Jonas Wood Follow Untitled 2014 The complete set of four lithographs and screenprint in colors, on Coventry Rag paper, with full margins. all I. various sizes all S. 48 x 37 1/8 in. (121.9 x 94.3 cm) All signed, dated and numbered 33/50 in pencil, published by Cirrus Editions, Los Angeles (with their blindstamp), all framed.
Catalogue Essay Jonas Wood interviewed by master printer Jacob Samuel from "Nonstop: Jonas Wood Speaks with Jacob Samuel", Art in Print , vol. 8, no. 1, 2018 I’ve also started to collect prints and look at prints, and see how other people have made prints—I just got this Lichtenstein print, a brushstroke one. And when I started examining it, I discovered how amazing it was that he could translate his work so directly into printmaking. So yes, it really opens up—a few years after we started I realized that drawing had always informed my painting; then I saw how collage had informed it. But once printmaking entered the equation, that also started informing my painting and vice versa. Even when thinking about the process of making a painting, I started taking cues from printmaking and putting them back into paintings. JW Collaborating with Jean Milant at Cirrus in 2009 was my real first experience making a set of editions with a print house. I had been in a three-person show at his gallery in 2006. I didn’t know much about him then, but I went to his gallery and realized that he had made all of this amazing stuff with artists I love, like Ed Ruscha and Baldessari and… JS Joe Goode… JW Chris Burden… JS To me, Jean Milant is the great unsung hero of Los Angeles printmaking. He doesn’t get the credit he deserves. JW We printed all the birds and the birdcages and then I hand-drew all of the details of the birds on each one. That was 2011, and then in 2014 I merged a collage concept with lithography to make cutout photos of landscape pots with silkscreen plants “growing” out of them. I had never used photolithography, I’d always used lithography for drawing (though in my first set with Jean, we used the impression of wood grain to make a floor plane). We have made other things since then. It’s like he said, “You can’t stop.” Read More
Jonas Wood Follow Untitled 2014 The complete set of four lithographs and screenprint in colors, on Coventry Rag paper, with full margins. all I. various sizes all S. 48 x 37 1/8 in. (121.9 x 94.3 cm) All signed, dated and numbered 33/50 in pencil, published by Cirrus Editions, Los Angeles (with their blindstamp), all framed.
Catalogue Essay Jonas Wood interviewed by master printer Jacob Samuel from "Nonstop: Jonas Wood Speaks with Jacob Samuel", Art in Print , vol. 8, no. 1, 2018 I’ve also started to collect prints and look at prints, and see how other people have made prints—I just got this Lichtenstein print, a brushstroke one. And when I started examining it, I discovered how amazing it was that he could translate his work so directly into printmaking. So yes, it really opens up—a few years after we started I realized that drawing had always informed my painting; then I saw how collage had informed it. But once printmaking entered the equation, that also started informing my painting and vice versa. Even when thinking about the process of making a painting, I started taking cues from printmaking and putting them back into paintings. JW Collaborating with Jean Milant at Cirrus in 2009 was my real first experience making a set of editions with a print house. I had been in a three-person show at his gallery in 2006. I didn’t know much about him then, but I went to his gallery and realized that he had made all of this amazing stuff with artists I love, like Ed Ruscha and Baldessari and… JS Joe Goode… JW Chris Burden… JS To me, Jean Milant is the great unsung hero of Los Angeles printmaking. He doesn’t get the credit he deserves. JW We printed all the birds and the birdcages and then I hand-drew all of the details of the birds on each one. That was 2011, and then in 2014 I merged a collage concept with lithography to make cutout photos of landscape pots with silkscreen plants “growing” out of them. I had never used photolithography, I’d always used lithography for drawing (though in my first set with Jean, we used the impression of wood grain to make a floor plane). We have made other things since then. It’s like he said, “You can’t stop.” Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
