Thomas Schütte, Low Tide Wanderings, 2001 (installed in Print/Out at MoMA, 2011)
In 2001, with digital practices becoming increasingly widespread in the visual arts, Thomas Schütte decided to use very traditional, analogue image-making as a way of keeping a visual diary. Rather than drawing in sketchbooks, as he usually would, Schütte adopted the more labour-intensive approach of etching. He subsequently produced an edition of 139 prints, one of which is included in the Print/Off at MoMA.
Reading someone else’s diary, a decade after the event, isn’t necessarily that interesting and in part the fascination of this work lies in the installation rather than the images. The prints are suspended on lines criss-crossed through the gallery just above head height (if, like me, you’re quite short).
Significant highlights of my visit to MoMA were the connected exhibitions Print/Out and Printin’ that look at the way print is used in contemporary art. The latter, organised by artist Ellen Gallagher and Sarah Suzuki, Associate Curator in MoMa’s Department of Prints and Illustrated Books, is centred around Gallagher’s DeLuxe a grid of 60 frames each containing a collaged print based on adverts found in mid-twentieth century black lifestyle magazines and newspaper articles. DeLuxe is an extraordinary, fascinating work that demands, and rewards, close scrutiny. I am fascinated both by the adverts Gallgher has found and by her use materials – particularly plasticine – in the collages.