Over the past two decades, the art world has broadened its geographic reach and opened itself to new continents, allowing for a significant cross-pollination of post-conceptual strategies and vernacular modes. Printed materials, in both innovative and traditional forms, have played a key role in this exchange of ideas and sources. This catalogue, published in conjunction with an exhibition at The Museum of Modern Art, New York, examines the evolution of artistic practices related to printmaking, from the resurgence of traditional printing techniques–often used alongside digital technologies–to the worldwide proliferation of self-published artist’s books and ephemera. Print/Out features focused sections on ten artists and publishers–Ai Weiwei, Edition Jacob Samuel, Ellen Gallagher, Martin Kippenberger, Lucy McKenzie, Aleksandra Mir, museum in progress, Robert Rauschenberg, Superflex and Rirkrit Tiravanija–as well as rich illustrations of additional printed projects from the last 20 years by major artists such as Trisha Donnelly, Felix Gonzalez-Torres, Thomas Schütte and Kelley Walker. An introductory essay by Christophe Cherix, Chief Curator of Prints and Illustrated Books at the Museum, offers an overview of this period with particular attention to new directions and strategies within an expanded field of printmaking.

Parkett 76 features three rising stars of the international art scene: Julie Mehretu, Yang Fudong and Lucy McKenzie. As her marks and gestures are flung into motion upon the canvas, Julie Mehretu paints a picture of an infrastructure gone awry. Their layered, calligraphic density suggests Leonardo da Vinci’s ecstatically charged tidal drawings. In the frozen situations encountered in Yang Fudong’s images, the viewer must always ask, “Will the protagonist survive?” Fudong’s narratives read like brief, melancholic confessions, an “abstract cinema” that, in his own words, functions as “a non-describable collision in one’s heart.” Over the last decade, Lucy McKenzie has been umbilically attached to Glasgow’s underground, guided by her elegant draftsmanship and continuously undermining her own adopted visual rhetoric–which includes facades from Tintin, Socialist mural projects and Mackintoshian Modernism. Texts by Heidi Zuckerman Jacobson, Chris Abani, Madeleine Schuppli, Marcella Beccaria, Yuko Hasegawa, Zhang Wei, Neil Mulholland, Bennett Simpson, Isabelle Graw, Trevor Smith, Philipp Kaiser, Johanna Burton, Vincent Precoil, Hans Rudolf Reust, Matthias Haldemann and Bill Arning.

While he was working on Appendix Appendix, Ryan Gander described it to Artforum as “a shooting script for a 13-part television series about television” and “a cross between John Berger’s Ways of Seeing and Monty Python.” His collaborator and typographer Stuart Bailey, on the other hand, describes it as a sequel to their first book, Appendix, which compiled back stories for Gander’s conceptual work. Bailey says, “The problem (a good problem) is to work out how the second [collaboration] is affected by the first, how it swallows it. I always relate these things to music, so it’s like thinking what’s the second album going to be after the rough debut; more studio time, more pressure, bigger egos, drinking problems, etcetera.” Bailey has created books with Paulina Olowska, Lucy McKenzie and Frances Stark; Gander recently won the Baloise Prize at Art Basel and appeared in the 2006 Tate Triennial.

For 20 years, Parkett has presented unparalleled explorations and discussions of important international contemporary artists by esteemed writers and critics. These investigations continue in issue No. 73, which features collaborations by Paul McCarthy, Ellen Gallagher, and Anri Sala. McCarthy’s probing 1970s performances led us through a portal of LA-based experimental art-making, and brought us face-to-face with our most animalistic urges and repulsions. Get behind McCarthy’s post-pop masquerade and try to unpack the origins of his skewed and spewed sensibility. Also featured are Gallagher’s meditative, collaged canvases. With her tiny toy eyeballs, hilarious Mammy-styled lips, and Plasticine Afros the artist confronts sobering race relations in her work. Sala, an Albanian-born artist, has risen to international fame by making enigmatic, introspective videos, films, and photographs that pulsate with perpetual de-ja-vu. His images fulfill a documentary function–whether that of his mother as a young woman giving an interview for the Communist Party, or two friends on a beach using a flashlight to get ghost crabs to scramble past ankle goalposts in the sand in oder to “score.” Also in Parkett No. 73: artists Jason Dodge, Wangechi Mutu, Tania Bruguera, Lucy McKenzie, Matthew Brannon, and Carsten Nicolai. Writers include Thyrza Nichols Goodeve, Michelle Cliff, Ben Okri, Lane Relyea, Tim Martin, Jeremy Sigler, Mark Godfrey, Jan Verwoert, Lynne Cooke, Isolde Brielmaier, RoseLee Goldberg, Algela Rosenberg, Dominic von den Boogerd, Debra Singer, Natasa Petresin, and Fabrice Stroun.

With the hotly discussed resurgence of painting at the dawn of the new century, it is clear that reports of the medium’s death have been greatly exaggerated. “Painting at the Edge of the World” explores the possibilities of a redefinition and ”hybridization” of painting begun in the 1960s, examining the manifestations of these new artistic vistas in the present day. This full-color catalogue features illustrations and a variety of critical texts by some of the most exciting established and emerging critical voices working today, in addition to work by an international and intergenerational group of artists hailing from places as diverse as Brazil, Ethiopia, Germany, South Africa, Scotland, Japan, Belgium, Iran, Italy, and the United States. Designed in two sections–a gatefold plate section containing reproductions of the work, and a french-folded section containing critical essays–the book brings together a wide range of contemporary views on painting from a diverse array of disciplines, including the visual arts, film, architecture, design, and music in an attempt to assess the relevance of painting in the contemporary global context. In addition, “Painting at the Edge of the World” includes documentation of each artist’s work and an examination of their artistic methodology. Essays by: Daniel Birnbaum, Paulo Herkenhoff, Midori Matsui, Jorg Heiser, Frances Stark, Andrew Blauvelt, Reindaldo Laddaga, Yves-Alain Bois, Helio Oiticica, Takashi Murakami, Mike Kelley, and Cuauhtemoc Medina. Introduction by Douglas Fogle. Featuring artworks by: Franz Ackerman, Haluk Akakçe, Francis Alÿs, Kevin Appel, Marcel Broodthaers, John Currin, Marlene Dumas, Andreas Gursky, Eberhard Havekost, Arturo Herrera, Mike Kelley, Martin Kippenberger, Udomsak Krisanamis, Jim Labie, Margherita Manzelli, Paul McCarthy, Lucy McKenzie, Julie Mehretu, Takashi Murakami, Nader, Chris Ofili, Helio Oiticica, Michael Raedecker, Thomas Scheibitz, Rudolph Stingel, Hiroshi Sugito, Paul Thek, and Richard Wright.