“Conservators understand the materials a work is made of, and we also aim to understand the intent of the person who made the work…”

“I like the mediation of the squeegee, and the way that it flattens, unifies, and simplifies…It removes me somewhat as the creator of the image, which feels like a good thing.”

Stepping into the virtual viewing rooms with writer Anni Irish.

Some favorite works that capture our current housebound quarantine mood.

“If I think about the way I work, there is usually some form of system in place, which allows the meeting of materials, images, footage and sound without my direct input…”

Artistic vision meets technical expertise and the result is the production of some glorious items for decorating the home or one’s own body.

Community print space housed within one of Scotland’s foremost contemporary art centers.

“I like to turn the process on its head, by making a sculpture out of the processes of printmaking…”

Anni Irish shares her hot picks from Armory Week.

Contrasting models for how collections can be used and narratives be shared through the print-archive.  

Knee-deep in the LA art scene on its biggest weekend.

A muggy, grey morning spent among technicolor flower beds, structural succulent gardens and dreamy, steamy scenes in the fern house.

Plantlife heads indoors and a pair of masters receive career retrospectives.

We park our bikes outside of Edition Copenhagen and immerse ourselves in decades of exceptional artist collaborations.

Contextualizing our print edition within the exceptional practice of this multi-faceted artist.

“For me, printmaking is the art of conditions and flexibility.”

What we saw and loved in New York, San Francisco, Los Angeles, New Haven, Cambridge, London, Glasgow and Edinburgh this year.

Excuse us while we pack all our belongings and move to Edinburgh.

Glasshouses are our kryptonite.

Dispatches from a late-summer trip to the Scottish Highlands.