An Annual Almanac of Printed Graphic Art

M.K. Publishers
St. Petersburg, 2001

Annual Almanac of Printed Graphic Art
St Petersburg: M.K. Publishers, 2001
54 pages, b/w illustrations + 11 pages of original graphics, signed by the artists
In an edition of 150 hand-bound, numbered copies
In Russian and English
Cover of colored card with woodcut
Text offset printed on art paper (160g); engravings printed on “Hahnemühle” paper (160 g)
Lithograph, etching, woodcut, linocut, photograph and computer graphic.
                                                                                             Price: $ 120 + $ 10 postage

For three centuries, the history of Russian graphic art has been centred around St. Petersburg, arguably Russia’s Mecca of printed graphics.
Prepared in St. Petersburg, Imprint is Russia’s first ever specialist publication on printed graphic art, covering both traditional and innovative printing techniques. The advent of new technology and the return of Russian art to the international art scene have directly reflected on the oeuvres of artists, many of whom have turned to new materials and forms of visual art.
Conceived as a bibliophilic publication, Imprint is intended for museum keepers, art historians, collectors and the artists themselves. This circumstance has dictated the small size of the print-run – 150 hand-bound, numbered copies – the unusual format, the use of various types of paper, the original woodcut cover and the supplementary album section of signed prints.Imprint is published in two languages – Russian and English.
This particular edition addresses various aspects of printed graphic art, featuring materials on Russia’s contemporary graphic exhibitions and biennales, exploring the different trends in graphic art, such as artist’s books from the Futurists to the present, graphic art collectors of the past, the Aquilon art publishing house (1921-1924), graphic art projects associated with the names of Vera Yermolaeva and Alexei Kravchenko, monographic articles on Vera Matiukh and Lev Yudin, and a history of local printing studios over the past thirty years. Contributors to this Almanac include Moscow and St. Petersburg artists and art historians E. Bobrinskaya, O. Vlasova, L. Vostretsova, Y. Demidenko, G. Yershov, I. Zolotinkina, I. Karasik, M. Karasik, N. Kozyreva, A. Marochkina and Y. Khodko.

The plate section of Imprint includes eleven sheets of signed graphic art executed in various media – etching, lithography, woodcuts, linocuts, photography, silk screen and computer prints. Eminent St Petersburg artists have contributed to this almanac, including Pyotr Bely, Irina Vasilieva, Svetlana Vedernikova, Felix Volosenkov, Mikhail Gavrichkov, Vasily Golubev, Dmitri Goryachev, Filipp Dontsov, Yulia Zaretskaya, Tatiana Kozmina, Igor Lebedev, Valeriy Mishin, Olga Pen, Vitaly Pushnitsky, Victor Remishevsky, Dmitri Sirotkin, Vladimir Filipenko, Andrey Chezhin, Pyotr Shvetsov and Yuri Shtapakov.

Imprint is a formidable collective project, bringing together artists, art historians, photographers, printers and translators.
The publishers hope to rekindle interest in Russian graphic art among experts. We very much count on the help and support of Russian and foreign colleagues. The subsequent fate of our publishing initiative largely depends on the spirit of collaboration and on you – the collectors and the staff of museums and libraries.

GLEB YERSHOV. After Engraving. An Essay on Modern Graphic Art.
The article reviews the current state of graphic art, focusing on some of the more typical, recurrent features of graphic art as a sovereign art form; defines the numerous niches occupied by graphic art today, including mass-circulation computer graphics and photography, which is treated as ‘the ultimate graphic art that negates itself.’
LIUDMILA VOSTRETSOVA. Graphics? Graphic Art! (Remarks on the Novosibirsk Biennale)
Inspired by the success of regular graphic exhibitions in Kaliningrad and Novosibirsk, the author delineates and studies the key trends in modern graphic art, asking herself, What is valued in graphic art today? and What is modern graphic art?
YULIA DEMIDENKO. Rauschenberg Would Not Have Made It In Russia… (Art Printing Studios in St. Petersburg)
The author takes us on an insightful voyage through the rarely discussed realm of ‘art production,’ discussing censors, ‘art panels,’ print runs, supplies and studio equipment. The author concludes that being a graphic artist in the Soviet Union was very different from being one in the West. The article is accompanied by a list of art printing studios having operated in Leningrad and then St. Petersburg over the past three decades, specifying their equipment and naming the artists who worked there.
MIKHAIL KARASIK. Book, Object, Box…
Despite a succession of high-profile exhibitions held in Russia and abroad over the past decade, artists’ books have not yet found their rightful place in a Russian museum environment. The author attempts to define artists’ books as an art form in its own right.
YEKATERINA BOBRINSKAYA. Time in the Space of the Book
The author’s subject-matter is Time entreasured within the space of an artist’s book, from the lithographed books of the Futurists with their fascination with the ‘process,’ their emphasis on real-time creation, to Alexei Kruchyonykh’s meticulously fragmented ‘hectographics,’ to the albums of Ilya Kabakov in which the viewing time, the length of the contemplative process, come to the forefront.
IRINA KARASIK. The Engravings of Lev Yudin
The article looks into a seemingly illogical creative evolution of Kazimir Malevich’s disciple Lev Yudin as manifested in his engravings. Yudin’s loyalty shift from Malevich to Mitrokhin, who became his idol in the 1930s, is still causing much speculation among researchers. The author attributes Yudin’s sudden about-turn to his disenchantment with non-representational art, which was typical for quite a few artists in the 1920s, and his quest for his own ‘way.’
NATALIA KOZYREVA. “I Have Never Feared Anything…” (The Oeuvre of Vera Matiukh)
The article is devoted to the oeuvre of Vera Matiukh, one of St. Petersburg’s oldest graphic artists who started out in the 1930s. Matiukh was one of the graphic art pioneers grouped around the Experimental Graphic Art Laboratory created in 1933. Her art remains highly relevant today.
ANTONINA MAROCHKINA. Vera Yermolaeva and “Bloodless Murder”
The article introduces us the to the “Bloodless Murder” ring formed in 1915 by a group of young artists, Yermolaeva, Le Dantu, Turova and Lapshin among them, and the eponymous magazine conceived along the lines of Futurists’ hand-made publications. Yermolaeva’s work for the magazine was her first experience in illustration. It was a solid school of painting that would later enable her to withstand the influences of Cubism and Suprematism.
IRINA ZOLOTINKINA. Aquilon. Characterizing an Art Publisher
The Aquilon publishing house operated in Petrograd in 1921-1923 as one of the last outposts of St. Petersburg’s World of Art book culture. The article reviews the history and discusses the concept of Aquilon and its publications. It is accompanied by the author’s full catalogue of books published by Aquilon.
IRINA ZOLOTINKINA. Alexander Chayanov and Alexei Kravchenko. Hoffmanniada in Moscow
The article looks back on a vibrant, inspired publishing project from the 1920s that brought together the famous Soviet graphic artist Alexei Kravchenko and an eminent economist and writer, Alexander Chayanov, the author of a book of fantasy tales in the spirit of Ernst T.A. Hoffmann. The project remained unfinished as Chayanov fell victim to Stalin’s persecution of the intelligentsia.
YULIA KHODKO. Folk Pictures in the Collection of Fyodor Pliushkin
The voluminous museum amassed by self-styled art collector Fyodor Pliushkin of Pskov numbered nearly a million exhibits, and was a subject of controversy for contemporaries. In 1914, the entire collection was purchased by the government. Some of Pliushkin’s prints ended up in the Russian Museum. The article focuses on ‘lubok’ folk prints in Pliushkin’s collection.
OLGA VLASOVA. Engravings from Foreign Collections in the Russian Museum.
Having thoroughly studied the signatures on the engravings in the Russian Museum, the author traces the history of some eminent works back to when they belonged to major European museums and collectors, including the Louvres, Kupferstichkabinett der Staatlichen Museen zu Berlin, Kunsthalle Karlsruhe, Stadelsches Kunstinstitut Frankfurt am Main, and others.

M.K. Publishers
Mikhail Karasik
Phone/Fax: 356-9087
Phone: 356-4073