrawls of red and green. Per usual,
Virginia Overton, Untitled, 2017. Courtesy of Niels Borch Jensen Gallery and Editions.
The American artist made this suite of prints during a 2017 visit to Copenhagen, incorporating various bits of detritus and materials that she sourced from the city’s streets. Some have a rough, Xeroxed quality, while others are stark and graphic.
hasn’t dabbled too deeply in printmaking before—though a gallery representative noted that she’d previously made some inventive works that involved printing with her own hair. The examples here suggest it’s a fruitful medium for an artist more commonly associated with monumental found-object installations.
is still going strong, and continues to receive overdue acclaim for her pioneering efforts in painting, textiles, bookmaking, and other media. Like much of her pared-down work, these two etchings envision a highly simplified color landscape that is both plausible and unbelievable: In Le Poids du Monde IV, two tiny mountain peaks cower beneath an oversized, jet-black sun that threatens to swallow the composition whole.
used basketball hoop netting to generate a tangled compositional web in this print. The lush, colorful work has a deep blue ground and a gradient pattern that shifts through pinks and greens. Bonus fun fact via gallery co-owner Pam Paulson: Huffman’s mother was an activist in California who evidently once sewed banners and occasionally handled graphic design for the Black Panthers.
’s sculptural work in glass and metal envisions geometric forms that are often skewed or smashed. Taken together, these works recall a multi-perspective look at a sort of boxy architectural element. The clean angles and geometries are offset by a printing process that retains scuffs, scratches, and other marks of character.
wields typography as a playful weapon. Here, she dissects a simple word—meaning “render obscure, unclear, or unintelligible”—and breaks it into pieces, thereby rendering it…obscure, unclear, or unintelligible. With a blood-red background and a letter print process that incorporates the grain from a board of wood, it has the graphic impact of the bygone Colby Poster Printing Company.
has proven herself a witty conceptualist. Here we get the same large, dark rectangle in each piece, but with a twist that renders each of the 38 variants a little different: the artist’s own thumb, pressed into the ink in order to deposit a single fingerprint on the print’s border. As a gallery representative explained, it falls neatly into a larger lineage of artists who incorporated fingerprints into their work as a sort of subtle authorial flourish, from