Points of Contact: Printmaking in Britain 1949 - 2019

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POINTS OF CONTACT Printmaking in Britain 1949–2019

Austin / Desmond Fine Art Curated by Julian Page



POINTS OF CONTACT Print stages a distinctive encounter between paper and ink, or support and medium. Paintings or drawings might show accumulated marks made over time, but no matter how long the printing surface has been worked, more often than not, the printed image happens all at once. The moment of impression is a physical compression that also compresses time: the creative labour spent on the print is condensed into the instant of paper passing between rollers, or of a squeegee drawn across the screen. This strange relationship to time is amplified by the multiplicity of prints: single objects manifest their history, whereas prints have multiple histories (and so perhaps no history at all). And across an edition, some prints might be destroyed, some damaged, and some perfectly preserved: how does a print age, when its ageing can encompass all of these possibilities at once? The potential for print to disrupt time plays in the background of exhibitions like this one, with works bound together—or scattered—by seventy years. Laws of Instruments aside (when all you have is a hammer, everything looks like a nail), those seventy years might very easily be characterised as printed years. The historical significance of print between 1949 and the present is profound. Print makes cameo appearances in many of the period’s milestones, and its mechanics of contact even play a starring role in its technological advances. This year marks the fiftieth anniversary of the first moon landing, the twentieth century’s ultimate ‘point of contact’, which generated its own print in the form of footprints on the surface of the moon. The developments of transport which informed so much of twentieth century modernity were also points of contact, just as the electronic and digital technologies that have come to define progress came from print, in the form of printed circuit boards. These


share a functional as well as historical relationship to print, as Jennifer Roberts has shown in her recent Slade Lectures—not least because the inventor of the printed circuit board, Paul Eisler, spent many formative hours in the library of the British Museum studying lithography, letterpress and engraving technologies. Circuit boards are junctions that close and open circuits. So they too are points of contact. There are many links among the exhibition’s artists; a diagram of our connections and associations would make a dense web. At a structural level, print enhances these connections, because publishers and editioners are entities where artists meet or overlap. For a medium of exchange like print, multiple circulation allows images to be disseminated more widely than singular objects. Alongside its odd separation from time, these characteristics make print the medium, more than any other, that creates these points of contact between artists. It connects artistis, like those at either chronological end of this exhibition, whose lives do not overlap. Prints are generated at a point of contact, and themselves become points of contact—in this respect no edition is complete, and prints keep on printing. Alexander Massouras


PLATES


Robert Colquhoun

The Necromancer (1949) Monotype with hand-colouring 56 x 45.2 cm Unique

1



Fred Uhlman

The Studio (1949) Lithograph with hand-colouring 45.6 x 37 cm

2



Naum Gabo

The Lyre Bird (Opus Four) (1950) Monotype 28 x 20 cm Unique

3



John Wells

Topsail (1950) Etching 22 x 19 cm Edition of 25

4



Michael Andrews

Standing Man Holding a Bowler Hat (1951) Etching 24.5 x 16.5 cm (image)

5



William Scott Busby (1951) Lithograph 55.3 x 38 cm Edition of 50

6



Kenneth Martin

Circular Abstract (1952) Linocut 50.6 x 38 cm Edition of 20

7



Eduardo Paolozzi

Man’s Head (1952) Lithograph 65 x 50 cm

8



Keith Vaughan

Old Seaweed Hoist (1953) Lithograph 54.5 x 44 cm Edition of 60

9



William Gear

Untitled (Abstract Composition) (1954) Linocut 40.1 x 56.9 cm Edition of 10

10



Robyn Denny

1B (9) (1955) Monotype 40.5 x 50.8 cm Unique

11



Euan Uglow

Stilton (1960) Etching 12.5 x 10 cm (image) Unique

12



David Hockney

Kaisarion with all his Beauty (1961) Etching and aquatint 69.3 x 50.2 cm Edition of c.50

13



Colin Self

In the Desert (1963) Etching 14.8 x 19.3 cm (image)

14



Allen Jones

Concerning Marriages 5 (Walking) (1964) Lithograph 76 x 56.5 cm Edition of 75

15



Victor Pasmore

Study for Points of Contact No.7 (1965) Lithograph with hand-touching 45.5 x 45.5 cm Unique

16



Derek Boshier

Sex War Sex Cars Sex (1966) Lithograph 60 x 48 cm Edition of 100

17



Paul Feiler

Orbis Monotype 1 (1967) Monotype 25 x 27 cm (image) Unique

18



Ben Nicholson

Storm over Paros (1967) Etching 38 x 43 cm Edition of 50

19



Peter Blake

Babe Rainbow (1968) Screenprint on Tin 64 x 44 cm Edition of 10,000

20



Joe Tilson

Bela Lugosi Journal A (1969) Sceenprint 81 x 60 cm Edition of 150

21



Kenneth Armitage

Untitled (1973) Etching 8.4 x 9.7 cm (image) Edition of 20

22



Patrick Caulfield

She’ll Have Forgotten Her Scarf (1973) Screenprint 61 x 55.6 cm Edition of 100

23



Richard Hamilton

Picasso’s Meninas (1973) Etching with aquatint, roulette and drypoint 76 x 57.5 cm Edition of 90

24



Julian Trevelyan

Holland (1975) Etching and aquatint 79 x 59 cm Edition of 52

25



Gordon House ‘L’ M (1977) Etching 39.5 x 24 cm Edition of 15

26



Patrick Heron

Untitled (Red) (1979) Etching 54 x 68 cm Edition of 50

27



Stephen Buckley

Untitled (Small Etching J) (1980) Etching 28 x 24.2 cm Edition of 40

28



Leon Kossoff

The Letter (1982) Etching 35 x 41 cm Edition of 100

29



Lucian Freud

Girl Holding Her Foot (1985) Etching 89 x 72 cm Edition of 50

30



Paula Rego

The Encampment (1989) Etching and aquatint 56 x 76 cm Edition of 50

31



Terry Frost

At Five o’Clock in the Afternoon II (1990) Etching 75 x 56.8 cm Edition of 30

32



Tracy Emin

OK (1997) Monoprint 58.5 x 79.5 cm Unique

33



Howard Hodgkin

Books for Paris Review (1998) Etching, aquatint and hand-colouring 56 x 51 cm Edition of 80

34



Prunella Clough Compact (1999) Sceenprint 33 x 35.5 cm Edition of 30

35



Peter Doig

Surfer (2001) Etching 166 x 111.5 cm Edition of 46

36



Michael Landy

Annual Wall Rocket (2002) Etching 89 x 77.3 cm Edition of 37

37



Bridget Riley

Brouillard (1981–2003) Sceenprint 100 x 90 cm Edition of 85

38



Keith Coventry

Crack Pipes II (2006) Etching 35.2 x 42.5 cm Edition of 30

39



Frank Auerbach

William Feaver (2007) Etching 63 x 50.5 cm Edition of 40

40



Victoria Burge

Blue Star (2015) Lithograph with hand-colouring 56 x 71 cm Edition of 30

41



Marcelle Hanselaar

The Crying Game 28 (2017) Etching with aquatint 38 x 42 cm Edition of 30

42



Alexander Massouras

Good and Bad at Waiting 3 (2018) Etching 27.5 x 36 cm Edition of 60

43



Kate McCrickard

Benjamin, Stage Right (2019) Monotype 63 x 47 cm Unique

44



ANDREWS, Michael (1928–1995) ARMITAGE, Kenneth (1916–2002) AUERBACH, Frank (b. 1931) BLAKE, Peter (b. 1932) BOSHIER, Derek (b. 1937) BUCKLEY, Stephen (b. 1944) BURGE, Victoria (b. 1976) CAULFIELD, Patrick (1936–2005) CLOUGH, Prunella (1919–1999) COLQUHOUN, Robert (1914–1962) COVENTRY, Keith (b. 1958) DENNY, Robyn (1930–2014) DOIG, Peter (b. 1959) EMIN, Tracey (b. 1963) FEILER, Paul (1918–2013) FREUD, Lucian (1922–2011) FROST, Terry (1915–2003) GABO, Naum (1890–1977) GEAR, William (1915–1997) HAMILTON, Richard (1922–2011) HANSELAAR, Marcelle (b. 1945) HERON, Patrick (1920–1999)

No. 5 No. 22 No. 40 No. 20 No. 17 No. 28 No. 41 No. 23 No. 35 No. 1 No. 39 No. 11 No. 36 No. 33 No. 18 No. 30 No. 32 No. 3 No. 10 No. 24 No. 42 No. 27


HOCKNEY, David (b. 1937) HODGKIN, Howard (1932–2017) HOUSE, Gordon (1932–2004) JONES, Allen (b. 1937) KOSSOFF, Leon (b. 1926) LANDY, Michael (b. 1963) MARTIN, Kenneth (1905–1984) MASSOURAS, Alexander (b. 1981) McCRICKARD, Kate (b. 1974) NICHOLSON, Ben (1894–1982) PAOLOZZI, Eduardo (1924–2005) PASMORE, Victor (1908–1998) REGO, Paula (b. 1935) RILEY, Bridget (b. 1931) SCOTT, William (1913–1989) SELF, Colin (b. 1941) TILSON, Joe (b. 1928) TREVELYAN, Julian (1910–1988) UGLOW, Euan (1932–2000) UHLMAN, Fred (1901–1985) VAUGHAN, Keith (1912–1977) WELLS, John (1907–2000)

No. 13 No. 34 No. 26 No. 15 No. 29 No. 37 No. 7 No. 43 No. 44 No. 19 No. 8 No. 16 No. 31 No. 38 No. 6 No. 14 No. 21 No. 25 No. 12 No. 2 No. 9 No. 4


Points of Contact Printmaking in Britain 1949–2019 2 May–15 June 2019 Wed–Fri: 10.30–5.30pm Sat: Open by appointment Private View: Wednesday 1 May, 6–8pm Final day drinks: Saturday 15 June, 11–4pm Austin / Desmond Fine Art Pied Bull Yard 68/69 Great Russell Street London WC1B 3BN T: +44 (0)20 7242 4443 E: gallery@austindesmond.com www.austindesmond.com Curated by Julian Page www.julianpage.co.uk Text ©Alexander Massouras 2019 Catalogue design by Zeuxis Industries Ltd. Printed by Gomer Press Except where otherwise indicated, dimensions refer to sheet size