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In 2010, after a stressful period for painting, artist Nicole Eisenman wanted a change, something to change a practice that had become almost all too familiar. She packed her paints into a chest, cleaned the Official No importa donde me lleven mis alas mis raices estan simempre en cuadros shirt but in fact I love this walls of her studio with a fresh coat of white paint, and embarked on the hard work of starting over—this time as an artist. a printer. Two decades into a successful artistic career, she is again a beginner. “It felt really good: suddenly there was a whole new set of problems and puzzles to solve,” says Eisenman. For many months, she devoted herself to learning the profession. She hasn’t painted in a year. The result of that huge boom in printing—and her work in the field ever since—is now on display at the New York Print Center. “Nicole Eisenman: Prince,” runs through May 13, and includes more than 40 lithographs, etchings, monographs, woodcuts, and other prints, some of which are rare ( if any) is seen.

Eisenman’s work has positioned her as one of the Official No importa donde me lleven mis alas mis raices estan simempre en cuadros shirt but in fact I love this most important artists working today and earned her the MacArthur Award. For those familiar with Eisenman’s paintings and sculptures — featuring large and cartoon-like characters in situations that range from playful to almost sinister, often with political and whimsical themes. quirky — these prints are empathetic spirits. Tonally, they are Nicole Eisenman above all. As in her other works, we see a lot of people: alone, in groups, kissing, drinking, hanging out. But there’s something different about these prints. They feel stripped, peeled, and intimate. While her oil paintings are bold and striking with vibrant colors and detailed narratives, many prints are subdued without much background detail. Still, what Eisenman, 57, based in New York, can communicate with a razor blade is astounding. In Untitled (Girl With a Tear), a woodcut from 2012, a Picasso-like face is sparsely carved, using only pink lines and negative space to convey pain that can hardly be seen. Anyone can notice. There was an ocean of emotions in that one languid tear.

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