Susan Tallman: Well, we don’t like overstuffed ornamentation, and we get twitchy about the propriety of cultural appropriation and fusion. technological adventurism.” This time out you cite his 1769 “manifesto” on the cosmopolitan classicism of Rome as “a defense of multiculturalism avant la lettre,” whose pages “challenge the limits and prejudices of our own aesthetic rulebook.” Such as? In your editor’s note you called him a “multi-tasking globalist in tune with 21st c. Prudence Crowther: The very first issue of Art in Print, the international print journal you founded and edited between 2011–2019, included a discussion of new physical and digital fabrications of Piranesi’s designs. I interviewed Tallman by e-mail about Piranesi’s enduring relevance, the coercive wall texts at contemporary museums, and the fluctuating stature of prints. And yet, as she says, he’s never really gone away, his prints popping up even in Logan Roy’s living room in the fourth season of Succession. In the May 11 issue she reviews a new exhibition and three books devoted to Giovanni Battista Piranesi, following a resurgence of interest in the master draftsman and printmaker, architect, and entrepreneur on the three-hundredth anniversary of his birth. Susan Tallman has been writing about art and artists in The New York Review since 2019-on Vija Celmins, Gerhard Richter (“the poet of uncertainty”), the history of craft, Philip Guston, Hilma af Klint (“there are lots of snails”), Jasper Johns, and the “compositional aplomb” of Kerry James Marshall, among other subjects.
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