Contemporary Printmaking

Like drawing, printmaking seems to be experiencing a renaissance. Young artists are not just interested in technique but are clearly focused just as much on content. That this development coincides with the continued rise of digital media is, in my opinion, not at all a coincidence. Artists are looking for a handmade product that can be reproduced and which shows the flaws and variations between one formal mode and the other; as if each copy is a new original.

Here are some exiting artists working in this medium.

Emily Lombardo

Makes conceptual, personal art as she investigates archetypes of cultural identity. Her series of prints The Caprichos’ is based on the classic works of the same name made by Francisco de Goya in 1799.

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Melanie Yazzie

Is a Navajo artist that deals with indigenous cultures and post-colonial dilemmas. Her work often shows strong women taking the lead.

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Dolores De Sade

My work is interested in memory, nostalgia and archetype. Depicting forgotten places in the contemporary landscape. Comparing them with illustrations of past centuries.  memory, nostalgia and archetype.
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Jan Brokof

Makes work that revolves around the formative power of the urban environment and his East German youth. He makes reconstructions in 3D using woodcuts.


Benjie Torrado Cabrera

Has a unique visual style influenced by the cosmos. He veers between traditional and contemporary art. His work consists of geometric shapes and spheres and lines.


Frédéric Coché

Questions the ambiguity of human nature and refers to art history. His work is characterized by an opposition between formal aesthetics and the gravity of the subjects it deals with.

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Katherine Jones

Investigates the tension between vulnerability, security, danger and safety. Childhood play and experiment are a central focus of her work.


B.C. Epker

Represents a current situation while reflecting on cultural heritage, philosophy, mythology and religion. Regularly his work consists of rural landscapes with figures.


Katie Baldwin

Shows several stages of both manufactured and natural scenery. She work is narrative and sometimes includes text.


Claas Gutsche

Displays mostly (east) German suburban buildings that have a dark history. His work investigates the unsafety of domestic living.


Rob Voerman

Depicts the beauty of dystopian wreckage. He fabricates a world with fantastical architecture and responds to social and environmental matters.

Stephen Hobbs

Has is interested in the impact of town planning and architecture on the behavior of people. His work also tackles apartheid in Johannesburg.



Thomas Kilpper

Makes wood- and lino-cuts by carving directly into the floor of a building. He takes inspiration from the history of the building.


Christoph Ruckhäberle

Grants balanced consideration to figures and patterns created with bold intense colors. His work is open to interpretation like a theatrical drama.
With his girlfriend Henriette Weber he runs the publishing house LUBOK.


Inez Odijk

Makes portraits and 3D puppets, like real people her works are unique yet the same. Where context is missing rhythm gives the work a structure.



Tom Liesegang

Confronts age old themes like sexuality, death, and religion as well as present day concerns. Some of his work consists of semi abstracted observations of nature.

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Churches turned into art spaces

They say museums are the new churches, but many old churches are now used as spaces for contemporary art.  With Christianity in decline, church buildings are converted for other purposes. Many former places of worship function as studio’s, artist residencies, cultural community centers, museums or galleries. Here are just a view examples of former churches and chapels that used as exhibition spaces.

Untitled_Panorama2.jpgThe Zabludowicz Collection housed in a 19th-century Methodist chapel in Chalk Farm, north London. It presents Chaim “Poju” Zabludowicz’ collection, as well as new commissions by artists linked to it. Offense was caused when a miniature statue of Jesus with an erection was displayed.

In 2011 Johann König acquired St. Agnes Church in Berlin as an addition to his gallery in the Dessauer Straße. He hired architect Arno Brandlhuber to convert the Brutalist Church in Kreuzberg, into a gallery space. The church is a listed building designed in 1967 by German architect Werner Düttmann. It was in desperate need of repair. König spend around three million euros for the renovations.

lowere1_optimized.jpgThe Nikolaj Kunsthal is a contemporary art center. It is a former early thirteenth century Church in central Copenhagen, Denmark. It is a landmark with one of the tallest towers in the city. It exhibits Danish and international contemporary art.

Art Chapel Amsterdam is a new art gallery in the south of the city. Maarten Bertheux, former conservator of the Stedelijk Museum Amsterdam is the artistic director. Amsterdams Oude Kerk (old Church) and Nieuwe Kerk (New Church) both show contemporary art too

Christopher Henry Gallery is in a renovated church in Manhattan. It shows work by early- and mid-career artists, as well as big name pop icons. It wants to challenge the idea of what a gallery is.

SW1111Slideshow-Montreal01.jpgThe Montreal Museum of Fine Arts repurposed a Romanesque revival church into a Canadian art pavilion. This allowed the museum to double its display surface. The building has Tiffany stained glass, dating to the 19th century. Provencher Roy + Associes Architectes were responsible for the renovation.

Are blockbuster exhibitions profitable?

Organize a major exhibition with the intention to sell to other institutions. Publish a large catalog with the Taschen or an other publishing house.
With big name artists a profitable show is achievable. Visitors readily pay a surcharge, and it is easier to find sponsors.
For museums that own big names like Bacon, Warhol or Picasso the lending fees can really make a lot of money.
Photo exhibitions, with the ability to show copies and exhibit from the own collection, are much easier to export. It can be lucrative to make a show that will go on tour. It can also lead to widening a reputation, but costs can only be recovered if the exhibition is shown in two more locations.
Organizing shows often happens in cooperation with three to four other institutions. Collaborating from the beginning. Without partners to share the costs, it’s hardly possible to organize large exhibitions. An institution without collection can never offer something in return, if they ask another museum for help.
Shopping for traveling exhibitions can be expensive. Museums get offered exhibitions on weekly basis. On average they take on a ready-made exhibition once a year.
The Whitney Museum of American Art in New York organized a the Jeff Koons retrospective in 2014. It was a box-office success. They sold it to the Centre Pompidou. It was the most attended exhibition of a living artist in the Paris museum’s history (more than 650,000). This however did not result in a big financial profits. Only through the sale of publications tied to the exhibition, The museum made money.
The French museum made €2.6 million from ticket sales and €320,000 in earnings from the sale of publications. But the Centre Pompidou had to pay a €1.25m lending fee to the Whitney. The museum only broke even with the show. That sad news came from a lawsuit in Paris. The cost of bringing a mega exhibitions like this to Europe is gigantic. There are many associated costs too, such as transportation and insurance. These figures show the hard reality of traveling exhibitions. The Whitney did probably not get rich from it either.
In 2013 the Victoria and Albert Museums must have earned hundreds of thousands of pounds.
The London museum had it’s most visited show in it’s history. More than 1.3 million people have visited the show. That was the David Bowie exhibition. Ninety percent of the objects in the show on loan from the David Bowie Archive in New York. Bowie offered curators full access and they did not pay a fee to borrow the works. Bowie merchandise alone brought in £3.6m in retail sales.
The show traveled to Barcelona, São Paulo, Berlin, Groningen, Chicago, Paris, Melbourne and Tokyo. The V&A paid for shipping and other expenses. The catalogue (in seven foreign languages) has sold more than 160,000 copies.
Although the V&A had high display costs, the borrowing fees will have helped to offset that.
Yayoi Kusama’s Infinity Mirrors will travel to four major museums in the United States and Canada. When the exhibit opened at the Hirshhorn Museum and Sculpture Garden in Washington. The Hirshhorn had to figure out a plan to manage the crowds and to generate revenue from a free show. They decided to ask people to sign up for timed tickets in advance of their museum visit. The first 9,000 tickets were reserved in only six minutes. The museum’s website crashed from demand. They also offered their members direct access to the show. Before the show opened, the museum had grown their membership with twenty percent. Hirshhorn membership starts at $50. It also sold nearly 400 “Contributor’s Circle” memberships for $250 apiece. Higher-level memberships brought in about $12,000. That means an additional $237,000 in revenues came into the Hirshhorn in two months.
The museum will also earn money from the sale of the catalogue that it published with Delmonico Books. The lending fees for the show will no doubt be significant.
The show can be seen in the Seattle Art Museum (June 30–Sept. 10, 2017), The Broad in Los Angeles (October 2017–January 2018), the Art Gallery of Ontario (March–May 2018) and the Cleveland Museum of Art (July–October 2018).

Documenta 14

This time not only in Kassel but also in Athens. 47 locations and with about 200 artists. This edition is led by artistic director Adam Szymczyk and a team of about 18 curators. Other members of the extensive team of curators are Paul B. Preciado and Bonaventure Soh Bejeng Ndikung. Learning from Athens is the motto of this edition. Athens long considered as the font of all knowledge, is in recent history more associated with austerity and refugees.

00-documenta-14-athen-rundgang-filopappos-hill-rebecca-belmore-01.jpgGray marble refugee tent  by Rebecca Belmore.


The disasters of War, Daniel Garcia Andujar, The National Museum of Contemporary Art (EMST), Athens.


Daniel Knorr squeezes found items from Athens streets into an artist’s book. On the opening day of the Documenta 2017 in that city.


At the same time his work Expiration Movement started exhaling smoke from the Zwehrenturn in Kassel.


The Parthenon of Books, Marta Minujín.

A replica Parthenon made out of metal scaffolding and thousands of banned books. Visitors can contribute to its construction by donating books that are now or at any time in the past have been forbidden.


The Mill of Blood, Antonio Vega Macotela.

reconstructed a slave powered minting machine built by the Spanish colonizers in latin America.


The Living Pyramid, Agnes Denes.

The flowers and plants form a monument to geological time and the natural world.

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Check Point Sekondi Loco, Ibrahim Mahama.

Ghanaian Jute bags where sawn together by visitors to the in Athens to cover the Torwache building in Kassel.


Screen Shot 2017-06-12 at 10.58.52.pngBeing Safe is ScaryBanu CennetoğluFridericianum, Kassel


When We Were Exhaling Images, Hiwa K.

Sewage pipes turned into different rooms by students. It reminds of the refugee situation.


Installation of refugee boats, Guillermo Galindi.

Wrecks of refugee boats found at Greek coasts are turned into musical instruments.

Feminist artists on social media

A new generation of feminist artists have found expression on social media. Censorship and a different approach to the female body in the media is their theme, but they are fighting back. They often get blocked but keep pushing the boundaries of art and what is allowed on the various platforms.

Screen Shot 2017-06-01 at 17.48.54.pngPetra Collins

The Cover Girl of the New Feminism Wave. She founded ‘The Ardurous’, an online platform for female artists showcasing projects. Everything is kinda cute and dreamy with teen girl aesthetics.

amalia-ulman-large_trans_NvBQzQNjv4BqYBEWvMdcMFfUabU60-4H7y6FV4BCuS3wfc64Q_cWH3k.jpgAmalia Ulman

Fooling a large number of people with phony selfies made her a hit in the art world. She mindlessly boasted about her apparently fortunate lifestyle in LA. Attending pole-dancing classes and undergoing breast-enlargement surgery.

ValeriePhillips_Arvida-Byström_04.jpgArvida Byström

Has a fondness for pink and glitter, and often uses herself as a subject. Byström’s art has a subversive, couldn’t-care-less attitude. It combines her ’90s aesthetic with a very modern take on femininity, sex, gender and identity.

Screen Shot 2017-06-01 at 17.37.26.pngLeah Schrager

Struggle for a different deal with the female body in the media. She looks for the boundaries between commerce and art. She works with different personas and alter egos. She studied the aesthetics of porn sites and staged herself as the prototype of the sexy woman. She offers her body as a commodity to the male gaze. 

nodes_JmKaIlnZpN.jpgJessica So Ren Tang

Explores her identity and cultural heritage through intricate embroidery. She recreates familiar Asian American objects and pinup girls but changes the the meaning by the use of material.

tapuz_i.jpgStephanie Sarley

Shares photos and videos of fruits, which she touches with her fingers. She personifies humorously the origin of the world, as Courbet had formulated it. It is about the acceptance of female sexuality. Her goal is, as she says, “Empowering vaginas”.

Screen Shot 2017-06-01 at 15.08.28.pngTeen slut

Pink hair, tattooed skin and joint in hand. Alexis Felten developed ‘Teen slut’ on Instagram for her graphic design degree. She and her gang stand out with their 90s-aesthetics.

532013095_780x439.jpgFrances Cannon

The carcters in her drawings have nothing to laugh about. They crouch on the ground, sit there crying, or lie thoughtfully with their arms up. Her work is a celebration of sexuality and femininity.

Screen Shot 2017-06-01 at 15.01.35.pngMe and You

Founded by Mayan Toledano and Julia Baylis, two of the members of The Ardurous. The movement has its own fashion label. Inscriptions on sweaters make it clear that they do not want to touched without consent.


Shows menstrual blood in panties hanging between her legs while she sits on the toilet. Her work deals with gender and classism, pushing the limits of what is acceptable for a female to do and so forth

Amsterdam Art Fair & Antwerp Art Weekend

The third edition of the Amsterdam Art Fair not to be confused with Art Amsterdam. The name given to Hollands longest running art fair KunstRAI. However recently Art Rotterdam has taken over as the leading art fair. Amsterdam Art Fair aims to make to the Dutch capital the place to go for the collectors again.


Galery Frank Taal

Standno. 12

Representing Bram Braam



Standno. 44

Works by Esther Tielemans and Sarah-Jane Hoffmann


 Juliette Jongma / Kunstverein

Standno. 29

Work by Bert Scholten, Nicolaas Riis, Florian and Michael Quistrebert


Siberian BAM exhibition

Jelle Brandtcorstius, Aldo Van Den Broek and Fabian Hahne

Also for the third time, Antwerp Art Weekend.

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Gallery Sofie Vande Velde

Works of Philippe Vandenberg and Bruce Nauman


Little HISK

Work by Susanna Inglada


Galerie De Zwarte Panter

Work by Fred Bervoets, Frieda Van Dun and Wim De Schamphelaere