Present Tense Exhibition Catalogue

PRESENT TENSE New Prints 2000–2005

1

PRESENT TENSE New Prints 2000–2005

September 30–December 19, 2021 International Print Center New York

4

Contents

5

Foreword Judy Hecker 9

A Sense of Pandemonium Deborah Cullen-Morales 19

Flashback: IPCNY in the Making Anne Coffin 36

Exhibition Checklist 41

Archive

A.J. Bocchino NY Times Headlines (Feb. 1, 1993–July 28, 2003) (detail), 2003

Foreword

IPCNY is pleased to present our 20th anniversary exhibition Present Tense: New Prints, 2000–2005.

This show revisits IPCNY’s founding New Prints Program, an open call exhibition series designed to democratize access to exhibitions by presenting brand new prints by established and emerging artists side-byside. The 34 works in Present Tense have been selected from the first five years of New Prints, spanning a remarkable 18 exhibitions. It is a focused, momentous reunion of objects and artists that feel as relevant now as they did then.

Faith Ringgold Coming to Jones Road Print #1: Under a Blood Red Sky, 2000.

Lithograph, 30 × 22 ¼ inches.

Edition: 40. Printed and published by Segura Publishing, Inc., Tempe, AZ

Present Tense looks both backwards and forwards. It examines the beginnings of IPCNY, as a community for artists and a platform for newly minted prints.

Present Tense has hindsight: these were formative years for a new organization, for a new century, and for selected New Prints artists, whether they were cutting their teeth on printmaking or deepening their commitment to the medium. We see some of the first prints of Julie Mehretu and Beatriz Milhazes, artists for whom printmaking has become central.

We see A.J. Bocchino and the activist group ad hoc artists responding in real time to geopolitical and local events. We see experiments by Willie Cole and Polly Apfelbaum with rapidly evolving digital technologies, as well as by artists like Roxy Paine, Melvin Edwards, 5

and Glenn Ligon, which push the materiality of paper and print in new ways. Most of these works now live in major collections, public and private.

Yet Present Tense also comes as IPCNY looks to the future. Now entering our third decade, we are not only considering the dynamic trajectory of New Prints so far, but also imagining what may come next. How do we take the pulse of contemporary printmaking as it evolves? How do we best support artists, ensuring that we are engaging with and responding to issues of access and equity? Our present moment is, once again, a time of excitement and possibility.

I am grateful to Deborah Cullen-Morales for her insightful essay situating these works in the contexts of their time. As a prior IPCNY guest curator, a print scholar, and a longtime champion of new voices in the visual arts, Deborah has been an ideal partner in this project. I also thank Anne Coffin, founder of IPCNY, for so movingly and thoroughly weaving together the story of the organization’s early years and its founding New Prints Program in her illuminating text. Thank you to Deborah and Anne for collaborating and devoting so much time to making thoughtful selections for this exhibition— where we can re-meet these works that were fresh and formative in their day and remain powerful now.

Finally, I am deeply appreciative of IPCNY’s talented staff, in particular Jenn Bratovich, who brought this exhibition and publication to fruition; and Marina Avia Estrada, who provided invaluable research and exhibition support. We extend our gratitude to Present Tense's lenders; to its individual funders (many of whom were present during these early years and believed in the vision IPCNY set forth); and to Travelers for their lead support.

JUDY H ECKER Director, International Print Center New York 6

Wennie Huang Heir/air/loom, 2001.

Two screenprinted box kites, 18 × 18 × 18 inches each.

Edition: 10. Printed and published by Lower East Side Printshop, Inc., New York

7

8

A Sense of Pandemonium D E B O RA H C U L L E N - MO RA L ES

IPCNY launched in New York at the millennium.

It embraced an art world that was globalizing after decades of multicultural effort, but which was soon inflected by the September 11, 2001 attacks. As a field, printmaking was grappling with rapidly expanding digital frontiers while maintaining strong manual traditions. This brief text outlines some of these contexts, as we look back over two decades and consider the first five years of IPCNY. The organization’s New Prints open call exhibitions revealed the wide range of their time: a certain sense of pandemonium.

Julie Mehretu, Entropia (review) (detail), 2004

After at least a solid decade of so-called “identity politics” exhibitions,1 a sequence of international artistic groups held the New York art world in thrall.

Sensation: Young British Artists from the Saatchi Collection, presented by the Brooklyn Museum, was one such defining project. The work of these “YBAs” attracted a record number of visitors and generated public controversy. Then-mayor Rudolph Giuliani initiated a lawsuit to halt the museum’s city funding and evict it from its city-owned property due to religious outrage over Chris Ofili’s The Holy Virgin Mary, although many embraced the painting’s glowing compositional mix of references. The art world's hunger for daring young international 9

artists who concentrated in major cities was confirmed by a new survey, MoMA PS1’s Greater New York, which bolstered diverse metropolitan talents including Julie Mehretu, Roxy Paine, James Siena, Shahzia Sikander, and many more.2 Contemporary artists from Asia and Africa were also gaining attention. Inside Out: New Chinese Art 3 was but one exhibition in this period that signaled China’s role as an emerging economic superpower and its rising contemporary art market. On the other hand, Superflat, curated by artist Takashi Murakami, introduced his theory of Japanese art to a Western audience. Valorizing consumer imagery, media consumption, and the entertainment industries, Superflat showcased works by Murakami, Yoshitomo Nara, and others.4 Francesco Bonami’s 50th Venice Biennale in 2003 doubled down on the globalizing trend, with 11 co-curators and nearly 400 artists included. Beatriz Milhazes, who represented Brazil, was gaining notice through her patterned and colorful work that referred to folk art, Carnival decoration, and psychedelia, as well as the exotic perceptions of her culture. Milhazes and other Brazilian art stars indicated the country’s market force at this time. Even before her early prints such as Serpentina, Milhazes’s painting process, in which she applied paint to plastic sheets and then transferred it onto canvas, evoked printmaking.

Milhazes, Murakami, Nara, Ofili, and many other artists participating in the various exhibitions just noted were all included in New Prints at the fledgling IPCNY. And from the beginning, IPCNY was intentionally, internationally diverse—and welcoming.

However, IPCNY opened shortly before September 11th. In some ways, this event countered any global, welcoming urge and created a new state of uncertainty and fear that eventually would nurture virulent new 10

Beatriz Milhazes Serpentina, 2003.

Screenprint, 52 × 52 inches. Edition: 40. Printed and published by Durham Press, Durham, PA

forms of nationalism. The invasion of Afghanistan in 2001 and then of Iraq in 2003 engaged the nation in terrible, lengthy quagmires that many saw as immoral, and ultimately, unsuccessful.

Artists responded in real time, and IPCNY presented these works, too. Ad hoc artists, a group of over 100 artists (including Dread Scott, Courtney Healey, April Vollmer, Marc Lepson, and others) printed placards reading “Our Grief is Not a Cry for War” at Lower East Side Printshop and held protest vigils in both Union and Times Square, in which they stood silently, holding the posters. Lisa Young’s Iris print, Canyon of Heroes, evokes both a celebratory ticker 11

tape parade as well as the horrific shower of papers that rained down from offices as the twin towers collapsed. And A.J. Bocchino, whose works were generated from the dizzying New York Times headlines at that time, debuted in the shadow of the former World Trade Center, as part of his Lower Manhattan Cultural Council residency in the Woolworth Building. These were but a few of the works that reckoned with their moment and found audiences at IPCNY through early New Prints exhibitions.

At the same time that IPCNY was launching, digital processes were finally popularizing. Centuries-old printmaking techniques had coexisted alongside computer-generated formats for decades, but traditional forms remained dominant. As early as the 1950s, specialists with an artistic bent had created replicable imagery on mainframe computers that produced non-archival, aesthetically limited “prints” via plotter, line, or alphanumeric printout. The 12

ad hoc artists at Union Square, September 22, 2001. Over 100 participants stood silently for an hour while wearing printed placards and dust masks.

New Tendencies artists of Zagreb—a hub for computer print experimentation—were noted in the important 1965 survey, The Responsive Eye, at New York’s Museum of Modern Art.5 Although IBM personal computers were available in the 1980s, and the friendlier Macintosh was introduced by Apple in 1984, the “Mac” did not dominate the graphic field until the mid-1999 line was released. Programs such as Adobe Photoshop and Illustrator, improvements in printer quality, and steadily reducing prices finally allowed digital printmaking to take hold. Around the year 2000, the balance between traditional and digital finally began to tip.

If the early printmaking collectives were concerned with providing democratic access to art for a broad public through affordable multiples, digital processes, too, were finally able to support this ideal.6 The Iris print, or giclée, came into its own. Polly Apfelbaum’s Seeing Spots, 1999, shown in IPCNY’s first New Prints exhibition, showcases the subtlety this fine inkjet technique could offer, as did Young’s elegiac work.7 Once considered to be sterile, dystopic, and evidence of an emerging technocracy, 8 our relationship to the digital and its “new aesthetic” 9 deepened with incredible speed as Google, iPods, Facebook, and iPhones evolved in the space of a few years.10 Bocchino’s work, made possible by digital processes, not only captured this evolving visual cacophony but also forecast the informational overload our evolving global interconnectivity would subject us to. There was considerable discussion around the meaning and impact of the digital on the field of printmaking, too. Marilyn S. Kushner, then Curator of Prints and Drawings at the Brooklyn Museum, organized Digital: Printmaking Now in the summer of 2001, one of the first exhibitions to explore the influence of the digital on printmaking.11 13

Longstanding international print venues, too, took note. The San Juan Biennial of Latin American and Caribbean Graphic Art, founded in 1970, reconceptualized in the early 2000s to respond to the enlarging field, presenting its new format as San Juan Poly/Graphic Triennial: Latin America and the Caribbean in 2004. While also evolving from a juried exhibition to a curated one—and including Enrique Chagoya, Liliana Porter, and many more—the press release noted: Over the last decade, printmaking has undergone significant transformations in response to the advent of new technology. Access to digital photography, scanners, inkjet printers, etc. has imparted a renewed social function to this medium. The ubiquity of these new means… have seen the emergence of a polygraphic art that promises to redefine that nature of both traditional printmaking and contemporary artistic practice.12

Julie Mehretu’s voracious global imagery can be seen in all of these contexts. She was introduced to printmaking during her MFA. For Entropia (review), 2004, Mehretu used her computer to create stencils for the first screenprinted layers. Her handmade drawings on drafting paper then were transferred to lithography plates and printed on top, to which she then added more screenprinting. Mehretu compiled a total of 32 colors onto the large image to conjure a dizzying topography that incorporates both digital and manual techniques, in a collision of architectural imagery and calligraphy that curator Siri Engberg has described as “a sense of pandemonium.” 13 And the primacy of printmaking approaches within Mehretu's practice over the last 20 years has only accelerated; in exhibition, monumental printed works are given pride of place, hanging on the walls alongside her expansive paintings.14 The first five years of New Prints addressed these particular contexts, and more. The New York art 14

Julie Mehretu Entropia (review), 2004. Screenprint and lithograph, 33 ½ × 44 inches.

Edition: 45. Printed and published by Highpoint Editions, Minneapolis

world continued to be more inclusive, despite 9/11, and even as digital processes became more and more quotidian, handcrafted printmaking continued— and continues—to hold sway. The wide range of imagery presented here allows us to consider these rapidly changing global and technical contexts. By consistently offering a forum to highlight recently created graphics in over 60 presentations, IPCNY has reflected and engaged both the world, and the world of printmaking, through the New Prints series.

15

N OT E S 1 For example, The Decade Show: Frameworks of Identity in the 1980s (May 12–August 19, 1990), on view at The New Museum, The Museum of Contemporary Hispanic Art, and The Studio Museum in Harlem simultaneously, presented Melvin Edwards, Liliana Porter, Faith Ringgold, Juan Sánchez and others whose work focused on non-white identity.

The 1993 Whitney Biennial, often labeled the “multicultural biennial,” expanded upon this framework, with works by Glenn Ligon, Kiki Smith, and more. These exhibitions and many others during this period began to lift up voices that had not been well represented and expand their inclusion in gallery and museum exhibitions.

2 Sensation was presented in Brooklyn (October 2, 1999–January 9, 2000), and Greater New York was held in Queens (February 27–May 30, 2000).

3 Organized by the Asia Society Galleries and the San Francisco Museum of Modern Art, Inside Out was presented at the Asia Society and PS1, New York (September 15, 1998–January 3, 1999) then the San Francisco Museum of Modern Art (February 26, 1999–March 7, 2000).

4 After its Japanese debut, Superflat inaugurated the Los Angeles Museum of Contemporary Art’s Pacific Design Center, before traveling to the Walker Art Center, Minneapolis, and the Henry Art Gallery, Seattle (January 14–May 27, 2001).

5 For more on the New Tendencies artists, including reproductions of

16

original source materials, see: A Little-Known Story about a Movement, a Magazine, and the Computer’s Arrival in Art: New Tendencies and Bit International, 1961–1973, ed. Margit Rosen, in collaboration with Peter Weibel, Darko Fritz, and Marija Gattin (Cambridge, MA: MIT Press, 2011).

6 Two important precursor projects that grappled with the computer, printmaking, and the market were Dennis Ashbaugh’s and William Gibson’s Agrippa: A Book of the Dead (1992; see http://agrippa.english.ucsb. edu/) and Peter Halley’s Superdream Mutation (1993; for more see https:// www.peterhalley.com/superdreammutation-1 and David Platzker, “Reconsidering the Fine Art Print in the Age of Mechanical Reproduction,” in Hard Pressed: 600 Years of Prints and Process, by David Platzker and Elizabeth Wyckoff [New York: Hudson Hills Press, in collaboration with IPCNY, 2000]).

7 Interestingly, Beatriz Milhazes and Polly Apfelbaum presented a two-person show at D’Amelio Terras Gallery (April 6–May 24, 2002).

8 For more, see: Grant Taylor, When the Machine Made Art: The Troubled History of Computer Art (International Texts in Critical Media Aesthetics, Volume 8) (New York and London: Bloomsbury Academic, 2014).

9 In Spring 2011, English artist James Bridle wrote a blog post and spoke on a panel about what he called “The New Aesthetic,” or the increasing appearance of the visual language of digital technology and the Internet.

See his blog at http://booktwo.org/ notebook/sxaesthetic/, the video of the panel at https://schedule.sxsw. com/2012/events/event_IAP11102, or Bruce Sterling’s text, “An Essay on the New Aesthetic,” Wired, April 2, 2012: https://www.wired.com/2012/04/anessay-on-the-new-aesthetic/.

14 As in Julie Mehretu, presented at Los Angeles County Museum of Art November 3, 2019–September 7, 2020, and at the Whitney Museum of American Art, New York, March 25– August 8, 2021.

10 Individuals quickly changed their relationship to the computer as digital platforms became imbedded in our daily lives. Google was popularized when it became the default search engine for Yahoo! in June 2000.

Wikipedia launched in 2001, the same year that Macintosh released iTunes and Apple marketed the first iPod. In 2003, Hewlett Packard introduced the Wi-Fi laser printer. Facebook launched in 2004, Twitter was announced in 2006, and the iPhone was introduced in 2007.

11 The 26th National Print Exhibition Digital: Printmaking Now was presented June 22–September 2, 2001. See https://www.brooklynmuseum.org/ opencollection/exhibitions/784 for installation views.

12 La Trienal Poli/Gráfica de San Juan, América Latina y El Caribe was announced at: https://www.e-flux. com/announcements/42632/trienalpoli-grafica-de-san-juan-americalatina-y-el-caribe/.

13 Siri Engberg, “Beneath the Surface: Julie Mehretu and Printmaking,” in Excavations: The Prints of Julie Mehretu (Minneapolis: Highpoint Center for Printmaking/ Highpoint Editions, 2009), 8.

17

18

Flashback: IPCNY in the Making ANNE COFFIN

In June of 2000, IPCNY sent out its first call for submissions, introducing a new institution and its New Prints Program to a nationwide community of artists, publishers, university presses, and printmaking workshops. Criteria stated that only original fine art prints would be considered, that work in all mediums of printmaking would be eligible, and that all work must have been made within the past two years. With no fee required, there were no barriers to submitting work, and over the summer a steady stream of submission forms and 35mm slides flowed daily into IPCNY’s mailbox. A team of student interns assembled the slides into carousels, so that, come August, a selection committee of six print professionals could meet to evaluate the aesthetic, conceptual, and technical merits of each of the 500 entries.

Opening reception of New Prints 2005/ Spring, selected by Kiki Smith.

The 55 works they selected became IPCNY’s inaugural exhibition: New Prints 2000. By 5:30pm on September 22, 2000—the paint barely dry on the walls of a small studio space on the eighth floor at 526 West 26th Street—a crowd of young artists had found their way to IPCNY’s doorway, camping out on the floor with their backpacks and waiting for six o’clock, the magic moment heralding the opening of a space entirely devoted to supporting their field.

19

Excitement spread as more people arrived, packing the gallery with printers, collectors, publishers, curators, students, curious neighbors and print journalists.

What did they see when they entered the gallery?

Prints by mid-career and well-known artists such as Marina Abramović, Polly Apfelbaum, Mel Bochner, Ed Ruscha, and Kiki Smith, alongside work by emerging artists, some of whom were exhibiting in a professional venue in New York City for the first time. They came from small, regional printshops around the country and major publishers like ULAE, Pace Prints and Two Palms; from commercial galleries and independent artists. Work in a variety of mediums—lithography, etching, solar etching, aquatint, silkscreen, monotype, chine-collé, cyanotype, woodcut, wood engraving, and drypoint—and representing a range of styles—abstract, pictorial, text-based, sculptural—all were included. A four-fold standing screen with 16 rotating panels by Scott Kilgour anchored the center of the gallery.

And who actually chose the work? The members of IPCNY’s first selection committee reflected a range of expertise, experience, and points of view: Luis Grachos, the former director of Site Santa Fe; Faye Hirsch, scholar, critic and then editor of Art on Paper magazine; master printer Jean-Yves Noblet; Michelle Quinn, who headed prints for Christie’s East; Arnold Smoller, a print collector and IPCNY trustee; and Deborah Wye, then Chief Curator in the Department of Prints and Illustrated Books at The Museum of Modern Art. Moving forward, the composition of the selection committees would change with each show, ensuring, over time, a broad review and new opportunity for all submitting artists. Hirsch, who participated in three juries during these early years, wrote in an essay for one of the exhibitions: “What is notable in the submissions is their diversity, providing a mirror of the wider world of contemporary art. We are reminded in 20

Dread Scott If White People Didn't Invent Air, 2000. Screenprint, 30 × 22 inches.

Edition: 14. Printed and published by Lower East Side Printshop, Inc., New York

each of these exhibitions that prints should never be viewed apart from that world, of which they can often be as much harbinger as symptom.”

IPCNY was launched! A dream, born in response to a gap in New York’s arts community, had become reality—after almost a decade of exploratory research and meticulous planning by a small group of print enthusiasts determined to create a center focused solely on the medium of print, on supporting its contemporary practitioners, and on promoting its recognition as a primary medium for artists past and present. Today, 20 years and 64 iterations later, the New Prints Program has continued, based on these same principles.

21

HISTORY IN THE MAKING

The realization of IPCNY had been long in coming.

In 1983, as a New York-based freelancer, I had been commissioned to write a pair of articles called “Creative Collaborations: Artists & Printmakers” 1 for Downtown, a newsletter published by the Lower Manhattan Cultural Council that reported on cultural resources in a part of New York City known primarily for its concentration of financial institutions.

Already a seasoned print enthusiast and aware that many printers, publishers, and artists were located in lower Manhattan, I seized the opportunity to report on 20 small, specialized printshops scattered across the southern part of the island. That year, The Print Collector’s Newsletter, the journal of record in the field, identified in its comprehensive national listing of print workshops a total of 38 in New York City, the largest concentration in any one city in the United States, perhaps in the world.2 These printshops together with their master printers represented a major creative resource, one of the magnets drawing young artists to New York City from across the country. But then, by the early 1990s in Manhattan, resources for artists seemed to begin disappearing at an alarming rate.

Rents were rising, threatening the availability of studio space, squeezing out neighborhood art supply shops and small printshops, including several I had visited in 1983. Opportunities to show work and connect with the viewing public were also shrinking as neighborhood galleries showing modestly priced works closed down.

Without access to a collecting public, how would emerging artists get their work out into the world?

And, from the beginning collector’s point of view, where to start? Prints offered a relatively inexpensive entry point to the art market for collectors eager to expand their visual environment and test their appreciation for the work of new artists. Yet there 22

were few places in the city to see contemporary prints outside of a handful of major galleries showing the work of established artists. Few galleries were offering a range of affordable work in the print medium—this despite the ongoing vitality of the printmaking community at their doorstep. There was a definite disconnect between work being produced and public access to it.

What, if anything, could I do to illuminate and help correct this alarming trend? In 1993 I began a series of exploratory talks with professionals in prints and the larger art world. Publishers, curators, dealers, artists, writers, printers, collectors, directors of non-profit arts institutions—some 70 people were consulted.3 These conversations signaled a widespread appreciation of prints, a recognition of the issues facing the field, and desire to help rectify it. My confidence in the project rose with their enthusiasm. Creative ideas were offered, introductions made, and a handful of print enthusiasts emerged as founding board members: Arnold Smoller, collector; John Morning, philanthropist and graphic designer; Amy Baker Sandback, writer and publisher of Artforum; Leonard Lehrer, artist and Director of NYU’s Steinhart School of Arts Administration; and Elisabeth Hahn, a print specialist, formerly with Christie’s. This initial board was soon joined by collector and corporate art advisor Janice Oresman; collector and New York real estate specialist Leslie Garfield; attorney Thomas Danziger who served for many years as IPCNY’s pro bono counsel; and entrepreneur and corporate art advisor LuRaye Tate.4 FIRST STEPS

We knew we wanted to create an alternative art space that would investigate and illuminate the wealth of possibilities in the print medium, that would be open to the new, that would be nimble, responsive, 23

and collaborative with other institutions. At the same time, we recognized that our profile, especially at the outset, needed to be professional and serious in order to build credibility in the philanthropic world and create a financial base for our institution.

As consensus developed, we adopted the following mission statement in 1996: IPCNY was founded to promote the greater appreciation of the fine art print worldwide by fostering a climate for the enjoyment, examination and serious study of artists’ prints, from the old master to the contemporary. IPCNY nurtures the growth of new audiences for the visual arts while serving the print community through exhibitions, publications and educational programs.

Months of planning followed as we strategized and worked collectively toward developing a programmatic structure to support this mission. We looked carefully 24

Vija Celmins Untitled (Web 4), 2002. Photogravure, aquatint, and drypoint, 20 ½ × 24 ½ inches.

Edition: 65. Printed and published by Gemini G.E.L., Los Angeles

at comparable organizations—ICI, The Drawing Center, Artists Space, Dieu Donné, Center for Book Arts—for information and inspiration, and also to ensure we did not duplicate services already being provided. Art lending services such as MoMA’s (then recently closed) were studied. There, one could borrow a work of art, often a print, for a modest monthly fee, making the experience of living with an original work of art accessible to beginning collectors. We asked ourselves if we needed a permanent exhibition space, or would a series of shows in pop-up spaces suffice? Should we look for an “umbrella” institution to partner with? Could we share space with a print publisher, for example, or with The Drawing Center?

Would issuing an annual world print guide advance our goal of nurturing new audiences for the visual arts and promoting new work by printmaking artists?

What could we uniquely offer?

Ultimately a consensus formed around a three-pronged structure: A series of juried exhibitions called New Prints, presenting brand new work and offering exhibition opportunities to all artists of merit; a calendar of exhibitions celebrating the global art of the print, both historical and contemporary; and finally a Resource Center designed to connect artists and the public to sources of information, to competitions and residencies, current shows, and new editions worldwide.

New Prints would be our signature program, an anchor for IPCNY's annual exhibition schedule and the driver of our other initiatives.

The simplicity of the New Prints Program that opened our gallery in 2000 belies the complexity of the process that brought it into being. We commissioned Sandra Lang, former director of MoMA’s Art Lending Service, and then recently retired from the International Fine Print Dealers Association, to study existing exhibition platforms and figure out the parameters and procedures for our program. Although regional annual 25

and biennial juried shows had been around for years, there was no model for the kind of ongoing series—so broad in its call for entries and jurying process—that we had in mind. Moreover, presenting such shows in a high visibility and highly promoted venue in the heart of New York City was unprecedented.

During this planning process, IPCNY’s center of operations had been a kitchen in an Upper East Side apartment, staffed by me and a dedicated parttime volunteer, the artist and publisher Bill Fick of Cockeyed Press. As word spread, we created a Founding Members Program of gallery and workshop visits, which generated significant seed money for our organization that, together with other funds, emboldened us to rent space and launch our first season in the autumn of 2000.5 Leslie Garfield took on the task of locating our first gallery space—not easy, as it was far from clear at the end of the ’90s where the future nexus of New York’s art world would be.

Where we landed was a converted warehouse in the heart of New York City’s just-emerging Chelsea arts district, and in March 2000, we moved to the eighth floor of 526 West 26th Street. The raw studio space underwent conversion over the summer, and by mid-September emerged from the dust and debris as a pristine gallery with state-of-the-art lighting, storage, and an office furnished with donated desks, secondhand computers, and occasional chairs, some of which had been picked up off the street. Michelle Levy, a young artist, joined us as a part-time assistant in September, bringing her energy and creative insights to our operations. Against this backdrop, IPCNY opened its doors with New Prints 2000.

NEW PRINTS—THE FIRST FIVE YEARS

Three additional New Prints shows were presented that first year. Entry rules tightened up in Winter 26

Chris Ofili Regal, 2000.

Lithograph on glow-in-the-dark screenprint, 16 × 11 inches. Edition: 300. Printed by K2 Screen, London; published by Counter Editions, London

27

2001, with the requirement that all prints be made within the past twelve months, resulting in an even more immediate read on the state of printmaking at a pinpointed moment in time. Funding was sparse for the 2001–02 season in the aftermath of 9/11, necessitating the reduction in the number of New Prints shows from four to two. In subsequent years, we typically presented four New Prints exhibitions (interspersed with two curated exhibitions) per year as the organization continued to grow organically and take its place in the cultural landscape of New York.6 Moreover, the format for New Prints exhibitions was varied with the introduction of a single juror for one show each year. The first was the late Barry Walker, curator at the Museum of Fine Arts, Houston, who selected our spring show in 2004; the second, artist Kiki Smith, in 2005.

Although works by New York area artists predominated during the first five years, the exhibitions included artists from across the country, from Pennsylvania to Ohio, Missouri, Texas, California, and Bainbridge Island, Washington; and from the UK, Spain, and Israel. With every call for submissions, new artists and presses emerged. Prints by independent artists also increased. In New Prints 2000, two of 55 works came directly from artists; in New Prints 2001/ Autumn, that number had grown to 14 of 48, and by 2005 it had reached an overall ratio of 50 percent.

What that meant to the emerging artist was summed up by Amze Emmons, whose work was selected in three New Prints shows in the early years: “I can still recall the sense of glee and awe when I saw my work tucked between two artists whose work I had only seen in books and slide lectures: my art was hanging on the same wall as my heroes.”

Indeed, age was no barrier, with prints by graduate students receiving the same attention as work by mid-career or established artists. That New Prints acted as a nexus for the side-by-side viewing of work 28

A.J. Bocchino NY Times Headlines (Feb. 1, 1993–July 28, 2003), 2003.

Inkjet print, 39 × 84 inches. Edition: 5. Printed and published by the artist

by artists at all stages of their careers was central to our founding vision. Jenny Robinson called her participation in New Prints “one of the most important parts of my development as an artist. […]

Where else could early and midcareer artists show side-by-side with world famous artists in the middle of the Chelsea arts district in New York City?”

It was clear by 2005 that the New Prints Program had made its mark in the democratization of exhibition opportunities. At a time when most institutions required entry fees, artists could submit to IPCNY’s juried shows for free; at a time when male artists still dominated most museum and gallery exhibitions, the New Prints Program recorded roughly equal representation of work by men and women. And at a time when the walls of established galleries were occupied almost entirely by white artists, IPCNY’s New Prints exhibitions between 2000 and 2005 included work by Latino/a artists, Native American artists, Black artists, and Asian artists. All told, by the end of 2005 IPCNY had presented the work of 492 artists in 18 New Prints presentations. Also by the end of 2005, two iterations had travelled to second venues, giving greater exposure to participating artists.

That same year, we took a leap and rented a booth at the new international Armory Show on Pier 92, 29

populating it with a lively installation of work by New Prints artists. And since IPCNY provided artists’ contact information to potential purchasers of prints, we progressed also toward our goal of broadening the collecting base for prints and contemporary art.

Longtime New York Public Library curator Roberta Waddell wrote to me in a circa 2016 letter: “The New Prints Program […] answered the prayers of artists, printers, publishers, collectors—and from personal experience—curators. The shows have offered artists visibility, and for the rest of us, an invaluable opportunity to gain an overview of contemporary printmaking.” Lisa Hodermarsky of Yale University Art Gallery, also writing around 2016, agreed: “When the world of prints was rather anemic and…experiencing something of a depression [IPCNY managed] to revive excitement…in the toughest of all venues—New York City. […] The opening of IPCNY… help[ed] 30

Lisa Young Canyon of Heroes, 2001. Iris print, 18 × 42 inches.

Edition: 25. Printed and published by Pace Editions, Inc., New York

pull the NYC print scene up by its bootstraps, to twist and shout to the world that, indeed, prints are NOT dead, that they are alive and well and continuing to be produced, studied and enjoyed.”

For 20 years, IPCNY has dedicated its resources to exploring, capturing, and documenting this form of artmaking. It is mysterious, asking the viewer to look again and again, sorting out the layering of images, the laying on of colors, the choices the artist makes along the way to create an image, backwards in the making, sometimes working in the solitude of a home studio, sometimes in a collaborative workshop where a professional printer offers guidance, and where a wealth of materials and processes are on hand. In the end, whatever the resources, it is the commitment to an idea that drives the process and is evidenced in the outcome.

It is the infinite potential of printmaking explored 31

Glenn Ligon Self-Portrait at Eleven Years Old, 2004. Stenciled linen pulp on cotton-based sheet, 36 × 30 inches. Edition: 20. Printed and published by Dieu Donné, New York

and exploited by today's artists that captured our attention and drove the formation of IPCNY and its New Prints Program. Each presentation reveals the unexpected as artists experiment, pushing the boundaries of old mediums, incorporating the new, believing in and working toward the realization of an idea. Artist and jury member Lesley Dill captured the essence of the process in her essay for New Prints 2004/Autumn, when she wrote: “From the first thumbprint on a wall to the most up to the minute computer technology, printmaking is a lost art that is found again and again and again.”

32

N OTES 1 See Anne Coffin, “Creative Collaborations: Artists and Printmakers”, Downtown, Vol. 6, No. 2 (February 1983) Lower Manhattan Cultural Council, New York.

2 Lisa Peters, “Print Workshops U.S.A. – A Listing,” The Print Collector’s Newsletter, Vol.13, No. 6 (January– February 1983): 204–206.

3 The print publisher and dealer Brooke Alexander; Archibald Gillies, trustee of The Andy Warhol Foundation; Ann Philbin, Director of The Drawing Center; publisher and dealer Peter Blum; Dick Solomon of Pace Prints; SoHo gallerist Frederieke Taylor; private dealer Susan Lorence; Bob Monk, print specialist at Sotheby’s; and American print expert and gallerist Sylvan Cole all gave generously of their time and advice.

4 By 2000 the Board had grown to 13 with the addition of Harris Schrank, Edward Gargiulo, and Deborah Wye. 5 Other key funding came from New York City’s Department of Cultural Affairs Manhattan Arts Development Fund; a generous gift from the Edward John Noble Foundation thanks to the foresight of June Noble Larkin; and the success of two benefit auctions at Sotheby’s. The first auction, in 1997, was the brainchild of Arnie Smoller, who generously donated a majority of the works on offer; this was organized

by Nina del Rio and jumpstarted not only the funding for but also the visibility of our fledgling organization.

Pressed: 600 Years of Prints and Process, co-curated by Elizabeth Wyckoff and David Platzker and presented at AXA Gallery. The exhibition heralded IPCNY’s seriousness of purpose and dedication to programming that embraced both the historical and contemporary in the long trajectory of printmaking. With subsequent presentations in Santa Fe, Boise, and Naples, FL, it inaugurated IPCNY’s touring program, paving the way for exhibitions such as Creative Space: Fifty Years of Robert Blackburn’s Printmaking Workshop (2003), organized in collaboration with the Library of Congress and the Elizabeth Foundation for the Arts (Creative Space was co-curated by Deborah Cullen-Morales, co-organizer of this 20th anniversary exhibition). Other key, early exhibitions organized by IPCNY include the sweeping survey Imagined Worlds: Willful Invention and the Printed Image 1470–2005 (2005) curated by Amy Baker Sandback and presented at AXA Gallery; and Moscow Grafika: Artists’ Prints 1961–2005 (2005), curated by Natalia Kolodzei and drawn from the Kolodzei Collection of Russian and Eastern European Art.

6 In 2000, IPCNY also organized its first major loan exhibition, Hard

33

34

AUTHORS

founded IPCNY and was its first director, stepping down in 2016. Coffin began her professional career as a journalist for LOOK magazine, then as a freelancer covering art and architecture for local and national publications. She was then head of the New York office of Villa | Tatti, the Harvard Center for Italian Renaissance Studies in Florence before founding IPCNY. She co-chaired the Contemporary Arts Council at The Museum of Modern Art, and has served on the boards of several non-profits including Franklin Furnace, the British American Arts Association, the American Federation of Arts, the Chamber Music Society of Lincoln Center, the New York Landmarks Conservancy, and the Cornwall Library in Cornwall, CT. Coffin continues her work with IPCNY as a member of its board of trustees.

A N N E C O FFI N

DE B O R AH C U L LE N - M O R ALE S ,

Melvin Edwards Fragments & Shadows, 2001.

Stenciled cotton rag pulp on linen base sheet, with pigment, 22 ½ × 17 inches. Edition: 20.

Printed and published by Dieu Donné, New York

PhD, is program officer for arts and culture at the Andrew W. Mellon Foundation. She has served as executive director of The Bronx Museum of the Arts; director and chief curator of The Wallach Art Gallery at Columbia University; director of curatorial programs at El Museo del Barrio; and curator of the print collection at Robert Blackburn’s Printmaking Workshop. CullenMorales co-curated Creative Space: Fifty Years of Robert Blackburn’s Printmaking Workshop for the Library of Congress, IPCNY, and the Elizabeth Foundation for the Arts, in 2003. In 2004, she co-curated ¡Impresionante! Innovative Prints by Contemporary Puerto Rican Artists for IPCNY. Among many other projects, she has organized two international print exhibitions: The Hive: The Third Poly/Graphic Triennial of San Juan (2012) and Interruption: The 30th Biennial of Graphic Arts (Ljubljana, 2013).

35

Exhibition Checklist ad hoc artists Our Grief is Not a Cry for War, 2001 Screenprint Sheet: 22 × 14 inches Edition: 200 Designed by Dread Scott Printed by Marc Lepson at Lower East Side Printshop, Inc., New York Published by ad hoc artists Courtesy Marc Lepson Polly Apfelbaum Seeing Spots, 1999 Iris print on white crushed velvet Sheet: 21 ¼ × 18 inches Edition: 15 Printed by Anthony Racco Published by Muse X Editions, Los Angeles Courtesy the artist A.J. Bocchino NY Times Headlines (Feb. 1, 1993–July 28, 2003), 2003 Inkjet print Sheet: 39 × 84 inches Edition: 5 Printed and published by the artist Courtesy the artist Richard Bosman Glance I, 2003 Woodcut Sheet: 23 ½ × 27 ½ inches Edition: 10 Printed and published by SOLO Impression Inc, New York Courtesy SOLO Impression Inc

36

Louise Bourgeois The Night, 2001 Lithograph Sheet: 25 × 20 inches Edition: 50 Printed and published by SOLO Impression Inc, New York Courtesy SOLO Impression Inc Vija Celmins Untitled (Web 4), 2002 Photogravure, aquatint, and drypoint Sheet: 20 ½ × 24 ½ inches Edition: 65 Printed and published by Gemini G.E.L., Los Angeles Private Collection Enrique Chagoya UtopianCannibal.Org, 2000 Lithograph, woodcut, collage, and chine collé Unfolded: 7 ½ × 92 inches Edition: 30 Printed and published by Shark’s Ink, Lyons, CO Courtesy Shark’s Ink Phillip Chen Empathetic Fallacy, 2000 Relief print from etched plate Sheet: 31 × 23 inches Edition: 30 Printed and published by the artist Courtesy the artist

Willie Cole Quick as a Wink, 2002 Iris print Sheet: 47 ⅛ × 35 inches Edition: 12 Printed by Quality Experimental Print Center Published by Rutgers Center for Innovative Print and Paper, New Brunswick, and Alexander and Bonin Publishing Inc., New York Courtesy the artist and Alexander and Bonin Francis Crisafio Flag Waving #1–5, 2002 Set of five inkjet prints Each sheet: 6 × 8 inches Edition: 20 Printed and published by the artist Courtesy the artist Melvin Edwards Fragments & Shadows, 2001 Stenciled cotton rag pulp on linen base sheet, with pigment Sheet: 22 ½ × 17 inches Edition: 20 Printed and published by Dieu Donné, New York Courtesy Dieu Donné Wennie Huang Heir/air/loom, 2001 Set of two screenprinted box kites 18 × 18 × 18 inches each Edition: 10 Printed and published by Lower East Side Printshop, Inc., New York Courtesy Lower East Side Printshop, Inc.

William Kentridge Zeno II: Soldiers/Italian Front, from the series Zeno II, 2003 Photogravure and drypoint Sheet: 19 ¾ × 25 ¾ inches Edition: 30 Printed by Randy Hemminghaus Published by David Krut Projects, Johannesburg and New York Collection of Randy Hemminghaus Joyce Kozloff New Mexico and Florida, 1656, No. 6, 2000 Lithograph, oil pastel, and watercolor Sheet: 6 ½ × 11 ½ inches Printed and published by SOLO Impression Inc, New York Courtesy the artist Glenn Ligon Self-Portrait at Eleven Years Old, 2004 Stenciled linen pulp on cottonbased sheet Sheet: 36 × 30 inches Edition: 20 Printed and published by Dieu Donné, New York Courtesy Dieu Donné Kerry James Marshall May 15, 2001, 2004 Screenprint Sheet: 27 ½ × 22 ½ inches Edition: 60 Printed and published by Rutgers Center for Innovative Print and Paper, New Brunswick Collection of Lewis Tanner Moore

37

Julie Mehretu Entropia (review), 2004 Screenprint and lithograph Sheet: 33 ½ × 44 inches Edition: 45 Printed and published by Highpoint Editions, Minneapolis Private Collection Beatriz Milhazes Serpentina, 2003 Screenprint Sheet: 52 × 52 inches Edition: 40 Printed and published by Durham Press, Durham, PA Courtesy Durham Press Yoshitomo Nara Stay Good, 2002 Etching Sheet: 28 × 22 ¼ inches Edition: 35 Printed by Hitoshi Kido Published by Hitoshi Kido and the artist Collection of Michelle Levy Chris Ofili Regal, 2000 Lithograph on glow-in-the-dark screenprint Sheet: 16 × 11 inches Edition: 300 Printed by K2 Screen, London Published by Counter Editions, London Courtesy K2 Screen Lothar Osterburg Cargo Ship in Storm, 2002 Photogravure Sheet: 8 ½ × 10 ½ inches Edition: 10 Printed and published by the artist Courtesy the artist

38

Roxy Paine Fecund, 2001 Cotton linters, cotton rag, pigment, lacquer, oil paint, and jade glue Sheet: 22 ½ × 28 ½ × 3 ½ inches Edition: 40 Printed by Dieu Donné, New York Published by The Aldrich Museum of Contemporary Art, Ridgefield, CT in collaboration with Dieu Donné Courtesy Dieu Donné Jimmy Peña Gravity, 2003 Screenprint Sheet: 23 ½ × 17 ½ inches Edition: 52 Printed and published by Coronado Studio, Austin and the Serie Project, Austin Courtesy the Serie Project Liliana Porter To Know Better, 2002 Woodcut, lithograph, and screenprint Sheet: 29 ¾ × 22 inches Edition: 25 Printed and published by Massachusetts College of Art and Design, Boston Courtesy the artist Faith Ringgold Coming to Jones Road Print #1: Under a Blood Red Sky, 2000 Lithograph Sheet: 30 × 22 ¼ inches Edition: 40 Printed and published by Segura Publishing, Inc., Tempe, AZ Courtesy ACA Galleries, New York

Juan Sánchez Cries and Whispers for Malcolm X, 2000 Screenprint, monoprint, collage, and chine collé Sheet: 30 ½ × 22 inches Edition: 9 Printed and published by Lower East Side Printshop, Inc., New York; and the artist Courtesy Lower East Side Printshop, Inc. Dread Scott If White People Didn't Invent Air, 2000 Screenprint Sheet: 30 × 22 inches Edition: 14 Printed and published by Lower East Side Printshop, Inc., New York Courtesy Lower East Side Printshop, Inc. James Siena Upside Down Devil Variation, 2004 Engraving Sheet: 26 ½ × 22 ¼ inches Edition: 42 Printed and published by Harlan & Weaver, New York Courtesy Harlan & Weaver Shahzia Sikander Embark/Disembark II, 2004 Offset lithograph and screenprint Sheet: 15 × 18 inches Edition: 27 Printed and published by the LeRoy Neiman Center for Print Studies at Columbia University, New York Courtesy the LeRoy Neiman Center for Print Studies

Kiki Smith Josephine, 1999 Etching and aquatint Sheet: 12 ¼ × 10 inches Edition: 20 Printed and published by Harlan & Weaver, New York Courtesy Harlan & Weaver Richard Tuttle Hey Diddle Diddle, the Cat and the Fiddle, 2004 Lithograph Sheet: 45 × 22 ½ inches Edition: 48 Printed and published by Universal Limited Art Editions, Bayshore, NY Courtesy Universal Limited Art Editions Tomas Vu Opium Dreams II, 2002 Screenprint and gouache Sheet: 71 × 36 inches Edition: 4 Printed and published by the LeRoy Neiman Center for Print Studies at Columbia University, New York Courtesy the LeRoy Neiman Center for Print Studies Carol Wax Zydeco Sidewinder, 2004 Mezzotint Sheet: 4 × 20 inches Edition: 75 Printed and published by the artist Courtesy the artist Lisa Young Canyon of Heroes, 2001 Iris print Sheet: 18 × 42 inches Edition: 25 Printed and published by Pace Editions, Inc., New York Courtesy the artist 39

40

Archive New Prints Exhibiting Artists, 2000–2005 A Marina Abramović Desirée Alvarez Anonymouse Polly Apfelbaum Rosaire Appel Ida Applebroog Anne Appleby Miguel A. Aragón Richard Artschwager Christopher Armijo ad hoc artists Maggy Aston June August Eric Avery B Cynthia Back Donald Baechler Jo Baer Radcliffe Bailey William Bailey

Phillip Chen Empathetic Fallacy, 2000. Relief print from etched plate, 31 × 23 inches. Edition: 30.

Printed and published by the artist

John Baldessari Stefan Balkenhol Chris Ballantyne Tania Bandeira Duarte Kim Baranowski Michael Barnes Will Barnet Curtis Bartone J. Catherine Bebout Diana Behl Lynn Beldner Ray Beldner Roberly Bell Mildred Beltré Ellen Berkenblit Rachel Bers Jake Berthot Susannah Bielak Matthew J. Bindert Sandow Birk Shawn Bitters Nancy Blum A. J. Bocchino Mel Bochner Greg Bogin Jeanette Bokhour Randy C. Bolton Sabra Booth Karin Bos Richard Bosman Louise Bourgeois Dusty Boynton Michael Bramwell Marco Breuer Brad Brown Cecily Brown Christopher Brown Deborah Brown Iona Rozeal Brown James Brown R.G. Brown

41

Tom Brydelsky Tom Burckhardt Myrna Burks Pepa Busquè C Ernesto Caivano Mark Calderon Erin Cameron Magdalena Campos-Pons Christopher Cannon Francis Cape Suzanne Caporael Anne Carson Claudio Roberto Castillo Manuel Castro Cobos Sean Caulfield Vija Celmins Enrique Chagoya Stephen Chambers RobRoy Chalmers Michael Ray Charles Louisa Chase Phillip Chen Wei Jane Chir Theresa Chong Y. David Chung Niamh Clancy Willie Cole Greg Colson George Condo Ann Conner Diana Cooper Billy Copley Marc Cote Robert Cottingham William Cotton Francis Crisafio Candy Coated Jeannie Crosby Russell Crotty Amy Cutler D Benjy Davies E.V. Day Gary Day Roy De Forest

42

Kip Deeds Rupert Deese Shoshana Dentz Sylvie Destian Jean Dibble Steve DiBenedetto Isaac Diggs Lesley Dill Jim Dine Marylyn Dintenfass Peter Doig Tim Dooley Stephanie Dotson Tallmadge Doyle Kelly Driscoll Carroll Dunham David Dupuis Aleksandar Duravcevic Barbara Duval E Erik Edson Benjamin Edwards Melvin Edwards Leslie Eliet Mike Elko Amze Emmons Inka Essenhigh Tony Evanko Donna Evans Brad Ewing Wanda Ewing F Daniel Falco Cynthia Farnell Eduardo Fausti Orna Feinstein Bill Fick Lori Field Jane Fine Rosmarie Fiore Roland Fischer Jared Fitzgerald Tony Fitzpatrick Gunter Förg Lorrie Frear Jessica Frelinghuysen

Tom Friedman Nancy Friedemann-Sánchez Brian Fridge Nancy Friese Donald Furst G Francesca Gabbiani Laurent Gagnon Beth Ganz Annette Gates Mary Louise Geering Jackie Gendel Natalia Giacchetta Steve Gibson Kathleen Gilje Bryan Nash Gill Sam Gilliam Ana Golici Melissa Gould (MeGo) Leamon Green Talia Eve Greene Kristin Gregory Joanne Greenbaum Isca Greenfield-Sanders Scott Grieger Kojo Griffin Gronk Red Grooms Mimi Gross Gary Groves Sandrine Guérin Jean Gumpper H Karla Hackenmiller Kathryn Hagy Peter Halley Takuji Hamanaka Ann Hamilton Tom Hammick Jane Hammond Valerie Hammond Keiko Hara Don Ed Hardy Lynne Harlow Mona Hatoum Sarah Hauser

Art Hazelwood Annie Heckman Al Held Kent Henricksen Charlie Hewitt Jonathan Higgins Charles Christopher Hill John Himmelfarb Yuji Hiratsuka Orit Hofshi Cooper Holoweski Jungil Hong Peregrine Honig William R. Howard Wennie Huang Tom Huck Salomón Huerta Su-Li Hung Richard Hutter Imi Hwangbo I Joe Immen Jim Isermann Sergei Isupov J Julia Jacquette Gesine Janzen Robert Jones Lorien S. Jordan K Shu-Min Tung Kaldis Marguerite Kahrl Aya Kakeda Keiko Kamata Tohru Kanayama Claude Kent Jane Kent William Kentridge Margaret Kilgallen Scott Kilgour Aijung Kim Ted Kincaid Amanda Knowles Jenifer Kobylarz Louise Kohrman

43

Harry Kondoleon Jan Albert Fürst Kolstad Jeff Konigskberg Jannis Kounellis Joyce Kozloff Paula Schuette Kraemer Michael W. Krasowitz Udamsak Krisanamis Kristy Krivitsky Karen Kunc Georgia Kung Robert Kushner Stefan Kürten Sowon Kwon Pelagia Kyriazi L Margaret Lanzetta Nancy Lasar Jonathan Lasker Geraldine Lau Ruth Lauer Doris Laughton Anthony Lazorko Jee Sung Lee Hibbs Leonard Marc Lepson Michelle Levy Jonathan Lewis Clara Lieu Kyung Lim Lee Fausta Lima Fred H. C. Liang Glenn Ligon Lin Lin Judith Linhares Hung Liu Cynthia Lollis Charles Long Alma López Leslie Lowinger Emil Lukas Brian Lynch Kathryn Lyness M Barbara Madsen Robert Mangold

44

Matthias Mansen Christian Marclay Gerald Marcus Kara Maria Enid Mark Kerry James Marshall Fernando Marti Cameron Martin Daniel Martín Díaz Chris Mateer Tonia Matthews Kathryn Maxwell Suzanne McClelland Sarah McEneaney Heather McGill Beverly McIver Keegan McHargue Julie Mehretu Will Mentor Beatriz Milhazes Marjorie Miller Patricia R. Mitchell Santi Moix Elizabeth Mooney Laura Moriarty David Moreno Clarence Morgan Malcolm Morley Jim Morris Jill Moser Yoko Motomiya John Movius Carrie Moyer Regi Müller Takashi Murakami Elizabeth Murray N Yoshitomo Nara James Nares Elia Naqvi Deborah Gottheil Nehmad Margaret Neill Heidi Neilson John Newman Dean Nimmer Todd Norsten

O Shaun O’Dell Chris Ofili Alice Oh Atsuko Okamoto Tomomi Ono Steven Orlando Stas Orlovski Lothar Osterburg Rachel Ostrow Katja Oxman P Roxy Paine Richard Pantell Chryssanthi Papaxenou Jill Parisi Kingsley Parker Meridith Passabet Lilya Pavlovic-Dear Malcolm Payne Bruce Pearson Mark Pease Jimmy Pena Sheila Pepe Raymond Pettibon Judy Pfaff Laura Sue Phillips Brian Pilliod Venantius J. Pinto Adam Pitt Sylvia Plimack Mangold Sarah Plimpton Ellen J. Price Monique Prieto Liliana Porter Endi Poskovic Nancy R. Powhida Paula Praeger Melodie Provenzano James Michael Pustorino Q Justin Quinn R Andrew Raftery John Rapczak

David Rathman Jeera Rattanangkoon Robert Rauschenberg Lisa Reddig Shawn Reed J. Noel Reifel Faith Ringgold Dario Robleto Anita Rodríguez Angel Rodríguez-Díaz Ruth Root Robin Rose Alexander Ross David Row Allen Ruppersberg Sigita Rucinskaite-Pranevicius Edward Ruscha Sophie Ryder S Alison Saar Lázaro Saavedra Sara Saltzman Andra Samelson Juan Sánchez Lisa Sanditz Katia Santibañez Mayumi Sarai Peter Saul Carrie Scanga David Schafer Miriam Schapiro Kim Schoenstadt Larry Scholder Linda Schrank Brant Schuller Peter Schuyff Linda Schwarz Dread Scott Joyce C. Scott Jonathan Seliger Richard Serra David Shapiro David Sharpe Yasu Shibata Jean Shin Noriko Shinohara Leah Siegel

45

James Siena Hollis Sigler Shahzia Sikander Gary Simmons Maryanne Ellison Simmons Maia Simon Penny Siopis William Skerritt Sarah Smelser Alexis Smith Allison Smith Kiki Smith Monica Smith Lori Solondz Buzz Spector Joseph Stashkevetch Sean Starwars Dan Steeves Mike Stephens Jessica Stockholder David Storey Jacquelyn Strycker Michelle Stuart Hee-Jae Suh James Surls Carolyn Swiszcz T Barbara Takenaga Kate Temple Jonathan Thomas Bill Thompson Bruce Thorn Phyllis Trout Fulvio Tomasi Kyle Trowbridge Yeachin Tsai Chris Twomey Myron Turner Richard Tuttle Lane Twitchell U Jason Urban Sara Varon Mark Dean Veca Bemar Venet

46

V Rachel Verpoorten Sylvia Vientulis Not Vital Rob Voerman Tomas Vu W Deborah Waimon John Walker Heimo Wallner Lorraine Walsh Susan Wanklyn Elizabeth Ward Bisa Washington Carol Wax Leslie Wayne Gilliam Wearing William Wegman Jeff Wetzig Joan Winter Terry Winters Ray Charles White Emmi Whitehorse Carin Whitney John Wilson Marion Wilson Emerson Woelffler Dan Wood Betty Woodman Christopher Wool Efram Wolff Yihsin Wu Y Melinda Yale Robert Yoder Jennifer Yorke Barbara Yoshida Lisa Young Lisa Yuskavage Z Liz Zanis Andrea Zittel

New Prints Selections Committees 2000–2005 New Prints 2000 Luis Grachos Faye Hirsch Jean-Yves Noblet Michelle Quinn Arnold Smoller Deborah Wye New Prints 2001/Winter Edward Gargiulo Faye Hirsch David Kiehl David Lasry Robert E. Monk Roberta Waddell New Prints 2001/Summer Starr Figura David Kiehl Janice C. Oresman Nina del Rio Andrew Richards Maurice Sanchez New Prints 2001/Autumn Nancy Princenthal Robert Rainwater Peter Ralston LuRaye Tate New Prints 2002/Summer Susan Lorence John Morning Pari Stave Marc Schwartz Robert Storr Terry Winters

New Prints 2002/Autumn Leslie J. Garfield Larissa Goldston Carin Kuoni Marilyn Kushner Andrew Mockler Wendy Weitman New Prints 2003/Winter & Spring Ann Fensterstock Joseph Goddu Laura Steward Heon Faye Hirsch Leonard Lehrer Judith Solodkin New Prints 2003/Summer Judith Brodsky Gabriella de Ferrari Gerrit Lansing James Siena Alyson Baker Marilyn Symmes New Prints 2003/Autumn Brooke Alexander Dudley Del Balso Carin Kuoni Liliana Porter Suzanne Randolph Joseph Ruzicka New Prints 2004/Winter Starr Figura Kimball Higgs Jean-Paul Russell Carol Ann Schuster Mina Takahashi New Prints 2004/Spring Barry Walker New Prints 2004/Summer Barbara Foshay Miller Peter Nesbett Andrew Raftery Susan Sollins Sarah Thompson Diane Villani

47

New Prints 2004/Autumn Clifford Ackley Lesley Dill Ronald Gross Alexandra Herzan Frederieke Taylor Tomas Vu New Prints 2005/Winter Mark Baron Dan Cameron Agnes Gund Jane Hammond Randy Hemminghaus Barbara Shapiro New Prints 2005/Spring Kiki Smith New Prints 2005/Summer Desirée Alvarez Alexandra Anderson-Spivy Judy Hecker Jennifer Melby Harris Schrank Michael Steinberg New Prints 2005/Autumn Lothar Osterburg Nancy Princenthal Samantha Rippner Lucas Schoormans Amy Sillman Catherine Woodard

IPCNY Founding Members Anonymous Atelier A/E Lily Auchincloss Foundation Deborah Loeb Brice Foundation The Charles E. Culpeper Foundation Anne and John Coffin Fifth Floor Foundation Genevieve and Albert Gagnebin Leslie J. Garfield Evanne and Edward J. Gargiulo, Jr. The Horace W. Goldsmith Foundation Elaine Kend Morton Landowne The Edward John Noble Foundation Janice Oresman Marnie and Don Pillsbury The Porter Family Charitable ­ Foundation The Derald H. Ruttenberg Foundation Arnold Smoller The Richard Salomon Family Foundation Sotheby’s LuRaye Tate

Tomas Vu Opium Dreams II, 2002. Screenprint and gouache, 71 × 36 inches. Edition: 4. Printed and published by the LeRoy Neiman Center for Print Studies at Columbia University, New York

48

49

Published on the occasion of Present Tense: New Prints, 2000–2005 Organized by Anne Coffin and Deborah Cullen-Morales September 30–December 18, 2021 ipcny.org/present-tense #PresentTenseIPCNY

SU PPORT Lead support for Present Tense is provided by Travelers. Special thanks to Mary K. and Fredric S. Newman, Dudley and Michael Del Balso, Adelaide Camillo and Ron Gross, and Andrew Raftery for their support of the exhibition.

Support for all programs and exhibitions at IPCNY is made possible by The New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; and by foundations including the Areté Foundation, The Milton & Sally Avery Arts Foundation, Inc., The Deborah Loeb Brice Foundation, The Horace W. Goldsmith Foundation, The Jockey Hollow Foundation, PECO Foundation, The New York Community Trust, and Shapiro-Silverberg Foundation along with major individual support.

Book design and layout: Jenn Bratovich, Diego Morales-Portillo, and Jasmine Shaw Copyediting: Anne Osherson Printed by Digital City Marketing, New York Edition of 400 ISBN 978-1-7341224-1-1 © 2021 International Print Center New York

IMAG E CRE D ITS Cover, 32: © Glenn Ligon; Courtesy of the artist; Hauser & Wirth, New York; Regen Projects, Los Angeles; Thomas Dane Gallery, London; and Chantal Crousel, Paris.

Flyleaves, 29: © A.J. Bocchino.

4: © Faith Ringgold/Artist Rights Society (ARS), New York; courtesy ACA Galleries, New York.

7: © Wennie Huang; images courtesy Lower East Side Printshop. 8, 15: © Julie Mehretu.

11: © Beatriz Milhazes. 12: Photo by Jenny Polak. 21: © Dread Scott. 24: © Vija Celmins; courtesy the artist and Matthew Marks Gallery. 27: © Chris Ofili. 30-31: © Lisa Young. 34: © 2021 Melvin Edwards/Artist Rights Society (ARS), New York; courtesy of Alexander Gray Associates, New York and Stephen Friedman Gallery, London. 40: © Phillip Chen. 49: Tomas Vu.

I NT E RN ATION AL PR IN T CE NT E R NE W Y O R K 508 West 26th Street, 5A New York, NY 10001 212-989-5090 ipcny.org

B O ARD OF TRUS TE ES Maud Welles, Chair David G. Sabel, Vice Chair Diana Wege, Secretary Stewart K. P. Gross, Treasurer Andrea Butler Anders Bergstrom Judith K. Brodsky Anne Coffin Jennifer Farrell Starr Figura Mary Beth Forshaw Leslie J. Garfield Joseph Goddu Evelyn Lasry John Morning Daniel Nardello Martin Nash Janice C. Oresman Pari Stave In Memoriam Leonard Lehrer Barbara Stern Shapiro

STAFF Jenn Bratovich, Exhibition & Curatorial Manager Megan Duffy, Artist Programs & Education Manager Jill Garland, Interim Director of Development Judy Hecker, Director Tuesday Smillie, Registrar Elena Sinagra, Office Manager (Temporary) Stephanie Trejo, Senior Manager, Administration & Finance Ema Wang, Marketing & Communications Coordinator

International Print Center New York 508 West 26th Street, 5A New York, NY 10001