Vide cor tuum.
Jaguar Editions / Arif Press, 1988. Item #2982 The twelve relief prints bearing the series title "Vide cor tuum" were printed by the artist on a 1929 Miller Simplex cylinder press from November 1987 to February 1988. Incisioni paper from the Magnani mill in Pescia, Italy was used; the inks were made by Janecke & Schneemann in Hanover and Siebold in New York City. Each print has been pulled in an edition of forty copies: numbers 1 through 20 reserved for the portfolios; 21 to 40 are issued separately. In addition to these, there are four sets of artist's proofs. Klaus-Ullrich Rotzscher made the portfolios in San Francisco using parchment & Fine Canvas from Bomberg, Germany. The typographic pages were printed in Bauer Bodoni at the Arif Press. This is copy no. 2 from the portfolio edition. Fine in near fine box with a 1/2 in. bump to rear panel top edge.
"A Note on these Prints," by Wesley B. Tanner:
"About twenty years ago I was struck by a concept of Charles Olson's: that if one took a real interest in something (and just about any subject will do), concentrate on it, until it could be seen with total clarity: 'But exhaust it. Saturate it. Beat it.' then all other knowledge would fall into place around it. To take a point and circle it: no, become it. 'And you're in, forever.' At that time, I undertook a study of printing and typography and found this idea to be quite useful.
During the summer of last year, while engaged in refining the relief printing process used in this portfolio, I had become interested in whether I could apply this thinking to my visual work. I determined my next project would be a suite of prints on the various states of love. Long ago, I had discovered in Dante Alighieri's La Vita Nuova a fascinating account of his meeting Beatrice and the subsequent event [quotes Dante, including 'Vide cor tuum' which appears to him in a dream after witnessing Beatrice]. Returning to Dante's encounter with Love I realized that what had happened to him was so real that it had sustained him through a lifetime. I decided to use his report as a staging for my own work. Therefore, these prints, conceived of as a piece, explore the realities of love: they are no more romantic than Dante's experience. But neither are they psychological portraits. They are documents that range, as the poet Michael McClure has put it, from 'the abyss of extinction each cell in my heart and physique closing to die' to the peaceful joy that is brought by the touch of a check by the light-green sea. By turns terrifying, placid, and ecstatic, they record the period of my fortieth year. Berkeley, 5 Feb. 1988."
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