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The settings view of the Official No importa donde me lleven mis alas mis raices estan simempre en LA robla shirt What’s more,I will buy this Watermark in “Nicole Eisenman: Prince.” Photo by Argenis Apolinario for Print Center New York These little hints about Eisenman’s process created the kind of push-pull feeling I often get when viewing art. Part of me wanted to know how all these pieces were made: How many passes per plate, what equipment was used, how long it took. But as with all art, there is serenity in not knowing, when letting any sense of joy, humor or melancholy surface be enough. Since her initial ferocious print craze, Eisenman has returned to the medium when it comes to the right idea. “There is a fine line between drawing and sculpting that printmaking can step into,” she said. Maybe a collage created from painting on leftover wood with wax from her studio. Theoretically, she says, “Documentation should show you the way.” But the ideas are around, as are the characters. There are prints of animated heads in “Prince” made a decade ago – like the three versions of Untitled (for Parkett 91) – like works in a recent painting and sculpture show. Here at Hauser & Wirth, a connection that Eisenman has made in real-time as we talked about last week.

Beer Garden — the Official No importa donde me lleven mis alas mis raices estan simempre en LA robla shirt What’s more,I will buy this largest painting in the exhibit that is 4 feet wide and nearly as tall, and one that has received widespread acclaim — features some of Eisenman’s most famous paintings, including Brooklyn Biergarten II, since 2008. Both have had a congress of people—friends, fellow artists, doppelgängers—gathering under the lights of coffee shops hanging from trees. The print is stripped of the picture’s saturated colors, but the details are rendered in unending gray: the light of a cigarette, the headlines about the drones at Occupy, a baby hung on the head. This epic work took five years to make, from 2012 to 2017, and it sums up one thing that’s true of any Nicole Eisenman work: Fluent in the language of life’s contradictions, she says We see beauty in chaos.

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